Exhibitions, Italy, Bologna, 30 November 2019
PERSONAL EXHIBITIONS OF CALESINI, MAZZANTI, FASTELLI
The Wikiarte Contemporary Art Gallery
in Via San Felice 18 - Bologna
It is pleased to inform you that
Saturday 30 November 2019
6.00 pm
the opening of the personal exhibitions of
MARINO CALESINI
PAOLO MAZZANTI
MAURO FASTELLI
during the evening Dr. Denitza Nedkova will be present
Beauty is not in the thing looked at but in the eyes, says the Nobel prize winner André Gide. And it is precisely in the individuality of this gaze, even before in the plurality and the cultural and social abundance, that the photographic production of Paolo Mazzanti finds its inspirational vein. Each image is nothing but a form of personal and intimate attention that outlines the aesthetic sensibility of its creator, that is his Period Eye. This historicity of the gaze, theorized by Michael Baxandall, expresses the receptive mechanism, genetically and culturally built, which allows each of us to define our own preferences - from styles and fashions to the atypical taste - which are personal. The forms of intention - where forms stands for the stable and static characteristics of physical phenomena, such as the unmodifiable traits of a design, while the intention indicates the cognitive process in continuous transformation and tuning according to each person - are the images that reflect the uniqueness of the look. To analyze this process, Mazzanti starts from reality, in its specificity, trying to eliminate all the elements that could interfere with the object of attention, extracting the uniqueness not so much of the observed as of the gaze of who observes and records mnestically and imaginatively.
The intimacy of the relationship with the outside world and, in particular, with the forms and the matters that move us the most is rooted in the entire plastic production of Mauro Fastelli. Soft, throbbing and organic or hard, static and artificial are among the few expressions of the polarity that defines the work, which sense arises from the contrast of opposites. This is not a contrast that generates dynamism but also tension, but of an interpenetration that pacifies the different natures of the materials in a single expressiveness. The mutual compensation between two and three dimensional plans gives the artifact a hybrid resonance that involves the prominent physical characteristics of the materials in an interpretative and conceptual meaning-making. The manual dexterity of the aurifex transforms, therefore, all the metals involved in precious sheets that take breath from the organic nature of the wood or the canvas. Then the color emerges superfluous and overwhelmed by the golden glow and the wooden warmth. Fastelli's creations emerge, therefore, as reflexive objects-subjects that involve the observer in an agentive space-time cell of a predominant, specific and typical affordance of the artifact alone. The consequent relationship that is established with the work is determined, consequently, of a state of flow, or absolute absorption in what is observed.
Nothing simpler than a plant ... and nothing more complex. Plants contain the spontaneous asymmetry of nature and, at the same time, the fractal mathematics of the whole universe. Geometric shapes, rigid and angular, thus become able to accommodate, and not to imprison, the lush limbs of the vegetation. Marino Calesini's art, the XeroFatArt, is expressed in this pixelized phytomorphism. Each xerophyte illustration becomes their portrait, extrapolating and zooming in on the specific traits that define this vegetable phyla. The botanical competence allows to transmit the presence of the plant even on its own a single detail, in a pictorial synecdoche that - with pastel, Indian ink and oil - hyperbolizes the leaves, the thorns, the seeds accentuating them with bright and unnatural colors. A continuous exchange between nature and artifice, between true and likely makes the true message of Calesini's creative action emerge, which the poet thus formulates:
Man is soft and weak at birth, | at death it is hard and strong. | All creatures, herbs and plants | when they live they are soft and tender | when they die they are dry and dry. | Hardness and strength are the companions of death, | softness and weakness are companions of life. | For this | whoever makes himself strong with weapons does not win, | The tree that is strong is cut down. | What is strong and robust is below, | what is soft and weak is at the top.
