WEBVTT 00:35.120 --> 00:39.756 Good morning! Good morning to you, Milanese of Santa Fe! 00:39.768 --> 00:43.120 It's written here, eh? Yes, yes, because 00:43.121 --> 00:46.000 Luce Fontana was born in Argentina in 1899 in 00:46.012 --> 00:49.160 Lombardy and has been approved a few years later, 00:49.161 --> 00:52.450 but, well done, ex-gauce! He spoke a funny 00:52.462 --> 00:55.920 Spanish and Milanese mix, right? Here it is! 00:56.680 --> 00:59.717 Luce! Let's see where Luce is! Here it is! 00:59.729 --> 01:04.560 With the resources of modern technology, we will appear in the sky, 01:05.260 --> 01:09.400 artificial shapes, rainbow-like wonders written in bright colors. 01:10.960 --> 01:18.760 Carte, a painting that was made between 1957 and 1960, belongs to this series, 01:18.761 --> 01:25.240 a work in which frontalmente had written, I am a saint and on the back I am a caronia. 01:26.140 --> 01:31.520 So then what do we have? Jesse, in closed holes, but how much work did he do? 01:33.440 --> 01:36.899 This? There is also black! It's not the smoke, is 01:36.911 --> 01:40.240 it? No, no, no, no, it was the name of his dog. 01:40.241 --> 01:47.320 Then what else? Acrylic, grass, polyester, metal, he really worked with any material, 01:47.470 --> 01:53.320 he used the paint for bodywork. In this dictionary there are voices dedicated to 01:53.575 --> 01:58.120 Boccioni, Salvador Dali, Renato Guttuso, the sculptor of the Olympic champion of 01:58.345 --> 02:02.920 Ciro Verratti, and yet, Parigi, Murano, New York. There is really everything, 02:02.970 --> 02:08.760 the rest of Fontana is an artist who has crossed the whole world and the whole 900. 02:09.880 --> 02:17.880 This voice is also interesting, yes, television, you know something, I am not 02:17.960 --> 02:24.840 who would transmit figures, I would invade the environments, I would do projections, 02:25.880 --> 02:29.545 I would do what I wanted, through a space and 02:29.557 --> 02:33.480 really new elements. But they were the 1940s and 02:33.900 --> 02:36.597 already had in mind Art Night. 02:36.609 --> 02:41.800 And then, well, I couldn't miss this. Wait, my cuts are 02:41.801 --> 02:44.499 above all a philosophical expression, an act 02:44.511 --> 02:48.034 of faith in the infinite, an affirmation of spirituality. 02:48.184 --> 02:52.280 When I sit in front of one of my cuts, contemplate it, I try to 02:52.281 --> 02:55.198 improvise a great extension of the spirit. 02:55.210 --> 02:58.760 I feel a man free from the slavery of the material. 03:01.095 --> 03:03.304 Well, it is really curious as a dictionary. 03:03.316 --> 03:05.640 In fact, it could not be otherwise considered 03:05.641 --> 03:08.572 the artist he has dedicated. Every voice reveals 03:08.584 --> 03:12.102 a key to the life of the career of a great Italian artist. 03:12.103 --> 03:16.280 Still today, his works are exhibited in the largest museums in the world, 03:16.410 --> 03:22.440 in London, Tokyo, New York. To celebrate Fontana light, you could wear a yellow suit 03:22.441 --> 03:29.292 to the Kill Bill, wearing a katana forged by Hattori Hanzo to make cuts on a canvas. 03:29.342 --> 03:33.348 But Fontana is not just that of the cuts. Indeed, these 03:33.360 --> 03:36.760 works have been in some way its starting point. 03:39.260 --> 03:44.360 Fontana has worked with all kinds of materials, bronze, ceramics, plaster, paper, 03:44.440 --> 03:47.270 canvas, and this documentary will honor its 03:47.282 --> 03:50.520 eccentric talent. You will watch a real immersion 03:50.521 --> 03:52.969 in the material, always transformed from the 03:52.981 --> 03:55.720 original look of an artist who has revolutionized 03:55.870 --> 03:59.096 the concept of art and the relationship with space. 03:59.108 --> 04:03.622 Already, as we will see, Fontana introduced the concept of spatialism. 04:03.623 --> 04:08.440 He designed the work as something that includes both the artistic 04:08.780 --> 04:11.708 and the environment that surrounds him. 04:11.720 --> 04:16.120 The figures seem to abandon the plan and continue in space. 04:16.220 --> 04:19.101 It is him himself to write it, and to continue 04:19.113 --> 04:21.880 in space he must go out, to open the canvas, 04:21.980 --> 04:24.491 and it is him himself to do it. In short, if he 04:24.503 --> 04:27.240 sings it and if he plays it, and if he theorizes it 04:28.360 --> 04:32.113 too, writing between 1947 and 1953, well 04:32.125 --> 04:36.360 seven manifestos. But it is not an egocentric 04:36.361 --> 04:40.760 that isolates itself to break the schemes. It is a visionary to whom I like to teach, 04:40.761 --> 04:47.560 to share and support younger artists. And, if you forgive me, Fontana, 04:47.561 --> 04:52.440 whom still today are drinking painters and sculptors of all origin. Above all, it is a 04:52.920 --> 04:56.908 courageous experimenter of materials, in particular, 04:56.920 --> 05:00.920 as the poet says, of those who are made. The dreams. 05:07.260 --> 05:11.683 Here there is Luccio Fontana, one of the most eclatant names of contemporary art. 05:11.684 --> 05:15.008 Professor, would you allow me to say, even if the definition 05:15.020 --> 05:17.480 is not very orthodox, how do people call it, 05:17.481 --> 05:19.792 how do they call it in the Rotocalchi? I was actually 05:19.804 --> 05:22.472 defined as the painter from the Bucchi and from the Italy. 05:22.597 --> 05:27.400 You do not understand. No, no, indeed, it puts a certain joy. 05:53.320 --> 05:57.308 Fontana was born in Argentina by an Italian father 05:57.320 --> 06:01.320 who, among other things, this is very important to 06:01.321 --> 06:05.107 underline, is just a sort of award-winning sculpture, 06:05.119 --> 06:08.200 decoration, public monuments. The origin is 06:08.201 --> 06:11.247 very important, as well as, as we will see in 06:11.259 --> 06:14.520 its course, a technical training that the father 06:14.521 --> 06:17.229 would like to do, and from there that Fontana takes 06:17.241 --> 06:19.960 the relationship with the materials and with space. 06:45.480 --> 06:49.468 This ability to know materials and to define them 06:49.480 --> 06:53.480 in all their possible expressions allowed them to 06:53.720 --> 06:58.914 carry out research parallel that goes from figurative to abstract. 