Avanguardie

Detroit Underground

noreply@blogger.com (Gianfi) — Sat, 01 Feb 2020 15:33:00 +0000

Coesist or die Detroit Underground

Mark Klink digital art

Alessandro Reggioli

noreply@blogger.com (Gianfi) — Wed, 22 Jan 2020 14:08:00 +0000

Alessandro Reggioli lives and works in Florence where he was born in 1971. In 1989 he graduated from Artistic Lyceum and in 1995 he finished his studies at the Accademia di Belle Arti in Florence. Since 1995 Reggioli has been exhibiting his works in Florence and Italy enjoying the appreciation of the academic community and of art critics like Carlo Pedretti, Vincenzo Mollica, Alberto Agazzani and Daniela Marcheschi. These acknowledgements give him visibility: Reggioli has institutional solo exhibits all around Italy. In 2003 at Palazzo delle Stelline in Milan, in 2004 at the Pinacoteca civica of Bondeno near Ferrara, in 2007 at the Palazzo Pretorio in Certaldo. In 2008 in the setting of the Roman Theatre and inside the Archaelogical Museum of Fiesole. In 2010 in the Sala delle Colonne in Pontassieve and in 2011 Reggioli takes part in the Sculpture Biennal in Rome. Furthermore, in 2012 he exhibits at the “Sixtieth Anniversary of Contemporary Art” in French Riviera, in 2013 and 2016 at MACS in Catania and in 2017 at Palazzo Ferrero and Palazzo Gromo Losa in Biella.

alessandroreggioli.com

Antigas 1938

noreply@blogger.com (Gianfi) — Mon, 09 Dec 2013 13:46:00 +0000

Oohh...Like This

noreply@blogger.com (Gianfi) — Fri, 10 May 2013 14:55:00 +0000

TREP

noreply@blogger.com (Gianfi) — Mon, 25 Mar 2013 14:41:00 +0000

Landscape

noreply@blogger.com (Gianfi) — Wed, 20 Mar 2013 15:20:00 +0000

LI HUI: Steel and Neon lights.....

noreply@blogger.com (Gianfi) — Sun, 05 Sep 2010 17:47:00 +0000

Soft colour.....Metaphysics Art

noreply@blogger.com (Gianfi) — Sun, 04 Jul 2010 15:14:00 +0000

Gadamer, Adorno, Lyotard

Art and Metaphysic

After the collapse of the general thesis of Idealism, however spirit is strictly one aspect of artworks....it is not in any way present without what is opposed to it (i.e. non-spirit). Constitutively, the spirit of artworks is not pure.

Only as spirit is art the opposite of empirical reality, which (qua this opposite) becomes the determinate negation of the existing world order.

Futurist Athens Runner

noreply@blogger.com (Gianfi) — Mon, 24 May 2010 16:41:00 +0000

The Black And White

noreply@blogger.com (Gianfi) — Tue, 18 May 2010 10:34:00 +0000

Black and White? Is there any place of artistic attitude that excludes this colour dimension? The contemporary influencies of cement of architectural geometry is the base of modern colour. Re-thinking the dimension of colour and materials: we don't forget the ground floor of essential depiction.....

City Of Craft......

noreply@blogger.com (Gianfi) — Fri, 23 Apr 2010 14:32:00 +0000

Shanell Papp is a Saskatchewan-based artist who we're thrilled to have participating in this year's installation programming. Her contribution to City of Craft.

Keine: The film with Wittgenstein, Filippo Tommaso Marinetti and Majakovskij

noreply@blogger.com (Gianfi) — Mon, 22 Mar 2010 09:55:00 +0000

Keine is a short film in which there are Wittgenstein, Filippo Tommaso Marinetti and Majakovskij. They decided to kill God and they speak about problems of philosophy. With a lot of heavy actions they complete the mission....

Zhang Huang: the chinese artist over the meaning

noreply@blogger.com (Gianfi) — Fri, 05 Mar 2010 16:52:00 +0000

Giacomo Balla: dynamism of a dog on a leash

noreply@blogger.com (Gianfi) — Thu, 04 Mar 2010 14:24:00 +0000

Giacomo Balla's oeuvre was characterized by continual development. In the first phase of Futurism, Balla defined a type of dynamism that captured physical motion in the painted image. In parallel he developed colour-light schemes and varied them in a range of patterns. After 1915 Balla explored the potentials of expansive plastic forms that reflected a univerals Futurist theory of energy. In addition, he translated his pictorial approaches into craft applications. Dynamism of a dog on a leash (Dinamismo di un cane al guinzaglio) is the first Futurist painting in which Balla defined his position as if in a visual manifesto. He has divided the movements of a woman walking her dog into a multiple separeted motion sequences. A horse did not have four but twenty legs, mantained the "Thecnical Manifesto of Futurist Painting", which Balla among others signed in 1910. The device of multiplayng limbs was developed by reference to the chronophotographs of Etienne-Jules Marey, who back in 1882 sequentially reproduced the gait and flight of human beings, animals and birdsusing a special construction known as a photographic gun. Marey's analysis resultedin a graphic sequence of motions, which Balla copied almost exactly in studies maded in 1912.

