Calendar

Jun
30
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ANDREA PACANOWSKI All’infuori di me – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Andrea Pacanowski’s exhibition, will take place on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

Who has not tried, at least once, a puzzle of hundreds of pieces? You will remember the images that usually make up the mosaic: long field landscapes and panoramic visions are generally the winners, with a higher share for unspoiled natures, cultural spots and human crowds. The puzzle inadvertently encloses the sense of today’s image: the disintegration of an order to be reassembled looks like the transitions between analog and digital, the transfers between device and print, the links between high and low definition… the analogical nature of the puzzle touches the close-up and depths of field, the tonal stirrups between areas of color, up to integrating the glitch (the error of position of the dowel) as a further exploratory possibility.

Andrea Pacanowski brings to Spoleto fifteen photographic works. All’infuori di me (Outside Of Me) gathers human masses, bodies in military order, people in uniform, ritual groups. They are collective patterns that come, in particular, from the religious assembly outside, from the places of aggregation of the most widespread monotheistic cults. The photos enclose pieces of humanity in a geographical frame that plays with pictorial abstraction and iconography of the web, creating an aesthetic short circuit of high workmanship, maintaining the purity of analog as a camouflage potential (simulating digital techniques through analog talent is a key step in contemporary photography). Those bodies concern the anxieties of our time, the boundaries of freedom, the need for spiritual guidance, the search for sharing, themes by the historical importance and political significance which are central in such a narcissistic era, narrated by Pacanowski with aesthetic ability and conceptual intelligence.

A photograph with a pictorial result, modulated by rhythms and grids, where colour becomes plastic structure, where rhythm compresses the internal dynamism of the image. Through the optical ambiguity of the puzzle, Pacanowski challenges the audience to the mobile vision back and forth, to define the focus, to dissolve the retinal ambiguities that the images contain. The works are photographic puzzles that break a number of certainties on the uses and abuses of digital. According to the author, each shot is a unique journey by the analogical sense, a slow immersion that requires technical knowledge, invention, the overturning of apparently immobile rules. The final image is the result of shots, combinations, stage lights and other tricks that Pacanowsky has refined in the context of Fashion, his original profession, a space of technical growth but also of robotic, emotionless perfectionism. Pacanowski felt the limit of the set and post-production, of digital as a glossy dictatorship: here he challanges the electronic staging, preferring the slow codes of an interior habitus, where the photographed skin turns into a complex geography where colours and tonalities define the invisible, where scratches and signs amplify the iconographic energy. His actions are sound trails that map out sinuous harmonies, localize details, expand emotional signals behind a body. Photography here takes the slow rhythm of the brush, revealing a metaphysical quality that leads us into a mysterious, ascetic, fatally spiritual ritual.
The Spoleto exhibition thus enters into the heart of the monotheistic cults: Christianity, Judaism, Islam. A photographic journey that tells the spontaneous methods of the great gatherings, according to an approach that captures the gravitational balances, the chromatic scales, the syncretic rhythms, the collective harmonies. An analysis to show the ethical value of each religion, the possible coexistence of diversity, the importance of dialogue as a cornerstone of a universal refounding. Pacanowski’s photography reaffirms all this, and does so with an aesthetic energy that breaks the judgment, cancelling the terms of superiority and inferiority, the dangerous personalisms, the extremist obsessions. Here we speak of harmony and freedom, of men and women who walk on the same planet, breathing the same oxygen, pursuing the same dreams, in search of that indestructible thing that everywhere is called Love.

