ENRICO CASTELLANI | Superficie blu

Plinio De Martiis e Netta Vespignani, Roma
Collezione privata, Roma
Asta Sotheby's, Milano, 26 novembre 2013, lotto 25
Ivi acquistato dall'attuale proprietario

Renata Wirz con Federico Sardella, Enrico Castellani. Catalogo ragionato. Tomo II. Opere 1955-2005, Torino 2012, pag. 464, n. 530, illustrato

The work is in very good condition. There are minor traces of craquelures along right lower margin and to the center of the canvas. No traces of retouching appear to be visible under UV light. There are scattered pin-pointed traces of refraction, possibly due to old and superficial foxing.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

“Il solo criterio compositivo delle nostre opere sarà quello (…) che attraverso il possesso delle entità elementari, linea, ritmo, indefinitamente ripetibile, superficie monocroma, sia necessario per dare alle opere stesse concretezza di infinito e possa subire la coniugazione del tempo, sola dimensione concepibile, metro e giustificazione della nostra esigenza spirituale.”
Enrico Castellani Sorprendente è la nitida coerenza teorica ed etica dell’artista, che con un’essenziale e chirurgica sicurezza sembra  imprimere sul tessuto il suo statement.  La tela cela qualcosa che non è possibile inquadrare distintamente, ma che tange le fibre modificandole  alla sua pressione. Cosa vi è oltre il velo di Maya? Il moksha, la liberazione spirituale, una verità oscura ai più eppure così vicina. Le sue opere comunicano la consapevolezza di un oltre e di uno spazio riconquistato, di un colore che si rende luce ed ombra sa solo. Tutto parte da un colore e da un movimento, o meglio un ritmo, che come il Big Bang ha modificato il finito in infinito e il definito in molteplice.

"The only compositional criterion of our works will be that (...) through the possession of elementary entities - line, rhythm, indefinite repetition, monochromatic surface - it is necessary to give the works the same concreteness of infinity so that they can undergo the conjugation of time, the only conceivable dimension, and justification of our spiritual need."
Enrico Castellani

The clear theoretical and ethical coherence of the artist is surprising. With an essential and surgical security he seems to imprint his statement on to the fabric of the canvas. The canvas conceals something that is not possible to frame distinctly, but which bends the fibers by modifying them under its pressure. What is beyond the veil of Maya? Moksha, spiritual liberation, a dark truth so close we could touch it. His works communicate the awareness of a beyond and of a reconquered space, of a color that becomes light and shadow. Everything starts from a color and a movement, or rather a rhythm, which like the Big Bang has changed the finite into infinity.



Opera registrata presso la Fondazione Enrico Castellani, Milano, con il n. 95-018