06:58.926 --> 07:01.720 Without this knowledge, many things 07:03.800 --> 07:08.232 would not have been possible. I mean, I understand 07:08.244 --> 07:11.800 that it is not the artist who doubts the 07:12.120 --> 07:17.711 material, and when the material is understood, the artist becomes a noble material. 07:17.712 --> 07:21.010 For example, with the marble Michelangelo, he makes the 07:21.022 --> 07:23.880 work, then he makes the stairs, with the bronze, 07:23.881 --> 07:27.291 he makes wonderful works of art, then he makes the 07:27.303 --> 07:30.520 handles of the utility objects, and as with the 07:30.521 --> 07:32.799 ceramics, he makes the dishes and ovens of 07:32.811 --> 07:35.320 the artist, used by an artist in full freedom, 07:35.321 --> 07:37.975 he takes this land, he can bring the art 07:37.987 --> 07:40.920 and still the ceramics to the same height of 07:41.390 --> 07:44.520 the steps and works of bronze sculpture. 07:59.640 --> 08:02.445 He is sent to Milan to study and study, among 08:02.457 --> 08:05.400 other things, with the greatest sculptor of the 08:05.401 --> 08:08.397 time, which Adolfo Wilt, his classmate, at 08:08.409 --> 08:11.560 least also as a studio for a short period of 08:11.561 --> 08:14.541 S.A.U.S.T. Melotti. I was very much in agreement, 08:14.553 --> 08:17.240 and there has always been a total agreement, 08:17.241 --> 08:21.118 a total reciprocation, I think it is difficult 08:21.130 --> 08:24.680 to find, so in the history of the artists, 08:25.560 --> 08:33.560 of two personalities so distinct and different that they are always loved very much. 08:55.720 --> 09:03.720 It is very important to think about the gesture as not only a matter, 09:05.880 --> 09:10.487 but also as a classic place of reflection of the light. 09:10.499 --> 09:13.880 This gesture and the white will continue 09:13.905 --> 09:18.680 in his whole life until he becomes a representative of his work. 09:46.440 --> 09:54.440 To take the beginnings of the work of Lucio Fontana, it can be useful to visit the 09:57.000 --> 10:00.863 Cimitero Monumentari di Milano, where there are nine 10:00.875 --> 10:04.600 works made by him between the 1930s and the 1950s. 10:04.601 --> 10:08.300 For those who had a job like me and also Fontana, 10:08.312 --> 10:11.720 he ended up making encarges, finding encarges 10:11.721 --> 10:14.234 for cemeteries, etc. Once he told me, if you 10:14.246 --> 10:17.000 want to see what I was doing then, you go to the 10:17.080 --> 10:23.160 media and go to recognize him. He made very classic sculptures to look at. 10:34.430 --> 10:37.802 Instead, for his creation, he made modern things 10:37.814 --> 10:41.480 that were often deducted from philosophical concepts 10:41.481 --> 10:47.640 that he used to chew on a little bit, which then made him create amazing works. 10:57.290 --> 11:00.727 The Castellotti Monument is certainly one 11:00.739 --> 11:04.440 of the most important fountains that Fontana 11:05.080 --> 11:10.975 compies in the 1930s. In 1935, he collected many of the 11:10.976 --> 11:15.240 characteristics of his ceramic sculpture at that time. 11:31.400 --> 11:35.311 It is a Christ who offers us the gold, bringing the 11:35.323 --> 11:39.400 symbol of light, and the gold is one of the materials 11:39.560 --> 11:43.560 that Adolfo Wilt had transmitted to his diaries. 11:51.560 --> 11:53.848 The gold is not because it is a symbol of 11:53.860 --> 11:56.440 preciousness, it is a symbol of refraction, of 11:56.441 --> 11:59.284 the relationship with light, of expanding and 11:59.296 --> 12:01.960 expanding this idea of the sound of light. 12:01.961 --> 12:07.800 This is always the experimenter, until the last, a great inventor, and as it was said 12:08.200 --> 12:12.200 at that time, the great vitality of the inventions of Fontana. 12:23.240 --> 12:27.234 The angel of the tomb of Chinelli represents 12:27.246 --> 12:31.160 another moment of particular meaning in the 12:31.400 --> 12:37.400 light of Fontana. This monument was completed together with the architect Zavanella, 12:37.401 --> 12:43.640 a figure of angel hanged on the wall, which is an angel almost naked of Samothracha, 12:45.400 --> 12:48.956 a torso without a face and without feet. 12:48.968 --> 12:53.400 It is an image of great efficiency in interpreting 12:53.401 --> 12:56.779 some aspects of that concept of sacred, to which 12:56.791 --> 13:02.040 Fontana meets, also responding to the requests of the commitment. 13:19.080 --> 13:23.242 Fontana has never made devotional works, despite 13:23.254 --> 13:27.080 the many religious and received commitments. 13:27.081 --> 13:33.240 He has always tried to use these commitments, these occasions, as a possibility to 13:33.480 --> 13:41.480 reach a new form, tend to another dimension, aspire to a spiritual form. 13:44.440 --> 13:48.435 There was the hole that was always in nothing. 13:48.447 --> 13:52.280 God is nothing, they coincided with my idea, 13:53.240 --> 14:00.440 I do not believe in the D on earth, and God is invisible and inconceivable, so today 14:00.441 --> 14:05.240 an artist does not present God on a throne, with the world in hand, the beard. 14:05.640 --> 14:09.344 The end of God is the end of the D on earth, 14:09.356 --> 14:13.240 and then the end of God means the continuation 14:14.240 --> 14:21.240 of the end of this D, but of a God who is nothing, who knows how God is. 14:22.200 --> 14:24.952 And then I made these holes, like another 14:24.964 --> 14:28.200 painting, and I thought, how God, how he did it. 14:43.160 --> 14:47.512 I also believe that those years at the Technical 14:47.524 --> 14:55.160 Institute taught us what designation is, what space is, what dimensions are. 14:56.120 --> 14:58.978 And this, in a way, has always brought, also 14:58.990 --> 15:02.120 its sculpture, the smallest, we want dimensions, 15:02.445 --> 15:06.120 to have a spatial relationship with the environment in which it is located. 15:06.121 --> 15:09.945 The fundamental thing is that right away, right 15:09.957 --> 15:16.120 from the 1930s, the directors of Rettig and Fontana are architects. 15:32.370 --> 15:36.272 In 1947, and already collaborating with Zanuso and 15:36.284 --> 15:40.120 Menghi for extraordinary reliefs, revolutionaries 15:40.121 --> 15:46.120 in this refractory material, from below the windows of this building in Via Senato, 15:47.080 --> 15:49.080 as well as the great decorations for new houses. 