Patrizia Minelli is at the decisive age that signals the generational passage, in art, from the experimentation's and the philological meditations to the act. But what to do?
A work that renounces the critical transcendence, an ironical game that transforms the utopia into work. Is there salvation - we ask ourselves - for the painted surface?
With much effort, running from office to school, Patrizia attended the Accademia di Belle Arti «Cignaroli» in Verona, graduating with the highest grades with a thesis about the relationship between art and madness.
Strange, for such an extroverted and cordial girl! But, at a better look, it is just her bright vitality, her «optimistim of the goodwill», her credo and creativity (so often denied to women), that denounces that bit of maniacal which characterizes the artists of today - or of always? - unsatisfied, in a continuous search for their own irrefutable speech, of their own linguistic style. With the attitude of somebody who is playing, after freeing herself from previous academical models, after the so-known «father crisis» (historical and personal), she comes to focus with the object. It is the focusing achieved by the young artists of her generation, without any melancholy for the old myths so miserably fallen.
In our century the poetics of the object have been many and intriguing: from the dadaism to the new-dada, from the nouveau realism to the pop art, from the minimalism to the programmed art, to the last declinations of these emerging young. Patrizia Minelli is among them, perhaps with the same motivations: the refusal of close ties with the recent tradition, the painful loss of any ideological mark, of any sociological enclosure, and of any prophetical presumption.
The art of these young artists appears fated with a sort of resigned but impassive cynicism, all centered on the present, standing along the historic trail which, in accordance with Achille Bonito Oliva, does not follow any Darwinistic predefined course anymore. Their art has allowed some sort of a cultural nomadism, an infinite entertainment with the «sublime» or «mundane» things of the world, where art is nothing but an private and indifferent epiphany.
Patrizia Minelli so encounters the world of the objects: glasses, mirrors, marbles, mosaic bits, medicine capsules, colored silicon's, painting shreds, sand paper, leather etc.. Some of them appear to have belonged to a clean junk dealer of objects that shine, reflect, show through: obvious pretext to handle light; or, the others, roughs, opaque, suggesting quiet, dull and terrestrial chromatisms.
It's a dialogue - I am tempted to say - between earth and sky. These two souls of Patrizia, the one remembering a past age and everything that surprised us in our first encounters with the world of perception; the other more intrinsic in the «mater-materia», perhaps melancholic amnesia of an irreversible time.
An Egyptian hieroglyphic shows the god Path separating earth from sky as the act of creation of the world.
Patrizia shows us this separation with the secret nostalgia of the fallen angel. There, the two souls are opposite to each other. They are the hard and the soft of the contemporary scenography.
Some lost symbologies, with low tones, leave their own frown spoils to «simple» structures and matters.
We are surprised - to quote Wenwel Jacob and Michael Grauer - by the «radiant absence of meaning and bright simplicity» under which we have to look for «ideas much more complex». Because, in art, simplicity is synthesis, coincidentia oppositorum, achieved formal composure.
There isn't, in these artworks of Patrizia, any obstinate fortuity of the dadaists, and neither we find the obsessive constructivity of the many aesthetic geometries.
Rarefied by now the icons, exhibited the things, declassed by old deceiving ornaments.
Nevertheless Renato Barilli would classify these experiences as a cold baroque, without any epical addendum, without any emphasis.
A cooling attitude compared with the excessive pictorialism of the Transavangarde and the New Savages of the eighties. A baroque for excess of accumulation of materials.
The artist's eye is clever and disenchanted, laic player of lost paradises, ironical and ambiguous. How ambiguous the duplications of the things and of ourselves appear, reflected into the mirrors of Patrizia. She has pronounced her epoche': a suspension of any judgment about nature of simulation, a substitution of the ghosts of objects with the objects themselves.
It is an «ostensive» and senseless language, satisfied within itself. So symptomatic, yet so inert, it makes us reflect about the «end of things» Baudrillard was talking about.
Mark Twain narrates a tasty anecdote impregnated with linguistic-philosophical implications: a guy was putting in a piece of luggage all the things he would have liked to talk about with a friend... A really impossible chore. Nevertheless, perhaps the first rudimental language of men has been a ostensive one, surely lacking articulations and pragmatic.
Let's bring it - with loose license - into the art of today which - as we said has nothing to say, but splendidly says it.
Who, like Patrizia, fears the smile of the pictorial lies, the fact of working on things and on materials may talk about disquieting enigmas, far away from the referents, from the codes, from the rules.
Therefore it is a metaphysical work, and, as Lyotard says, «sublime». The contemporary art does not provide any other beauty. I am not the only one saying that all this be dramatic.
The statute of the modern art reflects, pour cause, the one of our civilization. «The plus - I wrote elsewhere - is not only artist's work».

Eugenio Miccini
(translated by Cristina Minelli)