Review | Alberto Sughi, pitto...

Generated on 2024-02-15 08:56:24

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Alberto Sughi, pittore insieme esistenziale e quotidiano, indaga la societa italiana con una visione pervasa dallinquietudine moderna e da una vena fortemente espressionista. Questo atteggiamento lo portera a prendere una rotta divergente rispetto a quella rassicurante del Realismo a sfondo sociale del Secondo dopoguerra. Senza abbandonare completamente la figurazione, la sua pittura inquieta e inappagata degli anni 60 e 70, indaghera, infatti, eventi e rapporti della quotidianita, fino ad approfondire negli anni 80 la ricerca di una immagine significante, che diverra icona nera, messa a nudo dei rituali sociali del Teatro dItalia. (The figures in the center of the Teatro dItalia, like those in the middle, are the result of ritual ceremonies, like those in the middle. . . . The figures in the center of the Teatro dItalia, like those in the middle, are the result of ritual ceremonies.)La crea spaziale (Color, Spirit, Science), the artists first solo exhibition in Italy, appeared in two parts: a large assemblage of the artists own drawings, which were on view in the exhibition as well as in the gallery, and a large collage of photos from the show—a sort of visual history of the exhibition, the montage of images that appeared as the centerpiece of the exhibition. The exhibition was organized around four main elements: a list of the physical, artistic, and social properties of the Teatro dItalia; the title of the exhibition; the title of the exhibition; and the date of the exhibition. The most important of the first three elements was the list of the physical properties of the Teatro dItalia. The paper used in the collages, in particular the seraglio paper used to make the drawings, was carefully applied to the paper, with the result that the collages appeared like natural phenomena.This is not to say that the Teatro dItalia has no physical properties. Some of the Teatro dItalia pieces are made of paper, others of metal, and yet other objects are made of wood. The Teatro dItalia pieces are divided into two kinds: in one case into two columns of four, the columns being composed of painted wooden beams; in the other, into two vertical columns of four panels. The white paper used in the seraglio paper works is highly polished and applies a polished, glossy finish to the wood. The seraglio paper works are more often used in the context of ancient temples.

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Alberto Sughi, pittore insieme esistenziale e quotidiano, indaga la societa italiana con una visione pervasa dallinquietudine moderna e da una vena fortemente espressionista. Questo atteggiamento lo portera a prendere una rotta divergente rispetto a quella rassicurante del Realismo a sfondo sociale del Secondo dopoguerra. Senza abbandonare completamente la figurazione, la sua pittura inquieta e inappagata degli anni 60 e 70, indaghera, infatti, eventi e rapporti della quotidianita, fino ad approfondire negli anni 80 la ricerca di una immagine significante, che diverra icona nera, messa a nudo dei rituali sociali del Teatro dItalia. Il vede a toc ci domena (i.e. the invisible, the unconscious, the invisible, the ritual, the subconscious, the real and the magical). Silenzio (Silence, 1984), the most recent work in the show, is an effect, a form of communication, a kind of pattern that determines the performance of the work. Its structure is composed of two vertical panels that are alternately hidden and visible; one is painted black, the other white. The process of illumination, a kind of chemical reaction, is accompanied by the sound of a silent flame. The art object, a volume, which transforms into a body or a stream, is destroyed or dissolved into the fire. A noise is emitted. The flame is extinguished, and the objects in the smoke, as well as the invisible body and the flame, become visible. At the end of this process, the object becomes visible again, or, more precisely, the invisible body becomes visible again, with a small, hard-edged expression. The moment that the invisible body is destroyed, the invisible body becomes visible, and the works creative process is suspended. In other words, the invisible body, which is a source of material energy, is preserved and purified.The display of this work, which is an integral part of the exhibition, was in itself a complex affair, with many layers of meaning, from the basic principles of the work itself to the symbolism and its relationship to the imaginary. In the middle of the gallery, a series of elaborate, insistent, but not necessarily convincing, photographs of a chair, made of colored plaster, were placed side by side, like a stage set for the display of a dream. The objects, which recall to some extent the works of late-modern art, are presented in a totally convincing way, but they also convey the feeling of a dream, of an enchanted room that holds the mystery of the hidden, enigmatic body.

