MIMMO ROTELLA A POSTER FOREVER
The scenario of the western contemporary is a scenario set on speed, simultaneity, cross-fades, corrosions, which arises from the seductive and cruel game of dark and light ... Mimmo Rotella is a 'robber of images' uses stolen, torn, attacked images and shown outside a city that is increasingly configured as a series of mathematical data.
Mimmo Rotella invents décollage, a particular kind of iconoclastic fury: the first tear Mimmo Rotella makes against traditional painting by inventing a way of destroying and wounding the image that in reality enhances and makes it unique, subtracts it from repetition media that steals their soul, and destroying the posters (cinema, political, advertising) makes them enter contemporary art galleries. Rotella's artistic career began a few years earlier, in '45, with pastels, pencils, oil, but already in '49 he began to feel some impatience and began to compose the "phonetic and epistaltic poems", becoming, in fact, a "performer". He has always talked about his fixed idea: finding a new language of art, and the decollage has become a sort of linguistic revolution that has introduced elements extraneous to the visual tradition. Certainly Rotella, while creating a series of variations on his own expressive form (just think of "Art Typò" or "Frottage") is the European artist who, maintaining his own autonomous identity, has better dialogued with his friends of Pop Art, even if he claimed: “I think I descend from Duchamp. I strongly feel this European derivation that distinguishes me from the Americans. "
Rotella's existence is part of the iconography of the artist's life where passion, irony and tenacity are intertwined. A life that is also transgressive (well told in the autobiography L'ora della lizard), where art and beautiful women coexist in an indissoluble bond. Rotella was really eccentric, so much so that he was the inspiration for the hilarious character of An American in Rome played by Alberto Sordi: in '53, just back from the United States, right from Kansas City, he was touring Rome with shirts, jackets and eye-catching hats, exaggeratedly American-style. An artist's quirk so surreal that his friend Lucio Fulci, Steno's screenwriter, didn't let it get away. The catchphrase of Nando Moriconi was born thanks to that young artist who along the streets of Rome was looking for an "enlightenment".
23.04.2021
Mimmo Rotella invents décollage, a particular kind of iconoclastic fury: the first tear Mimmo Rotella makes against traditional painting by inventing a way of destroying and wounding the image that in reality enhances and makes it unique, subtracts it from repetition media that steals their soul, and destroying the posters (cinema, political, advertising) makes them enter contemporary art galleries. Rotella's artistic career began a few years earlier, in '45, with pastels, pencils, oil, but already in '49 he began to feel some impatience and began to compose the "phonetic and epistaltic poems", becoming, in fact, a "performer". He has always talked about his fixed idea: finding a new language of art, and the decollage has become a sort of linguistic revolution that has introduced elements extraneous to the visual tradition. Certainly Rotella, while creating a series of variations on his own expressive form (just think of "Art Typò" or "Frottage") is the European artist who, maintaining his own autonomous identity, has better dialogued with his friends of Pop Art, even if he claimed: “I think I descend from Duchamp. I strongly feel this European derivation that distinguishes me from the Americans. "
Rotella's existence is part of the iconography of the artist's life where passion, irony and tenacity are intertwined. A life that is also transgressive (well told in the autobiography L'ora della lizard), where art and beautiful women coexist in an indissoluble bond. Rotella was really eccentric, so much so that he was the inspiration for the hilarious character of An American in Rome played by Alberto Sordi: in '53, just back from the United States, right from Kansas City, he was touring Rome with shirts, jackets and eye-catching hats, exaggeratedly American-style. An artist's quirk so surreal that his friend Lucio Fulci, Steno's screenwriter, didn't let it get away. The catchphrase of Nando Moriconi was born thanks to that young artist who along the streets of Rome was looking for an "enlightenment".
23.04.2021