Eugenio Miccini


"...Miccini carried out his research in everyday language because that is where you find the essence of a culture. Common expressions, proverbs, conundrums, critical discussions, slang, this is where technical or specialist terms can be found, coming from the most disparate of cultural backgrounds. Mass media are nothing more than the loudspeakers of this phenomenon. This was the starting point for Miccini's own personal research and his work has always been characterised by his investigations into common expressions. He sees this language as a kind of institution, as the only way that reality, or rather the awareness of reality from a practical point of view, can be changed on an everyday level."

Egidio Mucci

[Dal catalogo Eugenio Miccini - La manipolazione dei segni, Galleria d'Arte Moderna Castello di Portofino, 1977]

"...Miccini is very articulate in the way he puts everything together. He radically modifies the accepted order of things (the communication codes of the masses) to produce deliberate, methodical and ironic disorder. His style is more ideological than spontaneous, even though he uses metaphors. Miccini is also articulate in his appraisal of "visual poetry". He does not find enjoyment merely in the sweeping away of the flat ambiguities of daily life, but also in the way in which meanings are turned upside down and the sense of balance and visual certainties are thrown out. Miccini questions everything visible (iconic-verbal) because it does not communicate any more, it is a trap, a deception."

Italo Mussa

[Dal catalogo Eugenio Miccini - La manipolazione dei segni, Edizioni La Piramide, Firenze, 1980]

"...In every action Miccini is still intent on creating poetry, to the point that it could be said that he frequently passes from visual poetry to active poetry. His earlier desecration of technical language has led to him annihilating it completely in order to return to nature, that is, to a natural way of expressing oneself, using natural elements such as water, fire, earth and air."

Giorgio Di Genova

[Dal catalogo Generazione anni venti, Edizioni Bora, Bologna, 1981]

"...Visual Poetry on the other hand is made up of metaphors, mainly by means of wrongfooting the observer with a juxtaposition of words and images. The important point is not their proximity but rather the distances and the unpredictability of their relationship with each other. Objects are taken out of context, cut up into pieces and then put back together again, condensing them to give them new meaning. The observer is taken by surprise and finds him or herself involved in trying to understand the wider sense of the chain of metaphors. [...] If messages sent out by means of mass communication have a tendency to meet with immediate consensus, the verbal-iconic structures of visual poetry make use of metaphorical distancing which frees observers from their usual attitude of passivity and makes them actively try to understand in order to stimulate their ability to judge."

Filiberto Menna

[Dal catalogo Miccini, Adriano Parise Editore, 1991]