The Avant-garde is always an instance of novelty, that changes form, transforms the language and present itself as – Der Beste Anfang – The best beginning, taking the irrational responsibility to act as a “necessary and essential force”, not only for itself but also for everyone and everything.
Klaus Rinke is one of the artists who best personifies the value of the Avant-garde. He works in a radical way not dogmatic or stationary, but in dialogue with the historical and social instances that are in flux. Klaus Rinke in fact is the best example of a life totally dedicated to the Avant-garde: he submits his art to a continuous renewal. This renewal started from his photographic work, with which the artist has become known in the sixties, and then moved to the installations, and the recent paintings, where the form and the color returned to establish themselves as a new paradigm.
In the long artistic career of Marco Cingolani, his work has always had a confrontation with social changes. In the installation called "Duchamp discount: il mercato del concetto"(concept market) of 1989 the reflection is formalized in the false and standardized repetition of the same object, a real formal discount of ideas that arises as a substrate of the Postmodernity. We can find a similar reflection looking at the large canvases dedicated to Cartesian charts of 1987, where the values of statistics and mathematical data built a mystique of calculation predicting the mantra of the algorithm and big data that seems to guide our choices. In “Vox Populi” and “Opus Dei” these values become icons of a Cartesian axis as in the series of his interviews with celebrities.
Ron Gorchov practices the Avant-garde of loyalty to an existential choice based on a formal reduction and multiplication of senses. The typical support of his artwork, that resembles a human bust, builds the concrete space of Art making itself. A room unchanged in the decades that accurately records the changing of the gesture of the artist who reiterates the same concept: himself. This is not a solipsism of art, but the best rediscovery for the Avant - garde: the gesture, the artist's body as the first protagonist of Art.
Thomas Helbig’s Best beginning is on the other side a Stimmung of a space, where sign and color become the main character of the paintings. The German painter preserves the idea of the sublime fascination of nature, as a menacing power. Helbig, as a true Avant-garde painter, feels the responsibility of sign and color, not practicing disenchantment and ornament, but the enchantment of a space in which the materials of art realize, once again, Der Beste Anfang.