The Future WC in Florence Contemporary art

noreply@blogger.com (Gianfi) — Sun, 28 Feb 2010 12:28:00 +0000

The essence of Futurism

noreply@blogger.com (Gianfi) — Tue, 23 Feb 2010 13:42:00 +0000

"Futurism as a rebellion of life,
intuition and feeling,
as a stimulating and stormy spring,
declares merciless war on that doctrine,
those individuals,
those works which repeat the past
to the detriment of the future,
keep it alive and celebrate it"
Francesco Balilla Pratella

Fortunato Depero: Bolted Book

noreply@blogger.com (Gianfi) — Mon, 22 Feb 2010 13:42:00 +0000

Fortunato Depero was the main motive force behind the second wave of Futurism, wich began to gather momentum around 1915-1916. In 1915 he co-authored , with Balla, a Manifesto titled: " Recostruction of the Universe", wich set forth theoretical premises for a revival of Futurism. Now the vitalistic Futurist philosophy was to encopass every field, not only of art but of everyday life as well. With this aim in mind, Depero developed into a true modern Renaissance man, devoting himself to painting, design, sculpture, graphic art, illustration, interior design, stage design, ceramics and writing. As early as 1927, at age 35, he publihed "Depero Futurista", a review of his oeuvre, including literature, from 1913 to 1927.Since the cover and pages were not conventionally bound but held together with bolts, the volume became known as a :" libro bullonato", or bolted book. Published by Dinamo-Azari in MIlan, it is considered the first book-object ever.

Gino Severini: Blue Dancer

noreply@blogger.com (Gianfi) — Fri, 19 Feb 2010 16:58:00 +0000

Blue Dancer (Danseuse Bleue) is a major work of Severini's, who devoted many paintings to the world of theatre, dance and night-life in the big city. The ballet impressions of anEdgar Degas (1834-1917) and the acutely observed milieu studies of a Henri de Toulouse-Lautrect (1864-1901) were now supereseded by a Futurist view which, in Severini's case, would have been unthinkable without the French Cubism of Pablo Picassoand George Braque. Severiniideally utilized the means of the Futuristic aesthetic to create pictorial correspondences for the movement and energy of the dance.

Rhythms of objects: Carlo Carrà

noreply@blogger.com (Gianfi) — Thu, 18 Feb 2010 11:52:00 +0000

Rhythms of Objects (Ritmi di Oggetti) belonged to the early Futurist phase and was one of a series of paintings in which Carrà clearly oriented himself to French Cubism, for he did not share Boccioni's radical rejection of Cubism as a style that traditionally cleaved to the object. In 1899-1900, on the occasion of the World Exposition, the young artist had spent his first protracted period in Paris. In autumn 1911 he made his second trip there, and met Picasso, Braque, Gleizes, Lèger and many others artists of the young French avant-garde. Like the Cubists, Carrà involved himself with the approch of the old master of modernism, Paul Cézanne( 1839-1906). Cézanne once demonstrated the way his pictorial structure worked by interlocking his fingers. Carrà , too, took this interlocking of forms as his model.

The revolt in Futurism: Luigi Russolo

noreply@blogger.com (Gianfi) — Wed, 17 Feb 2010 22:09:00 +0000

Luigi Russolo was a member of the Futurist group in Milan. One of the signers of the "Manifesto of Futurist Painting", by the 1913 he had completed numerous compositions that reflected the cult of machinery and doctrine of Futurist Aesthetics. Yet that same year his interest in music prompted him to change fields and begin experimenting with sounds and noises. The artist's love of music was already reflected in his futuristic paintings. More than his other Italian colleagues, Russolo concentrated on mighty, orchestral chords produced by a few strong colors. This compositions are shot through by synaesthetic stimuli that convey both visual and acoustic experiences. The revolt ( La Rivolta) is one of the early Futurit works to address the current political situation in Italy. Like Umberto Boccioni and Carlo Carrà, he had first-hand experiences of the labour uprisings, unrest and social injustices that grew out of the conflict between rapid industrialization and an outmoded social structure. In a painting like "The Revolt" the Futurist attempted to bridge the gap between utopia and reality.

Robot Friends

noreply@blogger.com (Gianfi) — Mon, 15 Feb 2010 17:46:00 +0000

Our friends in these days.......Everyday we meet someone very similar to a robot....Didn't it? It seems like a normal man, but it is an automa like a golem; it likes to do what someone ask...like a robot...no personality...Wake up it's your life...

Ponte Vecchio a Firenze

noreply@blogger.com (Gianfi) — Mon, 15 Feb 2010 15:15:00 +0000

Ponte Vecchio a Firenze....

The "INSIDE ART"

noreply@blogger.com (Gianfi) — Thu, 11 Feb 2010 17:19:00 +0000

The INSIDE ART is an Italian underground movement. It likes inside parts of the body or everything is inside of a big structure; for example the internal part of a washing machine....These structures rappresent the world in which we live, because we understand the world because we are inside the world.....

Like a Pencil Gianfi's drawings

noreply@blogger.com (Gianfi) — Wed, 03 Feb 2010 14:33:00 +0000

The meaning of Laicdis...

The importance of movements

2011: Poor Art in Italy

noreply@blogger.com (Gianfi) — Tue, 02 Feb 2010 09:25:00 +0000

A great Poor Art happening will start at the beginning of September 2011 in many Italian cities, like Milan, Rome and Bologna. The project is coordinated by Triennale. It is a very interesting idea indeed, because there will be many different paintings of "poor art" in the most important Italian museums. Poor Art is an artistic movement that was born in Italy in 1967; it is similar to conceptual art, but at the same time it is different, something against the traditional point of view, in which these artists recognise the static prison of ideas. They wanted to create something simple with elementary material ingredients, like clay, iron, plastic, wood or everything else like poor materials. The most important artist of this movement was Germano Celant, but we must also remember Giovanni Anselmo, Jannis Kounellis, Mario Merz, Giuseppe Penone, Alighiero Boetti e Giulio Paolini.