In the intense panorama of contemporary aesthetic production, the needle eye of the art system and the substantial lack of adequate information, on the part of the majority of the public, end up determining absolutely unmotivated selections if not, even, played on the overturning of aesthetic production itself.Something is moving within the critical debate, but the commodification process has gone so far that a real struggle for human civilization is connected with the reappropriation of the role of the arts. The superficiality of consumerism like "low intensity" wars, has the effect of Gresham's law: "bad money drives out good". And if anyone thinks this quote refers to the dollar, think well. The "art system" has in fact privileged, bringing them to absurd values, precisely the products controlled by the US markets and "hooking them" to stock market speculations which, moreover, have almost no connection with the public. Obviously the European followers rest on the waste of this system and Italy, among the last, has seen a sudden institutional attention towards situations that have now been culturally deceased for at least thirty years. Already, this Italy in the process of rapid "bruttificazione" with an increasingly disinterested population, if not indifferent to its origins, its civilization and therefore its future, becomes, for its exceptional cultural and environmental heritage, the example of the impending disaster of a production system that is first of all forced to deny reason and therefore humanity. In this context, not only Massimo Turlinelli's research and activity can be grasped, but also an ethical commitment that stems from the ability to know how to deal with the fundamental aspects, the motivations of doing: already in the technique of graphics he highlights and reveals the centrality of a rational control, of a mental process that organizes the restitution of the vision, finding the deepest truth of one's own interpretation, defining it according to one's own experience. It is in this existential dimension that the value of roots, of civilization, emerges. The classic inspiration of anthropocentrism constructs a method that invents a new way of using the computer since it becomes for Turlinelli a tool for targeting spaces and rigorous layouts down to the millimeter in the universality of the golden section ratio. The world of Masaccio and Piero Della Francesca, their utopia is no longer rhetoric or quotation: as has also happened in other seasons, it is the start for the regaining of the understanding of the present. The color that lives with light is another central element of Turlinelli's research and sign. The shadows rediscover structures, thicknesses, they invent time and the hour, together with the skies with the horizons of industrious, epic, mystery. The primary colors, preferably applied as pastels, recompose the chromatic universe and illuminate it, thanks to an ancient knowledge also played as a "classic" structure where designing and "doing" are measured in the search for moods introduced by inner landscapes. Meditation and evocation introduce a climate of authentic virtuality and concept with the avoidance of bluff in effect, becoming an inevitable complaint and contrary. thus also emerges an aspect of profound dissent and implicit controversy in Turlinelli's works. Works that are opposed to the reiterations - an aspect very different from reproduction - required by traders according to "industrial" quantities, since their realization is obtained in times adequate to the intensity and creative density that requires careful evaluation and a synthesis capable of settling only at very high quality levels, also from a technical point of view. The creative investigation makes use of the "pointillism" drawings of Signac and Seurat, not as a "gymnasium" for the use of pastels or micromines, but as a relationship both with science at the service of man and with the need to conquer nature translating it into its own emotional sphere, of memory and hope. The fascination of the symbolist experience appears, with discretion, as an implicit citation of a conceptual resolved in evoking readings that virtually overlap, returning to the ancient mode of representation. Yet this too is an aspect of Turlinelli's work that is continually developed in the reflection that sees him as the protagonist. Nature, the perception of nature, is not only the vindication of reason, but also the engine of fantasy and imagination capable of becoming a dream, revealing the relationship between culture and history. The mind guides the hand in the chromatic drafting, the rules, verified with the machine, the extreme prosthesis of the operator, organize and define spaces and backgrounds, the production materializes in sequences marked by titles or numbers. The sensitivity of doing, its reification finds in the tree - and in the idea of it - the communicative threshold between the possible universes of poetry. The tree - preferably pine or cypress - is a sort of leitmotiv, a meditation theme and also a revelator of nostalgic solitudes with an authentically romantic flavor. Events, such as human interventions, are usually canceled. We end up discovering access to mental processes that redefine the status of the image in the clear purity of a metaphysical vision. thus "the shadow on the embankment" resolves the paradoxes