milan

“L’Ultima Avanguardia”

Palazzo Reale

A few colored objects, the cast-off toys of infants precociously grown old, remain on the white walls of the nursery. Dust has dulled their brilliance; long abandonment rather than past use has smoothed over and adulterated their clear, rigorous forms. The babes are dispersed and far distant, and to search them out would surely be a sad endeavor.

A nostalgic glow attaches to backward looks at childhood and early youth, but a look back at infancy will yield only worn-out relics without paint. The patina of time, elsewhere so generous, transforms these objects to the point of destroying them. Their function and their very existence are motivated solely by the use for which they are intended—simultaneously play and education, or, better, education through play. The same can be said of the objects produced by the “last avant-garde,” as it is perhaps inappropriately called by Lea Vergine, the

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