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" In Borghese is reflected the drama (or the comedy) of the contemporary artist, who, in order to search any trurh, is obliged to operate in an evidently false dimension; "figures" as the ancients told, situations and characters whose "poetic truth" necessary presupposes the falsity established by formal logic. So, we find in the works endless contradictions, unbalances and unfathomable mysteries, that may be cleared only by that equally less logically believable capacity that is the aesthetical intuition. In this way the more the homage is "incredible", the more it gets artistically efficacious, the less you understand it, the more it succeeds in involving us. (On the contrary we will reject all that is a copy, or mere declaration of things and ideas, as talkative moments out of the reality - and it would be better to say out of the artistic unreality). To return directly to the works of Franz Borghese, I would say that first of all he has chosen the place of his imagination like the first chess player could have chosen that field of reflexed actions that the chess-board is. Afterwards he has built his characters through which he could lead the game, lastly he has begun to move them according rules, which are more or less valid for everybody. However he could not dominate them completely and he throws on them what he usually throws in the relationship with the others, illusions and sarcasm, irony and passion, trust and distrust. So it happened that between the demiurge-artist and his creatures develop very particular relations, interchanges with more or less direct allusions to the world of the everyday things that is the world of the "others" as well. They can also feel involved, at least as spectators in the game of the allusions, transformed in factory of poetic illusions.

Rome 1973                                                                                                                                 Franco Solmi

(Franz Borghese - Publishing House La Nuova Foglio - Pollenza - MC )