15:49.081 --> 15:53.938 They are sub-balkans, they are like grates with 15:53.939 --> 15:59.080 pebbles, they are pieces of clay made in a abstract way. 15:59.081 --> 16:03.080 Fontana, in 1947, therefore unites the decoration with great experimentation. 16:03.081 --> 16:07.080 If taken alone, they are great abstract sculptures. 16:23.080 --> 16:31.080 Lucho Fontana has often been, if we want to say ambiguous or equivocal, 16:31.081 --> 16:35.080 as it is used in the confrontations of those terms. 16:35.081 --> 16:41.080 Addicted or catalogued or indicated as a baroque author. 16:42.040 --> 16:46.040 The idea is that Fontana himself declares that the same spatialism, 16:46.041 --> 16:52.040 as he says, in more occasions and in more manifestos in spatialism, 16:52.041 --> 16:58.040 remains, how to say, evolutively indagated, the spatiality of the baroque. 16:58.290 --> 17:02.040 I also think of the extraordinary diversity of the door of the man. 17:02.041 --> 17:06.040 Unfortunately, it is not executed, but extraordinary in his sketches. 17:07.250 --> 17:13.000 Fontana, of course, returns and arrives through the sort of dynamism of futurism. 17:25.000 --> 17:27.644 Fontana, of course, accepts of good degree to participate 17:27.645 --> 17:33.000 in this competition for the fifth door of the man of Milan. 17:33.001 --> 17:39.000 To create real high-rise buildings that are removed from the bottom wall, 17:39.001 --> 17:45.000 from the surface of the cast-iron molds, to be released into space. 17:45.001 --> 17:49.458 Fontana, using this moss surface, tended to exploit the 17:49.459 --> 17:55.000 chromatic and luministic play that the light could guarantee. 17:55.001 --> 17:57.117 The idea of creating a sculpture, each one with the 17:57.118 --> 18:02.000 environment, is a caposaldo of Fontani's research. 18:02.001 --> 18:05.864 The idea of creating a sculpture, each one with the 18:05.865 --> 18:11.000 environment, is a caposaldo of Fontani's research. 18:11.001 --> 18:17.000 And also this occasion is the possibility to test his research. 18:17.001 --> 18:23.000 Naturally, the port of modernity that these works have put into crisis the jury. 18:23.001 --> 18:31.000 From 1952 onwards begins an extraordinary act of presentation of further sketches, 18:31.001 --> 18:37.000 requests for adaptation of the iconography, or information solutions. 18:37.001 --> 18:44.000 What Fontana does not like, and therefore for this series of vicissitudes, 18:44.001 --> 18:50.000 in 1957 decides to abandon the competition of pulling back. 18:50.001 --> 18:54.000 We have a Fontana that lives in a dual syncretism, 18:54.001 --> 18:58.000 that is, that of the abstraction and the figuration, 18:58.001 --> 19:01.000 that of the spatialism of the so-called baroque, 19:01.001 --> 19:05.000 which in some way is the subject of the exhibition. 19:05.200 --> 19:12.000 And it is always the subject of the art of the after-war. 19:35.000 --> 19:38.488 Very strong was the relationship between the 19:38.500 --> 19:42.000 company of Jesus in Milan and Lucho Fontana. 19:42.001 --> 19:47.000 Lucho Fontana, in fact, did not participate only in the commission, 19:47.001 --> 19:52.000 responsible for the selection of the young artists of the San Fedele award, 19:52.001 --> 19:57.000 but also performs a statue in Argento del Santo Fedele, 19:57.001 --> 20:04.000 which will then become the logo of the San Fedele Cultural Center for Cinema and Art. 20:16.000 --> 20:21.000 However, the largest commission is obtained in 1955, 20:21.001 --> 20:29.000 when the San Fedele Film Festival, in 1955, takes place at the Pala del Sacro Cuore, 20:29.001 --> 20:34.048 taking back an old iconography of the company of Jesus, in which St. 20:34.049 --> 20:38.344 Mary Marguerite Lacocque has the appearance of 20:38.345 --> 20:42.000 Christ, which is taking place in the Sacro Cuore. 20:42.150 --> 20:46.000 It is a smoldered and stained ceramic, 20:46.001 --> 20:54.000 which represents a particularly important point of great expressive and formal power, 20:54.001 --> 21:01.000 in which the baroque vitalism of the great Argentine artist is manifested. 21:10.000 --> 21:15.000 In the upper part of the Pala del Sacro Cuore, there is always a fray, 21:15.200 --> 21:18.000 a fray always in smoldered and stained ceramic. 21:18.001 --> 21:21.000 Lucho Fontana was wrong in size, 21:21.001 --> 21:25.000 so much so that in the 1970s he was still very strong, 21:25.001 --> 21:29.000 this memory, and the Jesuits took him around Fontana, 21:29.001 --> 21:32.000 saying that he did not know how to take measures. 21:32.001 --> 21:35.000 The fray was found in the corners. 21:35.250 --> 21:40.000 It was a great surprise to find this splendid phytomorphic fray. 21:40.075 --> 21:45.000 We immediately restored it and now it is located in the crypt 21:45.001 --> 21:50.000 of the beautiful Cimental Church of Pellegrino Tibaldi. 21:50.001 --> 21:53.188 We are now in the courtyard of the oldest albisole oven 21:53.189 --> 21:57.000 for the cooking of ceramics, the one of Pozzo Garritta. 21:57.100 --> 22:01.000 At the walls of the courtyard you can see the objects in the tradition 22:01.001 --> 22:05.000 shown in the open square of masters and squares of the very young still unknown. 22:05.550 --> 22:10.000 Lucho Fontana arrived from Albisola at the beginning of 1936. 22:10.001 --> 22:12.001 His desire to have a collaboration with the 22:12.002 --> 22:16.000 manufacture of Giuseppe Mazzotti is a ceramic factory. 22:16.001 --> 22:20.000 Fontana wants to experiment in a deeper and more continuous way 22:20.001 --> 22:23.000 the use of sculptural plastic of this material. 22:23.001 --> 22:28.000 To invite him is Tuglio Dalbisola, an artist and future poet, 22:28.001 --> 22:32.000 second genito of Giuseppe Mazzotti, who two years ago in Genoa had met him 22:32.001 --> 22:35.000 and among the two was born an interesting symphony. 22:36.000 --> 22:41.000 When in 1928 we have been able to present 22:41.001 --> 22:46.000 at the Galleria Pesaro di Milano the first ceramic theorists 22:46.001 --> 22:50.000 who are practically those you see here in front of us, 22:50.001 --> 22:54.000 they were already an almost definitive introduction 22:54.001 --> 23:02.000 to a total renewal of what was the artisan work in the small borghi Vasai. 