regolamento concorso letterario "In Viaggio nelle parole" edizione 2011
Sunday, February 13, 2011
Missouri Temporary Drivers License
Margutta, 52 / a Rome 06.3614053
R G B
GIOSUE' MARONGIU
MOSTRA PERSONALE DI ARTE CONTEMPORANEA
Inaugurazione sabato 19 Febbraio alle ore 18,00
From February 19 to March 5, 2011. will present the author. Catalogue Gallery.
Augustus Spouse's Gallery.
Margutta 52 / a Rome
Giosuè Marongiu Personal Exhibition of contemporary art. "Art as research by Giosuè Marongiu" 1990 to 2010.
Critical presentation by Luigi Paolo Finizio .
Exhibition from February 19 to May 05, 2011
The author will be present in the Gallery.
Catalog Gallery
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LUIGI PAOLO FINIZIO "L'ARTE COME RICERCA DI GIOSUE' MARONGIU"
L'arte come ricerca s'addice all'opera di Giosuè Marongiu i cui confini sono piuttosto versatili e mobili. Al centro delle sue elaborazioni espressive, tra design e poetry, music and visual arts, unfolds the thought of space and time, to decompose and compose them. After turning in the eighties from the traditional practice of plastic art, the choices of image are addressed and practiced in the ways of stereometria and computer art. Since then the work of Marongiu virtual reality, with its fictions metarazionali of space and time, more boost in the abstraction above the common perception of things or, as in more recent work, I plunged for a newspaper story or d 'social survey.
In his imagination come together usually irreconcilable differences. And yet able to passaggi, d'interazioni spazio-temporali. Quelli delle accudite visioni quadrimensionali (con appositi occhialini) o che solo la virtualità digitale, l'interfaccia elettronica rendono transitabili in luoghi di incontri e scoperte, di arte e scienza nel tempo di ieri, di oggi e domani. Tra spazio e tempo, l'ordine e il caos sono fra loro complementari oltre che contrapposti. Certo, la visibilità stereometrica e cineplastica cui ricorre la ricerca espressiva di Marongiu non sono invenzioni di oggi, così come il suo immaginario spazio-temporale mostra attingere e rinverdire l'intrigo spazialista di luce e spazio, di suono e colore, di massa e movimento, di etereo e materiale dell'arte di Lucio Fontana. Ma sta qui il sedimento of his art as research, the thickness of memory and investigation which leads their imaginative thinking. How would like to say the artist in
Manifesto of the new reality of 2007
: Art is thinking ... .. is a theory in which lies the fact.
And you know, always the capacity of thinking has made especially in the concrete images of the various languages \u200b\u200bof art. Since, however, to act and interact in the language dell'arte è intervenuto il sistema multimediale telematico il potere produttivo del pensiero appare enormemente aumentato sia perché gli strumenti di riproduzione digitale hanno superato le tradizionali e distinte vincolazioni di linguaggio, scrittura e pensiero, sia perché ne hanno dilatato e accresciuto i poteri produttivi di illusione rappresentativa. Gran parte della storia moderna dell'arte staccandosi dalle referenze di forme oggettive e idealizzate del mondo naturale si è viepiù congiunta e immedesimata con l'astrazione delle forme autoreferenti di pensiero. Un traguardo di libertà espressive e incertezze, a dirla con un pensiero di Robert Musil in L'uomo without quality , after the man has not sought more contemplating his image in the mirror of the streams but in the multifaceted aspects of their intelligence. But Musil
could not foresee that he would brook
repeated and enforced the image of man reflected in a home video of hypnotics.
could not foresee that he would brook
repeated and enforced the image of man reflected in a home video of hypnotics.
