Precipitato Formale, the first exhibit in Florence entirely dedicated to the work by Giuseppe Stampone (1974), presented in three large rooms that, through new pieces and projects created in collaboration with other artists, will further explore the main themes of the author's research: pedagogical activity as a way to formalize artworks, the connection with art history, and the relationship with other artists.
Through a practice that foresees a constant passage of information, the revisitation of visual and verbal languages of history, and pedagogical and collaborative conjugations, Stampone summarizes the images and the processes in his artwork, which is the visible synthesis, the formal precipitate, in which time, space and relation are found. The Florentine exhibit marks a symbolic viewpoint, in which two decades of studies on the medium, from drawing to relational practices, and on the political dimension of art converge.
Three panels realized using ink represent the ideal focus point of the exhibit; just like altar pieces, within a secular universe and painfully, but clearly, sensitive to the humanitarian emergencies of our times, the works reinterpret three masterpieces of European art history: the "Mocking of Christ" by Fra Angelico, the "Abduction of Europa" by Rembrandt and "The Painter's Studio" by Gustave Courbet. In this mighty agony, Stampone measures himself with the need to reconnect the so-called Western civility to his responsibilities, and opens to a critical reflection on the position of art compared to the spheres of power, both today as in the past.
A connection exercise, a vocation to dialogue and to plurality, are featured even the other two projects, specifically realized for this occasion, which imply the involvement of other authors. A new piece of the "Architecture of Intelligence" cycle will be realized with the artist Jota Castro (1965), and will focus on the pedagogical capacity of art. The work develops starting from the constant research of the space of visual perception, introducing the topics of communication as a hegemonic tool, the rhetoric of power, and the destabilizing capacity of the fragmentation of language.
In the gallery's main space, a large conceptual map will be created with the contribution and collaboration of other authors invited by Stampone to leave a mark, an element carrying their poetics and sensitivity, in this cartography that describes the relational rapports, the political value of art, and the emergence of a global condition. The authors involved are: Bianco-Valente, Tomaso Binga, Stefano Boccalini, Ugo La Pietra, Loredana Longo, Claudia Losi, Ryts Monet, Alfredo Pirri, and Eugenio Tibaldi.