This post follows an interesting article written by Mr. Emilio Gargioni Subalpina Davico the Gallery of Turin.
One Sunday in early February: Plenty of sunshine, crystal clear air, a country lane, a hill, a few corners and we are in the house of Lorenzo Alessandri, painter.
A beard and mustache color salt and pepper, a sharp profile - it could be a form of Callot - Piedmont much wit, earned a fully mature painting, a life campagnard, but with the eye and mind to the distant mountains of Tibet, where time stands still and where magical rites and holy men celebrate the sounds and smells of daily magic un'ancestrale softened the colors and local figures.
Lorenzo Alessandri was born in Turin under the sign of Pisces, who says he does not believe because you feel the child of a different sign of destruction .... He wants to be another sign, perhaps, but if you would like to invent, because he does not believe in astrology and in any case, is not willing to accept a pre-existing sign. Her sign is the Moon with two arrows: this desire for the moon, which is poetry, and women who is the night, in ongoing identification: a crescent moon are the lips of a woman, the curves of the breasts, the curves of the buttocks.
The night is cool, intimate, calm, mysterious, and within it can happen no matter what. Either true or false.
in Alexandria at night, going to look for the moon. Remember that as a child when she lived in Turin, in Via XX Settembre, a house on Library Treves, the window he saw a fountain with cherubs made of many many jets, and his desire was to be looking out to see the moon reflected in the fountain . But why the moon? "Because the full moon è la poesia, la poesia che lambisce l'uomo; e poi la Luna è anche la sfera. La sfera per noi pittori, è l'unico oggetto che non si puo vedere in prospettiva, è quindi la forma per eccellenza.
L'uomo che è incarnato in un corpo non può possedere interamente la poesia e l'uomo è sempre dilaniato dagli opposti". Quegli opposti che appaiono evidenti nel suo marchio, dove si trova la lotta, la luce e l'ombra, il passato e il futuro, il bene e il male, il pene (la freccia che va in salita) e la vagina (la freccia che va in discesa).
Alessandri vorrebbe rinascere senza corpo, per gustare la poesia, to live fully for the ball and feel the painting in another way. That brand he invented it ten years, when he went to school at St. Joseph, and if it was tattooed on his wrist. A nursery rhyme with a logical / illogical that starts and ends in painting from the moon, me again: LUNA / DISC / BALL / LIGHT / FORM / POETRY / EYE / BREASTS / BODY / FEMALE / immaterial / irrational / ELUSIVE / SOFT / LOVE / PAINTING.
Alessandri is also the creator of surfant, an artistic movement put together by a group of Turin, who have been in 1957, to express themselves in art surreal fantasy.
surfant equal SURREALISM FANTASTIC or SUBCONSCIOUS / fantasy, but also Supreme, Universal, Royal, Fantasy, Our Art, Turin, Augusti ....
Much earlier, in Turin bombed by the war, had created a newspaper, "La Candela", designed and built in the attic macabre. Venue, Via Aurelio Saffi, friends ran away from home for the most part, partisans, people are not totally right. In a large loft, two places to meet, discuss, put together a newspaper, a large window overlooked a beautiful garden in the spring before blossoming magnolias, flowering threw out a bra or panties, but all white.
had been dubbed the 'attic failed, there were ex-teachers, ex-journalists, ex-painters, ex-regular. The newspaper La Candela came out in a clandestine for fifteen numbers, no head.
many memories of this group, who tried with that magazine to be known. They worked among the skulls, cats, dried, mummified mice: there was the war, even the model that was used for the painters, was called La Befana, because it looked like a man. Was paid a latte and slices of salami: you drink your coffee and then his chest like a locomotive !.... Remember, many of them. The study began with Habakkuk, in Via dei Mercanti surfant the birth of the idea, gathering of painters at his side with the same bullet. A natural leadership had been entrusted, his wife was editor of the journal surfant (First issue: January-March 1964). Natural consequence of the first exhibition surfant, the Bottegaccia Giaveno in 1965, with the army Brancaleone, consisting of Habakkuk, Camerini, Colombotto Red Macciotta, Molinari, Pontecorvo and of course, Lorenzo Alessandri. The almost immediate release of Pontecorvo because he planned to do a mass movement, such as futurism, in sharp contrast with the ideas of Alexandria, who wanted a move strongly selected. File of painters who wished to enter, but few are chosen and inserted into group: among them, Reme, all the way from Holland and Margonari from the fog of Mantua. A full house at the Bottegaccia for that first show. Many women and a lot of people cold. All Turin curious to see this surfant. 4,000 invitations were sent. Forty of the works on display. Sold out. Two episodes to remember: a farmer with a goat who, after watching the show, she suckled the milk offered to Molinari. The famous Marianini, which came out in the dark, for physiological needs, he pissed on a couple who had been secluded for so many other physiological needs.
