che si trova a destra di ogni galleria.
"GEOMETRIA D'ARTE COSTRUITA - dal 6 al 24 dicembre 2009
INTRODUZIONE MUSICALE: "dialoghi metallici"
Clarinetto metallico : Roberto Scalabrin
Clarinetti: Michele Uliana - Enea Comite
Clarinetto Basso: Alessandro Muscatello
TESTO E PRESENTAZIONE A CURA DI VITTORIO CARACUTA CATALOGO A DISTRIBUZIONE GRATUITA
SI RINGRAZIANO: ANNA CANALI DI ARTE STRUKTURA E MARCELLO MORANDINI
CON IL CONTRIBUTO DI:
PETTENON COSMETICI - SAN MARTINO DI LUPARI - PD
ASSICURAZIONI GENERALI - AGENZIA DI CASTELFRANCO VENETO - TV
TEATRO DEI SAPORI - CASTELFRANCO VENETO - TV
CARROZZERIA SAN GIORGIO - CASTELFRANCO VENETO - TV
ALBERGO ROMA - CASTELFRANCO VENETO - TV
TIPOGRAFIA CREMASCO . CASTELLO DI GODEGO - TV
Dal 6 dicembre in Galleria Art & Media a Castelfranco l’esordio di una serie di mostre “legate” al Giorgione. Fin dalla prima, dedicata all’arte cinetica, non mancano gli spunti di discussione sull’evoluzione dell’Arte e sui rapporti fra gli artisti contemporanei ed il grande innovatore del ‘500.
Il 2010 sarà l’anno “del Giorgione” a Castelfranco. La grande mostra con 17 capolavori originali del Maestro ed altre decine di grandi artisti rinascimentali coevi, sarà inaugurata il 12 dicembre. A fianco del nutrito programma di manifestazioni organizzate dal Comune di Castelfranco per l’anno giorgionesco, ci saranno anche le mostre collaterali della Galleria Art & Media. Vedranno impegnati artisti di arte contemporanea con il loro mezzo espressivo migliore: pittura, scultura, grafica, fotografia, video.
Partiamo dalla prima, per qualcuno forse “dissacrante” verso il figlio più celebre di Castelfranco: “Geometria d’Arte Costruita” che verrà inaugurata domenica 6 dicembre alle ore 11 per concludersi giovedì 24 dicembre.
Vedrà presenti opere di artisti come: Bruno Munari, Getulio Alviani, Dada Maino, Nino di Salvatore, Edoardo Landi, Victor Simonetti, Jesùs-Rafael Soto, Franco Da Leffe, Gianni Colombo, Luciano Marin,Manlio Onorato, Vincenzo Pellitta, Giorgio Peretti, Marcello Morandini.
Special guests, presenti alla vernice, saranno Anna Canali, storica gallerista-collezionista di Milano e vera “Peggy Guggenheim” italiana e l’artista Marcello Morandini.
Che rapporto ci può essere mai fra il Giorgione e l’arte astratta contemporanea, per suggerire alla curatrice Luigina Mazzocca un accostamento così ardito? Le risposte nella introduzione critica, a cura di Vittorio Caracuta, al catalogo che sarà in distribuzione gratuita.
Starting from December 6th in Castelfranco, Art & Media Gallery is hosting a series of exhibitions “connected” to Giorgione. From the first exhibition – on kinetic art – to the last, this event will provide ideas and starting points for considerations about the evolution of Art and the relationship between contemporary artists and the great 16th century innovator.
2010 will be “Giorgione’s year” for Castelfranco. A grand exhibition featuring seventeen original works by the Master and several famous Renaissance artists of his times is set to open on December 12th. Alongside the rich schedule of events organised by the town Council in occasion of Giorgione’s anniversary, Art & Media Gallery is hosting its own exhibitions. These will showcase creators of contemporary art engaged with their greatest means of expression, that is, painting, sculpture, graphic art, photography and videos.
Art & Media will begin from an exhibition that some people might regard as “desecrating” Castelfranco’s most celebrated artist: the “Geometry of Created Art”, which opens Sunday 6th December at 11am and closes Thursday 24th December.