23:03.000 --> 23:08.000 And we have been able to do with Tilia and Fontana, 23:08.350 --> 23:14.376 Farfa, Munari, Rosso, the first important operations in a 23:14.377 --> 23:19.000 futuristic sense, that is to evolve the system of the form, 23:19.550 --> 23:23.000 to do the opposite of what was done until then. 23:23.600 --> 23:26.000 The opposite to do the opposite, 23:26.300 --> 23:32.000 by being sure not to do well, that is to say, also to do inservible services. 23:32.100 --> 23:35.000 We will say a little crazy things 23:35.400 --> 23:40.000 because not to imitate what was the glorious tradition. 23:40.400 --> 23:43.000 Thanks to this Tuglio Dalbisola, 23:43.001 --> 23:48.000 who was and at the time was a ceramist among other futurists, a new idea. 23:48.001 --> 23:51.000 So this energy of a futurist and of the young Fontana, 23:51.200 --> 23:53.545 no longer so young, because he is going towards 23:53.546 --> 23:56.000 the 40s, they change the destiny of that place 23:56.300 --> 24:01.000 and there will be an absolute community, if we want, in Stiva di Arti. 24:12.000 --> 24:13.864 Fontana has already reached an extremely vivacious and 24:13.865 --> 24:17.000 experimental environment and it leads to its research, 24:17.001 --> 24:21.000 which at the moment is the research of a abstract sculpture. 24:21.125 --> 24:24.000 It is dedicated to Ammazzotti in the late 1930s, 24:24.001 --> 24:27.000 especially to experiment with different techniques 24:27.100 --> 24:32.000 that fund one of the characteristics of ceramics, the material and the color. 24:32.001 --> 24:37.000 Fontana, in fact, in ceramics, is looking for the fusion of these two elements. 24:49.000 --> 24:53.000 He is very fascinated by this possibility that the color on the ceramics 24:53.001 --> 24:58.000 decomposes in some way the form or the activity in relation to space. 24:58.001 --> 25:02.000 It is a color that does not adhere to the contours of the figure of the form. 25:02.001 --> 25:05.177 Rather, the figure and the color light up a little 25:05.178 --> 25:08.000 bit in space, creating new plastic configurations. 25:17.000 --> 25:21.000 The first contact with the ceramics I am not so happy with, 25:21.001 --> 25:25.000 because, of course, the ceramics have a millennial technique, 25:25.001 --> 25:29.000 the constant thicknesses, the techniques of the colors. 25:29.200 --> 25:31.000 I really felt like a slave. 25:31.001 --> 25:33.835 My personality was taken away from me by the artist 25:33.836 --> 25:37.000 as an expressionist and violent with the material. 25:37.001 --> 25:41.000 The center of exhibition of the Diffuse Museum of Albissola, 25:41.001 --> 25:47.000 in addition to the white lady, also has four of the five wonderful decorative panels 25:47.225 --> 25:53.000 that Fontana made for the Italian navigation company in 1949, 25:53.001 --> 25:59.000 whose allegorical figurations go back to the stage of this Atlantic transatlantic. 25:59.001 --> 26:03.539 They are an example of these ceramic techniques, of special 26:03.540 --> 26:07.000 effects that Fontana made the Mazotti, so reflections. 26:07.300 --> 26:11.000 They are metallic reflections that make the surface of the ceramics 26:11.450 --> 26:17.000 changing, mirroring, very also cutting and in some way artifying. 26:17.001 --> 26:21.000 But Fontana is able to balance well the tenderness of the pastel ink, 26:21.001 --> 26:25.000 the roses, the Celesti, the yellows, the turquoise, 26:25.001 --> 26:27.621 to the most expensive ink, these green, 26:27.622 --> 26:31.000 purple, the indigo, and especially this dense, 26:31.250 --> 26:33.000 asphalt material, 26:33.550 --> 26:35.959 but treated with this reflex technique that 26:35.960 --> 26:39.000 makes everything very metallic and precious. 26:45.000 --> 26:48.726 Pozzogaritta is an ancient medieval square in the 26:48.727 --> 26:53.000 heart of the historic center of the Bissola Marina. 26:53.001 --> 26:59.000 Here, since 1600, many furnaces for ceramic work insisted on the square and, 26:59.001 --> 27:01.432 in the course of the nine hundred, archaic 27:01.433 --> 27:05.000 and artistic ceramists took the studio here, 27:05.500 --> 27:07.000 in this kind of amphitheater. 27:07.175 --> 27:11.000 After the Second World War, back from Argentina, 27:11.001 --> 27:15.000 also Fontana decided to take this one. 27:21.150 --> 27:27.000 Since the end of the 40s, a sort of search for knowledge 27:27.250 --> 27:29.000 on the territory of practically 27:29.175 --> 27:31.000 all the bottles of the area begins. 27:31.650 --> 27:35.000 Here, Fontana at work, at the Paris of Picasso and of Miró 27:35.175 --> 27:39.000 and he was a great innovator in the field of ceramics. 27:39.001 --> 27:43.000 The cutting with tradition also appears in the technique with which he works. 27:43.001 --> 27:46.455 The execution is valid for the gesture, both of automatic 27:46.456 --> 27:49.000 movements that enrich the possibilities of creation 27:49.400 --> 27:51.000 in an unpredictable way. 27:51.001 --> 27:55.296 An aspect that was really taught in the memory of those who 27:55.297 --> 27:59.000 remember and know Fontana and those who have seen her at work 27:59.150 --> 28:01.000 is her incredible speed of execution. 28:01.100 --> 28:05.000 A sort of good opening in the plastic manipulation. 28:05.001 --> 28:11.000 A group of artists, their wives, who used to buy them in the morning 28:11.001 --> 28:17.000 by accompanying them to bathe and then used to buy them for the first time. 28:17.001 --> 28:25.000 The light was very generous, they used to buy everything, the canvas, shoes, hats. 28:25.001 --> 28:33.000 And after the Middle Ages, after the Sixth, of course, there was a group of artists 28:33.001 --> 28:37.000 who, in the middle of the Middle Ages, after the Sixth, I suppose, 28:37.001 --> 28:43.000 went to work in the Albissola bakery to start the serious work. 28:43.250 --> 28:47.000 He did the eggs, the wonderful natures. 28:47.001 --> 28:55.000 A very important project, because for the first time, I believe, 28:55.001 --> 28:59.973 20 artists joined together and the only project made 28:59.974 --> 29:05.000 by Urban Design, today by Remmo, was made by Albissola, 29:05.225 --> 29:07.000 Marina, in 1963. 29:07.100 --> 29:11.000 A very colorful sea, with a beautiful view 29:11.475 --> 29:15.000 of the Albuquerque, the Albuquerque, 29:15.150 --> 29:17.000 a very colorful sea, 29:17.250 --> 29:22.050 with a material like the porcelain glass, which reminded 29:22.051 --> 29:25.000 of ceramics, and especially designed and colored 29:25.150 --> 29:27.687 by the opera, by artists like Alfredo Lam, 29:27.787 --> 29:31.000 Giuseppe Capogrossi, Roberto Crippa, Luigi Sassu 29:31.200 --> 29:33.000 and, of course, Lucio Fontana. 