The new project entitled “CONTRO-CURRENTE” in Via Teodosio 8 in Milan has kicked off in the talented space of Vintage and Design called “CONTRO-CURRENTE”NEW MILANESE BALCONY-ONE” (2021), an international artistic path that has contemplated a series of very prestigious exhibitions over the years. This exhibition entitled “The house of being” it is the first of the new path, and it is already a novelty as names of contemporary art of significant importance are conveyed to Milan, which highlight and highlight the most intriguing developments in making art in the third millennium. The exhibition curated by me and my signature also in the text in the catalog entitled “The house of being”, brings together a series of works by the artist Gianni Bucher Schenker, who has already appeared in the eyes of Italian and international critics as a figure of more interesting and propositive than contemporary art, and still today it is lively, clear and significant interpreter of it. Meanwhile, two words on space, whose name “Contro-Corrente” makes it clear that Vintage and retro may seem synonymous but in reality they have a different and well-defined meaning. Vintage derives from the old French vendenge (from the Latin word vind? Mia, meaning harvest), which in turn indicates vintage wines of prestige. And in fact, the vintage attribute indicates objects that are at least 20 years old and have become cult over time because they are produced with high quality materials (such asprecisely the fine wines) or because they have marked the custom and culture to such an extent that they are still considered, after decades, precious and inimitable. They can be vintage clothes, accessories, bijoux, furniture, records, guitars, computers, video games; but also bicycles, cars (Fiat 500, Renault 4), motorcycles (Vespa, Lambretta) generally produced between 1920 and 1980. The term retro, on the other hand, pays homage to a certain era with elements of recent manufacture: a chair, a dress, an accessory produced today that refers to a certain cult period in history. This is why a new object, even if it recalls the past, will never be defined as vintage but retro. The The beautiful idea of creating a cultured and singular space was by the architect Roberto Miele who was able, like few others, to create a precious, futuristic, innovative and highly cult location, but we also add us capable of doing and communicating art and culture. Vintage is not old stuff. In fashion, the vintage above all it identifies garments, accessories, vehicles, music and any other aspect of man’s life belonging to past eras but which have indelibly marked history! Basically, from a need for savings, vintage is back in fashion, especially among young people. Very tied to the logic of reuse, vintage brings with it ethical and stylistic characteristics that have historical roots well present. And for all this it was also indicative to propose a series of exhibitions by well-known artists in the anterior of the singular space. The choice I must say is entrusted to my professionalism as an Art Historian. This first issue features works on paper, drawings and tempera but also sculptures by Gianni Bucher Schenker. Gianni Bucher Schenker’s exhibition seems to us a substantial event because it offers one of the clearest examples of the art of our time in the field of sculpture. First of all, not only is the knowledge of the materials used by the Milanese sculptor surprising, bronze, marble, different woods, terracotta, etc. Forms that over time have abandoned the classical figuration, for move towards abstraction, to live today the essentiality, the backbone, the symbol, the idea. The title of the exhibition here at Contro-Corrente, “The house of being”, is a clear example of this. Genius, mastery, plastic discovery of forms, often fantastic and constructive – after the initial landing on figurality and medals – full of research and experimental individuality that leave sculptural elements that are defined in the light and natural colors linked to the material. climates of a poetic of freedom – as the title of the exhibition – and of a pre-eminent formal dimension where the titanic harmony of its pure plastics move through a geometry that found an enlightened inventor in the carved and vigorous signs of concavity / convexity. Concave and convex forms offer the critical and inspirational development of the vocation in the authenticity of the themes dealt with, officially determining a rather new constructed originality in each work and with accents of systematic diversity, despite the fixed topoi of psycho-futurist sculpture. Colors and lights glide projected onto the plastic shapes, from “Couple” to “Basileia”, from “Talia” to “Dive”, from “Castalia” to “Cathedral”, to name a few, and give prominence to a clear naturalness, mobile of undulations and planes, even sensual and captivating oscillations, staged with solemn compositional mastery and intense vitality, as if they were perceptive of that élan vital of Bergsonian memory. The eye on display goes to “Flavia” in bronze, soaring and absolute, then to “Deianira” and “Criseide” that good characterize “The House of Being”. Each work is crossed by vibrations that make it read in its fantastic and almost abstract principles, in the pre-eminent link with the human figure of which there is a trace in the confluent series of expressions of an indicative figural dialectic. The materials used, different woods and marbles, terracottas, bronzes, specify the hard and intelligent itinerary of the sculptor, whose dominions over matter allow him to discover as one of the major protagonists of contemporary sculpture and of the most dialectical lexical and visual area of the twentieth century. .
