A study by one of the most acute observers of art aesthetics on one of the better-known exponents of italian art from the later post-war period.
His first study on Parmiggiani was, by his own admission, “A foggy desert, a desolate landscape, a place that tried me and left a deep mark”. A creator of elegant space, studied in terms of a delocation, the transformation of a place (using his trademark tools of air, fog and atmosphere) into a landscape of the psyche, in a characteristic style of an intimate stamp. Delocation is not an absence of place, but a shift, experimenting with processes of moulding and withdrawal. It is a puff of ash that generates these movements: a detachment that invades the space and configures it in a subtle mould, giving birth to a place from the detachment of colour and the absence of objects where air is the essential medium and component of the work. Thus Didi-Huberman, a master of contemporary French academic thought, fascinated by the current of air that destroys a familiar space while creating the space for a work, analyzes Parmiggiani’s work, traces of a memory where the history of painting encounters the ghosts of Hiroshima.