Primo faro, 2009

Tino Stefanoni  

Tino Stefanoni (06/07/37 - 02/12/17), born in Lecco, studied at art school Beato Angelico and the Faculty of Architecture of the Milan Polytechnic.

For more than fifty years it is present in the international art world.

The work of Tino Stefanoni, although not belonging strictly to that of conceptual art, in fact, has always developed in the same research area. He always looked at the world of things and objects of everyday life, presenting them in their most disarming obviousness, like boards of a visual primer or pages of a instruction manual where the images replace the words.

Unlike the animal and plant worlds that are not relevant to man, the world of things is however the only tangible sign of its existence, and therefore it owns, traces of his thought and its history where you can create art and beauty that are not art and beauty of nature.
And 'evident in the research, the interest to want to present things more than to want to represent and, at the same time, to clothe subtle irony and magic drawn from aseptic Worktion as in a lucid dream, so to speak, that can bring together elementary and mystery, two elements which by their nature are not coming but close to counterpoint.
Even in the paintings of today, where the canons of classical painting (in the strict sense of the term) are deliberately exaggerated in favor of a teaching of the pictorial (light chiaroscuro drawing color), always it turns the world of things which, while remaining time resolving of his work, charging course of metaphysical meanings, the same meanings of the paintings from black stretch and gradient sinopie definable as the previous ones.

The enchanted disenchantment - Painting as Object - The state of the facts - The objective irony - The illusion unveiled - Platonic Loves - Emoticon - Metaphysics of quotidiano- Irony poetry and so be it - Magic conceptualism - The enigma of the obvious - Painting of the mind, are some significant texts written titles on his work. The fake enchantment, therefore, of its seemingly classic painting, lyrical and conceptual disguises the time of his work all strictly rational and, ironically, rational << >> emotionally, to the point of wanting to emphasize that painting is nothing but a object to the mind as the chair, the table or the bed are objects for the body.