It is photography that takes up its analogic essence, but with the best that printing and media can offer. It is not a return to the origins but the origin of a possible continuity, it is the resistance of the human factor that orchestrates fragments of universal beauty. A beauty that speaks to us of religions and syncretism, that enters the warm heart of the planet through a door of liberation of contents. Andrea Pacanowski invites us inside his rhythmic weavings, inside the multiplications of every single diversity, inside the chromatic noise of a vision that involves each of us. Because, as the title says, outside of me there are always all the others.

www.andreapacanowski.it

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

EUGENE LEMAY Ghost Witness Shadow – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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EUGENE LEMAY – GHOST WITNESS SHADOW
curated by Gianluca Marziani

The opening of EUGENE LEMAY exhibition, is scheduled for SATURDAY 30 JUNE at 12:00 in Palazzo Collicola Visual Arts, Spoleto. The exhibition is curated by Gianluca Marziani and included in the Festival of Two Worlds’ official programme.

The Press Conference is scheduled for 11:00 at the Piano Nobile.

The Piano Nobile at Palazzo Collicola Arti Visive opens its 18th-century wings to host a new artist’s project, designed in a “sartorial” way on the domestic model of the rooms. The approach with Eugene Lemay follows the usual rules of a soft, inclusive insertion, re-created with camouflage ways that blend into the ancient without substantial changes.

Integration is the right word to capture the embrace between the nature of a noble apartment and the electrical energy of a contemporary artist. On the one hand the opulent splendour of the place, on the other the metaphorical power of Lemay, his social criticism, the monolithic harshness of the works. The apparent contrast is thus transformed into a fluid integration: now the never-aggressive fullness of the place, now the expressive essence of an art that attacks the eye, loading the rooms with an invisible, yet dense magnetism.

American Eugene Lemay (1960, Grand Rapids, MI) returns to Italy after his personal exhibition in Rome at the MACRO Mattatoio (curated by Micol Di Veroli, February – April 2015). Dimensions of Dialogue was the title of that exhibition, a phrase that well encapsulates Lemay’s ethical conscience, the political and militant nature of his work. The works at Palazzo Collicola are the stations of a journey in the pain of war, in the hypocrisy of politics, in the phobia and terror that blinds, in the wounds of the flesh and those of the heart. The American artist knows the noise of bombs, the screech of lethal weapons, the smell of pouring blood. At age 13 he moved from Michigan to Israel, passing his adolescence in a kibbutz, then becoming a voluntary soldier who took up arms and fought for Israel. A very hard experience that marked his life as an American Jew, shaping his talent as if it were a storm that shapes a mountain. There are normal lives that sometimes create extraordinary tales. And then there are extraordinary lives, without safe harbors, that are sublimated in universal works, destined for the Esperanto of the eye, to the collective dimension of natural values. Eugene Lemay enters the extraordinary of a nomadic existence, culturally fertile, impressive for its events and consequences. A life inside life, so involving that it becomes an artistic thrust, so as to produce consequences in the form of works and visual messages.

Gianluca Marziani: “I am struck by the double soul of some of the works, the ability they have to mould themselves on the individual habitats. When I saw the installations in the gigantic studio in New Jersey, I thought they breathed in silence, in a neutral environment that accepted them without conflict. Once set up in Spoleto, something completely changed in them, now they began a phase of faster breathing, as if they felt an anomalous place and tried to adapt to a habitat full of memories …”.

Phantoms, witnesses, shadows… it is them who guide us ideally along the stations of the Piano Nobile, we feel them inside the paintings, beyond the frames, among the false bombs of an installation, inside the pictorial impasto, in the monochrome backgrounds of the surfaces… Lemay crosses the evil of humanity with the metaphorical pace of art, avoiding the blackmail of realism, preferring the suspended pace of allegorical rites, of archetypal figures, of the dissolving black, of the clouding grey. Through digital elaboration and manual execution, bodies and faces are recreated that seem to have been born from plasticine, wool, steam, snow, cream… they are shadows of flesh, solid ghosts, silent witnesses of the evil suffered… Arctic and nebulous bodies, similar to white bears that embrace, bend, suffer, fall, stand up… Bodies of soldiers that could become everything we would have liked them to be… Bodies that are philosophical archetypes between Plato and Nietzsche, sometimes black like shadows in the darkness of the cave, like soldiers under a starless sky… Bodies that embody pain and the desire for rebirth, divided between a necessary evil and an even more necessary good… bodies that are ghosts on their way through the world, slow but elephantine in the heavy pace that tramples on wounded lands… bodies that seem solid shadows, eyewitnesses of collective pain… bodies that seek the light of the night, the stars of the day, the distant horizon of the events.

