KITSCH between ART AND ORNAMENT. 2000-2011

Ten artists, including the most significant in the international arena, are witnesses to a new address at the end of the twentieth century figurative formulas for the liberating effect of the postmodern movement and which has grown in the last decade with extreme views, neo-baroque, neo-Manierist and neo-Symbolist.
The new imagery is rampant blending truth and fiction, memory and its deformation, the accuracy and vagueness, the horror and pleasure, eroticism and pornography, the myth and mysticism, humor and sarcasm : is the culture of kitsch.
The term improperly used to disparaging assessments by the great German bookish Hermann Broch, who quoted him in his famous text of 1933 and, later, the shooting in writing in 1950-1951, assumed negative meaning in the dialectic of confrontation classical values to those of post-Romanticism imbued with a culture symbolist aesthetic, decadent that dominated the late nineteenth century. Not inferior art, then, but the sublime beauty of art in all its excesses even the most perverse, sacrifice the values of harmony and balance.
Contemporary art aestheticism return records that enriched experiences and meanings of philosophical, psychoanalytical and social developed during the twentieth century.

Graziella Folchini Grassetto