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La Pittura Come Forma Radicale Painting As a Radical Form

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La Pittura Come Forma Radicale Painting As a Radical Form La pittura come forma radicale Painting as a Radical Form 1995 - 2007 Matthew Antezzo Nato a / Born in Connecticut (USA), 1962 Vive e lavora a / Lives and work in Berlin Il lavoro di Matthew Antezzo consiste principalmente nel recupero, e nella sostanziale rielaborazione pittorica di immagini della tradizione occidentale; “icone” cercate, trovate, e carpite in differenti fonti: spesso sono illustrazioni pubblicate su quotidiani o riviste, libri di storia dell’arte o di cinema, fotografie e più recentemente anche in internet. Le immagini scelte sono spesso quelle di personalità celebri (come quelle di artisti concettuali immortalati in occasione di mostre di portata storica o ritratti di importanti protagonisti del mondo della ricerca scientifica e culturale) nonchè fotogrammi di film conosciuti. Antezzo scegliendo e ri-dipingendo queste immagini, rimanda alla sua memoria culturale, nonchè visiva, creando il suo cosmo personale tra pittura e riflessione concettuale, mettendo in gioco il suo stesso ruolo d’artista tra legittimazione e autonomia. Utilizzando, e reiterando, immagini pubblicate allude al potere di suggestione della comunicazione contemporanea, estendendo il campo della pittura al mondo della tecnica e dei mass media. L’opera in mostra When Attitudes Become Form, An Exhibition Sponsored by Philip Morris Europe (Pascali) (1997) può costituire un paradigma del lavoro dell’artista; il titolo allude alla storica mostra che celebrò l’arte concettuale nel 1969, mentre sulle tele si presentano, in una, la celebre fotografia di Pino Pascali alla Biennale di Venezia del 1968, e nell’altra, che funge da didascalia, compare il nome dell’artista e le date di nascita e di morte, in quattro lingue. Antezzo concerta qui una dialettica su più dimensioni e livelli, elaborando un processo di mis en abyme, visiva e concettuale: la riproduzione pittorica diviene icona ambigua tra il passato fotografico, la sua stessa memoria e la pittura presente, rinviando nel contempo paradossalmente all’Arte il cui “materiale” è il concetto, e che è di fatto “smaterializzata”. Matthew Antezzo è un “pittore della storia”, e la sua storia è quella dell’arte concettuale, che proclamava la fine della pittura: in questa prospettiva l’artista vuole dare un nuovo indirizzo, una nuova interrogazione sulla ricerca pittorica. Matthew Antezzo's work consists mainly in the retrieval and substantial pictorial re-elaboration of images from Western tradition; “icons” which have been searched, found and taken from different sources: often they are illustrations taken from newspapers or magazines, art history books or books about cinema, photographs and more recently the Internet as well. The chosen images often depict celebrities (for example images of conceptual artists during exhibition of historical relevance, or portraits of important protagonists in the world of scientific and cultural research) as well as frames of well-known films. In choosing and re-painting these images, Antezzo refers back to his cultural and visual memory, thus creating his personal cosmos between painting and conceptual analysis and putting at stake his own role as an artist between legitimation and autonomy. By using and repeating published images he hints at the power of suggestion of contemporary communication, and expands the field of painting into the world of technique and mass media. The exhibited piece, When Attitudes Become Form, An Exhibition Sponsored by Philip Morris Europe (Pascali) may be considered a paradigm of the artist's work; the title hints at the historical exhibition celebrating conceptual art in 1969, while the canvasses show – in one of them – the famous photograph of Pino Pascali at the Venice Biennale in 1968, and in the other, acting as a sort of caption, there is the name of the artist and the dates of his birth and death in four languages. Antezzo creates here a dialectics over several dimensions and levels, by elaborating a process of visual and conceptual mise en abyme: the pictorial reproduction becomes an ambiguous icon between the photographic past, its own memory, and today's painting, while paradoxically pointing at Art whose “material” is the concept, and which is de facto “dematerialized”. Matthew Antezzo is a“painter of history”, and his history is the history of conceptual art which announced the end of painting; in this perspective the artist wants to offer a new direction, a new query on painting research. Mostre personali / Solo Exhibitions “The art of Conversation”, PSM Gallery, Berlin, 2012 “Matthew Antezzo”, Klosterfelde, Berlin, 2011 – 2012 “La independencia en Crecimiento”, Monterrey, Nuevo Leòn, 2011 “Zona Maco”, Monterrey, Arena