Exhibitions, Italy, Bologna, 27 October 2018
The Wikiarte Contemporary Art Gallery
in Via San Felice 18 - Bologna
It is pleased to invite you
Saturday 27 October 2018
6.00 pm
At the inauguration of the personal exhibitions of:
MARIO D'AMICO
FRANCESCA GUARISO
RUBENS FOGACCI
The units that make up the perceptual field are articulated in such a way that they join together in balanced, harmonious, coherent structures, in a "the best possible" form. According to this Gestaltist principle, we generally choose the simplest, most regular form, which is good or pregnant. And as our visual system is one step at a time, so the formal world of Mario D'Amico leads to maximum simplicity by reducing the number of elements of the overall configuration. Reduction from every spatio-temporal point of view and induce vision to a perceptual suspension. The latter is in an interruption of the usual mechanism of visual vision - based on the recomposition and adaptation of mental patterns to the new data acquired by the retina - which leads to an approach to the work empathically, trying to place itself in the relation of volumes without problems subordinate an explanatory narrative to it.
The human brain - a sort of neurologist - somehow attributes abstract meanings to shapes and sounds in a coherent way through a non-arbitrary mapping between the vocal sounds and the visual form of objects. Seeing the name "mother" or "apple" recall in us round shapes, while the name "crocodile" or "spot" make us think of angular shapes. In art this semantic semen is well represented by the work of Francesca Guarito who nourishes her existence from the study of the roundness of the female body. Beyond the megaletic semantic semantic of the figures, the artist is dedicated to the development in different dimensions - from the two-dimensional engraving to the three-dimensional sculpture - of testamental effects that - objectified in the artistic product - lead to the phenomenon of idyesthesia. Each work becomes an inducer that evokes experiences - concomitant with perception - that affect the whole body. That's why the soft players drag us into their ephemeral dance.
The image - as Roland Barthes wanted it - never true and objective, we should remember that time passes and a suspension of it is never really achievable. The opposite of what Rubens Fogacci succeeds in the "Atlas" project. Atemporalism is innervated between past and present in a bending moment which - like the heart of a machine - is opposed to the tendencies of natural forces. A consecutio temporale distorvolta determines this artistic language, so contemporary that it denies the physical linearity of time and frees the indescernibility between real and imaginary. Time is aimed, the plot goes back and stops on an image - the one that will support the current intervention - to undertake a new narration, multiple and stratified space-time in a real challenge to the human perceptual apparatus. But we - the people of today - follow the paths of multilinear reading thanks to the interactive mediality of the same work - that old new image that has always been and is constantly evolving like the frame of a videogame - that betrays the unstoppable lability of the time of our age that does not speak except in images.
Denitza Nedkova
Critical presentation by the dott.ssa:
Denitza Nedkova
Exhibition curator:
Deborah Petroni
Sponsored and advertised by:
www.fanluce.it
www.infissifp.it
www.start-fano.com
www.fogacci.net
www.axeleventsmanagement.com
www.virtualstudios.it
Duration of exhibition:
from 27 October to 8 November 2018
from Tuesday to Saturday from 11.00 am to 7.00 pm with continuous opening hours
Monday and Sunday closed
Free entry
Info and contacts:
Mail: info@wikiarte.com
Website: www.wikiarte.com
in Via San Felice 18 - Bologna
It is pleased to invite you
Saturday 27 October 2018
6.00 pm
At the inauguration of the personal exhibitions of:
MARIO D'AMICO
FRANCESCA GUARISO
RUBENS FOGACCI
The units that make up the perceptual field are articulated in such a way that they join together in balanced, harmonious, coherent structures, in a "the best possible" form. According to this Gestaltist principle, we generally choose the simplest, most regular form, which is good or pregnant. And as our visual system is one step at a time, so the formal world of Mario D'Amico leads to maximum simplicity by reducing the number of elements of the overall configuration. Reduction from every spatio-temporal point of view and induce vision to a perceptual suspension. The latter is in an interruption of the usual mechanism of visual vision - based on the recomposition and adaptation of mental patterns to the new data acquired by the retina - which leads to an approach to the work empathically, trying to place itself in the relation of volumes without problems subordinate an explanatory narrative to it.
The human brain - a sort of neurologist - somehow attributes abstract meanings to shapes and sounds in a coherent way through a non-arbitrary mapping between the vocal sounds and the visual form of objects. Seeing the name "mother" or "apple" recall in us round shapes, while the name "crocodile" or "spot" make us think of angular shapes. In art this semantic semen is well represented by the work of Francesca Guarito who nourishes her existence from the study of the roundness of the female body. Beyond the megaletic semantic semantic of the figures, the artist is dedicated to the development in different dimensions - from the two-dimensional engraving to the three-dimensional sculpture - of testamental effects that - objectified in the artistic product - lead to the phenomenon of idyesthesia. Each work becomes an inducer that evokes experiences - concomitant with perception - that affect the whole body. That's why the soft players drag us into their ephemeral dance.
The image - as Roland Barthes wanted it - never true and objective, we should remember that time passes and a suspension of it is never really achievable. The opposite of what Rubens Fogacci succeeds in the "Atlas" project. Atemporalism is innervated between past and present in a bending moment which - like the heart of a machine - is opposed to the tendencies of natural forces. A consecutio temporale distorvolta determines this artistic language, so contemporary that it denies the physical linearity of time and frees the indescernibility between real and imaginary. Time is aimed, the plot goes back and stops on an image - the one that will support the current intervention - to undertake a new narration, multiple and stratified space-time in a real challenge to the human perceptual apparatus. But we - the people of today - follow the paths of multilinear reading thanks to the interactive mediality of the same work - that old new image that has always been and is constantly evolving like the frame of a videogame - that betrays the unstoppable lability of the time of our age that does not speak except in images.
Denitza Nedkova
Critical presentation by the dott.ssa:
Denitza Nedkova
Exhibition curator:
Deborah Petroni
Sponsored and advertised by:
www.fanluce.it
www.infissifp.it
www.start-fano.com
www.fogacci.net
www.axeleventsmanagement.com
www.virtualstudios.it
Duration of exhibition:
from 27 October to 8 November 2018
from Tuesday to Saturday from 11.00 am to 7.00 pm with continuous opening hours
Monday and Sunday closed
Free entry
Info and contacts:
Mail: info@wikiarte.com
Website: www.wikiarte.com
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