The so called " cuchi" or whistles date back to the prehistoric age as well as to the deeds of the ancient Greece. Due to the fragility of their material and to their game function for children, the documents attesting their existence are very rare. Invented in order to ape birds and to run the evil spirits away, they are nowadays renewed in materials, shapes and colours but they do still remain either magical or poetic and mysterious objects, sometimes grotesque and comical,too. They are surely to be taken as a good omen.
Seventy years ago Arturo Martini made room for culture creating wings and windows for those " Interiors" which had always been reserved for painting only.There is nothing to be surprised at if, in time, ( is it really a long time ago? Or its historicizing makes it paradoxically nearer) a sculptor coming from the Veneto region, as Mariano Fuga was, met his match treading in his fellow countryman Martini's footsteps.
As Fuga was fond of ceramics, too, he couldtherefore not be face to face with the great renewer of the sculpture of our century.
As everybody knows however, during the fourties/fifties, there was a sort of shift of witness from Martini to Fausto Melotti. it was quite in the Milanese workroom of Fausto Melotti that Martini fired his last inventions in 1947.
It stands to reason that the Milanese artist therefore inherited Martini' s lively wit, shown in this witty as well as frantic " performances" ( in which Melotti's postmodernity can be seen).
Fuga knows everything about this shifts, he either knows or admires and is not moreover afraid of crossing swords with these heroic characters ( anti- heroic, as well) belonging to the twentieth century.
His revisiting show therefore ironic word, the minimum, as they say, to operate and not to show the unavoidable iconographic debts since from the beginning.
But is quite the comparison ( it is a basic operation of the opinion, therefore of the critics) among the previous models and Fuga' s works which allows to appreciate the scrapping given to Martini' s spacings as well as to Melotti's parts.
The so called metaphoric " theatres" became at last to all intents and purposes real ones thanks to Fuga' s support: they are actually theaters performed on the street either by tightrope walkers, or manikinis or acrobats who show their solitude.
And it is quite in this very way that Fuga succeeded in agreeing with the great topics of the painting of the early twentieth century, from the tumblers painted by Picasso to the manikins sketched by De Chirico, creating newer and subjects.
These "cassettes" for troubled and mute characters as well as for improbable actors and misunderstood poets do hold their position in the sculpture of the end of the century.They bear out either the fertility of the old masters of the twentieth century or the existence of a margin ( which never dried up) for those artits whose aim is to make changes in the tradition.
Listening to it.