FIrenze, 14 Mar. (askanews) – Tracey Emin is an artist who has made the story without filters of his life a stylistic figurea real practice, in some way. This explicit and non -indulgent narration made it a star in the art system, but for this reason it seems to have made it a approved character. Palazzo Strozzi in Florence The first great exhibition is now in an Italian institutionwho is not a retrospective, he wants to clarify the director of the Museum Arturo Galansino, but which however revolves, from the title, around two of the great themes of his research: “Sex and solitude”, sex and loneliness.
“When I was younger – EMIN explained – sex was really important: it woke me up in the morningmade me think, unleashed me and triggered my life. But now that I am older is loneliness, mental solitude that becomes the space for creation, to have become one of the most important things for me “.
On display great paintings and sculptures that have the whole intensity of the body, its fluids, its primordiality. But they also have an artistic gaze that removes the morbid, which exposes these bodies, often fragmented and isolated, to an eye that sees them in all their aspects, including the profound fragility. Next to the bodies, then, and here the exhibition becomes even more interesting, there are the words, the texts that appear in the paintings and in the installations to the neon. Messages that are often strong, sometimes desperately intimate and moving, as in the case of the small canvas that transforms the word “Hurt” that is to do harm into “Heart”, heart. And the message that Tracey Emin wants to send from Florence is also a more universal message, which looks to the trade and the role of the artists as a whole present.
“Art – he added – was never as important as today: when the men of the caves drawed in their caves stopped killing each other. If we understand that as human beings we can create something beautiful, which has spiritual elements, which speaks to us of love and talks to us about our physical and emotional being, then we could probably stop attacking and fighting. It’s simple. “
The story that Tracey Emin makes of himself is very direct, his life is his art. But it is clear that the strength of his works, which in the non -easy spaces of Palazzo Strozzi resonates with intensity, especially in the most collected rooms, also derives from the fact that they are still works of art and are not only “life”. Here is the importance of Emin, its relevance: in the ability to be really “true” and at the same time a value artist, who knows his own tools and uses them to create difficult jobs to forget.
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