This is the time irreverent, Lorenzo Alessandri, where a good driver, wearing his artist friends in the Netherlands, in Amsterdam, in the red district, one of the whores, where there is beer, which gives dreams and delirium. Surfant was then turned off in the years when the painters have become more professional now remained with the flag surfant only him, Alessandri, Habakkuk and the exposure Camerini.
her eyes as she recalls those come back to the sixties and for each of them an adjective that connotes as the dwarves of Snow White: the most candid Camerini, Macciotta the most poetic, the most religious Habakkuk, as Pontecorvo embroiderer, Molinari as volcanic as Colombotto Red necrophiliac, Alexander the most diabolical.
Demon also in the many articles that the non-specialized press has devoted in recent years, describing him as a student of black magic, as an eater of "girls" as a priest of the black masses, as a man with extra-powers grounds, but to hell with the devil ... Lorenzo Alessandri cares of the devil, is basically an "ironic actor" leaves, serenely, that people invent anything he wants about him, as long as you leave feed of magic, but only that which is slowly and gently from mountains of Tibet.
Why this yearning, love junkie for Tibet? Dates back to anni '42-'43; Alessandri viveva sfollato nel Canavesano in mezzo al freddo, al gelo, ai mitragliamenti, alle bombe, alle schegge da mortaio. Trova per caso una rivista, "Humana", e si concentra profondamente su un bellissimo articolo che parla del Tibet. Leggerlo e sentirsi a casa sua, fu tutta una cosa. A 17 anni comprava libri di filosofia orientale, ma il suo sogno, quello vero, quello di andare fisicamente nel Tibet lo realizza soltanto nel 1961, nel periodo della grande carestia, al termine della prima guerra India-Pakistan. Un primo viaggio, lungo, che ricorda sempre con immenso piacere, concentrato sul Nord e dintorni. Un obbiettivo "visionario": voleva vedere i Lama vivi e veri e voleva respirare la loro arte (un Pantheon gigantesco, centinaia di divinità, forme scultoree assurdamente stravaganti). Dopo di ciò, un momento di riflessione e di crisi, combattuto fra la spiritualità del Lamaismo tibetano e la pittura fantastica che gli aveva riempito la vita fino a quel momento. Il contrasto era netto perchè, per Alessandri, per essere un pittore fantastico bisogna assorbire ovunque sensazioni come una spugna, ridonandole agli altri e rendendoli partecipi di questi sogni rappresentati. Dall'altra parte, invece, il buddismo tibetano rinnega tutto quanto è illusorio, superando tutto ciò che è immagine. Per i veri buddisti l'unica realtà è la vita della mente: tutto il resto ciò che passa attraverso i cinque sensi è illusione perchè provvisorio, transeunte.
Non soltanto quindi un periodo di grossi contrasti da analizzare e sanare, ma addirittura un periodo di frastornamento, con rimbalzi continui da momenti di travolgente pittura a momenti di addormentato misticismo.
Di fronte alla domanda di come sia poi riuscito a conciliare i due segni contrapposti, sempre caratteristici della sua vita, Alessandri me lo spiega così: "In questa vita farò il pittore finchè crepo: nella prossima farò il buddista, e per non sentir troppo la nostalgia di questo misticismo, ne studio da decenni tutte le divinità e raccolgo i piccoli bronzi del Pantheon tibetano". Ma se dovesse ricordare la cosa più misteriosa vissuta in Tibet, gli viene in mente la figura di certi mistici che vengono "spinti" a chiudersi in una grotta (ben inteso murati vivi), per meditare, senza uscire mai più.
Ma Alessandri sarebbe disposto? Assolutamente no perchè non è ancora maturo.
Secondo lui, questi signori lo possono fare perchè ne provano gioia, "hanno aperto uno sportellino e al di là hanno visto qualcosa di assolutamente meraviglioso, essenziale".
Ma cosa sono questi bonzi? Come vivono, cosa fanno per gli altri? Direi tantissimo, dal momento che si thrown into the fire to the ideals of others, give your body for the salvation of the spirit of others.
Alessandri But the painter, in addition to eating magic, what you eat in Tibet? When it was good, rice and rotten butter (tsampa) with tea. But then, man Alessandri how did he survive in Tibet? Probably praying, isolation, reflecting on the evils of the world, like a mountain on a mission with very little means of subsistence, such as meat hanging in the sun that knows a bit of shoe, or some three months old egg with mmancabile handful of rice.
(end of first part).
Opera entitled: FIRST PORTRAIT PAINTED BY ESOTERIC EMILIO Gargioni friend Alessandro
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