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On September 7th at Palazzo Gallenga is going to be launched the exhibition Stele by Enrico Antonielli; the painter deals not only with sculpture but also with painting.

The sculptor and painter Enrico Antonielli was born in Perugia; he graduated in Philosophy at the University La Sapienza of Rome and in the 1970s he became the director of the CICoM (Center for Information and Communication of Mass of the Umbria Region). He collaborated with the roman magazine Philosophy and Society and later he attended the courses of Painting and Sculpture at the Academy in Perugia. Here he graduated in History of Art and begun to exhibit as a sculptor.

 

The exhibit

In the exhibition, visible from September 7th to 14th, the artist seems to move in the spatio-temporal interstices of the work, where art – the «extreme enigma» according to Malraux’s famous aphorism – triumphs for its inaccessibility, its continual moving beyond, like a moving target.
Historical and archaeological studies tell us that the commemorative, celebratory and votive function of the stele. The stele is a document in stone or bronze which commits a private or public event to eternity; the message, therefore, written or sculpted, is not scratched by time.
The exhibited works, characterized by the presence of lacerations and holes on the surface, recall fossil lakes and craters similar to lunar desert plagas; fundamental in the material: aluminum.

Mirrored Surfaces

Giuliano Serafini, international critic, expert in Burri and curator of exhibitions in Athens and New York underlines the fact that the artist performs a work of de-semantization of the archetype because only this can make the work win a significant autonomy.
The same critic also writes: «The reflective aluminium is itself a luminous emanation through which the image bounces and returns to the sender, it is an iridescent and aleatory extension on which everything passes and slides. It is a metaphor of the Hic et Nunc that denies time the opportunity to leave lasting impressions; therefore, material destined to be unable to “remember”, to entrust any memory to eternity».
The use of the mirroring surface metaphorically represents the drama of existential risk, the impassable limit between the phenomenal world and the noumen one, the solution of continuity between two irreconcilable worlds.
The interpretation of the mirroring surface defines the concept of limit, an inert instrument of the light that rebounds and reflects and, with its phenomenal reflection, it brings us back inexorably to the consciousness of our human condition, existential and finite.
The author emphasizes that his aesthetic perspective is part of the art-truth, which has a long history, which starts from the famous Portrait of the Arnolfini spouses by Van Eyck, where the painter through the mirror reveals what lies behind and beyond the perspective representation before the easel, and its presence in the room, with an extension of the space in a reality augmented to 360 °, which accounts for all the present reality at the time, including painter.

 

There is a serious risk of losing our identity: the earthquake that hit central Italy in 2016 destroyed everything. There is a feeling that, while passing through the state of emergency and reconstruction, something must be done to counteract the loss of ties, links and territorial knowledge in Umbria as well as the other regions, in particular about cultural, historic and artistic heritage.

This exhibition has this precise aim and it has been inaugurated on March 5th, in Rocca Albornoz of Spoleto, and it has been organised by the Region of Umbria, the Ministry of Cultural Assets, Activities and Tourism, the Archdiocese of Spoleto – Norcia and the town of Spoleto, and it will last until July 30th, 2017.

Ospiti in Rocca

The event is part of Discovering Umbria project, made by Sistema Museo and promoted by the Region of Umbria to support and enhance museum activities. The exhibit Treasures from Valnerina opens with Ospiti in Rocca. All the works on display have a very high symbolic significance, such as a XVI century wooden Crucifix from the church of Sant’Anatolia di Narco, the XVI century Madonna with Child from Avendita di Cascia and the Annunciation by Andrea della Robbia from the beginning of the XVI century, which is composed of two sculptures in glazed terracotta – the Virgin and the Archangel Gabriel – which originally were placed in the Church of SS. Annunziata and kept in Castellina Museum of Norcia, from where the odd Magistrate’s ballot box, made in the XV century, also exhibited, is from. From other regions there are the refined painting on wood of Madonna with Child by Nicola di Ulisse da Siena from the Diocesan Museum of Ascoli Piceno and the San Sebastiano from the second half of the XVII century from Scai, the area surrounding Amatrice.

Another selection of works rescued from the damaged churches and museums in Valnerina will be on display from April 9th, in order to enhance the exhibition including items recovered and restored in the months since the events of August 24th, 2016.

Other Projects

«After the shakes of August 24th and, in particular, those after October 30th, I have convinced that since Rocca and the Museo nazionale del Ducato (National Museum of the Duchy) had escaped damage, they should assume the role of a point of reference for the territory and for activities that are temporarily experiencing difficulty», says director Rosaria Mencarelli.

But there are many other initiatives, including Lightquake: Donate for reconstruction, a crowdfunding campaign started in February within the artistic project named LIGHTQUAKE, promoted by MiBACT and the National Duchy Museum of Spoleto, in collaboration with the Municipality of Spoleto, The Faculty of Design of the Milan Polytechnic, and the Association of Rocca Albornoziana, in order to support the restoration of works damaged by the earthquake as well as the launch of a shared project to regenerate the area at a regional level, with culture at its heart. Lightquake represents a beacon for reaction and rebirth, “a tremor of light” to instill positive energy and break the darkness of destruction, reigniting the cycle of life and creativity in a land with a rich heritage of masterpieces and artistic excellences. Fundraising contributions, developed in collaboration with the Progetto IMMaginario, may be made through the specialised Starteed platform.

A Necessary Restoration

Hope and commitment; knowledge and understanding for the future. The exhibition is an appropriate reaction to the urgency of cultural assets, in order not to risk to lose our heritage all together. Buildings, churches and works of art must be all restored as soon as possible, otherwise, as I already had occasion to write in the special edition of Predella dedicated to the earthquake, citing Mario Calabresi from La Repubblica of October 29th, 2016: «We will be poorer, as we had lost a piece of our soul».

 

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