top of page

by Carmelo Strano

How to reconcile all this cultural and morphological climate be reconciled with the discovery of Lucio Fontana's crossing of the support, which Almaviva realizes when he arrives in Milan? The gestation this time will be very long.


But in Milan Almaviva receives conceptual stimuli; not in the sense of work but of reflection on art, in the awareness that it is capable of provoking even strong deviations, such as Spatialism, in fact. He has some intuition but that he doesn't immediately submit to design elaboration. It will be from 2018, with the Archetypes, that Almaviva will be able to sing victory: over itself and over others.


How many have been infected, in various ways, directly or indirectly by Fontana! But self-respect took Almaviva further afield, that is where it was impossible to arrive immediately due to the innumerable types of extra-object art that had established themselves. But Almaviva remains the dot of going beyond the canvas, of the support that does not pass through the Fontanian yoke or even through the existential exasperations of Piero Manzoni. And finally in recent times, in 2018, the canvas no longer exists. It seems that the painter was affected by the by now distant, but always current, lesson of Luigi Pareyson on the distinction between formant form and formed form. His "Archetypes", still ideally children of Filoplastica, are paintings that have eluded the canvas while determining a framework. The painting is self-woven and self-supporting. In fact, the representation (or the subject) is not wanted by the artist. During the spontaneous and casual elaboration of the skein, the work is unfolding in the formative performative manner.


Even if he did not aim at aesthetic interests, but basically only at the idea, Manzoni would have immediately made this proposal by Marco Almaviva his own.

bottom of page