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IN THE NAME OF PAINTING – Opposites attract
Three solo exhibitions – Tribute to Mario Schifano, Sergio Vacchi, Gualtiero Native
MARIO SCHIFANO 70s
edited by the Giraldi Gallery – Livorno
foto_schifanoMario Schifano was born in Homs in Libya September 20, 1934. He made his debut in the informal culture with thick with matter paintings. With works of this kind he begins his first solo exhibition in 1959 at the Galleria Appia Antica in Rome. It ‘still on the occasion of the exhibition in 1960 at the Galleria La Salita with Angeli, Festa, Lo Savio and hooks, that the critics started to take an interest of his work. Abandoned an informal approach, now painted monochrome paintings, large paper glued on canvas and covered with a single color, tactile, surface, drip. The painting becomes a “screen”, a starting point, an event space denied where, a few years later, numbers, letters, fragments of symbols of consumer society, such as the Esso and Coca-Cola. In 1962 Schifano is in the United States; knows closely the Pop Art, he was struck by the Dine and Kline and exhibited at the Sidney Janis Gallery in New York in the New Realist. In 1964 for the first time invited to the Venice Biennale. The artist now worked on thematic cycles: anemic landscapes, revisiting the history of art with works dedicated alFuturismo. It e’attratto is withdrawn from the images by the mass media and therefore wealth of the community.
SERGIO VACCHI: “Volte Face”
edited by the gallery Screw – Catania
Text by Giovanni Testori
sergio_vacchiQuando it evokes the long, tumultuous journey of Sergio Vacchi long, tumultuous, golden, purplish, yea, slobbering, always extremely coherent Epper and, therefore, for anyone who visits or studies, an almost unique coercive power, what is ahead not is an ‘image; It is not a figure; nor, of figures, a glorious and, together, esacrando jumble; It is not, in short, something that belongs to dell ‘icon domain; but rather, a kind of lutulenta swamp; perhaps, a dissacratissimo Styx; perhaps, even, a Flegreo range of no more, and therefore, no more, no judges, no judgments, no related penalties. What comes back belongs, therefore, to the domain of matter. It is a subject that has never known the formless fall; viciously and sadistically careful, indeed, to trace after each historical wind (thus, figural) its ubi consistam; her room; his limitless basement. A grigità smeared and slushy; a grigità who is a cross between that of dying or pearls, however, moriture, and that of bogs, fogs and mists, it is quickly revealed as the tone, indeed, the color, better yet, as the real and tangible substance of which the marsh is made; and through the sweetish and poisonous miasma that go up, it is made of the space in increasingly unpredictable ways, around and over the swamp, it is; around, above, but, also, below. Below, where they rest, perhaps, the dead, then, are the already-forms, already-figures, the already-icons? And there will be they, the dead, the already-forms, already-figures and the already-icons, to make colar out of their slow, putrid, nauseating “soaking”, the grigità, therefore, that substance? They will not be of that swamp, the indispensable food and manure? A manure, in its way, Persin costruente. This even though the sites or, perhaps, the place of Vacchi much proves stable as poetic statute, what is revealed unsafe and uninhabitable as figural statute. The primary condition of this place is the gelatinous; what say something that, while is before us, shows that he had in himself the need to discard, to go down again, further down – and forever – nell’anonimia of what he never had no form, no way. True greatness, and unpleasantness, the fantasy of Vacchi live in this “oppositorum” coexistence (if indeed, in him, it is the opposite); much more, and certainly, that in the foldable, even the elements of taste, in disgust reasons. Disgust that sometimes rages against him, and, in despair, not to lose, become revolt. Yeah, but before, within, above and below with that welcomes in this Styx or Flegreo Court, what is the point, for us who look, revolt? The viewer can, at most, to pretend; pretend that those pictures, those series, indeed, paintings, therefore, those cycles, does not exist. And yet, if one of those paintings we have seen, this is not fiction protraibile long. It comes the day and time in which, when we least expect it, that picture, just the subtle and omnivorous power – arrogance of the sewage, there is on him; himself completely wets us; and in itself, little, little, it buries us ….
