Alderwoman in Charge, Department of Culture, Impruneta
exhibition and a convention on peace at Impruneta"
De Bartolomeis, 1984 "Certezza/Utopia"
Contro le Guerre, Progetto di monumento di Bruno Martinazzi, Catalogo, Museo Diocesano, Venezia, Oct./Nov. 1984
most recent work we observe his ever-present preoccupation: not man as a kind
of Titan but man relativized with respect to all else, his presence in the
work of art made to be felt through symbols rather than descriptions. Therefore,
after the measurements, beyond a figurative continuity, the dominant motif
remains incommensurability in space, in time, in values. And it is not a renunciation
'a priori' because there prevails a persistence, at once real and poetic and
magical, in measuring oneself against...
Thus incommensurability does not block or thwart but is the operation by means of which man participates in the important event which is still to come: as for example the end of all wars.
In 1982, the research which was to produce the scale model of the monument Against War' (in pink Portuguese marble, scale approx. 1:12) begins. A distant forerunner, the 'peace marches' of '67.
The scale model has only one figurative element (a woman's head) with an extension which finishes on the left with no definite form. On the back of the actual monument it has been planned that 500/900 names will be engraved, representing a sample of humanity. Observed from above the work has an arrow-shaped orientation, like something which points and penetrates deeply. It is not a modelled object in traditional full relief but cuts which produce vital geometrical shapes as if to give the impression that the pieces which the cuts have taken away still belong to the sculpture. Three large carbon drawings accompany the project, one of which in actual size, and some technical drawings. A singular monument because it is non-celebrative. Or rather it celebrates something which has not yet happened. The compression of all wars in a past to which there is no return, thereby giving definitive creative absoluteness to peace: thus the confrontation of man, all men, with a thing as essential as it is immense, almost beyond the limits of controllability.
The exhibition also bears witness to the transitory phases which set Martinazzi's research in motion again: four Cycladic heads, then the enigmatic emergence of a face from a block that is not shapeless but has smooth, geometrical antagonistic forms (three works). Finally the model: the identification of a woman, a paradoxically simple and direct symbol, nothing else but the certitude/utopia of living peace as creativity and adventure.