Aron Demetz. Germination

Le sculture di Demetz, after the investigation symbolic - and semiotics - the first, beautiful sculptural evidence which is presented to the art world now more than a decade ago, are in fact gone far beyond this cult of decay and putrefaction, while having them with a (only apparent) simile: is not - despite the sense of corruption and tragedy that emerges at times of their own body - the taste of the sacrificial sick, terminal, of the carcinogen, the dispersed, which so much art has precisely drawn plenty, but rather a dramatic sense of vertigo Body, of his being a stranger to ourselves, its, making foreign, start over, making, miraculously and joyfully, the nature, the origins, to the root: of one of its, if anything,, start from it - the nature, note, with its eternal and quickly discard, perish and then rigermogliare and flourish again, year after year, inexorably - to cope and resist against the unraveling of a seemingly inevitable alienating ourselves from the body, a sign of our being, in spite of everything, yet deeply human.
Here then that the body, in the continuous and rapid testing of materials Demetz, sulle forme, Maybe sull'anarchico and spontaneous forms and materials in the world (the particular resin, the burning of wood, the curl of the chips of the skin of his characters), takes on the meaning and vitality of a diagram, a path, a radiate around the text of man as a ray of light surrounding a flower or a plant - and is again the body, then, as Nietzsche noted in his Fragments, to give himself to us "as the main theme" of our thinking on the nature and the world.
Taken from the text "Germinal or the metamorphosis of the body" by Alessandro Riva

Published on the occasion of the exhibition at Barbara Paci Art Gallery, Pietrasanta (LU), 6 July – 18 August 2013.