GUALTIERO NATIVE: “A protagonist of abstraction”
Archives to care General Gualtiero Native
in collaboration with the Nozzoli Gallery
Gualtiero Native (Pistoia 1921 – Greve in Chianti, Florence, 1999). His early paintings aniconic with inflections are still neocubiste of 1947. The following year he founded with abstract painters of Florence Berti, Monnini and Brunetti, the group Art of Today, by which organized a series of exhibitions of the same name. In February 1949, the Group exhibited at the Salto Library. In June of that year in The Strozzina Florence the International Exhibition “Art Today” brings together the work of the Florentine abstract artists, Roman (Forma1), and the MAC elements. In 1950 he signed with Monnini, Berti, Brunetti, Nuti and critical Migliorini the Manifesto of abstract art, in which we propose a rigorous geometric purism, in opposition to certain outcomes and lyrical abstraction matrices. From 1950, his works are characterized by fragmentation in rectangles that is centered in vibrant contrast. In 1951 with the exhibition Abstract and concrete in Italy organized at the Modern Art Gallery joins the Art Club, participating in six exhibitions. In 1953 he became an active member of the Groupe Espace. In 1958 he exhibited at The Gallery Salita in Rome. And ‘present in various editions of the Quadrennial of Rome. In the sixties and seventies his compositions based on color geometric elements are arranged in a suspended balance.
HERMANN HESSE: “The watercolors of a great writer”
Tribute to the fiftieth anniversary, edited by Gregory Rossi Valentina Campatelli
Herman_Hesse_Pittore_ridottaHermann Hesse, the great protagonist of the European culture of the ‘900, was born June 2, 1877 in Calw in Wurttemberg, Johannes, Russian citizen of Baltic origin and Maria Gundert a German father and Swiss-French mother. It is probably to these origins, which owes its feel “citizen of the world” and free of nationalistic feelings. He had difficult relations with educational institutions, preferring to grow in his cultural formation as an autodidact, facing literary studies of classical authors, fiction, philosophy, art history. It was always very attracted by Eastern mysticism. fiction writer most read in the world, the poet, is the 1899 publication of his text Romantic Songs, in 1946 he was awarded the Nobel Prize for Literature. In addition, the age of forty years and for the rest of his life, on the advice of medical personnel, to address and overcome frequent depressive crisis, he tried his hand with great sensitivity and expressiveness in painting privileging, after experiencing various painting and bean bag techniques, the watercolor that best enabled him to quickly establish its many emotions. The advent of the Nazis Hermann Hesse takes a firm stand against the regime so that in Germany is prohibited the publication of his writings, he resumed only in 1946, when he was awarded the Nobel Prize. Stricken with leukemia, died August 9, 1962 in Montagnola, near Lugano, the land of his election by the abandonment of Germany took place in 1912. In this exhibition, organized on the occasion of the fiftieth anniversary of the artist’s death, they are exhibited 35 watercolors they are part of his latest production, which were kindly provided by Mrs. Eva Hesse, granddaughter of the great writer. The exhibition is curated by Gregory Rossi and Valentina Campatelli and relies on the valuable help of Peter Soresina, who worked for Mrs. Eva Hesse.
