Exhibitions, Italy, Bologna, 11 November 2017
The Wikiarte Contemporary Art Gallery
in Via San Felice 18 - Bologna
She is happy to invite you
Saturday November 11, 2017
at 18.00
At the inauguration of personal exhibitions of:
LUCA TRIDENTE
FILIP GUICCIARDI
ALESSANDRO FRONTERRÈ
The infinite versions of human invention are due to the impossible solution of the conflict between matter and fantasy. The artist manages him peacefully, with serenity and positivism, or impetuously, with frenzy and aggression. The result, therefore, is always new, always aesthetic and always contains the doubt of its resolutive validity, the doubt that feeds the engine of every creativity.
The hollow body of matter, the variable rate of vital flow always show to those who live only depth but never the point of arrival, generative core mail. Alessandro Fronterrè emerges his artist curiosity in this immensity that opens between conscious and unconscious and navigates by collecting relics, past and future memories, flashes do not turn off or ready to light up. The two-dimensional fields of his pit-picture show a space-time freezing that has the formal sterility of surrealism and the crystal clearness of romance. A lyrical, fluid and non-fissuring look betrays the poetic nature of these images that exist between the photographic reality of reason and the elusive figurative freedom of the unconscious. A journey, condemned to never end because of the essence of each other, interests the artist over everything and betrays a young and "hungry" spirit of truth or, better, immensity.
The indexes, the stairs, the de-structured structures of statistical reality are immersed in the same fluid in the works of Filippo Guicciardi, a subject always subjected to constant measurement which is always inaccurate, always shifted from the perfect half with a small but decisive difference of 0.01 , that of the golden section. The latter is every present in the world and invades every attempt of artificial mathematical perfection, allowing the aesthetic immortality. The artist perceives this essence of nature and insinua in transparent, regular but fluctuating shapes in seemingly straight and unidirectional movements of rivers and winds. Equally deceptive is the symmetry of the imaging system which, with the delicate inconsistencies of the colors, fragmented the orderly matching of the shapes. Slightly less than natural, little more than the artificial, this aesthetic language expresses the calculations of life, never regular but always accurate.
Little Importance of Cable Box Limits for Luca Tridente. The material's fluid fluid strains into dense and slow doughs from any contour more or less dotted on the canvas. Shapes are approximate, deceptive or uncertain movements, non-existent atmospheres. The tension between the opposites has vanished, it is transfigured into a candy to navigate in the white backgrounds of the canvases that dilute, slowly but consistently, to every inhabitant. The artist enjoys the simple contrasts between light and darkness, between existence and absence, knocking, as an arcane artist, his rational and irrational visions. A little more than a silhouette, little more than an event, leave the freeware free to complete, start and finish the paths in Trident's canvases, which poses the doubt that implies infinite solutions all possible but perhaps all wrong ... .. always remains the doubt in those who look and in those who are looking to not see the truth or to not see the true idea that hides the physical matter.
Denitza Nedkova
Critical presentation by Dr.
Denitza Nedkova
Curator shows:
Deborah Petroni
Duration:
from 11 to 23 November 2017
from Tuesday to Saturday from 11.00 am to 7.00 pm with continuous time
Monday and Sunday closed
Free entry
in Via San Felice 18 - Bologna
She is happy to invite you
Saturday November 11, 2017
at 18.00
At the inauguration of personal exhibitions of:
LUCA TRIDENTE
FILIP GUICCIARDI
ALESSANDRO FRONTERRÈ
The infinite versions of human invention are due to the impossible solution of the conflict between matter and fantasy. The artist manages him peacefully, with serenity and positivism, or impetuously, with frenzy and aggression. The result, therefore, is always new, always aesthetic and always contains the doubt of its resolutive validity, the doubt that feeds the engine of every creativity.
The hollow body of matter, the variable rate of vital flow always show to those who live only depth but never the point of arrival, generative core mail. Alessandro Fronterrè emerges his artist curiosity in this immensity that opens between conscious and unconscious and navigates by collecting relics, past and future memories, flashes do not turn off or ready to light up. The two-dimensional fields of his pit-picture show a space-time freezing that has the formal sterility of surrealism and the crystal clearness of romance. A lyrical, fluid and non-fissuring look betrays the poetic nature of these images that exist between the photographic reality of reason and the elusive figurative freedom of the unconscious. A journey, condemned to never end because of the essence of each other, interests the artist over everything and betrays a young and "hungry" spirit of truth or, better, immensity.
The indexes, the stairs, the de-structured structures of statistical reality are immersed in the same fluid in the works of Filippo Guicciardi, a subject always subjected to constant measurement which is always inaccurate, always shifted from the perfect half with a small but decisive difference of 0.01 , that of the golden section. The latter is every present in the world and invades every attempt of artificial mathematical perfection, allowing the aesthetic immortality. The artist perceives this essence of nature and insinua in transparent, regular but fluctuating shapes in seemingly straight and unidirectional movements of rivers and winds. Equally deceptive is the symmetry of the imaging system which, with the delicate inconsistencies of the colors, fragmented the orderly matching of the shapes. Slightly less than natural, little more than the artificial, this aesthetic language expresses the calculations of life, never regular but always accurate.
Little Importance of Cable Box Limits for Luca Tridente. The material's fluid fluid strains into dense and slow doughs from any contour more or less dotted on the canvas. Shapes are approximate, deceptive or uncertain movements, non-existent atmospheres. The tension between the opposites has vanished, it is transfigured into a candy to navigate in the white backgrounds of the canvases that dilute, slowly but consistently, to every inhabitant. The artist enjoys the simple contrasts between light and darkness, between existence and absence, knocking, as an arcane artist, his rational and irrational visions. A little more than a silhouette, little more than an event, leave the freeware free to complete, start and finish the paths in Trident's canvases, which poses the doubt that implies infinite solutions all possible but perhaps all wrong ... .. always remains the doubt in those who look and in those who are looking to not see the truth or to not see the true idea that hides the physical matter.
Denitza Nedkova
Critical presentation by Dr.
Denitza Nedkova
Curator shows:
Deborah Petroni
Duration:
from 11 to 23 November 2017
from Tuesday to Saturday from 11.00 am to 7.00 pm with continuous time
Monday and Sunday closed
Free entry
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