ANTONIODEL WOMEN
Tina Vann Margutta RistorArte submit to the personal exhibition of Antonio Del Donno, organized by the Horti-Lamiani Betti, edited by Giorgio Calò.
The exhibition presents a selection of works by the artist made from the sixties to today. .
In the society of the spectacle that could "burn the signs and gestures more meaningful," Antonio Del Donno - Italian artist "modern classics", as defined by Achille Bonito Oliva - changes signs in the message. The medium, the canvas becomes message through words, gestures and phrases informal bays on bright colors that become channels. And, entirely consistent with, is the outlet of the painting of the first Del Donno in the collage, then in the graphics, and finally in a search based on the rapid consumption of the visual object. To confirm this visual poetry the use of contrasting colors, violently dissonant, where the brush is sometimes stronger, sometimes less.
is precisely the infinite variety of colors to catch the eye of the public: the color, with vibrant brushstrokes, it becomes the same subject. But the line has a key role in the painting of Del Donno. After cinqunata years of his artistic research is still dominated by the line drawn with the same energy and lived always looking for new languages. In none of Del Donno (except photographs) appear human figures. In fact his works are popolatre of people: it is the viewer himself, who receives and consumes the work through the signs, phrases, colors, gestures that appear before ."... In the work of Del Donno no indulgence to the citation and the remake, there's quite the pick-up and rebuilding, as when we use an old tool or an abandoned object and adapt it to new uses "(Filiberto Menna, 1987).
"Antonio Del Donno moves from one location, which tends to incorporate in their operation and the evidence of the phenomenal world and a possible subsequent measurement. The materials used are wood, plastic and others from industry. He organizes everything so as to make the container of light, which is encased in structures and then returned through the thin plastic plates that allow the excess. The entire organization responds to a criterion which tends not only to bring about a cover-up newspaper space by highlighting the shapes resolved according to an aesthetic attitude, but also a constant challenge of governing the urban space. "(Achille Bonito Oliva)
Many critics and art historians have dealt with the work, forty years, Del Donno. Just to name a few: Filiberto Menna, Mirella Bentivoglio, Achille Bonito Oliva, Elio Galasso, Nico De Vincentiis, Silvio Zanella, Antonio Petrilli.
Antonio Del Donno
Antonio Del Donno was born in Benevento on 11/27/1927. He attended the Technical Institute for Surveyors in the years 1945/50, was only interested in the technical design and architecture and he cared for so lovingly that he discovered the beauty in geometry. He decided to attend the Academy of Fine Arts of Naples, and it was there that he felt encouraged by all that watched and takes up the excitement, he knew immediately that this was the way to go and that the design was his life, to the amazement of his father, Nicola Del Donno, perfect bureaucrat as an official of the Prefecture, and the joy of his mother, Anita Ferrelli, which like all Ferrelli felt love for art. After completing his studies at the Art School of Naples, he obtained the chair of Art Education at the School of Media Vitelli Benevento. The isegnamento allowed him to devote himself to a lot of availability. In the years 1960/70, he began to frequent the Galleria Lucio Amelio in Naples, together with Mimmo Paladino, the only friend with whom he exchanged ideas, emotions and research. Both, in fact, were interested in learning the new culture that is breathed in that time: total rejection of everything that was author, academic rhetoric. Both are always present at all conferences, debates, exhibitions of famous European and American artists, remaining involved emotionally. Curiosity prompted him to learn to travel abroad. The Venice Biennial of 1964 was decisive for him, there he met his arrogance, and the chance to experience the joy of Rauschenberg, which he used in his paintings carry the camera, objects, and connected it all with a violent stroke dealt with in turn by De Kooning, Pollock and other gestural painters of that time. Del Donno has always had a language, a form of expression consistent with his gestures, and a love for photography. Rauschenberg, Tapies, Widow, Schifani, Warhol, were his teachers, has pulled out its roots, helped him find himself. The building, feel like a craftsman manipulating the iron, wood, is something that carries childhood. From wheelchairs to scooters, now, to make objects related to art. Here is how come the "Gospels", tables of recovered wood glued and incerniate with iron hinges and with letters of fire reported Gospel verses to denounce a state of affairs. Del Donno was a liberating act, as it was a trap to have achieved the greatness of 'man, wanting to give a check against state power, "his autobiography." In fact in all his work there is a social problem, a beyond all political ideologies - religious, there is above all the pleasure of the game that contains the charm of the shapes and lines in harmony with each other, where the simplicity and spontaneity prevails.
Antonio Del Donno
Vernissage: Wednesday, September 10, 2008, 18:00 - 10 October2008
The Margutta RistorArteVia Margutta, 118 - Roma Tel: +39 06 32650577 - Email: staff@ilmargutta.it - www.ilmargutta.it
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