Gianluca Marziani: “Godot arrived among us together with the silent witnesses of Lemay. Samuel Beckett’s mysterious figure arrives among the living, blurs into the crowd of ghosts and mute shadows. He doesn’t introduce himself to anyone but we understand that he is Godot, archetype among the archetypes, witness and judge who guides humans to the edge of the abyss, stopping just before the fall. In front of the emptiness he sums up the evil in an instant, caressing the suffering Earth, asking ourselves which side we want to go to… Because evil has reached its peak and beyond that peak the black hole begins, the antimatter of existence, the end of the last Endgame. Godot accompanies us on the abyss and lets us look at the infinite emptiness but also at the light behind our backs, at the possibility of a new journey, of a plausible rebirth. The choice between the black hole and the light, between a long farewell and a long love is up to all of us…”

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

GIORGIO ORTONA – F.I.C.O. Feticci Individui Case Oggetti – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Giorgio Ortona’s exhibition, will take place on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

The exhibition is organized in collaboration with Settantasette Gallery (Milan).

Rome. Pigneto. Via Braccio da Montone: a low building is in front of us, whose first floor is Giorgio Ortona’s studio, in a district that stigmatizes the merits and faults of a complex city, fabulous in evidences but decadent in attitude; a metropolis that here at the Pigneto weaves mixed building with creativity, a multi-ethnic knot with a nightlife, proletariat and technological tertiary of the new generation. From here, between Casilina and Prenestina, an author’s gaze with a drone’s philosophy scans open-field heights offering a concentric and lenticular vision of a building speculative, commercial, dissonant, populous modern Rome…

Giorgio Ortona paints not only what he sees but what his eyes smell, what his ears taste, what his mouth hears… an apparent contradiction of the senses, a true mirror of a brush that resolves the semantic contrast inside itself: a dirty yet surgical painting, swarming but dry, realistic and mental at the same time. It is a painting of healed contrasts, where the same frame of raw wood, while imitating the building site pallet, is turned into a spacer with perfect calibration. A contradiction that is also resolved in the depths: you can glimpse lines, numbers and notches that reveal the architectural nature of the table, as if the background were the cellulose on which the author designs the visions. Here the soul of an architect comes out, his past at university and his mental disposition; the angle of view that emerges certifies an imprinting but also its short-circuit, thanks to a language, painting, that redefines the deep feeling of architecture.

Painting is the habitable architecture of interior spaces

Giorgio Ortona’s Rome becomes a matrix and a genetic code, a figurative genome that crosses multiple places of the 20th century. Don’t think, however, of the usual unmade suburban capital; here, on the contrary, the beautiful social housing of the 1960s is told, some Umbertine façades between Esquiline and Colle Oppio, some residential masterpieces in Prati and San Giovanni, many monolithic buildings that fit well into the urban context, often among snake-like bypasses, elevated roads, connections and strips of asphalt. Ortona maps the Capitoline city between roofs and antennas, balconies and public greenery, creates geographies of reinforced concrete, enhances the building site with the equipment of scaffolding and cranes soaring … one could say: for some time Rome was not so “Roman” in a picture; it should be added: a Rome so meticulous as to become universal, archetype of any place grown up for crossbreeds, cultural exchanges, collective energy, political power and economic investment.

Ortona’s Rome is also the city of beloved faces, of similar bodies, of sensitive objects that capture his emotional trust. It is a world of living affections and sensations, a watchful bond with the prose of everyday life: the city outside, people and objects in apartments, on terraces, in front of a door, inside a shop, standing on the street, wherever the body, a food or an object are biological integrations of the pulsating city. The self-portrait itself, now exhibited with some variations, involves t-shirts or vests that the author, having died out in the white paint, wore at the time of the photo, thus offering us a portrait by absences, by urban evocations, by background noises.