Gianni Bucher Schenker was born in Milan in 1947. From 1964 to 1970 he attended the Higher School of Applied Art, annexed to the Castello Sforzesco. He completed his studies with nude courses in Brera. In 1969 he began his career as a medalist and sculptor. The first exhibition dates back to 1966, but he had to wait until ’71 to receive the first invitation to participate in a collective of graphics at the Arengario in Milan. In 1973 he was invited to the I Biennale Dantesca of Ravenna. In ’79, the IV Biennial of the Bronzetto in Ravenna and participation in Poggibonsi Arte. It was 1997 when he took part in EtruriArte in Venturina. In ’98, with M. Schifano at the Poma Gallery in Morcote (CH). The following year he exhibited at the Swiss Center of Milan, in Vence (F) with four other sculptors. In Udine he was invited to the VII Triennale d’Arte della Medaglia. Participates in Reggio 2000 in Reggio Emilia. The following year he was invited to Yokohama (J) Message Love 2000/1 at the Kanagawa Foundation. In Potenza he took part in the “Banquet of Beauty” fragments of Sacred Art of the ‘900. In 2002 and 2005 he was invited to the European Sculpture Meeting at the EspaceBourdelle in Montauban (F). Three years later, the invitation is for the International Sacred Art Meeting “DasAntlitzChristi”, in Passau (G) at the Dioezesanmuseum. In 2010 the invitation is for the V Biennale of Ferrara. In ’14, Genova Art Expo at Satura and AENIGMA 2 in Cesena, at the Municipal Gallery of Modern Art. The following year, in Venice PHOTISSIMA ART FAIR at the State Historical Archives – Cloister of the former Convent of the Frari and in Mezzago (MB) TERRA, collective. In 2016 – 17 Genoa, ARTIST’S PROFILES at Satura. Milan, collective exhibitions at the Humanistic Library – Madonna Incoronata Church. In Pisa ARTEMEDITERRANEA. Milan, 2018, Humanity in Art – Chiostro dell’Umanitaria, Milan, and in Pisa, Biennale. In Morcote (CH), at the Galleria Poma, ‘800-‘900. 2019, in Vimercate (MB), at HEART, “UN UOMO LIBERO” anthology for 50 years of activity, and in Genoa collective “YESTERDAY TODAY TOMORROW”. In October 2019, invited by the illustrious Art Historian Prof. Carlo Franza, he inaugurated a solo exhibition of drawings entitled “Preciousness of drawing” at Plus Florence in Florence. He has over thirty solo exhibitions to his credit and has exhibited abroad in Switzerland, France, Germany, Turkey and Japan. His works can be found in the following museums: Remo Brindisi House Museum – Lido di Spina (Ferrara), Dante Museum – Ravenna Kanagawa Foundation – Yokohama (Japan), Museum of Italian Art of the ‘900 – Durres (Albania), Museum of Art of the Italian Generations of the 1900s – Giulio Bargellini – Pieve di Cento (Bologna), Museum of Art and Spirituality – Paolo VI Study Center – Brescia, Museum of Art for the Knowledge of Peoples – Ohrid (Macedonia), Museum of Art for Knowledge of the Peoples – Gmina Michalowice (Poland), Vatican Museums Collections, Royal Collection – Buckingham Palace – London, Art for Peace Museum dedicated to C. Brancusi and V. Bianchi – Caracal – (Romania), “Le Stelle” Association – Concesio (Bs), Sartori House Museum – Castel d’Ario – Mantua and others. They wrote: S. Bartolena – R. Brindisi – S. Brondoni – G. Di Genova – F. Ferlenga – C. Franza – D. Manzella – F. Motolese – M. Ortmeier – J. Pietrobelli – G. Pré – M. Squire – O. Villatora.