Description of the exhibition “The Contemporary Nuraghe”

The Contemporary Nuraghe on display

The exhibition called “The Contemporary Nuraghe” set up at the F.R.A.C. Fondo Regionale Arte Contemporanea of ​​Baronissi (SA), was articulated through different compositions of an urban iconography that of the so-called car cemeteries, which reduced to carcasses end up stacked in a pyramidal sense. functional of the Megalithic Nuraghe which I consider the first metaphysical monuments. Nuraghe ContemporaneeIn addition, the concrete possibility of defining the Nuraghe as burial places strongly contributes to creating an atmosphere inserted in a typically metaphysical artistic dimension. A similar atmosphere also spreads in car demolitions or to better define them with a metaphysical term “the car graveyard”. In the scene, the real protagonist is the loneliness that winds among the carcasses of old demolished cars that populated the cities until a few years ago. The lack of light is punctuated by some space that was involuntarily created by joining the demolished cars. The car interiors keep an infinite number of memories with a grave jealousy; loves, confessions, sex, betrayals, violence.Nuraghe Contemporanee

The critical profile, included in the catalog, was edited by Prof. Patrizia Fiorillo, holder of the Chair of History of Art Contempo at the University of Ferrara. The Artistic Direction of the F.R.A.C. of Baronissi (SA) is directed by prof. Massimo Bignardi, holder of the chair of Contemporary Art History at the Faculty of Letters and Philosophy and the School of Specialization in Art History of the University of Siena.

Nuraghe Contemporanee

In the practical realization the operative path has developed a double final result: photocomposed panels and mixed technique. For the photocomposed panel the realization is completely digital. In the mixed technique, the initial structure consists of a black-and-white photographic setting on a canvas support. Subsequently, the chromatic intervention takes place, with oil colors, which previously programmed must penetrate the material with calibrated violence. The common thread that unifies the two creations is the metaphysical essence of the contents which gradually must arouse a subtle and icy anxiety and a single undisputed protagonist must reign: loneliness.

Petrucci Pasquale

Informal photography

 

 

Informal photography

The previous exhibition project, called “contemporary realism” was divided into three workshops. The result was enclosed with compositions belonging to an enigmatic dimension of reality which subsequently, with the fourth workshop, became an informal material type, with expressive values ​​corresponding to contemporary art. MY visual interest has focused on the chromatic residues of old metropolitan graffiti aged with expressive-visual interventions of different themes, bleached and partly canceled with faded, dull, partly discolored colors, to then be covered by other graffiti that the wear of time has again faded, but with the presence of a contemporary material art. Very often there are expressive overlaps with different characteristics in fact even if they involuntarily intersect; graffiti – mainly characterized by writings sometimes circumscribed with the personalization of an original signature, with murals – characterized above all by chromatic interventions with combinations of bright, showy, bright colors and with festive, fantastic, fairytale, humorous themes. Artistic collected highlights the cancellation of any pre-established shape or shape and the liberalization, without a conventional compositional approach, a set of signs, lines, writings and spots of color that intersect without specific compositional boundaries, with an expressive and with a spontaneous gesture. All this succeeds in transporting the visual memory to the masterpieces of informal painting. In fact, technically they are chromatic interventions with signs that do not delineate a border with the remaining chromatic residue, helping to enhance images free to wander in a metropolitan context.

Petrucci  Psquale

 

The photographic research

The photographic research of reliefs with material-chromatic forms present in various points of the territory makes clear the visual-museum map of reference for an informal-material iconography. Attention is also attracted to multi-material subjects with particular veins, cracks, lesions, holes, irregular reliefs and inevitably the photographic execution tends to concretize the informal-material value that emerges. The informal-material-photographs have completed a first visual-cycle currently in online contemporary art exhibition of this visual-art-laboratory.

online exhibition :

http://www.ateliercontemporaryart.com/informal-photography/

 

Petrucci Pasquale

The art-technological; digital-art / digital-art

For several decades, modern and contemporary art has been systematically involved in technological innovations, practicing new expressive realities with digital characteristics that inevitably involve a manipulation of reality. The creative input can arise from contemporary photography, from fantastic scenarios, or from any graphic-digital intervention. The technological entrance has not only contributed to enhancing the figurative arts, but has involved all multimedia expressions without exception, involving advertising creatives, cinemas, stylists, musicians and various designers. Gradually digital drawings have become indispensable for the different operators, in the same way as the corresponding updates that have become more and more frequent, also through the countless apps (applications).