Ortona’s urban imaginary is born from above, through Google Earth’s panoramic images. Hence the creation of a pictorial grid in which realism joins the erasures of colour, the evoked absences, the sudden fades. Areas that did not deserve a celebration, that clashed in context, that polluted the architectural eye of Ortona, they just disappeared. Merely apparent absences that turn into bands of color, recalling Nicolas De Staël and Alberto Burri, electrifying the painting with abstract volumes, so plastic as to merge with the real city.

The paintings will be accompanied by Storie di Pittura (Stories of Painting), a video that tells the artist’s life and work. An appendix that summarizes the narrative of a unique journey in the city that does not sleep, in the neighborhoods with high human temperatures, in the private worlds of an artist who architect, day by day, his inner rooms. The video was realized by Sintesi Visiva.

A passer-by through the Pigneto would say: “how cool this picture by Ortona…”

F.I.C.O. ovvero, Feticci Individui Case Oggetti
www.giorgioortona.com

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

ROBERTA PIZZORNO Full of Emptiness – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Roberta Pizzorno’s exhibition, on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts.

The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme. The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

Roberta Pizzorno brings to Spoleto the figurative results of a long work with Indian ink and watercolours. Two years ago the artist settled in Spoleto and started a fruitful collaboration with Palazzo Collicola Arti Visive, which originated a number of projects integrating given drawing techniques in Sistema Museo’s workshops. This exhibition is a report in progress, a synthesis that finds an ideal exhibiting workshop at the Sten & Lex hall.

The point: the start of everything, the primordial factor, the beginning of the cognitive journey. Point as prologue and first chapter of the existing, a suspended moment in which every shape is possible, every freedom is ready for the free ones, every beauty potentially available.

…cellular microworld, cosmic gigantism, plant life, animal world…

Point, line and curve define Pizzorno’s interior filiations, her inner cosmogony, her space of aesthetic awareness. The gesture, disciplined and daily, acts by lines and curves, creating flying bio-forms, gaseous volumes, solids without apparent weight. Indian ink and watercolour share the executive process and recreate two parallel but dialoguing worlds, united by a gesture that acts as a bridge between the formal souls.

The point, similarly to a cell, begins to hear the noises of the Planet, records clear sounds and subliminal trails, looks for the next point to define the narrative chain of the line, of the sliding forward, of the dialogue that does not stop but recreates the phrases of our conscious dream.

Dealing with the line, that is, the path of the form, the development of an idea in its necessary skeleton.
The line as an ambition for knowledge, a search for the open margin, an adventure into the pulsating mystery of the future. A line that always travels forward, following the movement of the hand and the eye of the feelings. The line as a watchful conscience of the progress.

…directions of the essential black&white, harmonic rhythms, directions of the colour beyond the essence…

That soft line confirms the clarity of a pacified gaze, free from worldly chains and social ties. Pizzorno comes out of the appearances of reality to build visual subjects that fly in the gravitational radius of fantasy. They are complex embryos where human, animal and plant belong to the same biological consciousness. The pulsing metamorphosis becomes the genetic reason of his lovable bodies, the harmony of the dialogue guides the rituality of the continuous gesture. They are forms that produce wonder…

Our artist practices harmony and balance as if it were a respiratory rite. Her projects have no knots or protrusions, on the contrary they appear fluid and musical, pure entropy in a huddled form. The work turns into a continuous self-portraying through emotional fragments, a diary that stretches along the ritual curves of life. Point, line and curve make the gesture a kind of continuous and conscious breathing, so similar to the contracting and expanding of the universe.

