May 2008

Le Carte dell'Arte

Antonio Auriemma Renato Barisani Gianni De Tora
Carmine Di Ruggiero Giovanni Ferrenti Enea Mancino

Inaugurazione
sabato 10 maggio - ore 18.00 a Caiazzo, presso il Palazzo Mazziotti

Speakers: Mayor of Caiazzo Stefano Giaquinto and the Minister of Culture Thomas Sgueglia, art critics Agnisola Giorgio, Franco and Carlo Roberto Sciascia list, coordinate the actions DS prof. Diamond Marotta.

During the exhibition the artists will donate to the town of Caiazzo their work to a newly established museum of contemporary art.

Patronage: Provincia di Caserta, City of Caiazzo, Associazione Culturale Ars Supra Partes
Collaboration: Pro Loco di Caiazzo, Photographic Association "Elvira Porto" Youth Forum Caiazzo, Fidapa Calatia.

10 to 23 May 2008

Opening Hours: Monday 8.30/12.30 - 15.30/18.30; Tuesday 8.30/12.30; Wednesday 15.30/18.30, 8.30/12.30 Thursday, Friday 8.30/12.30 - 16.00/18.00, Saturday and Sunday closed.

In the catalog the following texts:
- "The warm Neapolitan pronunciation of the abstract" by Giorgio Agnisola
- "Abstract Art as purification" of Franco
List - "Abstract Art in Naples" by Carlo Roberto Sciascia

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The warm Neapolitan pronunciation of the abstract

George Agnisola

It seems to me that a particular aspect bell marks the artistic production in a time frame that can emerge from abstract informal: a physiognomy unidentifiable with a variation in style and quite readable in time to tie the threads of the hidden psychological meaning and connotation of the artistic production of humoral and led his spiritual aspect that could be called a denial of substantial, well-tested and general locations within the research, an 'expression purely cerebral and emotionally detached. Rarely, in fact, the Neapolitan art in recent decades interprets abstract models without the visual dynamics that can be read as evidence of a passion for art and inspired an interest: a distinctive mark that is likely to be common to a lot of art and the southern Campania region in artists buy a frequency detectable in particular in the work some of its more younger and older players. Carmine Di Ruggiero, for example, who has long studied the mixed use of materials in a geometric perspective, but also a dynamic material, shows in an exemplary manner the continuous stay within a purely abstract-visual, attach to a preliminary research innermost and often a transcript of himself in an intimate opera. Art by Renato Barisani, the doyen of Neapolitan artists, who investigates a decades marked by watchful formal equilibrium geometry, has always pursued a warm visual harmony. His art resonates within that vision, is not closed in the rigor of the signs, but is open to capture shape and volume that attach to hard i piani e la luce in un equilibrio formale e compositivo che fondano potrebbe dirsi sul molteplice senso percettivo dello spazio in chiave luministica ed emozionale. Anche Gianni De Tora, artista recentemente scomparso, ha testimoniato nei lavori della seconda metà degli anni Novanta del secolo scorso, in cui forme cromatiche libere e brillanti campiscono luoghi interni e prospettici dello spazio visivo, una tensione intimistica, affidata alla dialettica tra il dinamismo scenografico dei segni e rigido e ribaltato gioco dei piani di luce. Le costruzioni geometriche di Enea Mancino sono articolatissime trame costruttive che puntano al recupero di un equilibrio "miracoloso" e non di rado solenne della forma: di un luogo di origine si direbbe del linguaggio visivo, che is interpreted from a central real and imaginary, mathematical and intuitive, so you can read a neat idea of \u200b\u200bmind as a spiritual principle, incorporating the space into a sort of reverb chain, consequential only in appearance, actually attached to the basis of a fine and lucid psychological tension. The same sculpture of Ferrente, which is known large metal structures, as well as a voltage is perceivable mechanistic as well as composition and a unique reference to organic and natural world, are incomprehensible without a perspective of light that touches the metal , enters the games of iron filings, agglomerations of mechanical tools and reveals the secret plots, the surface now rusty lapped hours, the complex gear, the mysterious mechanisms. A light that is often light in the tentacles of a form that is never static, even in the structure heavier and aspires to rid the air of gentle landscape of Naples. The figure painting of Antonio Auriemma finally lies in a scenic area on the border between abstraction and dream. It is not the place of the recognition of form, but of its concealment, its metaphorical dream of his great transit. His works have a delicate tale of mysterious shapes that follow in the space of a size unlikely leavened and completely internal. It 's the order passed in the abstract space of an intimate romantic and poetic, at once mysterious and familiar, the path of a symbolic narrative psychological calm and sweet, but the search of a place of balance, and final summary, which combine in a prayer as anxiety and harmony.

