Filippo de Pisis makes himself available to his audience, perhaps today more than ever, in a new re-reading that involves the very act of painting, provocative gesturality, and poetry. Covering the first half of the 20th century, his work exposes the complexity, aesthetic depth and cultural significance of an oeuvre which resulted from a blissfully immoral, deviant personality. De Pisis’ experiences and research were diverse, contaminated by vast erudition, vices and clamors.
With a particular focus on the Paris years (1925-1939), the sequence of paintings and drawings that we will look at, some little-known or even unreleased, will highlight the DNA of a specific, constitutional pluralism, both intellectual and psychological.
If we engage with the task of retracing the discontinuous weave, and the new syntax established by de Pisis´ ability to explore, by difference or by reminder, the forms of the patriarchal world and the unrest of all, we may even be able to investigate with lesser inertia the scattered fields of new possibilities, because a stable reflection can only be a tension, never a reality.