Vent'anni fa l'addio di Tullio Crali, il futurista innamorato delle nuvole

Il 5 agosto del 2000 Tullio Crali salutava il mondo per immergersi nelle profondità dell’infinito. Nessuno sa se ad attraversargli la mente in quegli ultimi istanti siano stati fotogrammi di vita terrena, tra gli amici, in studio, in famiglia, o immaginifiche istantanee di città viste dall’alto, di velivoli sospesi, di nuvole e cieli reinventati dalla libertà entusiasta dell’aeropittura. A 20 anni dalla scomparsa, la Estorick Collection di Londra ricorda Crali con una mostra che ne ripercorre la movimentata carriera in 60 capolavori, evidenziando come l’ultimo arrivato tra i Futuristi sia stato forse il più ostinatamente autentico. Tullio Crali, Tramonto di luci a Ostia, 1930, olio su compensato, 58 x 44 cm. Courtesy Estorick Collection of Modern Italian Art, LondonPer l’erede designato di Filippo Tommaso Marinetti, più che una scuola di pittura il Futurismo fu un modo di vivere che andò oltre la breve stagione delle avanguardie. Cercare il nuovo con coraggio e inventiva fu la sua missione, realizzata non solo sulla tela: sculture, performance di poesia, progetti architettonici, scenografie teatrali, visionari aerogioielli e abiti come la “camicia anticravatta” danno la misura di un raggio d’azione pressoché illimitato. All’origine di tutto questo c’è uno strano incontro: quello tra l’arte e il volo, da cui Crali fu affascinato per tutta la vita. Era ancora un bambino quando un idrovolante ammarò proprio di fronte alla sua casa di Zara segnandone il destino. A 15 anni fu folgorato dal Futurismo leggendo un articolo sul Mattino illustrato, a 18 si librò nell’aria per la prima volta. Era il 1928 e il mondo si appassionava agli aerei come più tardi avrebbe fatto con la conquista dello spazio. L’artista dalmata non rimase a guardare: eliche, nubi e ali meccaniche entrarono prontamente nei suoi quadri. Prospettive dinamiche, punti di vista simultanei e una potente combinazione di astratto e figurativo delineavano un inedito modo di dipingere. Mentre si avventurava in imprese aeree sempre più elettrizzanti, Crali portava sulla tela il punto di vista del pilota. Incuneandosi nell’abitato, uno dei suoi lavori più noti, trasmette allo spettatore l’esperienza di un tuffo aereo, vertigini comprese. Simultaneità aerea condivide, tra paesaggio e tecnologia, “l’immenso dramma sensoriale” dell’ascesa. “Lassù tutto è meraviglioso”, annotava l’artista: “Dipingere dall’alto questa nuova realtà impone un disprezzo profondo per il dettaglio, una necessità di sintetizzare e trasfigurare ogni cosa”. Tullio Crali, Motore in panne, 1931. Collezione privataMostre e riconoscimenti fioccarono dopo l’invito ufficiale di Marinetti a entrare nel movimento, nel 1929. “Non ho mai riprovato un’emozione simile fino al giorno del mio matrimonio”, ebbe a dire l’artista ricordando la risposta del padre del Futurismo alla sua lettera. Nel ’45 Crali rischiò di pagar cara la sua pur poco convinta adesione al fascismo: arrestato dai partigiani italo-slavi a Gorizia, dove viveva, fu tra i 20 prigionieri risparmiati su 150. L’ambiente italiano era ormai avvertito come inospitale. Complice la nuova passione per l’insegnamento, l’artista si trasferì a Parigi e poi al Cairo, dove diresse la Scuola d’Arte italiana tra il ’60 e il ‘67. Rompendo un’atmosfera che sapeva di “polvere e muffa”, incoraggiava ragazzi egiziani, greci, armeni, copti, sauditi, ebrei a sperimentare con fantasia. Ma la delusione subita dal mondo umano era dura a morire: già durante il soggiorno parigino degli anni Cinquanta, Crali aveva trovato rifugio nella natura. Scogliere, onde fragorose, possenti massi granitici e fragili battelli che sfidano l’Oceano raccontano sulla tela le sue passeggiate sulle spiagge della Bretagna e della Normandia. Nascono qui le Sassintesi, enigmatiche composizioni di rocce scolpite dalla forza del mare. E il Futurismo? Checché ne dicano i critici, per Crali è tutt’altro che morto: è anima, energia, idea e azione, è un metodo e una missione da portare a termine senza limiti di tempo. Tornato in Italia, l’artista partecipa a mostre, conferenze, serate di parole in libertà. Rifiuta le proposte dei vecchi amici di riprendere le fila del movimento: gli sembra più coerente proseguire le sue ricerche “spaziali” e ritrova un’antica fonte di ispirazione nelle acrobazie delle Frecce Tricolori, delle quali diventa punto di riferimento nonostante l’età avanzata. Tullio Crali, Le forze della curva, 1930, Olio su tela, 89 x 69 cm, Collezione privataTutto questo racconta la mostra Tullio Crali: a Futurist Life, in programma alla Estorick Collection of Modern Italian Art fino al 13 settembre. Nella sede espositiva di Islington icone di aeropittura, sculture polimateriche e poesie visive si confrontano con i dipinti “contemplativi” del periodo francese, mentre il fascino geologico delle Sassintesi dialoga con le immagini cosmiche degli anni Sessanta, ispirate ai progressi nell’esplorazione dello Spazio. Londra riscopre il Futurismo oltre i luoghi comuni, in una figura poco nota all’estero e non ancora apprezzata come meriterebbe in Italia.
Source: Arte NEWS

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