The expressiveness of modern-contemporary art

Regardless of the technological use, the indispensable element is the expressive creativity that has characterized the entire path of art, both when the visual arts were limited to architecture, painting and sculpture and when from the end of the eighteenth century onwards have been added; photography, cinematography, video-art, body-art, land-art and the whole of technological-computerized arts. The acceptance and understanding of digital works is easy to share because the spread of elementary graphic-digital skills and the use of simple software, almost always free, has facilitated the digital expressive practice within everyone’s reach, even if overall the it all boils down to different decorations, slight tweaks or humorous caricatures.

The spread of graphic-digital creativity

Currently, even with a smartphone full of apps it is possible to develop one’s own graphic-digital creativity used mainly for the visual communication of social-media. The aid of computerized technology applied to visual creativity has generated different names to better identify the multitude of application customizations that very often for the parallel development it is almost difficult to establish a precise chronological order but globally they can be accumulated in; new media art – computer art – virtual art – intangible art – interactive art, art – telematics – multimedia art, digital painting – net art.

laboratorio creativo di arte contemporanea con articoli-mostre- realizzate anche con l'arte digitale

 

 

   the exhibitions of digital art of Petrucci Pasquale

 

 

 digital art exhibitions

http://www.ateliercontemporaryart.com/esposizione_di_arte_digitale/

 

Digital compositions that appear to be mainly works that by invitation have participated in competitions, group exhibitions, themed exhibitions. The execution was completely digital with a photographic input and with a subsequent compositional and chromatic manipulation.

all exhibitions of contemporary art

http://www.ateliercontemporaryart.com/articoli_di_arte_contemporanea/ enforcement-mostre-di-arte-contemporanea/

 

creative art workshop contemporary realism

creative workshop Contemporary Realism

 

The contemporary art exhibition project, with the exhibition of artistic photographs, called “contemporary realism” is substantially formed by urban scenes that belong to our everyday life, assembled with ease by the hand of man, by atmospheric situations, or by the wear of time .

laboratorio di arte creativa denominato "Realismo contemporaneo"

Particular compositional preferences do not prevail, the visual interest is attracted indifferently by natural, urbanistic, structural elements or by any form which, thanks to particular modular characteristics, manages to develop a pleasant aesthetic harmony. The only presence deliberately excluded is the human figure. Most probably it is this exclusion that unintentionally makes these compositions a metaphysical sense where staticness reigns with a silent atmosphere. Everything seems to belong to an enigmatic dimension of reality that we usually live in everyday life.
The photographic technique

photography-and-contemporary-art

The only manipulations made concern exclusively the technical alteration of contrast and brightness further highlighted with the exaltations of shadows and lights. Through the various compositions photographed, a real aesthetic iconography is highlighted that by and large belongs to the urban landscape.

laboratorio di arte creativa denominato "Realismo contemporaneo" fotografia contemporanea

Overall it is a question of revealing the expressive values that emerge in the spontaneous urban compositions that contribute to better identifying our present coexistence with the urban landscape. The photographic chronicle develops through the alleys of the city near isolated spaces from the city center. Very often it is also nature that generously offers new contemporary compositions. But the best support systematically is granted by the compositions granted by the atmospheric situations. The inclusion of the aforementioned contents in a form of contemporary art appears to be consistent.

