“… a deep ontological reflection on the interaction between himself and the outside world able to innervate all the research of the artist of Bologna” (Maurizio Calvesi)
We would like to introduce this exhibition of 29 works that covers the years 1953 - 1998 through a thought of V. Bendini of 1986:
“When we put ourselves in front of it (the artwork) as a user, you have to let it act directly on us, to wait for the alarm time, that is when our faculties of perception, come into contact, react. They react to the symbolic processes that are present on the canvas and that, in turn, interact with the “universal meanings”. Although each figurative language is historically and geographically related to a particular culture, however there is a universality of communication (a priori) that allows you to overcome the differences. Like a cry of pain or joy it reaches the heart of everyone: in this direction the divergence converges”.
Formed in the context of Bologna, Bendini receives the congenial experience of poetics and of the international flavor.
Protagonist in advance of the Italian informal, he expresses himself with a sign initially washed in tempera on paper that coagulates in the color mixtures of the following oil paintings.
His first tempera paintings of the '50s are: “suspended between the trace of a figure and the instinctive abstraction of the gesture" as he writes Calvesi and they are oriented in search of the light that emerges from the bottom in order to appear on the surface.
Bendini saturates the paper with a light color on which he deposits signs of another pale color, forming a sort of suspended image that alludes to the recurring theme of the face (which has a root in the "heads" of V. Guidi) or to an absolute abstraction.
In the early '70s, giving up the familiar environment of Bologna where he studied, he moves to Rome, perhaps to give vent or find the right environment for his research conceived as an experience to live alone.
He certainly doesn't adhere to groups that in those years tended to connect similar experiences; this leads him, despite being an international artist, not to feel the need to move closer to European experiences and thus losing the opportunity to connect and confront with the international non-figurative forms of research.
His painting evolves approaching the new dada culture, invading the space with installations and actions, also live, and becoming the forerunner of searches that will converge in the poor art.
He deepens, in the seventies, the evocation of the cosmogonic myths as “Tempo come creazione - Ipotesi d’attesa - Inquieti silenzi - La ballata dei dieci cieli - Come un suono dal suono del mondo”, by expressing the full possession of the color and gestural components.
(aste4you.it editorial staff)