ENGLISH VERSION

HUGO LAZZARINI. 8 years after an epic show.

It is not easy to refer to the work of Hugo Raúl Cayetano Lazzarini. First of all, it is difficult to talk about someone who has achieved, in the figurative sense, the total approximation to perfection found in “Caravaggism” in the 21st century.

OPINION

– It is best to first grab the books and reread what you have read to be able to make an opinion judgment in this regard. I have been following Hugo since 2008 and his evolution in these eight years. USE OF THE HUMAN FIGURE Although he always distinguished himself by his use of the human figure, and was an accomplice of emotions in all his works, now the issue is different. Because at 68 years old, he is in a period of aesthetic refinement that responds to the same concept. That is, in these latest works we can see an issue that has to do with the climates and the “climaxes” that it can achieve, even reaching a hyperrealism that surpasses everything known in the region.

ART WITHOUT FICTIONS

Hugo Lazzarini has discovered the vulnerability of the human being, without the sometimes dignified fictions of the apologists of the abstract, who through gimmicks forget the costumbrismo that weighs heavily precisely in painting. The importance of Lazzarini’s work in this exhibition held at the College of Architects is that it puts us in direct contact with what would be called “NeoCaravaggism.”

RETURN TO THE SOURCES

In other words, a return to those angelic entities in which Leonardo Da Vinci and his friends had a lot to see and explore. Passing clean; Lazzarini’s mysticism is framed within a) the Greco-Latin conception of art, and b) the conception of the Christian liturgy of the West without sometimes overlooking a Byzantine touch in the works. Do not forget that Christianity had its Coptic versions in Egypt and Orthodox versions in Russia.

DEEP ENTITIES

Lazzarini explores the face and explores the body, as deep entities that require his attention, but – by following his own sayings – he worries about the “esfumato” (which worried DA Vinci so much). As well as the subtle climates and the perfect combination of light and dark that take the viewer to irreplaceable limits. This happened in the College of Architects, San Martì in 1700. Year 2016

 

Hugo Lazzarini. The environment of a creator.

They say the creator is alone. Or that loneliness is the sign of the creator. Hemingway alone in his cabin, Herman Hesse transfigured in his work «Steppenwolf.» It is a half-truth. There can be a spiritual solitude, in which the creator rejoices and then, with joy and within a framework of agency, makes the work transcend

. OBJECTS AND TRANSCENDENCE

The objects surrounding the creator are elements of the interior composition. As a fundamental quintessence of the creation process. These objects can be: animate and inanimate. «Juanita» is the name of Hugo Lazzarini’s kitten. She lives walking and sleeping while he develops his works. She is an expert in solvents, thinners, temperas, and oils. «Juanita,» doesn’t know about contests or resumes. Neither passports nor airplanes. Nothing alters her. Observe life with the tranquility of someone who knows that he has no obligations.

LOS LAUROS

«Laurels are for the stew,» Julio Migno Parera blurted out, when they gave him recognition. And Julio Migno knew something about life. The multiple recognitions garnered by Hugo Lazzarini in his career are a mark that distinguishes him. Being distinguished and having awards does not mean «being superior.» It means that others have seen or recognized things that deserve to be highlighted. And therefore, they deserve to be perpetuated. The room in which their diplomas, certificates, etc. are placed, confers historical weight on the visitor but also enormous respect for their career.

CONTEXT AND FINAL REFLECTION

Therefore, in the infinite solitude of the creator, the things that coexist at the same time are functional to creation itself. Because they generate sensations, pulsations, a whole arc of action on the author of the work. One thing feeds into the other. That’s the truth. No other.

Hugo Lazzarini. That European summer.

Restlessness is one of the characteristics of Hugo Lazzarini’s work. It is permanently latent in his works, audible in each stroke, each brushstroke. The Santa Fe author executes in each work the everlasting perpetuation of the great masters of the Middle Ages and Renaissance, creating surprising visual structures that dazzle the viewer. Exhibition in Barcelona, ​​Sitges And what is surprising about his most recent exhibition are the increasingly profound achievements in the trinomial of tones, light and shadow. The human figures thus acquire a deep perspective that impacts not only visually, but also creating a strong emotional connection with the soul and spirit. Something that would surely keep the Greek masters awake. A Parthenon of colossal works is its presentation, which in turn functions as a megalithic exhibition environment that investigates beyond the figure, into a cosmogony that exceeds the aesthetic to incorporate sensory and perceptive devices that tremble alongside emotions. Silent and committed work Thus, while Argentina faces an economic debate with sharp social edges, Hugo faces another phenomenal task in 2023: he has twenty new paintings which will be exhibited in various locations in Spain. All this, when the crops mature from the beginning months of the European summer. The man from Santa Fe, working silently in his workshop, carries out social work impregnated with ideals in his free time. Noble causes linked to public hospitals have been favored by their actions. We can say that his work is humanism carried out through fabric and preaching. If the craftsmanship that emerges from his hands can be considered Christ-centered, his mission from the earthly plane can compete with the work of the bearded Nazarene.