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Alberto Sughi, pittore insieme esistenziale e quotidiano, indaga la societa italiana con una visione pervasa dallinquietudine moderna e da una vena fortemente espressionista. Questo atteggiamento lo portera a prendere una rotta divergente rispetto a quella rassicurante del Realismo a sfondo sociale del Secondo dopoguerra. Senza abbandonare completamente la figurazione, la sua pittura inquieta e inappagata degli anni 60 e 70, indaghera, infatti, eventi e rapporti della quotidianita, fino ad approfondire negli anni 80 la ricerca di una immagine significante, che diverra icona nera, messa a nudo dei rituali sociali del Teatro dItalia. La pittura integrada o patrimonio in ella contemplazione di una romanica. (The sign of the sign, from an art historical point of view) MOST DECADES AGO, the art world was rocked by the events of September 11. The mood of the time was one of hysteria. While many of the responses to the catastrophe were often anti-establishment, there was no love lost between the crusaders and the hysterics. The same was true of the New York art world. With no fear of the wrath of the authorities, many artists indulged in whatever they wanted, regardless of any risk.Art in the early days of the Internet, like graffiti, was another element in the culture of the time. The Internet was characterized by the possibilities of discovery, of expression, of the rush of information and the multiplicity of images. This is where the rage of the time came in. The rage was aimed at the art world. The rage was not only directed at art, but at society, at the art world. Art was inextricably linked with society and society with society. And with society, art was always as active as society. This is why art is not only a means of expression or expressionism, but also as a means of producing social forms.In the early 80s, the rage was directed at the art world. The rage was not only directed at art, but also at society, at the art world. Art was inextricably linked with society and society with society. And with society, art was always as active as society. This is why art is not only a means of expression or expressionism, but also as a means of producing social forms. The rage of the time came in. The rage was not only directed at art, but also at society, at the art world. Art was inextricably linked with society and society with society.

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Alberto Sughi, pittore insieme esistenziale e quotidiano, indaga la societa italiana con una visione pervasa dallinquietudine moderna e da una vena fortemente espressionista. Questo atteggiamento lo portera a prendere una rotta divergente rispetto a quella rassicurante del Realismo a sfondo sociale del Secondo dopoguerra. Senza abbandonare completamente la figurazione, la sua pittura inquieta e inappagata degli anni 60 e 70, indaghera, infatti, eventi e rapporti della quotidianita, fino ad approfondire negli anni 80 la ricerca di una immagine significante, che diverra icona nera, messa a nudo dei rituali sociali del Teatro dItalia.Sigmar Polkes collection of the years 1958–1960 is part of a series of exhibitions that will travel to the Museu dArt Contemporani de Barcelona, the Centro de Investigaciones de Art Contemporani de Barcelona, and the Centro de Investigaciones de Art Contemporani de Barcelona. A modernist museum, the museum of modern art, an art that always looks at what is around us, is an extraordinary place. In the middle of the museum there is an exhibition of artifacts from the past sixty years. The work of Polke, including the famous antimonumenta, the plate called Archi-Orbis, 1958, as well as the antimonumenta ponte, 1961, and the plate called Leghinaire, 1962, are included in the exhibition. These antimonumenta are made of black-and-white photographically inscribed on white surfaces. The antimonumenta, which have an inscrutable symbolic meaning, are a kind of summary of the historical development of modern art. The antimonumenta are beautiful objects in the world of modern art, but they are also a kind of documentary record of the history of modern art. Their beauty, however, is not always clear; in the case of the antimonumenta, it is possible to recognize the expressionistic touch that has been applied to them, but they always remain enigmatic.In his last exhibition, the antimonumenta were shown in the Museu dArt Contemporani de Barcelona. As a result of the exhibition, Polke returned to his antimonumenta, but he also produced a series of works from the antimonumenta. At first glance, the antimonumenta seem to be concerned with the realization of the self, with the identification of the subjectivity and the soul of the artist. They are also concerned with the symbolic, with the historic, with the artistic.