Currently, the Italian art market risks spoiling history by including or excluding the protagonists of the 1960s in a biased way; on the one hand he praises popist painters and kinetic artists but on the other he unjustly omits the informal ones. It is for this reason that the MAC of Lissone wishes to reconsider the figure of Luigi Boille [Pordenone, 1926 ~ Rome, 2015] who in those years had a central role in the renewal of the pictorial language thanks to an unmistakable style that allowed him to establish himself internationally.
Compared to the great plethora of Tachist painters, Boille differed in a way (or if you prefer: a "trace") in which the gesture is converted into a sign, managing to transfer what had been automatism into writing into painting. Like a Giuseppe Capogrossi or a Mark Tobey, Boille did not abandon himself to the impetuousness of informel, if anything he aspired to define a warp of colors: a cosmogony made of light-matter.
The selection of works proposed here is representative of the artist's period of greatest expressive intensity and his progressive attempt to develop an absolutely original pictorial phrasing. In fact, the paintings exhibited show the passage from a rarefied gesture to a tighter one, where the dense and dark backgrounds give way to lively and flickering colors.
The decade of the Sixties represents a fundamental turning point for understanding the language - technical but also poetic - of Boille, both from an artistic and a human point of view. Listed in the Jeune École de Paris and co-opted in the research of Art autre vaticinate by Michel Tapié, Boille lived in Paris until '65, after which he returned to Italy, crowning his research with a personal room at the XXXIII Venice Biennale. And it is precisely on this watershed that the selection proposed in collaboration with the Boille Archive of Rome unfolds, focusing attention on a salient decade that identifies and expresses the artist's filamentous painting, highlighting his integrity, which it has rewarded it and at the same time isolated it.
Luigi Boille never went along with fashions, nor did he ever disavow his ideological commitment; although he was highly esteemed by Alloway, Yoshihara, Jaguer, Tapié, Restany and Argan (to name a few), Boille is a painter that only today we can fully appreciate and understand. The desire to rediscover his artistic parable is also an invitation to rewrite an important chapter of the last century, as well as an undeniable opportunity to amend the mistakes made in the past (in 1961 the artist was awarded one of the twelve purchase prizes of the XII Prize Lissone, recognition which he could not benefit from due to some bureaucratic quibbles).
Since Luigi Boille has been able to impress his own “trace” on the course of events, the MAC of Lissone wants to pay homage to him with an exhibition that enhances the peculiarities of signs and colors.