Exhibitions, Italy, Firenze, 06 March 2015
Art and International Cooperation for Development Exhibit of Pictorial Sketches for the Decoration of the Auditorium of the Istituto Agronomico per l’Oltremare (Agronomic Institute for Overseas Countries)
edited by Giampaolo Trotta
The headquarters of I.A.O. and its Auditorium
... The current exhibit, promoted by the Istituto Agronomico per l'Oltremare, wants to present a more appropriate theme for the decoration of the four lateral areas of the Institute’s Auditorium. Twelve Italian and foreign artists have been invited to present their sketches in scale 1:5 circa. They were carried out in a free-style technique. These sketches had to have as theme Italy’s cooperation towards the development of African, Asian and Latin-American countries in the field of agriculture, biodiversity and an eco-sustainable system. This theme had to be faced in figurative forms (i.e. neither abstract nor informal) having a symbolic character, in compliance with figurative realism or surrealism, so that the new artistic works could perfectly join the twentieth-century character of the building and its decorations, which are bound by the Ministry of Cultural Heritage and Activities in reference to ex L. 1089/1939. So, these works had to somewhat have a reference to Calastrini’s painting if this were still be visible underneath the recent whitewash and if the circumstances would allow it, not becoming however rhetorical or celebratory neo-Sironian copies, nor reducing the area to be decorated into a trite or trivial imitation. Such preparatory sketches could not be three-dimensional nor materical, that is they did not have to develop application techniques on the support of objects, pertinent to the ready-made New Dada, of the “bas-relief” or of the multistratification of supports and materials.
If some of these sketches will be selected by the Ministries of Foreign Affairs and of Cultural Heritage and Activities the final work would be accomplished on removable supports but never directly painted on the wall itself, to rigorously keep the character of reversibility imposed by the laws in force regarding the protection of historical monumental buildings and of the related “cards” concerning the restoration.
The exhibited works – all attributable to the symbolical Figurative – can be grouped into three units: the realistic, the non-realistic or barely realistic and the surrealistic one. In the first group, we see the sketches of Giampaolo Beltrame, Luigi Falai, Silvia Fossati, Paola Imposimato and Liliana Pindozzi; the second group is composed by the works of Alvaro Cattaneo and Paolo Lantieri; in the third group, which is the most numerous, we have the works of Davide Coroneo, Elio De Luca (at least partially), Silvia Fossati, Alda Giunti, Andrea Granchi and Rebecca Hayward. ... (From the introduction by Giampaolo Trotta)
edited by Giampaolo Trotta
The headquarters of I.A.O. and its Auditorium
... The current exhibit, promoted by the Istituto Agronomico per l'Oltremare, wants to present a more appropriate theme for the decoration of the four lateral areas of the Institute’s Auditorium. Twelve Italian and foreign artists have been invited to present their sketches in scale 1:5 circa. They were carried out in a free-style technique. These sketches had to have as theme Italy’s cooperation towards the development of African, Asian and Latin-American countries in the field of agriculture, biodiversity and an eco-sustainable system. This theme had to be faced in figurative forms (i.e. neither abstract nor informal) having a symbolic character, in compliance with figurative realism or surrealism, so that the new artistic works could perfectly join the twentieth-century character of the building and its decorations, which are bound by the Ministry of Cultural Heritage and Activities in reference to ex L. 1089/1939. So, these works had to somewhat have a reference to Calastrini’s painting if this were still be visible underneath the recent whitewash and if the circumstances would allow it, not becoming however rhetorical or celebratory neo-Sironian copies, nor reducing the area to be decorated into a trite or trivial imitation. Such preparatory sketches could not be three-dimensional nor materical, that is they did not have to develop application techniques on the support of objects, pertinent to the ready-made New Dada, of the “bas-relief” or of the multistratification of supports and materials.
If some of these sketches will be selected by the Ministries of Foreign Affairs and of Cultural Heritage and Activities the final work would be accomplished on removable supports but never directly painted on the wall itself, to rigorously keep the character of reversibility imposed by the laws in force regarding the protection of historical monumental buildings and of the related “cards” concerning the restoration.
The exhibited works – all attributable to the symbolical Figurative – can be grouped into three units: the realistic, the non-realistic or barely realistic and the surrealistic one. In the first group, we see the sketches of Giampaolo Beltrame, Luigi Falai, Silvia Fossati, Paola Imposimato and Liliana Pindozzi; the second group is composed by the works of Alvaro Cattaneo and Paolo Lantieri; in the third group, which is the most numerous, we have the works of Davide Coroneo, Elio De Luca (at least partially), Silvia Fossati, Alda Giunti, Andrea Granchi and Rebecca Hayward. ... (From the introduction by Giampaolo Trotta)
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