This exhibition will feature works by artists such as Bruno Munari, Getulio Alviani, Dada Maino, Nino di Salvatore, Edoardo Landi, Victor Simonetti, Jesùs-Rafael Soto, Franco Da Leffe, Gianni Colombo, Luciano Marin, Manlio Onorato, Vincenzo Pellitta, Giorgio Peretti and Marcello Morandini.
Special guests to the opening ceremony will include “Italian Peggy Guggenheim” Anna Canali, renown art collector and gallery owner from Milan, and artist Marcello Morandini.
What could ever be the connection between Giorgione and contemporary abstract art that prompted administrator Luigina Mazzocca to attempt such a daring juxtaposition? An answer to this question can be found in Vittorio Caracuta’s critical introduction to the exhibition catalogue, available for free.
Prefazione2010 will be “Giorgione’s year” for Castelfranco. A grand exhibition featuring seventeen original works by the Master and several famous Renaissance artists of his times is set to open on December 12th. Alongside the rich schedule of events organised by the town Council in occasion of Giorgione’s anniversary, Art & Media Gallery is hosting its own exhibitions. These will showcase creators of contemporary art engaged with their greatest means of expression, that is, painting, sculpture, graphic art, photography and videos.
Art & Media will begin from an exhibition that some people might regard as “desecrating” Castelfranco’s most celebrated artist: the “Geometry of Created Art”, which opens Sunday 6th December at 11am and closes Thursday 24th December.
This exhibition will feature works by artists such as Bruno Munari, Getulio Alviani, Dada Maino, Nino di Salvatore, Edoardo Landi, Victor Simonetti, Jesùs-Rafael Soto, Franco Da Leffe, Gianni Colombo, Luciano Marin, Manlio Onorato, Vincenzo Pellitta, Giorgio Peretti and Marcello Morandini.
Special guests to the opening ceremony will include “Italian Peggy Guggenheim” Anna Canali, renown art collector and gallery owner from Milan, and artist Marcello Morandini.
What could ever be the connection between Giorgione and contemporary abstract art that prompted administrator Luigina Mazzocca to attempt such a daring juxtaposition? An answer to this question can be found in Vittorio Caracuta’s critical introduction to the exhibition catalogue, available for free.
L’Astratto, la Geometria d’Arte Costruita a Castelfranco a una settimana dallo stabilirsi dell’imperio del “Tonalismo Veneto” con le celebrazioni per i cinquecento anni dalla morte del grande Giorgione?
Il fascino, l’ineffabile emozionalità dell’autore più misterioso e misterico che si possa pensare, il cui respiro ancora alligna negli angoli segreti della dolce città murata, la sua “politezza formale”, l’umido e intenso gusto naturalistico e la vibratile, esoterica, corrispondenza tra microcosmo e macrocosmo che si affacciano dalle sue tele possono c’entrare qualcosa con l’arte ottica di Munari, Alviani, Morandini, Biasi, Soto, Landi, Simonetti e gli altri?
Nel Macchinismo, nell’Astratto prevale la progettazione delle opere; si punta al superamento dello schema diadico tra coscienza e realtà da contemplare, perché l’arte diventi atto e possa vivere di proprio, superando la vita dello stesso autore ed includendo nella sua “durata” anche le persone che ne vengono a contatto e che ne interpretano il senso ed il significato.
Il ricorso al movimento, all’ottica, ai giochi di luce e alla psicologia del colore e delle percezioni resta un linguaggio basico indirizzato ad evitare l’identificazione del prodotto con il suo produttore e ad estenuarne la fisicità con la possibilità di partecipazione allargata al suo significato, in questo modo conducendo alla costituzione progressiva del suo stesso senso.
Così Zorzo da Castelfranco, l’autore che non c’è, che non prende corpo nella storia positiva del passato e che non concede appigli per riferimenti esistenziali, espressioni culturali e ideologizzanti capaci di spiegarci le parole dei suoi quadri, è tutto nelle opere che gli sono sopravvissute e che per vita propria sembrano raggiungerci e parlarci, ponendoci domande le più disparate.
