Filippo Minelli - Both

The work draws on a pop aesthetic, in the sense of its use of popular media language. In this case, the style of this piece can be traced back to the Street Art subculture and various forms of urban art involving spray paint, stickers, or stencils. Street art, generally associated with hip-hop culture from a musical perspective, is often seen as a means of protest against consumerist society or the denial of rights to minorities. Thus, the double bind typical of pop aesthetics is established: elevating a product of popular culture to the rank of a true work of art and, at the same time, transforming the artwork into something absolutely simple and immediate, such as the language of graffiti.

Having established the clear connection between Filippo Minelli's works and Street Art, we can delve into a more specific analysis of this artist's aesthetic. Minelli favors a pared-down style that brutalizes the figures, reducing them to a minimal and crude form. The few marks he uses have a deliberately naive and childish quality. Minelli's brutalism, however, is not limited to individual figures, but permeates the entire work. The artist creates an entire degraded surface, as if he had removed a piece of wall from an urban outskirts. The dirt is recreated by the artist by superimposing different pictorial gestures and chaotically mixing not only techniques but also formal media (drawings, words, stains). Filippo Minelli's style clearly pays tribute to Jean-Michel Basquiat, reinterpreted through his own original aesthetic.

Filippo Minelli (Brescia, 1983) is a contemporary artist working internationally. His work focuses on reviving a language originating from peripheral urban areas. Minelli graduated with honors from the Brera Academy of Fine Arts in Milan. He began as a conceptual graffiti writer in the 1990s, creating a huge number of performances and urban communication projects from 2000 to 2004, revolutionizing the concept of street art. His interventions are perfectly integrated with their context. Minelli has traveled from the countryside of Northern Italy to France, Spain, and Morocco, reaching Buddhist ambiances in the heart of the Himalayas and historic Kathmandu in Nepal. He has left traces of his presence in the slums of Southeast Asia, passing by the separation wall between Israel and Palestine, and finally arriving at installations in Korea.

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