Tino Stefanoni -untitled-

Tino Stefanoni was born in Lecco, studied at the Beato Angelico art school and at the Faculty of Architecture of the Milan Polytechnic. He has been present in the international art world for more than fifty years. Tino Stefanoni’s work, while not belonging strictly to that of conceptual art, has in fact always developed in the same area of research. He has always looked at the world of everyday things and objects, proposing them in their most disarming obviousness, like tables of a visual primer or pages of an instruction booklet where images replace words. Unlike the animal world and the vegetable world which do not pertain to man, the world of things is instead the only tangible sign of his existence, and therefore his property, a trace of his thought and his history where one can to create art and beauty that is not the art and beauty of nature. In the research, the interest in wanting to present things more than in wanting to represent them and, at the same time, in covering them with subtle irony and magic drawn from an aseptic operation like in a lucid dream, which can to bring together elementality and mystery, two elements which by their nature are not at all close but close in counterpoint. Even in today’s paintings, where the canons of classical painting (in the strict sense of the term) are deliberately exasperated in favor of a didactic of the pictorial (light, chiaroscuro, color drawing), the world of things always reveals itself which, while remaining the resolving moment of his work, is naturally loaded with metaphysical meanings, the same meanings of the paintings with black and shaded strokes that can be defined as sinopias of the previous ones. The enchanted disenchantment – Painting as an object – The state of the facts – Objective irony – The unveiled illusion – Platonic loves – Emoticons – Metaphysics of everyday life – Irony, poetry and so on – Magical conceptuality – The enigma of the obvious – Painting of the mind, are some significant titles of texts written on his work. The feigned enchantment, therefore, of his apparently classical painting disguises the lyrical-conceptual moment of his rigorously rational and, absurdly, sentimentally rational work, to the point of wanting to underline that painting is nothing but a objects for the mind like the chair, table or bed are objects for the body.