Anch’egli dimostra di privilegiare il significato sulla forma; l’uso del colore gli è funzionale all’orchestrazione di sensi e di simboli, i più reconditi e di sottile trama; la sua arte si nutre di tecniche mai viste nel suo tempo, come l’indefinibile “pointillism” coloristico, il quale toglie il disegno a favore delle masse cromatiche e del gioco di piani e prospettive tonali rivolto a sollecitare la psicologia e lo sforzo interpretativo di chi guarda. La sua pittura ha davvero vissuto un’esistenza tutta propria e spessamente densa di vicende, le quali non sembra nemmeno vogliano arrestarsi: è l’opera d’arte a vivere, l’opera d’arte che trascende il soggetto creatore, come questi aveva trasceso il mondo degli oggetti nel crearla.
Secondo Bruno Munari astratto è tutto ciò che un autore isola nel proprio mondo interiore portandolo al di fuori nell’espressione artistica: da questo punto di vista è costruita tutta l’arte che sia strutturata con il fine di un messaggio, o anche soltanto di una pretta simbolizzazione e nel suo porsi si fa concreta se gli altri la tramutano da in sé a per sé: è quel che accade, e massimamente lo sarà nei prossimi mesi a Castelfranco, del Giorgione e dei suoi quadri. Quanto agli artisti di questa mostra, interpreti primari ed insostituibili del tempo degli sperimentalismi andato, inconfidenti verso il mercato e propagandatori di un’arte programmata e protesa verso il mondo del sociale, diciamo che senz’altro è una grande opportunità, forse unica e comunque degna del periodo celebrativo che viviamo, poterli avere qui tutti disponibili per la nostra ammirazione e per il nostro giudizio. Merito, mentre confessiamo anche il gusto un po’ ludico di questa presentazione, di chi ha perseguito con vera tenacia l’organizzazione dell’evento.
VITTORIO CARACUTA
Preface
The Abstract, the Geometry of Art Created in Castelfranco a week before the beginning of the empire of “Veneto Tonalism” by the five-hundred-year commemoration of the great Giorgione’s death?
What is the connection between the optical style of artists such as Munari, Morandini, Biasi, Soto, Landi, Simonetti, and the fascination, the inexpressible emotivity of the world’s most enigmatic and mysterious author, whose presence still lingers in the secret corners of our beloved walled town, and whose “formal polish”, richly moist naturalistic sense and esoteric, vibrant correlation between micro and macrocosm, still emerges from his paintings?
According to Machinist thought, the planning of works is the prevailing feature of abstract art. The objective of Machinism is to overcome the dyadic scheme of reality – as the subject of contemplation – and conscience, so that art can become action and live independently beyond the author’s lifetime, and so that it can encompass in its “span” those who come in contact with it and who are willing to interpret its sense and meaning.
The use of a basic language of movement, optics, light effects and the psychology of colour and perception serves to avoid the identification of product and producer, and to erode its physicality with the possibility of wider participation in its significance, thereby leading to a progressive construction of its own meaning.
Zorzo from Castelfranco is an author who does not exist, who cannot be construed through a positive history of the past and who does not allow us any footholds for an existential frame of reference, or any cultural or ideological expressions that might help us read the language of his paintings. He is wholly contained in his works, which not only outlived him but also seem to have gained a life of their own, through which they can reach us and speak to us, posing the most varied questions.
He also shows a preference for meaning over form. His use of colour is functional in orchestrating the most secret and finely woven symbols and senses. His art is informed by techniques which he alone used in his time, such as the indefinable colour “pointillism”, a technique that eliminates drawing in favour of chromatic masses and the interplay of planes and tonal perspectives, thereby stimulating the spectator’s psyche and interpretative efforts. His painting truly has a life of its own, densely filled with stories that never seem to end. It is the work of art that lives on, it is the work of art that transcends its creator, just like the latter transcended the world of objects in order to create it.
According to Bruno Munari, “abstract” is what an author isolates in his internal world and brings out in the form of artistic expression. This includes all kinds of art that is structured with the purpose of conveying a message, or even just a pure system of symbols, and that materializes only when others transform it from art in itself to art by and of itself. This is true for Giorgione and his paintings, and will also be the case for Castelfranco over the next few months.