29:41.000 --> 29:47.000 The fire of Fontana and the fire of Albissola created a new, 29:47.001 --> 29:51.000 unique, real and irreplaceable somehow. 30:13.950 --> 30:17.258 So Fontana always made ceramics, and I was 30:17.259 --> 30:21.000 always more beautiful and sold more and more. 30:43.000 --> 30:45.000 Fontana has the space 30:45.300 --> 30:47.000 in all its dimensions. 30:47.001 --> 30:49.000 The Albuquerque 31:11.000 --> 31:13.000 Fontana left Italy in 1940 31:13.001 --> 31:17.000 with a great disappointment, called by the father and the family 31:17.001 --> 31:21.000 who continued to work in Argentina to the illusion, or rather, 31:21.001 --> 31:25.000 the dream of being able to participate and perform great public monuments. 31:25.001 --> 31:29.000 The Foundation of a School of Altamira, an academy for young people 31:29.001 --> 31:35.000 who wanted to literally change the world of art, suggests, stimulates 31:35.001 --> 31:39.000 and somehow provokes the writing of the White Manifesto. 31:39.001 --> 31:45.000 Inside the White Manifesto there is the germ of Spatialism already in 1946. 31:45.001 --> 31:49.000 Fontana traces the drawings where there is 31:49.200 --> 31:53.000 an almost existential word, Spatialism, a sort of 31:53.350 --> 31:57.000 feeling that gives abstract meaning 31:57.300 --> 32:03.000 and is born there, precisely in those years, the word Spatial Concept. 32:13.000 --> 32:16.958 The work no longer simply becomes an object, 32:16.959 --> 32:21.000 but it becomes the body of an idea, the concept. 32:21.001 --> 32:25.000 From there, from 1947, just like in Milan, 32:25.350 --> 32:31.000 the Spatialism is born, a movement full of young people, free, as well as 32:31.001 --> 32:37.000 Ortodosso, who thanks also to Carlo Cardazzo, the great gallerist who carries it 32:37.200 --> 32:40.448 in all its galleries, in great situations, also 32:40.548 --> 32:43.000 in great situations, will change the history 32:43.150 --> 32:45.000 of the art of the after-war. 32:45.001 --> 32:49.000 Coming back to Italy, it is important to relaunch with young people 32:49.001 --> 32:53.000 like Manzoni, D'Angelo and Vai, at the age of 50, and create 32:53.001 --> 32:57.000 Spatialism and cut them off, it's not just 20 years like 32:57.001 --> 33:01.000 Manzoni with the shit artist, 20 years are good for all futurists. 33:01.001 --> 33:05.000 He had a name, he had a reputation and he cuts them off. 33:05.001 --> 33:09.000 And no one understands at the beginning, then who understands? 33:11.000 --> 33:21.000 I think that one does the informal gesture of looking, it's the thought that 33:21.001 --> 33:28.900 you have to document, create this void behind there 33:28.901 --> 33:35.000 and then mature in any form, it's important to 33:35.550 --> 33:37.000 create this void 33:37.300 --> 33:41.000 behind there and then mature in any form. 33:41.001 --> 33:43.549 The important thing was to say it's finished 33:43.599 --> 33:47.510 in a form like this and I go further there. 33:48.110 --> 33:51.115 Then I open this canvas that was the basis of 33:51.116 --> 33:55.000 all the art and I created an infinite dimension, 33:55.300 --> 34:01.000 an X, which for me is the basis of all the art that I have created. 34:01.150 --> 34:03.000 Who wants to understand it? 34:03.200 --> 34:05.000 If not, I continue to say that it's a bus and hello. 34:05.001 --> 34:09.923 Fontana is, in my opinion, really boring with all those its holes. 34:09.924 --> 34:13.000 The informal was ridiculed by those who today write 34:13.001 --> 34:15.000 on nostalgic, nostalgic, historical critiques 34:15.300 --> 34:19.000 and recommended them to be taken around a good market. This time we are 34:19.001 --> 34:23.000 in the 58th, the company of Mira Fontana and its famous holes, 34:23.001 --> 34:30.023 fresh, born of a masterpiece, painting at sea, painting at home and so on. 34:30.024 --> 34:33.706 After the holes, of course, you have to do something 34:33.707 --> 34:37.000 else in that area and they came from Italy. 34:37.001 --> 34:43.000 Italy didn't represent anything and this was a great step forward. 34:43.250 --> 34:51.000 A great importance was given with Italy to pure imagination non-representative 34:51.001 --> 34:54.046 and for an artist to do something that doesn't 34:54.047 --> 34:57.000 mean anything and really go beyond that. 34:57.001 --> 35:01.000 With its usual defiant language, with little disparate implications, 35:01.001 --> 35:05.000 he wanted to stop the authenticity of his own work in counter-opposition 35:05.001 --> 35:08.053 and his unusual and useless academic skills, 35:08.054 --> 35:11.000 often repulsed by the critics who don't love him. 35:11.001 --> 35:17.000 I have always believed in this theme with an extraordinary faith 35:17.001 --> 35:21.000 and fortunately I was able to bring it to the end because I had this 35:21.150 --> 35:23.818 master who gave me from the sculptor the ease 35:23.819 --> 35:27.000 to go to the works and dedicate myself to them. 35:27.001 --> 35:30.804 I would almost say that a noble returns from the 35:30.805 --> 35:35.000 root of others true passion to these new researches. 35:35.001 --> 35:39.000 It completely changes the concept of the materials of the painting 35:39.001 --> 35:43.000 and the places of the painting and creates, doesn't destroy. 35:43.001 --> 35:47.000 The artists said the same thing when the bouquets went past Italy. 35:47.125 --> 35:51.000 They said, hey, the bouquets were beautiful but the cuts, 35:51.001 --> 35:57.000 eh, but that one there was wrong and you know, when they don't know what to say 35:57.001 --> 36:01.000 they don't understand the weight so sorry. 36:01.001 --> 36:07.000 In the series of cuts, Fontana applies the color in a very uniform way 36:07.001 --> 36:17.000 on the surface of the canvas and waits the right time to be able to do the cut. 36:17.100 --> 36:21.000 This variation is a very difficult variation. 36:21.001 --> 36:25.000 On the back of the cut she applies a black card 36:25.300 --> 36:31.000 that flows from chromatic and that avoids the passage of light 36:31.001 --> 36:37.000 and, in an interesting way in addition to the signature to the date 36:37.200 --> 36:41.582 that always writes on the back of the cut she also 36:41.583 --> 36:45.000 adds descriptions of the dedication or phrases. 