Boris Brollo

The desire

The final aspect of Vinicio Momoli's work moves between abstraction and physicality of materials. The abstraction of the lines is linked to Momoli's rationality, to the "cooling" of his imaginative and expressive component, therefore to the need for control to give a positive "sculpture" as an authentic response to his own artistic expression. A need to measure ourselves with the thought of reality not yet lost in the current chaos.

A search for inner order as a response to the Law of Man. Inner research that alone genetically informs man and his conscience. It is therefore a careful and scrupulous work of his, far from occasionality and that everything that is exhibited is a sculpture or rather art. There is nothing worse than bad followers to ruin an excellent intention such as Duchamp's. Modesty and humility still require rigor in the artistic category. Momoli presents these qualities especially in the choice of materials; materials that might seem "brutalist" at first glance, but which the human processing technique intrinsic to their technological formation has now made complete; even capable of extracting some of their own characteristics from our universe: beauty, decorativeness, to the point of offering themselves as a double, as replicants of a human world, or more generally of organic, unnaturalized nature. Therefore the use of carefully smoothed mortars and iron nets refer to harder skins of the animal world, as does the use of sheets already industrially perforated and smoothed they refer to bluish colors that recall the mirrors of the puddles near the workshops, which have drops of oil or petroleum inside. And this similarity to organicity, although filtered by a cold rationality, brings us back to an erotic and material pleasure: touch. In these sculptures the touch it must not be evaded as a desire and excluded as participation; however both in one case and the other, desire and participation can lead to the gaze and therefore to its erotic sublimity of voyeurism.

For this reason I believe that Momoli's work stands out and goes beyond the threshold of poverty, like that of design, instead representing desire and therefore linking itself to the surrealist reverie of a "Sade" style sculpture, that is, to be conceived in the act of Look.

Boris Brollo - "The desire"
Catalog of the exhibition at the gallery Diecidue,
Milan, 1994