Donnerstag, 19.10.2017 16:30 Uhr

The italian artist Mimmo Paladino

Verantwortlicher Autor: Carlo Marino Rome, 20.07.2017, 13:36 Uhr
Nachricht/Bericht: +++ Kunst, Kultur und Musik +++ Bericht 4675x gelesen

Rome [ENA] The Italian sculptor, painter and printmaker Mimmo Paladino, born 18 December 1948 in Paduli, near Benevento, east of Naples, is preparing an exhibition in the new spaces of the Galleria Giovanni Bonelli from July 29 to September 10, in Pietrasanta in the Tuscan province of Lucca . 'Mimmo Paladino. Opere scelte' (Selected works) presents an assortment of recent works.

The artist from the southern Campania region is one of the leading exponents of the Transavanguardia movement founded by Achille Bonito Oliva in 1980 . The exhibition aims at offering an overview of his characteristic style and poetics showing how symbolism and mystery continue to triumph in Paladino's work, where they are transfigured into fragments of geometrical shapes, heads and hands, houses, numbers, stars and vases, in compositions where the combination of space and time evokes a primitive and arcane universe, but depicted in a contemporary style. The artist has invented a pictorial alphabet rooted in the Mediterranean culture.

But Paladino’s culture is strictly connected with the amazing figurative tradition of 14th- and 15th-century Italian art, from Paolo Uccello to Piero della Francesca and Leonardo da Vinci, and on to the philosophical references of Renaissance Neoplatonism. The 15 artworks on show in Pietrasanta expose Paladino's production in all its complexity, looking as a place of ritual or tragedy. They evoke senses and content whose origin is never revealed, since the artist manages to express only the shadow, the mask or a sort of archetypal trace. In the late seventies, Paladino moved to Milan, where he later taught artistic disciplines at the Liceo school, while also working on his art.

International interest in his work and in that of other young Italians was growing, and in 1980 an exhibition took works by Sandro Chia, Francesco Clemente, Sandro Cucchi, Nicola De Maria and Paladino, together with two other artists, Luigi Ontani and Ernesto Tatafiore, to three of the most important museums in Europe. It was the year of the 39th Venice Biennale, where Harald Szeemann and Achille Bonito Oliva curated the Aperto section, selecting some of the artists who were to make their mark on the art scene for many years. It was here that Transavanguardia became more firmly authenticated, with its theoretical structure being published the following year.

The arrival of the young Italian painters was seen as a breath of fresh air and a key exhibition like Zeitgeist, in Berlin, definitely indicated their progress, with German-speaking countries as the first to promote their work. Paladino’s career, like those of his colleagues, has included significant collaboration with artists, intellectuals and musicians, and yet, more than others, Paladino has always managed to appear with a form of creativity that is curious and open, but always personal. He goes beyond the purely pictorial and, ever since 1983, he has strayed into sculpture (his first work, Closed Garden, is now at Castello di Rivoli) and engraving.

However, his basic conception is always pictorial, even when three-dimensional, as in the case of It Will Have No Title, with the use of geometrical elements applied to the environment, the first result of which came in 1995. Painting, sculpture and engraving were the three media that most stimulated his style throughout the following years. In 1988 the main gallery in the Italian Pavilion at the 43rd Venice Biennale was delegated to the artist. Here Paladino showed an installation in which the management of space was of great impact. This type of approach was revisited in the early nineties in the Hortus Conclusus in Benevento, a garden in which architecture, the environment and objects all coalesced to form the work.

These creations, which had a mysterious, “alchemical” air about them, emerged like visions. In 1994 Mimmo Paladino was the first Italian to exhibit in the Forbidden City in Beijing. Here the views formed a complementary background to the works on show, and this became a constant feature of all his urban projects. The Mountain of Salt dates from 1990. Originally created in Gibellina, it “appeared” in the Piazza del Plebiscito in Naples in 1995 and later, in 2011, in the Piazza del Duomo in Milan, when the city dedicated a major retrospective to him in Palazzo Reale. The nineties was a time of great experimentation and it is no accident that the Mountain became its symbol.

The new millennium, as well as bringing a large number of exhibitions in which he was the protagonist or a guest, also brought the use of video. In 2006 Paladino made his short feature film Quijote, devoted to the work by Cervantes. Presented at the Venice Film Festival, the movie captures the essence of the art of the masterpiece in a highly imaginative series of evocations, sounds and inventions. Great literature is an underlying thread that has led him to illustrate the icons of world culture, such as Tristes Tropiques, Ulysses, the Homeric poems, Pinocchio and, of course, Don Quixote. Paladino was back behind the camera in 2013 to film Labyrinthus for the fourth centenary of the death of the madrigal composer Gesualdo da Venosa.

Here too, his collaboration with the world of music goes back a long way, with numerous mises en scène for opera houses, the creation of opera posters for Maestro Riccardo Muti and requests for music for his installations, as was the case in 1999 with Brian Eno for Sleepers, in London and then, in 2008, for the Ara Pacis in Rome.Paladino achieves his artistic mission in the selected space, as can be seen in his latest creation for the 55th Venice Biennale in 2015. Whether it is a painting, a piazza, the pages of a book, or the galleries of a museum, it is his imagination that makes each element a crucial component of a complex project. A project that always endeavors to seize the opportunities rather than the limitations of the world.

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