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abstraction as the purification of Franco

List

In its most immediate phenomena, the relationship between the six artists in the show seems almost a direct correlation of the thought of Clement Greenberg , when he argues that the procedural abstraction is the inevitable result of making art. That is, the art, further away from the delusions of realism, undergoes a sort of "purification" that leads to full mastery of the field painting. The evocative essay
Greenberg, contained in the recent book "Origins of the work of contemporary art", curated by Di Giacomo and Zambianchi, we refer to that single abstract content-sensitive, pure and original painting.
The research of this content I think, ultimately, the thread that ties the long process of interpretation of our artists, ensuring both the depth of the language, variously oriented, and the particular emotional aura, evoking the mystery of the painting, which always accompanies abstract art.
gaze together, just outlined, could contribute to a further deepening of the vast repertory of abstract forms of expression, in the Naples area, whatever the means and representative of the individual variations of individual artists.
Meanwhile, it must be said, has already made a substantial literature on the subject that captures the historical-critical, not simply work through a systematic, historical and qualitative traits of real Neapolitan.
Antonio Auriemma, Renato Barisani, Gianni De Tora, Carmine Di Ruggiero, John Mancino Ferrente and Aeneas are among the main protagonists in this long-standing research that intertwines several stories, should be seen, especially in relation to their historical and environmental context, as authentic tread of research that has actually brought the visual arts to a condition neapolitan necessary and renewed "purification."
"The history of abstract art in Naples, writes with effective penetration critical Carlo Roberto Sciascia, follow each other in logical continuity. Mainly caused by the liveliness and variety of sediments and cultural links, rinnovatisi from generation to generation over the last decades of the twentieth century ".
Our artists are those who fled from the easy accessibility of the figurative, playing a role, albeit with different paradigms, absolutely pioneering and exemplary.
refused without any delay, the general condition of "imagomania" that increasingly was firmed and Roland Barthes noted that compared to our total dependence, so strong Prefix it to the "ideal dell'etica o della religione".
Certo, al di fuori delle categorie canoniche, non è difficile percepire il rigore, la sensibilità, la forte passione contro la spregiudicata mercificazione delle immagini del nostro tempo.
Sono questi aspetti e valori che riverberano soprattutto nelle opere in mostra, dando conto della forte incidenza etica della lunga e straordinaria stagione dell'astrattismo nella nostra recente storia artistica.

