The creative act and phenomenology in the name of Jole De Sanna. From DE Chirico to Carlo Belli

The phenomenology of art is an impact with what appears. Art as an aesthetic model and as an artistic expression in a vision in which the data is a fact and the fact can be considered a phenomenon. Art is the fundamental story of a spirituality that celebrates the sense of memory in the memory of the past. The past is within phenomenology. Art is the aesthetics of the phenomenon.
The idea of ​​art as a utopia. A thought that has dominated all the research and excavation among the arts of Jole De Sanna. Between academia and militancy he has always maintained that: “The idea of ​​a work of art that we possess is of a work that does not distinguish between painting, sculpture and architecture but that has the quality and the power to attest itself through artistic and literary genres as such, work of art. The work of art as such is the conquest of the period, and I mean the whole modern period starting from the second half of the eighteenth century “.

A “rearrangement” of the idea of ​​art as total thought in a process in which aesthetics is in creativity and creativity lives on imagination and work. The craft of living, in Pavese style, is in the total work of being creative.
With his vision of art indissoluble between the memory of history and the time that intertwines the destinies of civilizations. Jole De Sanna (1947 – 2004) has always been able to combine the archaeological, which lives inside our soul as confessors of patience and of the literary and artistic genre, with the modern that interacts with the contemporary.
A scholar of the avant-gardes, she knew very well that the revolution of artistic languages ​​inevitably passes through the revolutions of consciences and conformisms as they do not belong to the artist and art cannot belong to man as a person, as an existence, as a cultural model.
Deep knowledge of Lucio Fontana, Medardo Rosso, Giorgio De Chirico, Carlo Belli, she has always intertwined her teaching with the imagination of exercising the artist’s charm.

Jole De Sanna. A teacher without the textbook because her art was in her mysterious her encountering fantasy with mystery.

She was my friend, as well as a consultant in the years in which culture in Taranto had a project, that is between 1995 and 1999. With her, I, Councilor for Culture of the Province of Taranto and Vice President, we have created an exhibition of uniqueness extreme: the one dedicated to De Chirico and the Mediterranean. A path in which Magna Graecia and the Mediterranean met with the extreme metaphysical model.
A metaphysics of the Mediterranean well defined in the philosophy of spaces. The squares, the absences, the solitudes of De Chirico were none other than our expectations. Well, Jole said, I remember very well, it is living the metaphysics of color as if one were living the metamorphosis of the soul. And art was not only research but aesthetics of the gesture, of the gaze, of attraction. In 1998 with Jole we built the metaphysical Mediterranean under the silent and never mentioned guidance of a very dear philosopher Maria Zambrano. The Mediterranean is not just “destiny”.

In art, expressed in Jole’s research, it is providence and being considered as such it becomes prophecy. Art as a philosophy not of dialectics or words but of the religiosity of silence in welcoming, observing and touching.

With her we invented the project on the Pinacoteca and she, as a scholar but above all with her critical ability to not underestimate anything and not to be the same as anyone, traced a thread in the culture of the institution of a Pinacoteca that had to represent a value in the conscience of the arts. This was the goal.
From Milan, where he taught at the Brera Academy, the journey to Taranto seemed long but within a few hours we met, talked, planned and ended. Our saying and our being bore a name, giving a voice to that utopia of cultures that inevitably passed through the arts. And if the exhibition on De Chirico was a link between ancient and modern art, the design institution of the Pinacoteca was a desire to leave a tangible mark within a territory that is now completely eradicated both culturally and wisely from a design point of view. .
She, a scholar of Luciano Baldessari, of Gino Pollini, of Fausto Melotti, could only carry a name like Carlo Belli within herself and within her non-scholastic text. Architectural rationalism was for Jole De Sanna a real existentialism that found in the historical avant-gardes a desire for an encounter between constructivism (Russian) Futurism and Cubism.
It was precisely through the idea of ​​the total work that it was possible to realize that engaging thought that found in the aesthetics of abstract art the tangible sign of a Carlo Belli that involved the place of the work of art and the work of art as atmosphere of the dispersion of contemporaneity.
The variety of methods, his essay remains important: «Form. The ideas of the artists 1943-1997 “, traversed in Jole de Sanno’s research, are to be considered not only a formative act but an archeology of being in that archeology of knowledge that can also have its own function but is legitimized in the non-relativism that leads to constant renewal. This is why the avant-gardes are not a reference of a cultural revolution but constitute a real revolution in which beauty cannot be an evolution but a profoundly aesthetic direction.

Lea Vergine wrote, in a very beautiful passage, in “il Manifesto” of 28 July 2004: “Art historian, impeccable for honesty and precision, passionate about the writings of artists (think of her reading of Medardo Rosso or that by Lucio Fontana, both books released in 1985 and 1993 by Mursia publisher) made her debut, very young, quick as a gazelle and sweetly sexy for her rust-colored hair, with the Apatico exhibition (Museo di Verbania in Pallanza) in 1976. Exhibition and book constituted, and still constitute, a real summa in the sense of sculpture interpreted by Fabro, Nagasawa, Trotta, Staccioli and Tonello; what made her unique was that she was able to wisely mix texts and quotations that contrasted and mixed the statements of her contemporaries with those of Gian Lorenzo Bernini, Canova, Medardo Rosso, Gemito, Melotti, Fontana, Paolini, Melani and an incredible Brancusi “.
This is why the metaphysical De Chirico of the suns burned in the horizons is the frame of a Greekness that has always been a belonging and in this sense, to quote Belli in Jole De Sanna, constantly experienced the revolution of classicism. Beyond the system of traditions for Jole it is the avant-gardes that mark the stories of civilizations and these stories are within the processes of pure artistic madness.

That madness that has been marked in the indefinable of a philosophy of the tragic: from Schopenhauer to Nietzsche. Two philosophers with whom total art in Jole’s thought has always been confronted. This is why in Belli she interpreted not only the Abstractionism of a well-defined “Kn” in the 1930s but went along the paths of post – Abstractionism so much to underline, speaking of Carlo Belli, that “the future is now for measuring on the relationship of space with itself and of time with space “.

A direction that defines the vision of art in a fundamental passage: “… the total enlarged direction, even atmospheric, of the place of the work of art” now occupies the non-place itself because time is experienced as total space. Jole De Sanna lived in the trenches of the grandeur of art that intertwines the creative datum with the metaphysics of thought. This is why that De Chirico Mediterranean is always within an ancestral metaphysics, essentially living on a Zambranian poetic reason.

The creative act does not have its utopia. Metaphysics has its utopia. But there is the soul of the artistic mystery that breaks every delay and Jole with her scratching the dream in art has given meaning to life in the artist’s space. Her lesson has indelible traces.

The phenomenological state itself is an act of thinking as a non-arrangement or systematization of the spirit. Art is an aesthetic of appearance. Bring in the form and language the spirit. A metaphysics within phenomenology. Jole de Sanna’s studies clearly enter into a vision in which the sense of aesthetics is an appearance of the sublime that finds the most sensitive experience in the concept of phenomenon.

The creative act and phenomenology in the name of Jole De Sanna. From DE Chirico to Carlo Belli – Paese Italia Press