CINTOLI Claudio, 1959, 8 km Nomentana, mixed, cm 46x65. Authenticated and published.

Claudio Cintoli (Imola 1935-Rome 1977). Scientific maturity in 1954 and enrolled in the Faculty of Architecture in Rome in 1956 interrupted his university studies and enrolled at the Accademia di Belle Arti, spend time abroad visiting European capitals where they form through the magic of the informal , new realism, pop art and forays into avant-garde. In the '60s, Piazza del Popolo was the gravitational center for artists and intellectuals, a frame in which intertwined many different creative paths that have produced art history, not only visual but also film, music and literature from those years until today. It is in this context that builds and develops the work of Claudio waist.

The exhibition created in 2008, "Claudio Girdle - The strength of the fly" by Daniela Fonti Emmeotto of Rome at the Galleria, has exhibited a selection of thirty-seven works, made between '58 and '77, retracing the major stages of a parable featuring extremely creative versatility in the choice of means of expression (sculpture, painting, assemblage, collage, performance), in which the search for an individual language is inextricably tied to the needs of the most important artistic movements of the '60s and '70s.
The early works of the late '50s as 8 ° C km Nomentana and White, they put themselves in the wake of the informal, in the dense material surfaces of pigment, followed by the assemblage and collage of papers, and painting combined together, to bridge the gap between art and life, including temporal and Mystery of 1964 (the year of the triumph of Rauschenberg at the Biennale in Venice). In the late 60's climb up a series of plastic works, such as Node (now at the MART in Rovereto), fixation, dead weight, which grow in the climate of rising Arte Povera.

  The most immediately qualifying is certainly the multiplicity of interests and practices of media, and even a provocative artist's split personality, "said Crispolti in 1978, during the presentation of the general catalog of waist, referring to the invention of Rapes Marcanciel character, alter ego of the artist, whose name is generated by the play of words between stupor and Marcel Proust. The taste for the language game, often sarcastic, and that there is no sense in choosing the titles of works Belt certainly has an array of dada and surrealism, and the centrality of the unconscious is also sanctioned by the very words of the artist who identified the 'origin of his work in "give body to accidents dream."
Important in a number of works of the early '70s is the presence of the egg, symbolic figure variously manipulated and interpreted by the artist, the protagonist of the great UovoNuovo composition, divided into seven panels with small niches that are home to ostrich eggs and photos embryos. The theme of the birth is also central in the video, one of the first made in Italy, chrysalis (1972), in which the artist locked in a jute sack, torn canvas and comes out as the womb, back to life.

The two birds in flight, drawn with graphite, are the poetic greeting Girdle to life and art and are among the last tests performed in the late '70s. Some of the works presented in the exhibition are available on this site.