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Astrattismo a Napoli

di Carlo Roberto Sciascia

Le avanguardie storiche dei primi anni del Novecento hanno contribuito, sia pure in maniera diversa l'una dall'altra, al completo stravolgimento del concetto art, laying the groundwork for a new idea of \u200b\u200bart and being artists. Stems from the desire to release the dynamism of space, from which radiate all the dynamics of the human moral and sensitive and the individual colors, their more or less intense color saturation, the sense Symbolist, suggestive of moods or states mental details, the depth of interiority spiritualizing mean more than any contribution naturalistic narrative and illustrative. Color and texture of the plastics are a prerequisite for cross access to the unconscious and the conscious and subjective imagination. The artist becomes a fine magician, a juggler on the silk thread of fragrant memories and nostalgic, a stregone, un prestigiatore, un poeta e si avvia a esplorare i meandri oscuri e complessi delle realtà sovrapposte a quelle visibili, nella spazialità di ritmi e di musiche, tra i dinamismi delle linee energetiche, tra le tessiture cromatiche che ci circondano ed hanno un'eco interiore, nella decomposizione della forma.
È stato, però, solo con la seconda metà del Novecento che le varie pratiche di sconfinamento e di estetica diffusa hanno dato vita ad una molteplice e multiforme produzione di interventi negli spazi urbani e nel paesaggio, di performance e di happening, confluendo in ultimo in un unico evento spettacolare, entro cui sfuma la distinzione tra dimensione virtuale e mondo reale. La prevalente causa di ciò deve ricercarsi in the changed socio-economic and philosophical views and different concept of man and humanity, all subtended by an increasingly unsettling precariousness of daily life, which seems to destroy the concept of space-time and all hope of life. Even the reading parameters have changed so much that it requires a different attitude towards the arts than the traditional one can say that it is increasingly becoming a specialized discipline, "intellectualized" and, like any other discipline, has its own specialized language and the use of terms, so to speak, technicians.
Extending the limits of aesthetic design using a variety of techniques has offered a legitimate means to achieve expression more significant. Knowledge and tools derived from science, experiments in the chemical industry and the technological revolution with its giant strides have opened new horizons to artists, given them new techniques of artistic expression and provided various materials.
The Abstract has been accepted after the war under the banner of outrageous opening to modernity, in a context such as the Neapolitan, having known at the beginning of the century the glaring failure of Futurism, had remained faithful for the most part, and especially with regard to the public and the market in late-nineteenth-century forms. In Naples
important was the sense of the problematic nature of language some grasp of irony on the side, others emphasizing the dimension of the conflict with piercing existential sensibilities, and some evolving items that relate to the work in a dynamic subjective reality, but also enhanced by fragments of a reality that is constantly changing, each with personal experiences and with very different language variations. In the fifties
Renato Barisani creates creates a poetic evocation of the informal from the suggestive and, later, to geometric abstraction, organic and lively soul space delineating paths moved in rhythmic changes even if the asymmetry, even if seemingly disjointed , reaches a more free and unconditional order in space; surfaces designed, smooth and quiet with many aspects, they enter into an intimate conversational setting with full determination in making a plastic dynamism that permeates the world around them. The language of
Carmine Di Ruggiero has continued references to the magical atmosphere of Naples, full of animation and folklore, and offer impressions "Serbia" is in his daily life and during his travels transferred to an impalpable virtual dimension, with a rich dialectic, those visions are typical of geometric structures of matter evolving in which, with "scratching" of signs worn by time, and pulse sign complex and incisive take possession of the plastic surface. The image force, which use of patches of color and lines carved into a dense background to outline the need for reconnection to the past to recover, become signs which affect the heart and suffered permanent traces in a search (the current one) that, in contrast, or contrast with those of previous years, develops courses melancholy but more intimate, they make up gently, spreading silently absorbed by a strong emotional and psychological repercussions be stepped up in a wonderful sensory depletion. The consistency, coupled with the ethereal sense of spirit and the innermost perceptions, enter into relationship with the world's most secret intimate and personal undertaking an exciting fascinating spiritual adventure. John
Ferrente sintetizza le intense percezioni di una realtà, sovrapposta a quella visibile, in grado da un lato di esaltare in lui il senso di appartenenza all'universo della natura, dall'altro di aprire mondi sensoriali inaspettati. Le sue opere vivono intimamente ed armonicamente con il mondo circostante in una concezione spazio temporale vibrante e si esaltano in un vissuto senso di appartenenza all'universo ed alla natura, aprendo mondi sensoriali inaspettati; sanno fondersi con gli interni spaziosi, con le architetture urbane e, soprattutto, con lo sfondo di un paesaggio naturale che ha nell'infinito il suo limite, disegnando intorno visioni euritmiche, mentre le loro cuspidi si prolungano verso il cielo per fendere le linee di confine tra reale e metafisico, alla search for a global merger of the visible absolute; concentrated in the concrete median, relax in extensions that look wonderful on the one hand the sense of the explosion of matter, on the other hand the progress of time towards the inevitable point of no return, while the their core energy are evoked disturbing events that are softened in the space between lightness and imperious gestures outpouring of thought.
sculptures Gianni De Tora draw geometric architecture, developed in strict forms spans of intense colors and a rediscovery of the work of signs and mathematical principles to come to reality "other." The colors, then determine decisive steps and paths of the mind, as is evident. In the "structures reflected" De Tora becomes all opposing elements and detected strong flavor, which provide boundaries between two similar but separate reality from which, perhaps, learn a truth too often the man for petty reasons discussed , not realizing to observe all on one floor reflection. The rigor of Aeneas
expressive Mancino tends to set values \u200b\u200bin color-balanced set of signs to better define the distinctive characteristics of his work, his research on color and geometry of the universe focuses on geometric elements, which follow one another in eurhythmic original architecture from the immediate lyrical references to the identity and bright Mediterranean significant sequences and layers of color-controlled expression of the size. His works of considerable formal synthesis means for synthesizing a personal language tracks and vibrations, which characterize them. Its synthesis is not only formal since the strict sign comes into contact with the harmony of the universe, while the inner drives looking for a balance overall. The tonal balance
fleshes out the works of Antonio Auriemma and suspends in time and space on the edge of the ineffable emotional perception, and his work, subtly poetic, mysterious spell fold intensive scenarios and offering compelling, rich aromas and flavors Mediterranean. The artist ventures into mirages in the balance between vision and ideas, trasparenti rimandi memorie di passata, per accede to progressioni energiche fantastiche and lyrically in a concretizzazione di accenni intimistici.

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