Addressing the curve, that is, the form in its complexity, towards the sense that defines a project.
Curve as a plan of intuition, a cosmic and inner seismograph that draws the short-circuit, the cohabitations, the final harmony. A curve that speaks of evolution, synaesthesias, beauty. Soft corners that walk the slope and then hover in the air through the watercolour,

…drawing to understand, until the eye begins to see again…

I like to think that the artist’s flying bodies are cosmic eyes that enclose the secret formulas of emotions, feelings, clear beauty, cognitive clarity. Bodies of bright ink, dark, to engrave like sensitive grooves, majestic in their ethereal fullness. Bodies made of Indian ink, bodies of a very Italian and geolocalized Made in China. Bodies also made of liquid watercolor, gestalt membranes of a private and exciting Made in Herself.

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

TTOZOI – GENIUS LOCI (REWORKS) – Exhibition @ Casa Romana
Jun 30 – Oct 7 all-day
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The opening of the TTOZOI duo’s exhibition, on SATURDAY 30 JUNE at 16.00 at the Casa Romana in Spoleto.

The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme. The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

GENIUS LOCI, conceived by Stefano Forgione and Giuseppe Rossi, curated by Gianluca Marziani, originates from the idea of creating works of art directly in the chosen historical places, through the original technique of natural proliferation of mould on jute, with further painting additions.

Gianluca Marziani: Mould becomes a pure linguistic code, a biological application that leads painting to the limit of its possible mutations. TTOZOI’s grammar regenerates the archetypal models of Calzolari and Penone, bringing the iconographic orbit back into the evolutionary perimeters of the painting. The natural action is not dispersed but takes place on circumscribed surfaces, under the control of the space of action. An event between randomness and control that radicalizes the link between Art and Nature, making biology a collaborative and elaborative phenomenon. A lively dialectic that brings the creative factor into the beating heart of the natural cycle…

The “naturally informal conceptualism” or “the naturally absolute informal” that is at the base of TTOZOI’s work, evolves its natural creative process, coming into contact with three UNESCO sites, universal symbols of Italian architectural and archaeological culture: the REGGIA DI CASERTA (November 2017) with its Sanniti necropolis dating back to the 4th century BC, brought to light in 1990 in the area below the second courtyard; the AMPHITHEATRE OF THE POMPEI ARCHEOLOGICAL COMPLEX (December 2017) where the duo used the ambulacra, buried by the eruption of Vesuvius in 79 and then brought to light; finally the COLOSSEUM (soon), the largest amphitheatre in the world, global symbol of Rome and icon of Italy. Within this process that becomes molecular and conceptual fusion, the exhibition arrives at the CASA ROMANA in Spoleto, a sort of exhibition spin-off that inserts a private residence between the three monumental stages.

Gianluca Marziani: The three chosen areas represent the apotheosis of the Italic genius, the archaeological peak of ancient lustres of human genius. Inside this monumental cycle a passage of recollection was needed, an intimate dimension of the natural process. A domestic adaptation that would bring the works back into the space of the domestic cycle, where historical memory is linked to the design of modern habitats….

The Roman House in Spoleto, dating to the beginning of the first century A.D., is a stately home discovered by Spoletan archaeologist Giuseppe Sordini in 1885-1886 and dug several times until 1914. It is located partly under the Town Hall Square and partly under the Town Hall of which it occupies the foundations. Today it is the most visited site by tourists in Spoleto.
In Spoleto there will be a rigorous selection of the works from the first two stages, as well as a project of site-specific proliferation, designed for the impluvium of the Roman House. Fifteen works will be inserted with camouflage and respect for the environment, almost to blend the living nature of stones with the controlled nature of natural mould.

Gianluca Marziani: The integration with the places occurs through branched proliferation. No longer something purely formal but a process that integrates visible and invisible, memory and present, history and news, individuals and communities…

In the first two stages the artists created the works in situ, installing some sealed showcases in which the canvases remained for about 40 days: Time and Nature did the rest. During the gestation it is the canvas that captures the humus, the soul of every place, going beyond the visible, allowing the memory of the cultural “container” to be transferred to it through two factors: the “emotional conditioning” and the “environmental conditioning”, able to evoke the history and the suggestions of the chosen places in the observer’s mind.

