Dalle Cattedrali della Terra ai Sentieri del Cielo
Home > Cycles > Dalle Cattedrali della terra ai sentieri del cielo (From Earth Cathedrals to the Sky Paths)
A parade of peaks. A sequence of vertical worlds, arranged like chapters of a long history. On the spots - and it couldn't be different - the geology monuments tower: needles, walls, edges and towers from the magic universe of the Pale Mountains, the landscapes engraved and chiselled by nature with a long and cyclopean work. And then, much more recent, the vicissitudes of the alpinists that on such fascinating land have known how to build their own fantastic games. A saga, their own, really little understandable for whom dare to turn their head towards the world of heights. Built with strokes of climbing, of great enterprises but also more modest carrying out from the point of view of the tech and of the adventure. Ailed by broken dreams, by dialogues between man and the mountain interrupted before time, before they could reach to a hoped conclusion. A long visionary parenthesis that, in this exhibition, starts ideally with the birth of the Viennese climber Emil Zsigmondy and ends with the death of Andrea Oggioni, dead in July 1961 during a tragic descent from Pilone Centrale del Frêney, in the Monte Bianco group. A century, full, of climbing and mountains. A hundred years that enclose wonderful bits of life between the rocks, in a long journey that crosses various chapters of the alpine history and that Luisa Rota Sperti has managed to tell in a really different way of an illustrated history book. Peaks, walls and persons, in this exhibition might live in open order, beach by their own, united only to the context they belong to. What is important, in fact, it is not the sequence of the places and of the stories told, but the relation between the peaks and the men that have climbed them. The mountains drawn by the artist, moreover, show incredibly familiar features. They give curios sensations, as they come out from a jigsaw that has just revealed a sequence of images well known but hidden for long time. And the reason is that not at first sight - as a sloppy glance might suggest - the are similar to the mountains on the photo books. The identification mechanism starts - I think - above all because the papers belong to a imaginary album of the alpinist world. There is more: also if made with the aid of direct glance and an export eye - also in an alpinist point of view -, the drawings that are in this exhibition offer to the visitor particulars and perspectives that hardly the camera objective would be able to see. They propose moments of history transmigrated in the legend, transformed by memories, elaborated by the collective meditation. So, material that belongs to the files of the alpinist memory and that the artist hand has managed to put in order, select, explain and re-shape in a new shape, with an operation of extraordinary skill. An operation that has permit to rebuild atmospheres, backgrounds and perspectives, but above all to make live again to the viewer the look of the past characters. An easy intervention to define but very difficult to make and that consists in the cutting the non-essentials, in the making disappear from the scene the elements of disturbance, in simplify il the message stressing the essential. In short, a work tense to suggest a reading path that goes well over the graphic sign; a long path that can skim by intuition the closeness to the mystery. The real, great duty of art. (Roberto Mantovani).