36:51.000 --> 36:57.000 Fontana was adored by the artists because they didn't understand 36:57.001 --> 37:02.096 the reason for this cut but, on the other hand, I also put 37:02.097 --> 37:05.000 myself in it because, anyway, I followed these speeches 37:06.200 --> 37:11.000 I really liked it because it was a provocative gesture that went 37:11.001 --> 37:13.667 connected to the provocation that grew from 37:13.668 --> 37:17.000 a different society and had made it beautiful 37:17.500 --> 37:21.000 because Fontana had been only 15 years since the end of the war 37:21.150 --> 37:27.000 and everything was ruined as always after a war there is always a rebirth 37:27.001 --> 37:31.000 especially of an expressive type more than of an economic type. 37:31.001 --> 37:37.000 Because art is not popular art is a science it is the myth to say 37:37.001 --> 37:41.000 that art is made for the people no, I never believe it 37:41.150 --> 37:43.000 art is made for a certain 37:43.150 --> 37:45.000 education of the people 37:45.200 --> 37:49.000 that the people, over time understand them 37:49.200 --> 37:51.000 but they are creations of artists 37:51.100 --> 37:55.000 that today they are almost disabled. 38:11.000 --> 38:15.000 Antonio Boschi and Marietta Di Stefa did not have a direct relationship 38:15.100 --> 38:21.000 with the artist they were two frequenters in the study of Lucio Fontana in Montforte 38:21.200 --> 38:29.000 and they bought a lot of the production of the artist clearly they focused on the 50s 38:29.001 --> 38:33.000 the years in which the vultures were born and then the spatial concepts 38:43.000 --> 38:49.000 It is always Antonio Boschi that in 1974 he remembers how he fell in love 38:49.001 --> 38:55.000 in the study of Lucio Fontana in Montforte in a painting 38:55.075 --> 38:57.415 but Fontana did not want to sell because he said it 38:57.416 --> 39:03.000 was still incomplete after a while he gave it to him 39:03.150 --> 39:09.000 with all the cuts that were like a kind of character that was approaching 39:09.001 --> 39:13.000 on a background and at that moment Antonio Boschi remembers 39:13.001 --> 39:15.462 how he assisted the birth of the cuts Mrs. 39:15.687 --> 39:19.000 Schoen I saw that she was inspired 39:19.150 --> 39:29.000 by the painting the art Fontana the famous cut I will tell you that that painting 39:29.001 --> 39:39.000 I have it Fontana was a very dear friend he came to see me for the first time 39:39.001 --> 39:45.000 telling me that seeing his things on newspapers I would have wanted to say 39:45.001 --> 39:51.000 that he inspired me and this is not the absolute thing because he was so good 39:51.001 --> 39:57.000 at doing things that I loved and at this moment having that painting and seeing 39:57.001 --> 40:05.000 in the study that I have in Milan at some point I thought to do this because 40:05.001 --> 40:11.182 sentimental sense and because the genre that I love the 40:11.183 --> 40:15.000 most is very simple I liked them, they are very happy 40:37.000 --> 40:41.000 The black environment was made in 149 40:41.001 --> 40:47.000 for the Naviglio Gallery in Milan and it is a totally revolutionary work 40:47.001 --> 40:55.000 for various reasons The first is the awareness of Fontana calling the environment 40:55.001 --> 41:03.000 underline and inaugurated a new type of work that defines himself 41:03.200 --> 41:09.000 not painting nor sculpture entering the environment the entire gallery 41:09.001 --> 41:15.000 had based this type of painting with fluorescent colors and had illuminated the room 41:15.001 --> 41:23.000 with the light of wood thus reverberating the effect of the fluorescent color 41:23.001 --> 41:29.000 We keep in mind that the fluorescent colors were discovered in the mid-1930s 41:29.001 --> 41:35.000 and used with the light of wood only in the following decades in the theatrical field 41:35.001 --> 41:41.000 for scene costumes or for the lockers so Fontana for the first time 41:41.001 --> 41:49.000 uses them as a pictorial medium so in a new form he had used the previous year 41:49.050 --> 41:55.000 for the Arlequino cinema to decorate parts of the ceramic battle 41:55.001 --> 41:59.948 but it is the first to do it and these colors were not in 41:59.949 --> 42:03.000 trade in Italy so probably he takes them from Argentina 42:05.000 --> 42:11.000 It was such an innovative work that is understood by the world of architecture design 42:11.001 --> 42:15.000 and so Gio Conti put it on a dome cover immediately, while the art world 42:15.001 --> 42:19.355 almost did not make reviews and it took 11 years 42:19.356 --> 42:25.000 before Fontana could redo a second environment 42:29.000 --> 42:33.000 until then the perception of art 42:33.100 --> 42:35.000 was purely reticent 42:35.375 --> 42:41.000 i.e. the observation we put ourselves in front of a painting instead in that case 42:41.001 --> 42:45.000 the visitor with the body the visitor moves inside the space 42:45.001 --> 42:49.000 and this is the revolution that is the center of the spectator 42:49.001 --> 42:53.000 as Fontana himself says in a famous letter to Gio Conti 42:57.000 --> 43:03.000 Fontana was very aware of the importance of this type of work of Venice 43:03.075 --> 43:06.845 and for two times he was casted because he wanted the 43:06.846 --> 43:11.000 ceramics to return to his past doing what everyone expected 43:11.225 --> 43:17.000 that Fontana would have done yes, I was afraid to repeat my things, even on the light 43:17.001 --> 43:23.000 I worked 10 years with the lights, theatres and cinema but I was afraid 43:23.001 --> 43:26.033 because I was brought up by everyone in terms 43:26.034 --> 43:29.000 of environment comes from futurism, comes from 43:29.300 --> 43:35.000 the relationship of the sculpture of Boccioni, Fontana takes it in a very clear way 43:35.001 --> 43:41.000 and in some way passes the testimony to the next generation that of the T group 43:41.001 --> 43:45.000 and of Fabro who will also recognize this role 43:55.000 --> 43:57.000 in the Trinale del 51 43:57.001 --> 44:05.000 realize a bright arabesque with neon white light a hundred meters long 44:05.250 --> 44:07.000 so a sign in the space 44:15.000 --> 44:21.000 in neon the