The informal process, carried out by four hands, involves the use of organic materials (various flours), water and natural pigments on jute canvases, then placed in special cases that encourage the natural proliferation of moulds, with always different manifestations; feeding themselves on the organic part only, the spores interact with the work according to an unpredictable, apparently chaotic scheme. TTOZOI actually monitors the progression of the process, until it decides to interrupt it, according to a declination of “saving from aesthetics in pureness”. Only at this point will the canvases be pictorially finished and completed, leaving the traces of the passage of nature visible.

Gianluca Marziani: Informal painting finds its most significant evolution, an aesthetic landing place that distorts the interpretative factor of the works. All abstract appearances are transformed into a process with a high figurative value, where what we see leads us far beyond the pure form, into the pictorial stratification of memories, experiences, dynamic processes, external contributions…

Thursday 19 July, 2018 a personal exhibition is scheduled at the Reggia di Caserta. A closing exhibition will be held, finally, in a prestigious Capitoline museum, so as to expose all the works made in the three monumental complexes. In Caserta the complete cycle that was realized in the months of proliferation inside the Sanniti necropolis will be exhibited.

TTOZOI_Biography
Stefano Forgione (Avellino, 1969) and Giuseppe Rossi (Naples, 1972) are the two artists who operate under the pseudonym of TTOZOI since 2010, when their personal exhibition was held at Castel Dell’Ovo (curated by Luca Beatrice). Stefano (Degree in Architecture) and Giuseppe (Degree in Economics) are both self-taught. Since their adolescence they have been experimenting with various artistic techniques (charcoal, Indian ink, watercolour, acrylic, oil, spray, collage…) and approached the History of Art to deepen their knowledge of Informal culture, following their aesthetic and conceptual vocation. In December 2006 the common passion for informal themes will bring the two together again, after years spent in various Italian cities. At the centre of their confrontation there is the awareness that “Art has always been Contemporary” and that “the Artist cannot operate without the past”: hence the elaboration of a project – based on “concept” and “form”, “time” and “matter” – that is becoming the spokesperson of a small revolution in the experimental field of painting. TTOZOI is the creator of the so-called “intervention void”, a real expectation, following the simultaneous four-hand action on the canvas.

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

YIGAL OZERI Where are we going? – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of YIGAL OZERI exhibition, is scheduled for SATURDAY 30 JUNE at 12:00 in Palazzo Collicola Visual Arts, Spoleto.

The exhibition is curated by Gianluca Marziani and included in the Festival of Two Worlds’ official programme. The Press Conference is scheduled for 11:00 at the Piano Nobile.

Painting is defining new relationships with technological media, confirming itself as the most attractive, absorbing and intense visual code of the new millennium. Centuries pass, progress flows but the idea that painting embodies a solid permanence, a densely biological language, detonator of resistant metaphysics and symbols that can be handed down does not change. Painting has many dialogues with the photographic world: a virtuous combination to encode a transmedia aesthetic, a metaphorical mirror of a present with a high visual consumption. In a historical period of linguistic revision, it was natural for the photorealist code to regain its operational and conceptual centrality. Also because today, far from the beginnings of Chuck Close and Richard Estes, the hyperrealist language absorbs digital cells and modifies painting into a hybrid, calibrated on 3D and 4D projections, on smartphone operating systems, on shooting and editing photographic software. Hyperrealist painting has thus been transformed into post-digital painting, a sort of pictorial GMO that has metabolized analogical photography, sedimenting various traces of future memory in its mixture.

