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Filiberto Menna On the catalogue “Il Luogo” by Civitella d’Agliano in 1989 |
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Bicchiere, 1975 |
The recent sculpture reveals a marked orientation towards a linguistic reduction processes intended as a preliminary action for a more decisively constructive imposition of the handiwork. An orientation toward the “minus” sign which has characterized in recent years the painting experience after the over abundance of post modern narrative paintings. What matters today whether in the sculpture or the painting handiwork is the need to cool the artistic procedures decoupling the signs from the request for immediate expressivity, narration as pure citation and historical memory? Therefore, empty signs with free value with which the artist could pose the question of the construction of the handiwork on basis new completions. The Handiwork of Ettore Consolazione falls precisely at this stage of change by passing from a procedure in which the signs of the sculpture are employed as scenic instruments and exhibited as protagonists of a sort of theatre for the art of sculpture, where the storytellers dominate the story, the definition and even grotesque of the personalities involve, to a procedure more constructive where the dominate factor is given by a project intentionality oriented toward the realization of the handiwork as complex machine or a mechanical device. The spectacular element is not less even this time: instead in all together these recent handiworks of Ettore Consolazione, more certainly constructed, seem representing complex scenic machinery in which every element contributes with its particular configuration to staging of a scenic space again in a theatre of sculpture. But this time the protagonists are not the heroes are not those of a chivalric novel who ready to conquer a castle; now every handiwork presents itself as a black device, structurally aggressive as a war machine. |
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Sonoro ‘78 |
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