LUCA ALINARI: “The origin of the senses”
edited by Artpoint Gallery – Florence
images_AlinariPrincipia with a moment of critical reflection on pop art considering the stereotype of the object in a perspective similar to that of the Roman area around Baruchello. Characterizes its research with choices iconographic refined and whimsical drawing from a repertoire from illustration for children comes to advertising. Work with mental and formal clarity. He realized with light and controlled hand. In the early 70s he painted with interior living spaces exposing the results in 1972 and ironic tones cut turned into a solo exhibition presented by Michaud E.Crispolti the gallery of Florence. In 1976 he was present at the exhibition curated by G. Di Genova in Montauro ‘Type / topology of the figurative in the 70s in Italy’. In 1979 participates in exhibitions ‘Ars combinatorial’ curated by Solmi Barilli and the Bologna Gallery of Modern Art and ‘Textual: words and images’ edited by Caroli and Caramel at the Rotonda della Besana in Milan. The narrative structure of his works was born, he suggested with large degrees of freedom, from the assembly of figurative elements isolated and is organized in time in the form of fantastic and evocative story. The space of the painting takes on the perspective structure of a scene that includes figures, dream situations, elements of the landscape. The results of this work appear in the proposed ‘Italian Window’, the exhibition of 1984 in Siena at the House selling for Gigantic Bean Bags. New staff at the Casa del Mantegna Mantua. In 1985 Alinari participates in the XI Quadrennial in Rome in the ‘Emergencies in artistic research from 1950 to 1980’ and ‘Anniottanta’ in Rimini organized by R.Barilli. Even in the retinue characterizes his work a narrative tone or fairy tale, brought with appreciable weight to iconology of dreamy fantastic horizons, full of references to the times, to the objects and childhood games. His painting has exceeded the graphics sources to appeal to an inescapable texture and bright colors, sometimes glowing. complete statement of its course is given dall’antologica curated by E. Crispolti Arengario in Milan in 1993. A very large curriculum in private galleries. Bibliography. E.Crispolti, Small diary à rebours for light of L.A. figuration, catalog shows in Milan, 1993.
ANTONIO NUNZIANTE – “… towards the light”
edited by Artinvest Group LTD – Rivoli (To)
Nunziante_2007_l10Artinvest presents a selection of the most representative works of Antonio Nunziante. In Arezzo some works from the exhibition Expo Oneiros, attendance records in 2009 in Venice, a painting of the Omnia cycle and Narciso, centerpiece of the recent “The landscapes of light” at the Palazzo Ducale in Genoa, together with the latest works. The art of Antonio Nunziante continues to impress between symbols and pictorial atmospheres with a continuity that led him to a consistency of composition that goes along the evolution of the themes and suggestions. From Oneiros to Narcissus, in a magical return of environments and highlights the history and present of art that tells visions and dreams with a contemporary language that brings admiration and amazement. Nunziante in Arezzo the staff of a contemporary classic in constant balance between the responsibility of the pictorial mission and the fun experienced in the space of the canvas.
SCULTORI IN FOUNDRY
The lost wax casting from the source to the contemporary. The bronze magic. From dream to life.
edited by CERRIARTE Gallery – Castiglione Del Lago (Pg), in collaboration with the Artistic Foundry Del Giudice
manifesto_scultori _-_ _-_ Copy it Copia_copia art smelter holds a special place in our imaginary, evoking ancient suggestions, made of reality and fantasy together. From the bowels of the molten metal, the fulfillment of a mysterious and singular event, in it something magical, a workshop where the material is mixed in the spirituality of art and where the bronze comes to life. “Sculptors in Foundry” is a journey through time: step by step, is revealed the charm of the modern techniques of casting, which so far are not far from those practiced in the ancient Renaissance workshops. old and new instruments and materials, didactic and photographic panels help us to penetrate the secrets of the process of lost wax casting complex, remained essentially the same over the years for the production of bronze sculptures of small and large. The exhibition also highlights the close relationship between the sculptor and the foundry of art: a very special bond made of understanding and collaboration between the technical and creative. The combination of the Master Artist Smelter and highlights the skill and genius, so that the final work full of pulsating maintains all the freshness of the original. A visual commentary of modern representation, only in Show works by contemporary sculptors. The ancient technique is combined with the creative imagination and innovation of our times, creating a joining link between the “old” and “new.” The bronze is transformed into color, the strength becomes evanescent, the abstract is concretized and become conceptual matter, the dream takes all forms of human memory in risky balance and the mythic imagination takes new life. And ‘sculpture of Adriano Bimbi, Giulio Galgani, Giant Bean Bag, Victoria Marziari, Claudio Nicoli, Carlo Pizzichini, Alessandro Reggioli and Fulvio Ticciati.