As far as the artists of this exhibition are concerned, they are the primary, irreplaceable interpreters of the now gone era of experimentalism. They are wary of the market and circulate a type of art that is designed for and striving towards the social world. This great opportunity to have all of them here, open to our admiration and evaluation, is potentially unique and in any case suitable to this celebrative period. And in confessing the more light-hearted aspect of this introduction, we must give credit to those who have strived with real commitment to organise this event.
VITTORIO CARACUTA
The Abstract, the Geometry of Art Created in Castelfranco a week before the beginning of the empire of “Veneto Tonalism” by the five-hundred-year commemoration of the great Giorgione’s death?
What is the connection between the optical style of artists such as Munari, Morandini, Biasi, Soto, Landi, Simonetti, and the fascination, the inexpressible emotivity of the world’s most enigmatic and mysterious author, whose presence still lingers in the secret corners of our beloved walled town, and whose “formal polish”, richly moist naturalistic sense and esoteric, vibrant correlation between micro and macrocosm, still emerges from his paintings?
According to Machinist thought, the planning of works is the prevailing feature of abstract art. The objective of Machinism is to overcome the dyadic scheme of reality – as the subject of contemplation – and conscience, so that art can become action and live independently beyond the author’s lifetime, and so that it can encompass in its “span” those who come in contact with it and who are willing to interpret its sense and meaning.
The use of a basic language of movement, optics, light effects and the psychology of colour and perception serves to avoid the identification of product and producer, and to erode its physicality with the possibility of wider participation in its significance, thereby leading to a progressive construction of its own meaning.
Zorzo from Castelfranco is an author who does not exist, who cannot be construed through a positive history of the past and who does not allow us any footholds for an existential frame of reference, or any cultural or ideological expressions that might help us read the language of his paintings. He is wholly contained in his works, which not only outlived him but also seem to have gained a life of their own, through which they can reach us and speak to us, posing the most varied questions.
He also shows a preference for meaning over form. His use of colour is functional in orchestrating the most secret and finely woven symbols and senses. His art is informed by techniques which he alone used in his time, such as the indefinable colour “pointillism”, a technique that eliminates drawing in favour of chromatic masses and the interplay of planes and tonal perspectives, thereby stimulating the spectator’s psyche and interpretative efforts. His painting truly has a life of its own, densely filled with stories that never seem to end. It is the work of art that lives on, it is the work of art that transcends its creator, just like the latter transcended the world of objects in order to create it.
According to Bruno Munari, “abstract” is what an author isolates in his internal world and brings out in the form of artistic expression. This includes all kinds of art that is structured with the purpose of conveying a message, or even just a pure system of symbols, and that materializes only when others transform it from art in itself to art by and of itself. This is true for Giorgione and his paintings, and will also be the case for Castelfranco over the next few months.
As far as the artists of this exhibition are concerned, they are the primary, irreplaceable interpreters of the now gone era of experimentalism. They are wary of the market and circulate a type of art that is designed for and striving towards the social world. This great opportunity to have all of them here, open to our admiration and evaluation, is potentially unique and in any case suitable to this celebrative period. And in confessing the more light-hearted aspect of this introduction, we must give credit to those who have strived with real commitment to organise this event.
VITTORIO CARACUTA
ART & MEDIA s.n.c. , di Luigina Mazzocca e Beppe Castellano. Via Roma 38, 31033 Castelfranco Veneto (TV)
Cell: +393480302605; Mail: art@artetmedia.it; Orario di apertura: dal martedi al sabato, 10:00-13:00/16:00-19:30.
P.Iva 03925500260. Credito cooperativo Trevigiano - Filiale di Castelfranco Veneto IBAN: IT67 D 08917 62000 CC0033303 707.
Cell: +393480302605; Mail: art@artetmedia.it; Orario di apertura: dal martedi al sabato, 10:00-13:00/16:00-19:30.
P.Iva 03925500260. Credito cooperativo Trevigiano - Filiale di Castelfranco Veneto IBAN: IT67 D 08917 62000 CC0033303 707.