Denitza Nedkova
Sponsored and promoted by:
www.infissifp.it
www.goffiauto.it
www.ilparticolarearredamenti.it
www.vec.it
www.fogacci.net
www.axeleventsmanagement.com
www.virtualstudios.it
Show duration:
from 30 November to 12 December 2019
from Tuesday to Saturday from 11.00 to 19.00
December 12 closing at 15.00
Info and contacts:
Mail: info@wikiarte.com
Site: www.wikiarte.com
The Wikiarte Contemporary Art Gallery
in Via San Felice 18 - Bologna
It is pleased to inform you that
Saturday 30 November 2019
6.00 pm
the opening of the personal exhibitions of
MARINO CALESINI
PAOLO MAZZANTI
MAURO FASTELLI
during the evening Dr. Denitza Nedkova will be present
Beauty is not in the thing looked at but in the eyes, says the Nobel prize winner André Gide. And it is precisely in the individuality of this gaze, even before in the plurality and the cultural and social abundance, that the photographic production of Paolo Mazzanti finds its inspirational vein. Each image is nothing but a form of personal and intimate attention that outlines the aesthetic sensibility of its creator, that is his Period Eye. This historicity of the gaze, theorized by Michael Baxandall, expresses the receptive mechanism, genetically and culturally built, which allows each of us to define our own preferences - from styles and fashions to the atypical taste - which are personal. The forms of intention - where forms stands for the stable and static characteristics of physical phenomena, such as the unmodifiable traits of a design, while the intention indicates the cognitive process in continuous transformation and tuning according to each person - are the images that reflect the uniqueness of the look. To analyze this process, Mazzanti starts from reality, in its specificity, trying to eliminate all the elements that could interfere with the object of attention, extracting the uniqueness not so much of the observed as of the gaze of who observes and records mnestically and imaginatively.
The intimacy of the relationship with the outside world and, in particular, with the forms and the matters that move us the most is rooted in the entire plastic production of Mauro Fastelli. Soft, throbbing and organic or hard, static and artificial are among the few expressions of the polarity that defines the work, which sense arises from the contrast of opposites. This is not a contrast that generates dynamism but also tension, but of an interpenetration that pacifies the different natures of the materials in a single expressiveness. The mutual compensation between two and three dimensional plans gives the artifact a hybrid resonance that involves the prominent physical characteristics of the materials in an interpretative and conceptual meaning-making. The manual dexterity of the aurifex transforms, therefore, all the metals involved in precious sheets that take breath from the organic nature of the wood or the canvas. Then the color emerges superfluous and overwhelmed by the golden glow and the wooden warmth. Fastelli's creations emerge, therefore, as reflexive objects-subjects that involve the observer in an agentive space-time cell of a predominant, specific and typical affordance of the artifact alone. The consequent relationship that is established with the work is determined, consequently, of a state of flow, or absolute absorption in what is observed.
Nothing simpler than a plant ... and nothing more complex. Plants contain the spontaneous asymmetry of nature and, at the same time, the fractal mathematics of the whole universe. Geometric shapes, rigid and angular, thus become able to accommodate, and not to imprison, the lush limbs of the vegetation. Marino Calesini's art, the XeroFatArt, is expressed in this pixelized phytomorphism. Each xerophyte illustration becomes their portrait, extrapolating and zooming in on the specific traits that define this vegetable phyla. The botanical competence allows to transmit the presence of the plant even on its own a single detail, in a pictorial synecdoche that - with pastel, Indian ink and oil - hyperbolizes the leaves, the thorns, the seeds accentuating them with bright and unnatural colors. A continuous exchange between nature and artifice, between true and likely makes the true message of Calesini's creative action emerge, which the poet thus formulates:
Man is soft and weak at birth, | at death it is hard and strong. | All creatures, herbs and plants | when they live they are soft and tender | when they die they are dry and dry. | Hardness and strength are the companions of death, | softness and weakness are companions of life. | For this | whoever makes himself strong with weapons does not win, | The tree that is strong is cut down. | What is strong and robust is below, | what is soft and weak is at the top.
Denitza Nedkova
Sponsored and promoted by:
www.infissifp.it
www.goffiauto.it
www.ilparticolarearredamenti.it
www.vec.it
www.fogacci.net
www.axeleventsmanagement.com
www.virtualstudios.it
Show duration:
from 30 November to 12 December 2019
from Tuesday to Saturday from 11.00 to 19.00
December 12 closing at 15.00
Info and contacts:
Mail: info@wikiarte.com
Site: www.wikiarte.com
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