and requires the recognition of the meaning of European artistic civilization. The rhythms of the images build and organize a writing, calligrams that become in the refined clarity of a light that creates color, atmosphere, as well as spaces, inventing hours and seasons a silent melody. The sacredness of nature, so periclitant, if not compromised to the point of welcoming it by now in the utopian vision of a stubbornly rebellious culture, emerges solemn and sumptuous. The fruition and empathy with Turlinelli's work are transferred to worlds that were no longer believed to be reachable, while they reverberate in echoes and hopes, in complaints and painful commiserations. The tension and rigor that production requires makes it rare, as precious as the poet's confession, as the ray reflected by the sea wave of existence or as the song at the dawn of the world. The primitive naivety, the one that builds the new destinies of humanity, the irony of simplicity forged by the refusal of opulence that dampens the tension of intelligence are the vehicles offered by Turlinelli to rediscover the enthusiasm of discovery. Official criticism, which for at least thirty years has imposed the reinvention of pseudo-revolutions increasingly circumscribed and elitist systematically assimilated and functionalized with new ideas to give new life to a fetish culture of power, appears unable to overcome the curtain of insiders to re-appropriate of a role corresponding to the imminent needs. Massimo Carboni's reading exercises or the interventions of Lea Vergine and Ester Coen seem to reopen a debate that "passes" even in some newspapers. The most recent systematizations on the twentieth century such as that of David Britt or Silvia Ferrari have raised perplexity for a path that ends in the U.S.A. In the mare magnum of the "art system" and in that, even more perilous and extended, of the undergrowth of the subculture, the fashionable impulses of the post-modern, post-industrial, like graffiti, trans-avant-gardes are revealing the inconsistency of the premises. The "great game" of merchants, collectors and critics now has the inconsistency of uselessness, an appendage to a world where the production of fictitious capital has become the main activity of the system. thus the pertinence of the enigmatic to the mystery, to the utopian transgression of Turlinelli's visual epiphanies leads to the possibility of direct communication to a possibility of reproduction through the electronic medium that makes the Wunderkammer of his works "visitable" and immediately acquirable, without mediation. Other than works on video! Technologies that allow a new approach to the works of the past are used for the present. Turlinelli constructs the enigma of existing in the solitude of a nostalgic reason, all intensely human, imbued with a cultured poetry sung with an ancient attention to metrics. In this way the work becomes a problem, a sign of thought, capable of commemorating through the stratification of languages and, at the same time, a threshold of estrangement and liberation. The link with visibility, the reification of intention is not resolved in the logocentrism typical of much of the "conceptual", but develops through icons, escaping from anachronism and concretizing its own sign. The paths in which Turlinelli's work is articulated don't accept any Baedeker of acting to fit into the desired or planned flows, they define the unsecured status of those who entrusted them to use, demonstrating, moreover, how doing and knowing can still coincide. Another aspect must be recovered, it's about style, the quality that comes from the sign of Turlinelli, sober and abstract as only some images of photographers or filmmakers have managed. The figure is detached from the figuration. Light and color are reconstructed and reorganized in the intensity and duration of a synthesis that turns out to be a morphogenetic mechanism. The relocation of the role of creativity in contemporary society depends on the ability not to allow oneself to be conditioned by the development of techniques to rediscover the centrality of the relationship between man and nature, between man and space and time. Turlinelli continues to propose this utopia as a myth against the dead zone of virtuality, against the "soft" dissolution in the network for the reconquest of sun, air, water, earth beyond totally digital, synthetic, simulating windows, with "" interfaced sensoriality and communicating, expanded, floating and interconnected. The experience of the post-modern and of the prophets of the end of history (events that are not paradoxically parallel as they are exemplary, despite their substantial failure) has highlighted how ever stronger is the risk of seeing the humanity of its history expropriated, that is to say of that new science, which for three centuries has been an instrument of liberation. Art has been a powerful weapon of joyful but also suffered handling to intervene in the sense of those values of good, true and beautiful which, although not absolute, as the Renaissance masters hoped, but relative, as formidable, superstructures, constitute the foundation of a finalized communication, for a new season of Humanism. Turlinelli's bet is also this: to offer himself, without merchants, to the direct impact of an audience that can no longer afford to be worried or distracted only by profit.