Yigal Ozeri’s post-digital painting focuses on WOMEN…

Eva continues to fuel the ecstasy of two-dimensional art. She, the First Woman of desire, the milestone of the narrative, the erotic archetype of humanity still radiates the artistic ambition of the trace, the outline, the sign, the color… The creation generally pursues resisting icons, seeks out the whims that are the Stonehenge of emotional education. Woman has always been swimming at the center of artistic thought, guiding the historical document but also the revolutionary action, the change, the militant struggle. Telling the story of a woman in a painting means acting from the beginning to frame complexity; it means loving and sharing, using the language of the body and the gaze, chemistry and alchemy; it means hiding ethical messages in the folds of a dress, in the reflection inside the eye, in the posture of the face, in the objects worn…

Woman as symbolic detonator for a social, political, cultural rebirth…

Yigal Ozeri (1958) is an Israeli author who lives and works in New York, in the city that best stimulates his imagination, in a perpetual physical rhythm that sticks to his thematic intentions. From the streets, from the faces, from the bodies on the way, the artist gets sensations that he transfers in his shoot with the models in pose, when he defines the portfolio from which he will obtain the images to paint. Let’s not think, however, of the old codes of hyperrealist painting, today there are no catalogues of streets, machines, shop windows or other fetishes of the American model. The lucid coldness of his predecessors turns into a warm, emotionally involved eye, in search of fluid eroticism, of a Raphaelite but also digital youth, and of a barrier-free sensuality. Ozeri’s women are revolutionary detonators that act on the eye. They don’t scream, they don’t embrace weapons, they don’t distill hatred, they look ahead and forward, towards the upset world, the psychotic drifts, the cultures of terror. They do so from their silent places, from the quiet contexts in which they live their pictorial eternity. They look at each of us, striking our eyes, our civic conscience, acting with slow and prolonged release, as it happens with Literature and Poetry.

That feminine look, so calm and suspended, has something revolutionary about it…

Ozeri’s universe is reconnected to a Western tradition, especially Italian, of female portraiture, from the virginal faces of 16th-century Florence to the neoclassical white of Antonio Canova, through the 19th century by Giovanni Boldini, the 20th century by Amedeo Modigliani… Ozeri crosses the matrices of the feminine and leads them to an urban, multiracial, heterogeneous epic. His creatures are the Madonnas of our times, the Saints of a chaotic present, the great ladies of a virtual but not always virtuous today. They are the amazons of the visible city, the sherpas of our inner journey, the young mothers of humanity who see the future. They are the answer to the culture of violence, a soft counterattack of beauty blows and poetic actions. You can be sure: the future of humanity will have to pass through the trajectories of the sublime, of ecstasy, of desire, of beauty…

Ozeri’s women come straight from the present, yet they seem out of time, beyond the space of creation, floating like stars across the centuries. Their looks, their postures, their bodies are fragments of a long sentimental discourse, born with life and destined to last beyond ourselves, beyond the contingency of everyday life. Ozeri’s women symbolize a resisting iconography, proof of a perennial regeneration that only painting (and sculpture in part) can make possible. Because these girls of radiant sensuality, shining in their glances, magical in their way of looking, tell the story of the indissoluble resistance of the painting, the ability to infect the future with the memory of an eternal present. They are no longer simple models but a model of beauty that can be handed down, a semantics of the indissoluble, a trace of the infinite imagined and dreamed of.

Those women seem to tell us, “Where are we going? What are we doing? How can we improve things?” There are no answers in the paintings, of course, because art only deals with questions. At the same time, their eyes guide us across the threshold, into the ocean of doubt, evoking the possibility of an island, of a safe harbor for our conscience. A place to clarify the gaze, trying to provide an answer.
The only male figure in the exhibition is the artist himself, a black-and-white foreground who observes like a demiurge in front of the students. The expressive face and the hair have the meticulous impact of the portraits by Bronzino and Rembrandt, that surgical way of managing the climax with admirable dramaturgy. Yigal Ozeri embodies the eyes of our possible answers, resembling a guide who observes us as Beauty reveals the coordinates of the island.

www.yigalozeriartist.com

The exhibition ends on Sunday 7 October 2018
Info: www.palazzocollicola.it https://www.facebook.com/PALAZZOCOLLICOLA
Palazzo Collicola: info@palazzocollicola.it
Sistema Museo: ufficiostampa@sistemamuseo.it