Not unlike many artists of our time, take part in the search for Marongiu transcend beyond the evidence of things but also to calamitous media on them. Of course, the registry and the ways media are intended to document the art form even a new sense of reality, and involving simultaneous 'multirealtà', as has been said. So with the abstractions of volumetric ' dimensional universes' video as
The implicate order (2010)
, and concepts in key social observation and document narrative Men Glass
and
Man is God
, Man is God
and thus a symbolic sense,
Utopia (2008)
, research shows Marongiu swing in the relationship between language and thought, between image and see on both sides, on both sides of the produce and communicate. We live in changing environmental sense perceptual and cognitive development in which the enormous production and reproduction of visual signs of the digital universe has rendered useless the old distinction between imagination and reality, where space and time is running a intestinal mixing euphoric aesthetic that makes the news as the already seen. Marongiu's research seems to say that it is always possible today to engage in a lot of really a lot of imagination and just wrong, especially in art, you may come to deny each other. Provided it does not reduce the search to find a simple, ready-made to a to tell. In fact, compared to a lot of impromptu art practice in our times is to collect a mordant observation of its current GCArgan that Picasso said 'I do not seek, I find myself' there is something immoral. Louis Paul Finizio Sorrento 2011
LUIGI PAOLO FINIZIO
ART AS A RESEARCH BY GIOSUE' MARONGIU Defining Giosuè Marongiu's work-art as "art as a research" is the best way considering its versatile and unsteady limits. The idea of space and time, of their associations and disgregations, unfolds and expresses itself in the middle of his expressive elaborations between poetry and design, music and visual arts. After the turning point in the 80s from traditional techniques of the plastic art, the choices of image have tended to and have been concretized to the way of stereometria and of computer art. Since then, in Marongiu's works, virtual reality, with its meta-rational fictions of space and time, stands above the extreme abstraction, the ordinary perception of things or, as in his recent works, the virtual reality plunges itself into a daily story or a social enquiry. In his imaginary, usually incompatible differences merge. However, they are able to passages, to special temporal interactions. Those are the ones of followed quadrimensional visions (through special lenses) or those which only the digital virtuality, the electronic interface make them practible in places of discoveries and combinations of art and science in the past, present and future time between time and space, order and chaos are complementary as well as opposite. The stereometric and cineplastic visibility of Marongiu's expressive research are not certainly inventions of today, the same as his space-temporal imaginary takes inspiration and reawakens the sound and colour, of mass and movement, of etherous and material of the spatialist confused situation of Lucio Fontana's art. But, this is the basis of Marongiu's art as a research, the thickness of memory and enquiry through which he leads his imaginative thought. As stated by the artist himself in Manifesto of 2007 New Reality :" Artis thoughtheory and inside of which the fact is also based. As it is known, the productive capacity of thought has taken shape in the imaginative concretenesses of various languages of art.But, since then, the multimedial telematic system has intervened to act and interact the language of art, the productive power of thought has enourmously increased both because of the tools of digital reproduction have overcome traditional and distinct bounds of languages, writing and thought and because they have widened and increased its productive powers of a representative illusion. More and more, most of modern history of art, detatching from references of objective and idealized forms of the natural world, has linked and identified itself with the abstraction of the autoreferent forms of thought .An achievement of expressive freedoms and uncertainesses as Robert Musil asserted in his novel "a man without qualities", after the man hasn't looked for his own contemplative image in the mirror of streams anymore but in the poliedric sides of his sides of his mind. But Musil could not foresee that the stream would propose and impose to the image of reflections of a home video. Marongiu's research not only takes part in crossing over the evidence of things but also in a mediatic magnetization over them. It is true that the register and the document via multimedial, aim at forming a new sense of reality, of simultaneous and involving"multireality, even in art, as it has previously affirmed. In such a way, with stereometric abstractions of tridimensional universa in video, as " The implicit order " (2010) and the concepts from a social observation and a narrative document.
Men of glass and
Man is God
and finally having a symbolic sense,
Utopia
(2008)
. Coming to conclusions Marongiu's research is not different from that one of contemporary artists: it shows a swinging in the relations between language and thought, image seeing on two sides. Men live the environmental mutation in a perceptive and cognitive sense where the huge production and reproduction of visual signes of digital universe, have put aside and make useless the old distinction between imaginary and reality where an inner fusion (which makes apparently euphoricous the new change as "dejà vu") flows between space and time. Marongiu's research seems to communicate that it is always possible , in our time, to graft a quantity of imagination to a quantity of realityAnd, especially in art, it is possible to come to deny one with the other, but avoiding the research to a mere finding,to a ready-made to be told.
In fact, according to the extemporaneous practice of art of our times. G.Argan's observation regardingPicasso's saying, "I don't seek, I find",earnsa present and relevant verve and has something immoral.Luigi Paolo Finizio Sorrento, 2011
Translated by Alessandra Pitzianti
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