Primo Marella Gallery
artgenève 2018

The project conceived for ArtGeneve 2018 chooses a new way to approach Pittura Analitica (Analytical Painting): both new works and historical ones will be put together in order to stress their exhisiting continuity. That also let the public reflect on the transformations born in a sphere characterized by linguistic and semantic coherence.
Pittura Analitica is a break movement defenitly able to take its autonomy against Minimalism and Arte Povera, as well as against the expressionistic and materic research. The investigation is based on a constant dialectic ambiguity, in which the line made by the paint is recovered in its radicalism and autonomy inside a contest where an artwork is first of all a reflection on its nature, on its history and on its vicissitudes. All that is obtained through an experimental process that directly involves media and materials.
The doctrinal consistency of other movements of the Seventies is deeply questioned by Pittura Analitica, that because of its inherent characteristics, very unorthodox, appears today as a one of the most influent experience, especially when compared to a fluid and fragmented contemporaneity. Indeed it is not a casual fact that this artistic movement has had wide reflections all across Europe, especially in Germany and France. In this review Primo Marella Gallery, working together with the curator Alberto Fiz analyze the leading figures of this movement.
"Pittura Analitica is a vibrant and active movement bore in the Seventies which is still marking the present art events. The transformation carried out by the artists has been a silent one, they consider painting as a mean to repossess a language and develop a new creativity where the artwork, as well as the creative process, regain their role.
Pittura Analitica developed itself around single characters who interact and sometimes crash on a linguistic basis. A very peculiar aesthetic adventure has determined Pittura Analitica as a movement-not-movement. Ironically are eccentricities that make it so up-to-date and its reemergence, starting from the past decade, has been both in critic and collecting field.
Today, when nothing correspond to something stable, fixed and everlasting, we become natural speaker of artists who, with their peculiarity, gave birth to a complex system releasing art history from an evolutionary and alienating idea, avoiding any certainties.
Almost none of the artists feel the belonging to Pittura Analitica as a movement but a fil rouge connects all the artists.
This movement is a very selective experience based upon various methodologic procedures which are common to all the participants, aware and ready, more or less, to follow the rules." Alberto Fiz