{"id":9315,"date":"2025-07-02T10:43:12","date_gmt":"2025-07-02T08:43:12","guid":{"rendered":"https:\/\/www.archivionannivalentini.com\/?p=9315"},"modified":"2025-07-02T12:34:54","modified_gmt":"2025-07-02T10:34:54","slug":"luca-bochicchio","status":"publish","type":"post","link":"https:\/\/www.archivionannivalentini.com\/en\/luca-bochicchio\/","title":{"rendered":"Luca Bochicchio"},"content":{"rendered":"\n
<\/span>\"\"
\n

Through the Trasparenze<\/em> of Nanni Valentini:<\/strong>
The visual and the transcendental<\/strong><\/p>\n\n\n\n

That Nanni Valentini loved Osvaldo Licini, who like him came from the Marches, is obvious to whoever looks at the works of them both, sensing their deep reciprocal connections and not their rough superficial similarities. As further confirmation of that subterranean dialogue, there is a statement noted by Valentini in his autobiographical sketch: \u2018I got to know the painting of Licini at the Venice Biennale [1952] and went to find him, but he wasn\u2019t there: but there was his passing by, which is still an object of my work today\u2019. Environment, geography and myth can generate common traits in different poetic and expressive offshoots, but there is no point here in bringing up the genius loci<\/em> of the Marches. Besides, that has already been tackled in the past by the critics without any need to mention Valentini (Morelli et al. 2008): for the artist born in Sant\u2019Angelo in Vado, the genius loci<\/em> is not tied to a region, but is anthropological and respectfully transcendental: \u2018I like to think that the spirit of fire lives in the earth. Thus a spirit for every place. This spirit that shares the same verticality as the flame, but finds its own transcendence in the opposite direction\u2019 (Valentini 1985).
Passing over so many aspects of the relation Valentini-Licini that could be dissected here, it is important to underline the spasmodic inquiry that Licini adopted on his secret signs of nature. At first he tried to find them (recovering them from the \u2018region of the Mothers, [\u2026] the wasteland of the primordial\u2019), then to bring them to light, and finally, plotting the final and extreme challenge of tracing them, of giving them a body and a form on the canvas, without even daring, perhaps, to decipher those \u2018rare signs that have no name, enigmatic alphabets and writings\u2019 (Licini 1974: 161).
Valentini too was also searching for an absolute sign, in fact he was virtually obsessed by it: as Gualdoni recalls in his essay in this volume, Valentini managed to a attain \u2018a sign that was not separate from the material\u2019. With his arrival at the Trasparenze<\/em> in 1976, one might venture to say that he had raised the level of difficulty even further, moving the fire further beyond the material itself into immateriality. In a certain sense the Trasparenze<\/em> question the concept of truth in the sense of the Greek term al\u00e9theia<\/em>, from a-l\u00e8the<\/em>: that which is not hidden, that which has been un-veiled. In his laboratory of ideas, Valentini trod the path that was opposite and contrary to the well-trodden and worn one of surface vision, of showing visibility in broad daylight. He showed that he had deliberately crossed the ford of painterly explorations that had tried to bring clarity to the codes in the 1960s, fleshing out the organism of painting around the problem of the surface (Fergonzi 2019). He was well aware of this in 1979 when he remarked:<\/p>\n\n\n\n

The thought that underlies my work makes me believe that also the void, like silence, cannot dispense with its own object, even if this is infinite, and that art, like poetry, is a cosmos in which archaeology is without memory and where things lose their meanings, and the meaning is not transparent.
A poet friend of mine says: there is no profundity in poetry. There is the tremendous insomnia of the surface (Valentini 1979).<\/p>\n\n\n\n

Valentini circumvents the obstacle, not to dodge it, but rather to attack it from another angle, the unexpected and less attractive one of the projections of shadow, a hidden intersection from which to venture a new gaze (Perniola 2000). In operational terms he does it by creating a filter for the gaze, \u2018loosely woven jute or gauze canvases\u2019 with \u2018a coat of paint in a predominant liquid tint of dark blue tending towards grey, or light blue\u2019 (Gualdoni, in this volume): a material, therefore, sought in the opposite register to that on which his mentor Fontana drew for his compact monochromes and gilded surfaces (gold as an emanation of the supernatural, of the divine impenetrability to the human gaze, as the Christian-Orthodox iconology teaches).
Michele Dantini declares in his essay Sulla delicatezza<\/em> [On delicacy] (2021: 24):<\/p>\n\n\n\n