 

Modern-and-contemporary-art
The photographic subjects

paintings-of-modern-and-contemporary-art

 

This contemporary aesthetic is composed of a multitude of waste objects such as: old broken chairs, baskets, lamps, various household appliances, fabrics, boots, plastic, wood, ceramics, accompanied by an infinite number of colors. All assembled involuntarily by man or by atmospheric conditions.

laboratorio creativo di arte contemporanea con articoli-mostre-anche di fotografie-moderne-contemporanee

They are compositions subject to receiving a multitude of denominations; contemporary, environmental, suburban, atmospheric, urban compositions, but all come together in a contemporary realism. References to the evolution of art are automatically linked to nineteenth-century Realism with subjects and themes of everyday reality through the suffering of men and women who are victims of social injustice, unlike our realism that with metaphysical attitudes completely excludes the presence of the human figure . The result is enclosed in a new iconography of contemporary reality with the fusion of the composition with the urbanization of belonging. The identified composition will be resumed in its natural location and enriched with additional elements necessary to make its contribution to complete the visual history of the urban area to which it belongs. The operational methodology will develop in itinere through the search for compositions to be inserted little by little in the creative cycle.

. With reference to the visual art project inherent to contemporary photography called realism-contemporary, four exhibitions have currently been held at the same number of workshops;

1st creative workshop contemporary realism

http://www.ateliercontemporaryart.com/1st-creative-workshop-contemporary-realism/

2nd creative workshop contemporary realism

http://www.ateliercontemporaryart.com/2nd-creative-workshop-contemporary-realism/

3rd creative workshop contemporary realism

http://www.ateliercontemporaryart.com/3rd-creative-workshop-contemporary-realism/

4th creative workshop contemporary realism

http://www.ateliercontemporaryart.com/4th-creative-workshop-contemporary-realism/

all articles http://www.ateliercontemporaryart.com/articoli_di_arte_contemporanea/

photography-exhibition-contemporary project with futurist-photodynamicism

CONTEMPORANEA’S PHOTOGRAPHY EXPOSITION PROJECT
THE FUTURIST PHOTODINAMISMO

Premise
Personally we consider the Photodynamism of Bragaglia ofan extreme contemporaneity for a new vision of reality thatescapes the perception of our eye. It’s a different way offocusing the photographic lens on reality.

laboratorio creativo di arte contemporanea con articoli-mostre-anche di fotografie-moderne-contemporanee

The contributionof the photodynamism that received the expressiveevolution of photographic production was undoubtedlyremarkable. For several years now we have shared aparticular enthusiasm for Bragaglia’s research and considerit indispensable to proceed to experiment with dynamism inan exhibition project of futurist photography.

Realization

The goal, therefore, is to develop only with the help of thedigital machine, that is, without any other manipulation, altered visions of reality.

 

Extrapolate from the real, realscenarios that escape the perception of our eye becausedisconnected, incorrect, stacked but legitimately belongingto the real. The entire project of futurist photodynamism isdivided into three exhibitions:Urban Photodynamism / PhotodynamismRosa FotodinamismoUniversal.
Part of the project has been exhibited in several exhibitionspaces and has received substantial appreciation.

laboratorio creativo di arte contemporanea con articoli-mostre-anche di fotografie-moderne-contemporanee
www.ateliercontemporaryart.com

The multiple representation of the trajectory of themovement manages to develop an alternation of planes thatintersectwith additional surfaces establish at the same timea dynamic force and a remarkable chromatic value.

Photographic technique

In the foreground is inserted the movement of the movingsubject, in particular it is crucial to immortalize themultiplication of the silhouette in different successions.

 

Creating in a single image a lot of collages of many framesmakes an iconographic dynamism feasible. The previouslyprogrammed technical process tends to develop the desiredalterations with a balanced light-time exposure ratio thatnecessarily tends to develop fast images directed at differentand other points of view. The composition to have the rightbalance must necessarily enclose a homogeneoussymmetry. The frame must be split from one corner to theopposite angle by the diagonals, while the overlappingvertical and horizontal lines create many irregularrectangles.
In addition, vertical lines help to raise the composition thatcan be further increased to an extreme position seen frombelow, while stability is transmitted by horizontal lines.

 

Anoptimal percentage of aesthetic value can be achieved by thedepth that is highlighted by the lines projected in a point ofview that exceptionally to achieve a desired overlap effect isflanked by other points Converging. The oscillation of theshot between the different points will succeed with severalattempts to create with the overlap a multiplication of all thelines; vertical, horizontal and oblique.