TEXT BY EMIDIO DE ALBENTIIS


"Momenti" exhibition - 1992 - Town Hall - Spoleto

Perhaps one of the most profound meanings that can be found in the contemporary artistic experience is the tension towards the supreme goal of creative and intellectual freedom, potentially communicable to each user through the transference conveyed by the presence of the work, the tangible result of the artist's concrete action.
In times not too distant but fortunately passed, the attempt common to many artists to cultivate an autonomous aesthetic and spiritual research, apparently not coinciding with the most immediate and contingent problems of social life, has often been scornfully pointed out as bourgeois and decadent: I believe instead that it is finally a lasting and precious achievement - due in large part precisely to the variegated kaleidoscope of twentieth-century visual arts - that there can be no authentic collective liberation that does not pass through the conscious landing of freedom on the part of each individual conscience, a founding social value and anything but decadent of a world that we would like to be more liveable every day. Art today still has a meaning perhaps - where it is able to indicate this demiurgic and creative potential inherent in each of us: this does not mean, of course, that we are all artists, but only that the contact with a world of forms created with the most disparate methods and languages ​​and sometimes (but not so often) very far from everyday life, it allows us to rediscover - perhaps even intuitively and for short but very precious moments - the vital energy, ideally common to all, enclosed in the act of creating. The almost forty-year loyalty to the art of Fausto Bronchi from Spoleto constitutes an excellent example of what has just been stated: this exhibition set up in the premises of the Palazzo del Comune of his hometown makes it possible to grasp the multifaceted of his aesthetic-formal interests with even greater completeness compared to what has already emerged in the rich previous curriculum of the artist's exhibitions. On this occasion, in fact, Bronchi does not only present that line of works of informal derivation that allowed him the first affirmations since the late 1950s, when he embraced the path of art at a very young age in the wake of the very stimulating Spoleto climate of that period. Even if that experience has nevertheless remained fundamental to penetrate, as we will see shortly, into the essential expressive coordinates pursued by the artist, it is as if Fausto Bronchi had specifically wanted to open for this exhibition - which falls at a time particularly fraught with important existential choices for the future - a sort of real treasure chest containing his numerous and lesser-known travel notes, those "moments" that give the exhibition its title. The various stages of the work of the last eight years unfold in the rooms, in a path in which the plastic paintings, multi-material sculptures and aniconic paintings of that informal matrix felt by Bronchi as a real primal language alternate with no less precious landscapes ideals, drawings and female portraits of a more intimate and intimate tone. At first glance, such a wide creative range could even generate confusion but, in reality, for at least a double order of reasons, it is possible to find a coherent inspiring thread: on the one hand, the different registers reflect precisely the magmatic and composite character that Bronchi feels inseparable from the incessant flow of life, his own as well as that of each of us, on the other hand this linguistic versatility belongs, on closer inspection, also to his informal production. For example, observe the plastic paintings of this exhibition: the deeper formal research is; in the dialectic between the strongly expressive nuclei full of energy and living matter (with extraordinary ability to make light sparkle, often captured also thanks to poor and common materials such as foil and foam rubber among others) and the layout of these nuclei within large areas of uniform color, mainly dark, almost able to deceive the strong vitality of the material inserts. Bronchi's poetics are therefore expressed through a sort of dual language, aimed at the same time to seek classical values ​​such as harmony and balance together with the need to express the dissonance and imbalance deriving at the forefront of life itself and its infinite "moments": in other words, where a need for harmony is perceived in the work of this artist, it appears to be the daughter of chaos, where there is chaos it presupposes the magmatic link with existence, yearning, inseparably, all 'harmony.

If what has been said so far actually hits us right, this exhibition by Fausto Bronchi, significantly dedicated to his father, will prove capable of suggesting, with the force but at the same time also with the discretion of the visual language, that liberating process, perhaps partial but no less important, inherent - as we said at the opening of the presentation - in any artistic research that, like this one, is truly an expression of authentic feeling.