Exhibitions, Italy, Salerno, Agropoli, 27 January 2012
........ January 27, 1945
gates were demolished AUSCHWITZ ........
January 27, 2012
''Day of Memory''
LORENZO VICINO
Abyss of 'SOUL
(Not to FORGET)
(Hall Middle School Gino Vairo Rossi)
Agropoli (SA) Italy
January 27, 2012
Lorenzo Near intended with the presentation of an artistic composition, if not an educational institution, worthy seat of learning and training of future generations, participate actively in the civil society not only of our nation has decided to devote: January 27, the date established by law-official symbol of the July 20, 2000 for the commemoration of the Holocaust. And 'Memorial Day, when we remember the destruction of the gates of the Auschwitz Nazi concentration camp in 1945.
The artist is also in this case of synthetic paints and other materials, from cement to the metal block, to communicate his emotions, because it believes in its own field of work and passion always a witness of significant experiences that have shaped our sensibilities. As part of the canvas, which is the heart of the composition, the black strokes of varying thickness becomes the articulation of a reality characterized by dramatic human forms, which, unusually informal protagonists in the dialectic of the artist in which he now say, come out from one dimension of extermination, holding hands in a tragic story that continues to exude the common blood, as expressed by the color that comes out of the drip on the canvas and blocks. Their cry of anguish which becomes large gray spots covering most of the space-time which is represented, is tempered by just a small oasis of green and blue, in which the artist continues to see signs of hope and of a cosmos that this is joined in spreading the echoes of a sum iniquities contrasting dramatically with the natural tendency to balance and harmony between its parts, not excepting man.
The lesson of history, the only one to really teach the values R03;R03;of human and civil progress, continues to this day, a day to remember the persecution of Jewish citizens and those who suffered deportation, imprisonment and death, but also those that, at the risk of their safety, opposed to the horror and destruction, giving refuge to the persecuted, those who have chosen not to turn away, who rebelled as aware that the only "remain indifferent" them would make them accomplices in the Holocaust.
Unlike the fallen martyrs they are often in the shadows and sometimes even forgotten. But the other half are actually a reality, the artist has sought to summarize in a small group of sculptures, depicting a man who holds out her hands to a kneeling woman, whose gesture is loaded the intense meaning of solidarity does not include savings, but it offers in all its potential to share the risk of martyrdom.
And 'the good of which it feeds to move the hearts of even the most indifferent of men, and to root structures that seem impregnable, as the fences of the camp of extermination, performed by shiny aluminum tubes that seem too participate in the cathartic event that communications have lived, are twisted open and liberating intervention, leaving large gaps for the salvation of not only surviving but for a participant observation, contemplation and meditation, the mother of an imperishable memory.
Antonio Capano
gates were demolished AUSCHWITZ ........
January 27, 2012
''Day of Memory''
LORENZO VICINO
Abyss of 'SOUL
(Not to FORGET)
(Hall Middle School Gino Vairo Rossi)
Agropoli (SA) Italy
January 27, 2012
Lorenzo Near intended with the presentation of an artistic composition, if not an educational institution, worthy seat of learning and training of future generations, participate actively in the civil society not only of our nation has decided to devote: January 27, the date established by law-official symbol of the July 20, 2000 for the commemoration of the Holocaust. And 'Memorial Day, when we remember the destruction of the gates of the Auschwitz Nazi concentration camp in 1945.
The artist is also in this case of synthetic paints and other materials, from cement to the metal block, to communicate his emotions, because it believes in its own field of work and passion always a witness of significant experiences that have shaped our sensibilities. As part of the canvas, which is the heart of the composition, the black strokes of varying thickness becomes the articulation of a reality characterized by dramatic human forms, which, unusually informal protagonists in the dialectic of the artist in which he now say, come out from one dimension of extermination, holding hands in a tragic story that continues to exude the common blood, as expressed by the color that comes out of the drip on the canvas and blocks. Their cry of anguish which becomes large gray spots covering most of the space-time which is represented, is tempered by just a small oasis of green and blue, in which the artist continues to see signs of hope and of a cosmos that this is joined in spreading the echoes of a sum iniquities contrasting dramatically with the natural tendency to balance and harmony between its parts, not excepting man.
The lesson of history, the only one to really teach the values R03;R03;of human and civil progress, continues to this day, a day to remember the persecution of Jewish citizens and those who suffered deportation, imprisonment and death, but also those that, at the risk of their safety, opposed to the horror and destruction, giving refuge to the persecuted, those who have chosen not to turn away, who rebelled as aware that the only "remain indifferent" them would make them accomplices in the Holocaust.
Unlike the fallen martyrs they are often in the shadows and sometimes even forgotten. But the other half are actually a reality, the artist has sought to summarize in a small group of sculptures, depicting a man who holds out her hands to a kneeling woman, whose gesture is loaded the intense meaning of solidarity does not include savings, but it offers in all its potential to share the risk of martyrdom.
And 'the good of which it feeds to move the hearts of even the most indifferent of men, and to root structures that seem impregnable, as the fences of the camp of extermination, performed by shiny aluminum tubes that seem too participate in the cathartic event that communications have lived, are twisted open and liberating intervention, leaving large gaps for the salvation of not only surviving but for a participant observation, contemplation and meditation, the mother of an imperishable memory.
Antonio Capano
Comments 1
Say something