In the ancient Japanese screens, often characterised by gold-leaf backgrounds, landscapes and scenes of everyday life are often presented not directly, but through a dense curtain of clouds. The World appears here singularly distant, casual and inscrutable at the same time. There is a familiar look about it, yet it provokes surprise and sometimes even fear. In creating an insuperable visual barrier, the curtain of clouds prevents us from immediately recognising what the painter has represented and functions as the prologue to a scene of revelation, or rather the conditions of \u2018dreaming with the eyes open\u2019. Our customary sovereignty as viewers is here negated at a stroke.<\/p>\n\n\n\n

For Valentini the dimension of the dream is rather a projection of mental images from which he seeks to remove the gaze, giving priority to the prerogatives of the material: \u2018When I work I try to put the clay between me and the gaze: but meaning withdraws just the same and pressing is identified with dreaming\u2019 (Valentini 1985).
Perhaps the Trasparenze<\/em> have had this role of an aid to the gaze, guaranteeing it the necessary mobility to shake off predefined images and signs. The transparency contains within itself the ambiguous trace of al\u00e9theia<\/em>. The etymology of the Latin trans-parere<\/em>, to appear through, can refer to a version of un-veiling, or to the presence of the filter that intercepts the vector of the gaze. It is a double transparency, active and passive: it is a characteristic of the observer, and thus of looking through, but at the same time it is a propriety of the entity that is traversed.
According to Gualdoni\u2019s reconstruction (2019: 15), Valentini\u2019s inquiry in those years gained solidity thanks to the presence of conceptual counterforces, and the Trasparenze<\/em> are a synthesis of this autogeneration of extremes: \u2018Gaia [\u2026] gives birth to Uranus: earth and sky, horizon and landscape, visible and tactile, the space in which an autonomous meaning is produced.\u2019 For Cacciari too, \u2018Valentini gives form only to thresholds<\/em>\u2019 and \u2018separation and unity coincide and are interwoven\u2019 on the threshold. The philosopher continues:<\/p>\n\n\n\n

Since something appears, it is bound to appear to us, to the gaze and to the hand. Therefore, in the very instant in which something appears, the gaze and the hand also appear. But this appearing is always the appearing of \u2018that\u2019 whose property it is to hide itself. The Earth cannot appear except as a sign, labyrinth, imprint. But this appearing always belongs to \u2018that\u2019 which loves to hide itself, the immemorial and invisible (Cacciari 1992: 154).<\/p>\n\n\n\n

To mitigate the philosophical aspect, one could find a correspondence elsewhere, in the popular literature of science fiction: remember the ambitious and unfortunate protagonist of The Invisible Man<\/em> by H.G. Wells (1897), who had to wear a blindfold \u2013 a gauze, in fact \u2013 to give form to his own invisibility. He was obliged to create a substance for the use of the gaze, to be placed between him and the observer.
I believe that two crucial fields of research for Valentini meet and coexist in the Trasparenze<\/em>: the transcendental and the visual. Leoncillo had already become partially stranded in the meeting of these two directions when he was approaching that crucial turning point that for him was 1956. This was the year in which he began to internalise the stimulus that would extricate him from the arid crisis of figuration and lead him to arrive at the fully informal (only from 1958). In a passage of his Piccolo diario<\/em> [little diary] he wrote: \u2018I believe that the precise moment of this transition occurred in the bas-relief for the monument of Albisola. [\u2026] Little by little the depths came before me, the dead plunged down among the debris, the darkness, the fractures in the land. Then I understod this fact as a deepening of \u201cvision\u201d\u2019 (Leoncillo 2019). Shared problems, distance and proximity: of the object, the landscape, the gaze (with its limits and trespasses) and the sign that has difficulty in dispelling this transitive dichotomy. The Trasparenze<\/em>, on the other hand, succeed in resolving \u2013 perhaps temporarily but certainly in a radical way \u2013 this intricate bed of tensions. The key is perhaps the threshold, the transition, the wall that, exploded through the mesh in which void and plenitude alternate, no longer blocks the trace, but filters and transmits it. The material chosen by Valentini, the wide-mesh gauze or jute and the sky blue colour, may have been intended to regenerate that \u2018module of vision\u2019 across the space, which the artist once again senses in letting his eye roam over his places, his landscape (and that of Licini):<\/p>\n\n\n\n