structure still does not extend in the literal sense an environment 44:21.001 --> 44:27.000 is certainly to go beyond the painting of the sculpture in some way also represents 44:27.001 --> 44:33.000 the reconstruction of Milan in the after-war so this energy, this creative explosion 44:33.350 --> 44:37.000 this will to rebuild the threads of the past looking at the future 44:51.000 --> 44:55.000 with the development of the television has become the most important means 44:55.001 --> 45:01.000 of mass communication there is the hypothesis of a new electronic art 45:01.001 --> 45:05.000 hypothesis not random and already ventilated since 1952 45:05.150 --> 45:09.000 by Lucio Fontana in the space show for the television 45:11.000 --> 45:17.000 it is the first television broadcast so can capture the importance 45:17.001 --> 45:21.000 of a means like the television that would have only become 45:21.525 --> 45:25.000 popular so it would have started in Italy 45:25.001 --> 45:27.000 the broadcasts are two years later in the 54 45:27.001 --> 45:31.000 so Fontana does not use the television to talk about itself 45:31.001 --> 45:35.000 but Fontana uses the television even projecting 45:35.100 --> 45:41.000 the light through these screens from the 49th and 50th films 45:41.650 --> 45:44.733 what happens through this emanation so the hole 45:44.734 --> 45:49.000 that is crossed by the light and transmits it 45:49.200 --> 45:51.000 as an art work 46:05.000 --> 46:11.000 the light as a retroillumination is used a lot also in the environmental decorations 46:11.001 --> 46:15.000 that Fontana makes since the 1930s 46:15.375 --> 46:17.000 with the architects 46:17.100 --> 46:22.313 that are also of great dimensions we think of 46:22.314 --> 46:25.000 Sofitto which is now at the museum of the 900 46:25.001 --> 46:26.614 which was first at the Hotel del Golfo which 46:26.615 --> 46:31.000 was born as Sofitto of a dining room of a hotel 46:31.450 --> 46:39.000 when Lintonaco was still still working Fontana with the pointed instruments 46:39.001 --> 46:43.000 made the incisions and then the support of football 46:44.000 --> 46:49.000 once I didn't see a wooden ceiling when I was going to make a book 46:49.001 --> 46:55.000 with a ceiling, a tragedy, it hides it with a lamp now I see the holes 46:55.001 --> 47:03.000 put square in the cinema look anyway you see that even a new aesthetic has come 47:05.000 --> 47:13.000 the idea of Fontana that works in a unique way and binary with two directions 47:13.001 --> 47:19.000 that of the ceramic sculpture often with a destination at the time it would be called 47:19.001 --> 47:22.426 decorative or arrangement it is the case 47:22.427 --> 47:26.085 immediately of the cabinets in the 47:26.086 --> 47:29.000 47, 48, 49 in short it is the case of great 47:29.100 --> 47:35.000 in the cinema great figurative integrations plastic integrations 47:35.500 --> 47:39.554 in space but integrated with architecture and on 47:39.555 --> 47:45.000 the other hand the great space-maker of the ambience 48:09.000 --> 48:11.000 the 48:21.000 --> 48:25.000 at my back there is another example I would say absolutely 48:25.001 --> 48:31.000 emblematic instead of a very short series a very particular series called the Venice 48:31.001 --> 48:39.000 what are the Venice are a memory memory of materials, seductions suggestions 48:39.100 --> 48:41.000 are the memory of the lights 48:41.250 --> 48:47.000 of the nights of the great refraction of the great lagoon 48:47.001 --> 48:51.000 in the Basilica of San Marco of the moon on the lagoon in Venice 48:55.000 --> 48:57.000 when I put the stones 48:57.300 --> 49:05.000 it was to see if I could I did a step back understand because you do things 49:05.001 --> 49:11.000 believing to go instead believing that with the the light passes through the feet 49:11.001 --> 49:15.000 gives me more the effect of the movement 49:15.150 --> 49:19.000 instead I understand that I must be with my simplicity 49:19.100 --> 49:27.000 pure because pure philosophy the stones in reality are not stones but the stones are 49:27.001 --> 49:30.796 pieces of glass of the wall that he works in 49:30.797 --> 49:35.000 transparent in glass paste and if the eye looks good 49:35.250 --> 49:41.000 also covered with gold paint so the idea of the glass 49:41.425 --> 49:45.900 as a place more to expose abstraction in Baroque in 49:45.901 --> 49:51.000 the only way he knew how to do it It is very curious 50:01.000 --> 50:07.000 that Fontana dedicates a title to a geographical place and it is perhaps the only 50:07.125 --> 50:15.000 together with the series that then will follow them New York says New York 50:15.001 --> 50:18.566 is more beautiful than Venice is stronger and 50:18.567 --> 50:23.000 more energetic and at night these skyscrapers 50:23.100 --> 50:27.000 reflect the light as if it were a wonderful 50:27.100 --> 50:30.279 earthquake of energy I also opened the milk 50:30.280 --> 50:35.000 to reveal myself to the canvas then I thought 50:43.000 --> 50:45.000 Fontana light 50:45.350 --> 50:49.000 was the most important of a small group 50:49.100 --> 50:52.912 made of very intelligent people very acute 50:52.913 --> 50:57.000 after the war in Italy my mother was a poet 50:57.100 --> 51:02.746 who knew Giorgio Arnaldo Pomodoro the group were 51:02.747 --> 51:07.000 masters so at my house these people were influenced 51:07.500 --> 51:09.000 because it was rare 51:09.250 --> 51:17.000 even then the cognac was used a lot it was generous and made me find good things 51:17.850 --> 51:19.000 to eat and drink 51:19.550 --> 51:27.000 all the people who also had free time because no one was involved in a job 51:27.150 --> 51:33.209 so the Pomodorois were snoring we were all enchanted 51:33.210 --> 51:37.000 by his generosity he helped many poor artists 51:37.150 --> 51:39.000 there was one who I remember 51:39.600 --> 51:43.000 who served as a priest every month 51:43.150 --> 51:48.207 so this was Fontana from a gesture from whatever 51:48.208 --> 51:51.000 you think if that day you decided to do something 51:51.001 --> 51:53.081 I don't know, now I don't even want to go to the air 51:53.750 --> 51:56.117 but I always thought in fact I remember that it was 51:56.118 --> 51:59.000 worth a dry liver because it was all very small pieces 51:59.550 --> 52:07.000 because ten years ago I didn't even come to eat I didn't buy a