Personal exhibition Antonio Nunziante presentation by Luca Beatrice
Exhibitions, Italy, Bologna, 07 May 2015
he Contemporary Art Gallery Wikiarte
in Via San Felice 18 - Bologna
Is pleased to invite you
Thursday, May 7, 2015
All 'exhibition opening personnel:
Suppose we ask any person to show his portrait we are assured that the answer, provided in record time, reveal the aesthetic form of Selfie.
Represent is the lightness that invigorates narcissism hidden in each of us and is suitable for all ages of life; with its mode disposable, the self-branded social media is the son of the shooting speed pixels, ie, it is suitable to be recognized in the territory of virtual networks but also unable to recognize in himself the signs and symbols of the time crossing and then to rise to the real icon. Its average duration is very short, as it is intended to be replaced by one click similar that even temporally, it looks like the perpetually.
The Selfie leaves behind teaching acquired over the centuries: with chisel or brush, the predecessors of portraiture 2.0 recorded fact the aesthetic standards of the time looking for and then finding the shape of the archetype. To quote the German theorist Winckelmann, was for the ancient "the search for the ideal beauty, remoteness from the turmoil of passions and emotions, the noble simplicity and quiet grandeur of the subjects" invoked in the portraiture of the icons that became finally also ' self-portrait of the author.
The universality of the classic is a theme detectable in the halls of museums of antiquities and heads full of busts of famous men and so many strangers: in the faces and in the likeness of the subjects you uncover archaic universal expressions of aesthetic and sociologies in which we can still find similarities and similarities. In classical recognize the archive of the time and that is where today's artists collect forms and materials, in a close dialogue and continuous between past and future.
Many people observe that the visual culture in the third millennium is likely to slip into a style amateur because too flattened on the rules of the digital medium: perhaps in reaction painters and sculptors feel the need to fall into the category of the self-staff through a new emotional attitude . The artists look with pleasure to the past and its stylistic elements, preferring the mystery of archaic symbols mixed in contemporary stuff for the purpose of describing the present and represent themselves in it. Models Greek, Etruscan and Roman, and even before the Egyptian, so they return to inhabit the perimeter of contemporary clothes him in a new force, loading the current story of the power of the arcane.
The work of Antonio Nunziante has always been full of such a tendency to dig in when classicism, since the eighties, has launched his own personal historic path referring to some masters of painting culture of the avant garde, able to recognize semantic nell'anacronismo gym expressive unmatched, and the models of Canova and neoclassical statuary. If the iconographic program by Nunziante seems a continuous tribute to the twentieth century (to name only a few examples, Atelier of Dreams in reference to René Magritte or the time that I would like in the memory of the genius of Salvador Dali) actually, watching his entire corpus painting, we see a different, more mature scent. Beyond the reference to quotations of postmodern climate, the presence of stylistic Nunziante is so substantial as to suggest to his constant anagrams as pictorial collage of one big picture. A picture, or rather, the self-portrait of the man who the artist is emotional. In these figurative expressions of the self Nunziante distributes with the precision that distinguishes all the archetypes of his vocabulary by now unmistakable. What's new in this last cycle of works is the strong conceptual component in force himself to limit the size, 18x24 cm, almost forming a mini collection of thirteen tablets painted in oil, a kind of inventory "pocket" of its repertoire.
In particular, in the signs of the Dream Garage 'style Nunziante' are frozen inside bubble crystal reminiscent of the tricks of the Flemish (Pieter Claesz, Jacques De Gheyn, Vincent Van Der Vinne) who carried on the surface of convex mirrors what we habitually was 'beyond' the canvas. So Nunziante door 'on this side' of reality, that is on the table and inside transparent balls, his favorite icons: the red rose (Rosa or meditative, even with reference to Dali), manly marble bust of Roman culture, the face Venus, the famous island of Bocklin, Greece and its temples. In the enclosure built on the sea dear to the artist, this water ubiquitous in many of his paintings, is placed so the 'Nunziante's Dream Garage' and here crammed dreams, or maybe even the nightmares, his deepest desires and continuous aporias that expect answers and freeze in opposites. Love and death, passion and melancholy, Venus and Adonis, agony and ecstasy, reality and imagination, night and day. In front of us there is a mosaic of the intellect, a rebus of reason and feelings, a lyrical abstraction of the unconscious and emotional perspectives of nature primarily as an artist.
The difference between a young painter and a teacher is all here. Becoming baggage of an individual story, the maturity of Nunziante can take an important step, able to move the plane of observation and criticism of his work not only in reference to a distant past, and something else, but rather in a recent past that is already personal history.
Luca Beatrice

Art critic Luca Beatrice
Curator of the exhibition:
Deborah Petroni
Exhibition catalog:
Electa catalog in homage to the inauguration
Sponsored and advertised by:
Duration of the exhibition:
from 07 May to 4 June 2015
Tuesday to Saturday from 11.00 to 19.00 with a lunch break
Monday and Sunday closed
Free entry
Info and contacts:

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