Oct
27
Sat
Exhibitions at Palazzo Collicola Arti Visive: TORU HAMADA and ANGELO DOZIO @ Palazzo Collicola Arti Visive
Oct 27 2018 – Feb 24 2019 all-day
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Palazzo Collicola Arti Visive, from 27 October 2018 to 24 February 2019
Toru Hamada and Angelo Dozio
Opening: Saturday, October 27 at 12:00

TORU HAMADA – Anthological

The exhibition is curated by Gianluca Marziani and Italo Bergantini, and organized in collaboration with Romberg Contemporanea. After the placement in June, during the Festival dei Due Mondi, of one of his sculptures in Carrara marble in front of the Teatro Nuovo, today comes a large exhibition that tells us about his poetic and inspired painting … The life of Toru Hamada resembles the processing cycle of his art. First of all, one feels the atavistic bond with Japan, ascribable to a state of being that favours atmospheric silence, the firmness of the gaze, the discipline between body and spirit. At the same time, one feels the second homeland in Europe, first in Pietrasanta and then in the French countryside of Saint-Lubin-de-la-Haye, two places of solid culture that have welcomed both the man and the artist. Asia and Europe, two continents that today sum up in this Umbrian experience, in the heart of a Spoleto that has always conceived harmony between distant worlds.

ANGELO DOZIO – The discipline of constant doubt

Palazzo Collicola Arti Visive’s historical investigation continues among Italian artists who deserve a more exhaustive evaluation of their work over ten years. After Gianfranco Chiavacci, Gastone Biggi, Salvatore Emblema and Giuseppe Biasio, it is now the turn of Angelo Dozio with an anthological exhibition set up between the white rooms of the Piano Mostre and the noble furnishings of the Piano Nobile.
The exhibition is curated by Gianluca Marziani: “Reinterpreting the cycles of a long career, Angelo Dozio highlights a consistent value in the theme of transcendence. Technological intuition, the link with town planning and architecture, the implicit presence of sound, the clairvoyance of digital language are present, but in the end there’s a metaphysical suspension that emerges and surpasses the rest, an iconographic system that returns to the lines of the sacred cross, the curves of the Greek and Roman capitals, to the Florentine two-tone marble, to the plan of churches and basilicas, to the design of ideal cities… Dozio’s geometry goes beyond history and climbs into the values of the Absolute, where only painting can get, where design incorporates morality, where Beauty thinks beyond worldly contingencies.”

PALACE COLLICOLA ARTI VISIVE
Piazza Collicola, 1 Spoleto
Exhibition info: www.palazzocollicola.it
https://www.facebook.com/PALAZZOCOLLICOLA

Palazzo Collicola Contacts: info@palazzocollicola.it
Museum System Contacts: ufficiostampa@sistemamuseo.it

Mar
29
Fri
Mezz’ora dopo la chiusura – A NOBLE PROMENADE @ Palazzo Collicola Arti Visive
Mar 29 @ 19:00
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Mezz’ora dopo la chiusura #191
Palazzo Collicola – Arti Visive

A NOBLE PROMENADE
Visit to Palazzo Collicola’s noble floor

Mezz’ora dopo la chiusura, Palazzo Collicola Arti Visive’s event organized by Sistema Museo, returns on Friday 29 March 2019 at 7.00 pm. with A NOBLE PROMENADE.

The noble floor of one of the most beautiful palaces of the city will allow us to dive into the golden world of the powerful Collicola family.

The evening continues with an aperitif.

The event is organized in collaboration with Con Spoleto – the Spoleto hotel managers’ association.

Participation fee
Guided visit – full fare € 7,00
Guided visit – reduction € 5,00 for Spoleto CARD holders and habitués
Aperitif – € 5,00

Please reserve within Friday at 13.00:
news.spoletomusei@sistemamuseo.it
0743 46434

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