In the Central Apennines, where I was born, but also in many mountainous regions, the gaze is accompanied and guided by ruined towers. They are not there by chance, even if their presence may provoke journeys in memory, feelings of archaeological distances, like so many other images. Their fundamental function is to create an uninterrupted series for vision, in fact from every tower the preceding and the following one can be seen. When the air is dense with mist, there is a real substance between the towers that can be recorded and traversed by the senses, a genuine form of seeing. In this image I have seen the temptation to not miss the continuity; the desire to give a precise competence to the gaze, to respond to the waiting of the prophecy (image of the continuous<\/em>).
Following the path in the reverse direction, far removed from Valentini, Fontana and Leoncillo, we still nevertheless find C\u00e9zanne, whose research aimed at \u2018shortening the distances\u2019 led Barilli to maintain that he disassembled \u2018the space according to the facets along the lines of a very crushed polyhedron, ready to \u2018form a wall\u2019, to block a pyramidal flight [of the gaze] towards faraway distances\u2019 (Barilli 2006: 33).
The wall, the sign and the threshold:<\/p>\n\n\n\n

A wall is a world, a \u2018real\u2019 space, it is part of my everyday life; the marks I trace on it then become signs of reality and we can only transcend them in dreams. A \u2018canvas\u2019 is a space that is already privileged as a support for the representations, fictions, the imaginary. I have envisaged in the wall-painting a sign as a horizon because it is found simultaneously in those two worlds that, here and now, claim its possession.
It is this breath-dialogue between the immediately proximate and the limit of my most remote possibility that has made me characterise the wall as a behind, an inside, an above.<\/p>\n\n\n\n

Or to see it in the terms of the Trasparenze<\/em>: as a through.<\/p>\n\n\n\n

\n\n\n\n

References<\/strong><\/em><\/p>\n\n\n\n

Renato Barilli, L\u2019arte contemporanea. Da C\u00e9zanne alle ultime tendenze<\/em>, Feltrinelli, Milan 2006.<\/p>\n\n\n\n

Massimo Cacciari, La soglia di Valentini<\/em>, in Marco Belpoliti, Elio Grazioli (eds), Nanni Valentini<\/em>, \u201cRiga\u201d, 3,1992, pp. 153-157.<\/p>\n\n\n\n

Michele Dantini, Sulla delicatezza<\/em>, il Mulino, Bologna 2021.<\/p>\n\n\n\n

Flavio Fergonzi, Una nuova superficie. Jasper Johns e gli artisti italiani 1958-1966<\/em>, Mondadori Electa, Milan 2019.<\/p>\n\n\n\n

Flaminio Gualdoni, Nanni Valentini. The Interspace Between the Visible and the Tactile<\/em>, ABC-Arte, Genoa 2019.<\/p>\n\n\n\n

Leoncillo, Piccolo diario. 1957-1964<\/em>, ed. Marco Tonelli, Skira, Milan 2019.<\/p>\n\n\n\n

Osvaldo Licini, Errante, erotico, eretico. Gli scritti letterari e tutte le lettere<\/em>, ed. Gino Baratta, Francesco Bartoli and Zeno Birolli, Feltrinelli, Milano 1974.<\/p>\n\n\n\n

Francesca Romana Morelli, Federica Pirani, Ludovico Pratesi (eds), Il segno marchigiano nell’arte del Novecento: Scipione, Licini, Cucchi<\/em>, Skira, Milan 2008.<\/p>\n\n\n\n

Mario Perniola, L\u2019arte e la sua ombra<\/em>, Einaudi, Turin 2000.<\/p>\n\n\n\n

Nanni Valentini, Una parete \u00e8 un mondo<\/em>, in Ambient\u2019azione<\/em>, exhibition catalogue, Galleria Lanza, Verbania-Intra, 24 June – 30 September 1978.<\/p>\n\n\n\n

Nanni Valentini, Negli Appennini Centrali<\/em>, in Birth of the work. Five italian artists in U.S.A.<\/em>, exhibition catalogue, Harbor Art Gallery, University of Massachusetts, Boston 1979.<\/p>\n\n\n\n

Nanni Valentini, Norio Shibata mi raccont\u00f2<\/em>, in Artis lingua<\/em>, Quaderni di storia dell\u2019arte, ed. Lisa Belotti, Centro Immagini Koh-i-noor, Milan 1985.<\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Through the Trasparenze of Nanni Valentini:
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