Giuseppe Chiari


Definitely the soy noodles
Dialogue among Giuseppe Chiari, Armanda Gori and Aldo Marchi

AM My dear Professor, it has already been six years since we began to look for old pieces of wood and/or broken down musical instruments that could be bases for your work.

GCThat's true, I remember very well when, in our earliest meetings, you helped me find so much material, in the attic of your house and in the basement of the studio, ready for me to create my works before your eyes.

AGIt's a pleasure for me to have the work you gave us, prepared right in our own attic, that takes its cue from the kissing couple in the Perugina Baci advertisement (a poster I had acquired in a tobacco shop in Prato).

GCIn those days, I didn't think you would have become a famous woman on the art scene, I would say the "Marta Marzotto of Prato"

AMI Today we can say that Armanda Con Arte is something that concretely exists in Prato and that has relationships in the sector of contemporary art that extend over much of the national territory.

GCFrom 1998 when we did the book "Bianco e Nero," conceived and carried out along with you and the Fondazione Ragghianti of the Cassa di Risparmio di Lucca, you have always introduced me to very concrete people who believed in my work to the point of hosting me in their homes where I could create really interesting interventions on their musical instruments.

AMI That was the period in which I was really struck by one of your wife's historic phrases, when you took her to see a beautiful antique cello; Victoria literally said: "Surely you're not going to let Giuseppe ruin it?!
Once I got over the impact of that shocking question, I was forced to confess that that would inevitably be the cello's fate. Which, once we'd gotten past that line, created a collective pleasure.

AGDear Professor, what would you choose from these six years in which we've been able to be close to one another?

GCDefinitely the soy noodles" that you promptly cook every time I come to lunch at your house, where I also meet up with Lorenzo, Luisa, Leonardo and Maria, your four children who alternately hang out with me, depending on how busy they are with their studies.
With pleasure, I have often inserted them (with various beautiful photographs, many taken by the great photographer of the family Mario Marchi) into my collages, like the one of the "Quartetto Marchi" published in the book Bianco e Nero. Now is the moment of little Maria. who seems very attentive and interested when I ask her to collaborate on my collages.

AMOne of the most interesting ideas in these six years was that of the six works you prepared for collectable wine labels for the Vinicola Piccini that literally won over collectors, especially in America and Japan.

GCI must say that the things we've conceived together for my work have contributed, through the sharing of a common passion, to making us experience with simplicity, freedom and friendship a human relationship that has continually given us reciprocal advice and aid, even in everyday family life. Our consciousnesses and competencies have been more and more. united, and have been complementary for reaching important objectives.

AGNow a new adventure is about to begin, that of the five large monographic volumes related to the life and work of Giuseppe Chiari, aimed at the wider international audience of collectors and intended to be made available in the book shops of all of the world's most important contemporary art museums. We have a great traveling companion, our friend Paolo Gori, who with his publishing house "Gli Ori", will certainly lend even more quality to this work and make it into, I dare say, a "MONUMENT" to Giuseppe Chiari.

GC I am very optimistic, because we are all starting out with great enthusiasm (clearly we will have to be willing to do an enormous job with great commitment) and because we are being assisted (as I said before) by concrete people who believe in my work, especially because we were the first to really believe in it, and those who assist us cannot help but understand that.

[Giuseppe Chiari Musica e segno]

The figure of Giuseppe Chiari that in Florence and in the whole of Italy created a deep restructuring in art at the beginning of the 60's, can be understood as emblematic of the discussion that this "art theorists series" wants to take up.
Chiari's importance in the italian context rests not only on his many years of work and initiatives but above all his continuous ethical practice, his being constantly "other" with respect to the context of art and the world of his artistic contemporaries.
His mode of work, apart from leaving the strong imprint of his thought and action on his city (similar to that personal tradition of behaviour lived by other notables of modern times, Fattori, Lega, Diego Martelh, Palazzeschi, Dino Campana etc.), is an exemplar of artistic practice for many today.[…]

Enrico Pedrini

[Giuseppe Chiari e la teoria dell'arte in Fluxus]

Otherness and Didactics

The work of Chiari, then, goes outside the act that establishes the negation because "according to the writer the negation must, in its turn, be negated", on sufference of falling once again into a certain 'epidermic' way of creating the avant garde. To think means to imagine what happens in various possible worlds. So he simpley "conceives an in-tension" as an a-function which in every possible way determines "an ex-tension". It's here that there's his great difference from John Cage... Chiari's music doesn't want to understand through "silence" but proposes re-learning in this negated silence permanently lacerated by uproar, hying in the infinite precariousnees, that fullness, that totality, where all the music are equal.
The conceptual contents of the continual variation and the potential levels of the subversion of this resonant fullness pin-point moments of violent a-function which bring about concrete references to new linguistic expressions in different possible worlds. The adventure of the art of the second half of this century, even if constantly tempted by 'absence', by silence, by the blank page as absolute realizations of a wish to feel only the essential, harmonizes in an opposite way with the infinite repetition of a configuration, of a pattern perceived as a model intended to occupy all available space, transforming chaos into a new universe of life.[…]

Enrico Pedrini

[Giuseppe Chiari e la teoria dell'arte in Fluxus]