Borracci

“ In 2008 more than half the world population will live in mega cities and in their suburbs foreseeably with populations above 10 million inhabitants. “

“ In is the Homo Urbanus’ Coming . “ By now, 414 are the cities that go over one million inhabitants and we cannot glimpse the end of the process of urbanization, since our species is growing with an alarming rhythm. It represent the 0.5 % the creation but it consumes the 40 % of the Earth’s net primary production. We risk to end as the ancient Rome, which has been destroyed by exhaustion of its own natural resources.”

BORRACCI dedicates to this event an Exhibition with an alarming provoking title:

For the effect of the technological big bang : of the people, of cement, of smog , of false promises and of vain illusions , they are the theatres in which the multinationals put in scene the vainglory of the consumerism post-everything, the not-places of the contemporary sociology.

After the Twin Towers and Punta Perotti , assembled by the artist in a bold parallelism between power and decline , the monuments themselves and the public buildings implode, showing their emptiness/inanity compared to the function of preservation of the collective memory assigned to them by the History.

The natural habitat and they express with outburst evidence the inequalities in the availability of the resources : the Sears Tower in Chicago , one of the tallest skyscrapers of the world, consumes in one day more electricity than Rockford in Illinois, a city with 152 thousand inhabitants.

In BORRACCI’S paintings there is no trace of human being, the cities devour the individualities.

Of identity, of culture, of tradition ( the chilometropolis seem all the same ), of humanity ( Venice, abandoned by the Venetians, collapses inexorably once failed the plan of the waters ), of pity and of dignity ( the ghost of the Parisian subways , the camorrists homicides of the Neapolitan suburbs , the Brazilian favelases are exemplary accounts of this thesis ).

Who is able to do it, abandons them to take refuge in the uncontaminated zones of the provinces or in the enclousured communities. The painter, with the cycle of the “ idylls “, underlines also the artfulness of these pseudo bucolic escapes depicting dawns and sunsets of rural landscapes with unnatural colours.

With avant gardist architectures, with new planning, with galleries of art and with cultural events, showing the future models, they anticipate movements and tendencies and they create the “ place branding “ of the firms.

After their explosion it can follow a reconstruction of the internal plots, of the connective tissue that animates chimneys and skyscrapers, made of relationship among people and of their identification in a continuum space storm, made up of a mixture of the safeguard of the tradition and of an openness to the innovation.

They offer emotional contributions to the artists, to the stylists, to the creative ones, to the new talents.

The creative class elaborates the contents to spread, technology is the motor, wireless is the releasing element, the global communication is the purpose.

“ The World of Art “ , risen from its own ashes, becomes an emotional reportage and it is by now a subterfuge to avoid the verbal deformations of the photo-television film, it’ s a tool to fix the truth of the feelings without exploitations.

The artist is able to transmit with absolute faithfulness the dazed mood of lot of us faced with the excess of power of the giants of the communication.

The painter doesn’t choose only an image, he chooses above all a mood that he is really able to make universal.

Centro Studi di Diritto delle Arti, del Turismo e del Paesaggio

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