Mexico, 2010 “TestBild” Springhornhof, Kunstverein, Neuenkirchen, 2010 “Gedankenstriche”, Kunstverein Göttingen, Göttingen, 2010 “Silberraum”, Die Schute, Hamburg, 2009 “Sun In My Hands”, Klosterfelde, Berlin, 2006 “Matthew Antezzo”, Galerie Vallois, Parigi, 2005 “Matthew Antezzo”, Michele Maccarone Inc, New York, 2005 “Matthew Antezzo”, Arena Mexico, Guadalajara, Jalisco, 2003 “Matthew Antezzo”, Sprüth Magers Projekte, München, 2003 “Matthew Antezzo”, Klosterfelde, Berlin, 2002 “Matthew Antezzo”, Eleni Koroneou Gallery, Athens, 2001 “Matthew Antezzo”, Blum & Poe, Santa Monica, 2000 “Spy versus Spy”, Klosterfelde, Berlin, 1999 “Matthew Antezzo”, Basilico Fine Arts, New York, 1998 “Matthew Antezzo”, Mario Diacono Gallery, Boston, 1997 “Matthew Antezzo”, Le Case d'Arte, Milan, 1997 “Matthew Antezzo”, Klosterfelde, Berlin, 1997 “Matthew Antezzo”, Galerie Philomene Magers, Cologne (MN, USA), 1996 “Matthew Antezzo”, Gian Enzo Sperone, Roma, 1995 “Matthew Antezzo”, Galerie Georges Philippe Vallois, Paris, 1995 Mostre collettive / Selected Group Exhibitions “Mehr als zuviel”, handmade Berlin, Berlin 2012 “Oh how time flies”, Bergen Kunsthalle Bergen, 2011 “PLAYTIME”, works from Klosterfelde Collection, Hamburg, LAC Narbonne, Sigean, 2011 “Proyecto Bicentenairio”, Monterrey, Nuevo Leon, 2011 “Marea de nudos”, Tapices contemporáneos del Taller Mexicano de Gobelinos, Galería Jesús Gallardo, León, Guanajuato, 2010 “Apocalypse Now”, Kunstverein Hamburg, 2010 “Portrait of the artist as a biker”, Le Magasin, CRAC Grenoble, 2009 “Wright”, Klosterfelde Lienienstrasse 160, Berlin, 2009 “Unerreichbar ist gerade nah genug”, Galerie Alexandra Saheb, Berlin, 2009 “Project for a New American Century”, Rose Art Museum, Waltham, 2008 “remixed“, Galerie Alexandra Saheb, Berlin, 2008 “Moralische Fantasien – Künstlerische Strategien in Zusammenhang mit der Klimaerwärmung”, Kunstmuseum des Kantons Thurgau, Kartause Ittingen, 2008 “Freunde und Bekannte”, Sparwasser, Berlin, 2008 “Faces”, Eleni Koroneou, Athens, 2008 “In Attesa di Risposta”, Supportico Lopez, Napoli, 2007 “Historyteller”, Galerie Lautom, Oslo, 2007 “REF”, 1/9 unosunove arte contemporanea, Roma, 2007 “The Re-Distribution of the Sensibile”, Magnus Müller, Berlin, 2007 “Tropicália: A Revolution in Brazilian Culture”, BXMA, Bronx (NY, USA), 2006 “Historyteller”, Galerie Lautom, Oslo, 2007 “The Re-Distribution of the Sensibile”, Magnus Müller, Berlin, 2007 “Down By Law, 2006 Whitney Biennial”, Whitney Museum of American Art, New York, 2006 “Ex Post Facto”, Galerie Georges-Philippe Vallois, Paris, 2005 "Common Property / Allgemeingut. 6. Werkleitz Biennale", Volkspark, Halle (Saale), 2004 “Reanimation", Kunstmuseum Thun, Thun, 2004 "Arbeiten auf Papier / Works on paper", Sprüth Magers Projekte, München, 2004 "Likeness", CCAC Wattis Institute for Contemporary Arts, San Francisco, 2004 "Living with Duchamp", The Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, 2003 Pedro Barbeito Nato a / Born in La Coruna, 1969 Vive e lavora a / Lives and works in New York L’opera di Pedro Barbeito esplora il rapporto tra la creazione d’immagini digitali e la pittura. In particolare, alcuni dei suoi lavori, rappresentano una riflessione sull’iper-realtà 3D dei nuovi videogiochi, in cui lo spazio si espande e diventa fisico, tattile. L’artista approfondisce il legame tra questa nuova dimensione e la tradizione antica del paesaggio e del ritratto, reinterpretando questo immaginario storico attraverso una tecnica fatta di pixel, ricreando sulla tela la piattezza luminosa dello schermo e, al contempo, traducendo le immagini dei videogiochi in pigmenti e texture di colore. L’artista elabora una sorta di paradosso iconico sul potere e sul limite della visione combinando immagini di diversa natura provenienti da più fonti: la Nasa, Scientific American Magazines, astronomia. Nei lavori che vanno dal 1997 a oggi, investiga l’impatto dell’immagine digitale sul linguaggio della storia della pittura, rappresentando le sconfitte e i successi della scienza. Barbeito considera la tecnologia e le immagini digitali come fenomeni che hanno alterato il nostro modo di percepire la realtà, poiché oggi non si definiscono più le cose solamente per come le vediamo; d’altra parte la pittura è definita astratta nei termini semplicistici del non riconoscibile o riconoscibile. Ogni tela ovale è strutturata su un sistema di griglie ricurve, come una suggestiva carta millimetrata che richiama le costruzione delle prime prospettive. I suoi quadri sono popolati da cubi dipinti che si combinano con le forme esistenti costituite da pixel in cui l’occhio è trasportato in un labirinto dove buchi neri e colori squillanti si alternano. Digital Winter Landscape (1999) celebra il piacere formale della materia, e quello della pittura applicata ed elaborata intimamente da un artista che ama il
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