 

Hugo Lazzarini. The library where life flows.

It is one of Hugo’s favorite areas. He belongs to a generation that did not know the internet, Spofity, YouTube, Google.

Hugo Lazzarini was trained in the culture of books, and therefore reading. There are also books in his private home, Santa Fe -Buenos Aires- in his bedroom, desk and dining room. The lush greenery of the Córdoba mountains frames the full shelves of his house. That excessive passion accompanied him all his life, without knowing that so many words were going to be transformed into images. Wandering slowly On the shelves, classic and contemporary works coexist. Magazines, clippings, which are the historical framework of his formation.

Intellectuals are not formed overnight. And sometimes, a lifetime is not enough. Ideals and art usually go hand in hand. That is why in some work, freedom exudes in spurts. Because Hugo Lazzarini, despite the rigidity of Architecture, flirted with the freedom of art.

BEING HISTORICAL AND CIRCUMSTANCES

If one analyzes the pictorial work of Hugo Lazzarini, it can be seen that each figure responds to a narrative structure. And that narrative structure has a subject, a framework rooted in history. Without that leafy tree whose roots sink into knowledge, Hugo Lazzarini’s work would not exist. Would have?. A huge void. Nihilism (from the Latin nihil, ‘nothing’) is a philosophical doctrine that considers that in the end everything is reduced to nothing, and therefore nothing has meaning.

THOUSANDS AND THOUSANDS OF LEAVES

But Hugo stands like a Rodrigo de Triana in an opposite posture. With the divine essence of sacred inspiration, express with your palette what your mind and imagination say. But such a thing could not happen if that crazy mind had not leafed through thousands of pages of books and books. If his sonorous steps did not sound on the hidden walkways of European cathedrals, looking for a book, there would be no essence in its construction. The pictorial work exceeds all comments. It should be enjoyed. But the construction of the work deserves analysis. And behold, the value of your library.

This year, the renowned artist was exhibiting in Barcelona, ​​where he was recognized by the mayor of that city. Not only that: he did various jobs during the time he settled in that place.

Towards the end of last year, he held a gigantic exhibition at the Ex Mirage facilities, with a large audience during the two months that the work was there. His work has its own tints and colorations, without this exempting from due value judgment, in relation to the atmospheres that he knows how to create and re-create, from the 15th century onwards.

Not only that: in his work, characters and subjects from different periods alternate, taking the viewer on a permanent journey through history and social context, with contemporary imprints from time to time.

Stay on track Hugo Lazzarini is a man consistent with his mandate. Both in terms of his faith, as well as his vision and social position. Someone who did not resist changes in his work, always adding valuable content, but who was not intimidated by the «changes of times», which is not the same as «time of changes».

Subtleties that you have to know how to discern, in the Creole mambo of Santa Fe culture, seasoned by images of crowds like worshipers of the modern «Baal», like a photoshop of tasty indulgences on a campus where the powers in Watts, try to exercise supremacy over discernment and knowledge, which are truly scarce.

While the crowds kneel before the current golden calf, Lazzarini is the opposite mirror of the clouded dancing minds. The mirage of the «Resolume» constitutes the antithesis of our artist who stands like a Rodrigo de Triana on the imaginary bridge of a vernacular Titanic, in front of the «origami» of little boats in the lagoon.

His work stands as the static image of truth, past and present, in contrast to the colored mirrors, the dynamic jewelry of trinkets, which dwell in the bustling interstices of post-modernity, where pre-electoral masturbation warms its rhythms. dancing asynchronous engines, a space where combustion is obtained not by gasoline or by NordStream gas pipelines, but by porrón and faso in an imaginary mononeuronal printed circuit. Something that would catch the attention of Zygmunt Bauman and provide material for a book, surely.

But one cannot talk about Bauman, in a city where Zapata Gollán, Migno Parera, Babini, Pedroni, have been forgotten.