dress I bought a piece 52:07.001 --> 52:13.000 for 10,000-20,000 lire from Yves Klein from Armand 52:13.125 --> 52:17.000 from Tinger from Sotto 52:17.200 --> 52:19.000 from Merisimo Burri 52:19.100 --> 52:21.000 the first painting sold in Venice 52:21.350 --> 52:29.000 I bought it from Fabro he loved many artists and even when 52:29.225 --> 52:33.000 he didn't have to live he helped 52:33.550 --> 52:41.000 if he had 100 lire to say they were a thing of an artist 52:45.000 --> 52:53.000 Teresita was an exceptional woman because she was the wife of an artist 52:53.001 --> 53:01.000 who had already matured a success in life at an international level 53:01.001 --> 53:07.273 and she was able to be by her side she was a woman who 53:07.274 --> 53:11.000 had her fashion so completely strange in the art world 53:11.250 --> 53:17.000 she was a very quiet woman from a personal point of view he wasn't the type 53:17.001 --> 53:22.064 that I could go to study at all times he wanted 53:22.065 --> 53:25.000 to be free actually, since I was also jealous 53:25.750 --> 53:35.000 maybe he said there's a girl inside you know how it is and he didn't want to and 53:35.001 --> 53:41.000 he came home in the evening on Sunday I went to study 53:41.400 --> 53:47.000 so much so that even when I was passing in front of his studio 53:47.001 --> 53:53.000 many times I wanted to come in and greet him but I didn't do it because I know 53:53.001 --> 53:57.000 maybe it wasn't the right time maybe he would put in his mind 53:57.001 --> 54:03.000 that I went to check him that this would never have happened Fontana told me that he 54:03.200 --> 54:07.582 always tried to disseminate because he liked 54:07.583 --> 54:11.000 beautiful women Teresita was a simple girl 54:11.200 --> 54:13.000 who had saved his life 54:13.100 --> 54:19.000 by passing him something to eat when he had a huge poverty 54:19.001 --> 54:23.000 and Teresita fell in love with him seeing him through the window 54:23.001 --> 54:29.000 but then he went to Argentina and he died without any direction I can't believe it 54:29.001 --> 54:32.545 he was also very ironic on the ground of Genoa when 54:32.546 --> 54:37.000 I came back there was Teresita and so she got in 54:37.875 --> 54:39.000 Fontana 54:39.250 --> 54:45.000 but in the end she gave him a great honour to leave him 54:45.250 --> 54:47.000 he left all of Teresita 54:47.300 --> 54:49.000 and so he recognized her 54:49.125 --> 54:55.000 to take care of her as she said I say that it was a miracle of love 54:55.001 --> 55:01.000 because she was an ignorant woman and she managed to do a great job for Fontana 55:01.200 --> 55:07.000 and once I went to the studio and I had a line of paintings for Teresita 55:07.300 --> 55:12.245 and I look at them and say to my husband he 55:12.246 --> 55:17.000 looked at me and told me do you understand? 55:17.001 --> 55:19.000 I said yes 55:19.150 --> 55:27.000 and he liked this very much I founded and to my death 55:27.001 --> 55:31.000 everything goes to the foundation and my decision is to go 55:31.001 --> 55:37.000 to all the millions of museums in the world here in New York is Roger Orlando 55:37.001 --> 55:45.000 the Salomon Guggenheim Museum one of the biggest one of the most important world art 55:45.200 --> 55:50.337 centers contemporary art he wanted to give homage to the 55:50.338 --> 55:55.488 Italian artist Lucio Fontana and now we hear from Mrs. 55:55.489 --> 56:01.000 Teresita Fontana what is the beginning of the presentation of Lucio Fontana 56:01.700 --> 56:03.000 at Guggenheim 56:03.900 --> 56:11.000 I was requested by the Guggenheim Museum and I am happy with this many are 56:11.001 --> 56:19.000 from your collection also this one belonged to my collection and I was asked 56:19.001 --> 56:25.000 how to buy it, I preferred to give it to I donated it to the Guggenheim 56:25.001 --> 56:29.000 to the restaurants in this museum as a piece of art 56:43.000 --> 56:45.000 Teresita started to fight 56:45.250 --> 56:53.000 for 50 years and she fought against great difficulties not only to stop 56:53.001 --> 56:59.000 but also to defend it defend it from the false defend it from the public opinion 56:59.001 --> 57:03.000 defend itself from the public opinion 57:03.100 --> 57:09.000 relying on the expertise of Enrico Crisporti who then was very young 57:09.001 --> 57:17.000 but who had known Fontana and they begin this meticulous work of collecting works 57:17.001 --> 57:25.000 that the collectors had sold or sold on the market 57:25.001 --> 57:27.000 if they tell me that these works are expensive 57:27.350 --> 57:33.000 I can't buy what they say because I can't say that Fontana is expensive 57:33.001 --> 57:38.475 these are extraordinary reasons of a very loving 57:38.476 --> 57:43.000 woman and also attentive not knowing how to do it 57:43.200 --> 57:45.000 he understood how to do it 57:47.000 --> 57:53.000 he understood how to do it he understood how to do it he understood how to do it 57:53.001 --> 57:59.000 he understood how to do it this foundation that we have inherited 57:59.175 --> 58:07.000 is the fruit of this work that she has developed since 1971 until the year 2000 58:07.175 --> 58:11.000 and what binds us is love for Fontana 58:11.150 --> 58:19.086 the great enthusiasm determination with which we want 58:19.136 --> 58:27.000 Fontana to keep and enrich his knowledge his knowledge 58:27.150 --> 58:33.000 in the world I say that some artists teach more than any teacher 58:33.001 --> 58:39.000 because they have a look and a disinterest but they want to understand 58:39.150 --> 58:42.721 interesting thing about Fontana that will always 58:42.722 --> 58:47.000 make us see and appreciate the multiplicity 58:47.100 --> 58:55.000 of his research with an extraordinary and coherent philology that will never stop 58:55.001 --> 59:01.000 will always make him reborn I believe that he is the great Arab finnish of sculpture 59:01.001 --> 59:09.000 he felt this work as a mission for example once he told me something very poetic 59:09.001 --> 59:14.593 he said I want to have some kind of white cut the 59:14.594 --> 59:21.000 need so beautiful that I still feel the man who 59:21.300 --> 59:27.000 is doing nothing and the man does nothing doesn't want to destroy 59:27.001 --> 59:31.113 becomes a simple man like a flower and when 59:31.114 --> 59:35.000 the man will be pure the man will be perfect