ARTISSE Società Italiana d’Arte Contemporanea
ARTISSE nasce dall’esperienza di un gruppo di collezionisti, cultori dell’arte e dalla loro volontà di promuoverla e divulgarla.
La passione dei collezionisti strettamente legati alla figura dell’ideatore, l’Avvocato Ezio Nimis, ha fatto sì che essi conferissero in ARTISSE il loro personale bagaglio di conoscenze, idee, gusto e Opere che, in oltre vent’anni di collezionismo privato, ha dato loro la possibilità di coltivare, da un lato, quel grande entusiasmo per l’Arte che li unisce e, dall’altro, la strada per realizzare un sicuro investimento. ARTISSE, trasferendo ai suoi collaboratori questo enorme patrimonio d’esperienza, si propone, attraverso il loro operato, di offrire a tutti coloro che vogliono accostarsi all’Arte, la possibilità di farlo salvaguardando il proprio danaro. ARTISSE vanta Autori di grande spessore culturale, di fama consolidata, illustri accademici. Ma accoglie anche giovani talenti dal sicuro avvenire, selezionati grazie alla collaborazione con i maggiori critici di livello internazionale, e che possano rappresentare un sicuro investimento per il futuro. ARTISSE profonde grandi energie e capitali con l’obiettivo di promuovere e diffonderne il “segno” affinché, coloro che attraverso ARTISSE acquistano le Opere possano, a breve, riscontrare anche la bontà del proprio investimento oltre ad aver soddisfatto la propria aspirazione. Sempre per poter consentire a tutti coloro che avvertono la necessità di un contatto con l’Arte, di appagare il loro bisogno, ARTISSE ha altresì realizzato importanti espressioni di Grafica d’Autore, impiegando antiche tecniche artigianali e carte fabbricate a mano nell’assoluto rispetto delle convenzioni minutamente regolate e definite dalle varie “guidelines internazionali” della stampa, che stabiliscono i limiti invalicabili perché una “tiratura” seriale possa considerarsi “originale”. Tutto ciò a rappresentazione del forte e serio impegno di un’Azienda per la quale il rispetto del collezionista è “regola prima”. ARTISSE rappresenta e tutela oggi le Opere di quattro importanti e quotati artisti: Vincenzo Musardo, Leonardo Chionna, Giulio Serafini, Carla Insalata.
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VINCENZO MUSARDO BIOGRAPHY After completing his art studies in Lecce, as an independent auditor attends the Academy of Charleroi in Belgium where he lived for over a decade, establishing itself as a designer and sculptor in Stoneware Workshops and Dubois-Guerin.Make a clay sculpture for the Queen Fabiola and distinguishes itself as the creator of the movement Orbitals. It 'still in the field of painting that creates the greatest success with accolades and awards from critics and juries. His numerous solo exhibitions and has participated in group exhibitions since 1959. All'Europac exhibited in Brussels, he was awarded the Prix Italienne in Gilly, at the Palais des Congres in Liege and Grand Palace in Antwerp. In 1973 an international jury (Franรงois Apollinaire France, Anthony Harris, England, Germany ... Schrieferes) gives him the Prize "Michelangelo III Gold" for its three-dimensional work of art. Back in Italy dips in the study of archeology. Remains physically in Italy, but his works, speaking the universal language of "true", continue to cross the border via the World Expo in Seville in Spain, in 1992, reaching in 1999 the Museum GIKatsigra of Larissa, Greece. Since 1977 he holds the Chair of the Cultural Heritage at the Academy of Fine Arts in Foggia and Bari
SUBJECTS AND PERIODS After the Belgian artistic experience, related to art, "Kinetic-Conceptual" and OP (Optical), moving his research developing "force fields" (installations on wood color obtained with the use of sixty shades of the same color degrading in succession) the "visual determinations" (works related to the ecological context of the past) and the "masses imposed" (the result of a new school of free naked women). Subsequently develops a material-painting informally with "lava" color on canvas to arrive then, with the use of "material" to Metarcaico and quotations. His oils on canvas mixed media show fragments of archaic imagery, often imaginary, that look like plastic pads, burnished pottery finds evidence of tactile material that stand on the white of the canvas. Quote from across the "myths" "symbols" and visions of memory, the artist realizes its subject recoding the centuries long tradition of figurative a process very complex, made up of cross-references, exchanges between figures, and learned of continuous visual interference .
Technique: oil on canvas or board multi-material.
ART CRITIC : Paul Levi
DREAMS OF TANGIBLE
I wrote this, or better deserved tribute to the master Vincent Musarde, want to take account of Puglia, which has, among other things, the birthplace of a sensitive and brilliant art critic, my teacher, now deceased. Luigi Carluccio was born in Calimera, but for the vicissitudes in the thirties family had moved to Turin. His critical notes on the daily "La Gazzetta del Popolo" were read and feared by the public for three long decades. Passed away at the end of the seventies e. unfortunately, was unable to complete the term of the director of the Venice Biennale, or come to know and enjoy the painting and plastics of this research his countryman, greek roots-archaic. When I was a young apprentice reading and critical writing - one that still brings me to move with power and emotion in front of the works of modern and contemporary painters - Luigi Carluccio disturbed me, one day suddenly, with a brief warning. He said: "the art critic and the artist have in common the power of loneliness." I must say that at first I considered the message as too aristocratic and romantic location. Then, over the years, I have reviewed the meaning of this signal on the human condition of the artist and pictures of us decoders. He has, for example, roots romantic myth of Prometheus, demigod transgressive, lone hero chained to a rock in the mountains, to which the birds gnaw around the liver, because he dared to descend among men and bring the fire of knowledge, disobeying Zeus . This I wrote about the craft wise - expressively poignant and evocative - Vincenzo Musarde (Myth of the south. Culture of the East-II.1.2), takes into account the purely intellectual clarification, Luigi Carluccio on loneliness among critics and artists, when it is firmly and responsible dialogue. The master of Galatone, archaic and imaginative poet of myth is, in a sense, a Prometheus art, messenger solitary metarcaico of Mediterranean civilizations disappeared, where stands the Aegean - that lives well in his personal unconscious - an archetype that is expressed and shatters on the canvas through the most different pieces of memory (Kabala, the charioteer, fragmentary Naked, The Fall of the myth-tt. 4,5,6,7). Since the beginning of his expressive research - talk to more than thirty years ago - Vincent Musarde explores some classical figural. In these experiments, he can give his best to express a lively and youthful ambition. Each composition brings to light the autobiography of a poet of color, worried about issues facing the dream to visualize and demonstrate urgency in conducting its own analysis on the properties of color, shapes as immediate visual perception. The issues addressed in the early years are already "high" because they tend to re-understanding of myth as a personal unconscious, the lost civilization pervaded Mediterranean.
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LEONARDO CHIONNA BIOGRAPHY
Contemporary painter and sculptor, has held numerous exhibitions and artistic events, winning praise and awards. In the 80 years he attended the poets 'workshop poetry' of the University of Lecce, including Salvatore Caliolo founder of the magazine 'The Casting'. It also enriches friendship-and-Arrigo joins Colombo, one of the greatest philosophers of our time and founder of 'Utopia'.Cultural influences that characterize and shape the art of Chionna. His earliest works date from the 70's, full of original suggestions themes that define a 'Shaman' in contemporary art. In 70 years, eschewing any commercial intent, the artist exhibited his works in places where they could be immersed in the spirituality of silence covered: churches, castles, forests and secluded beaches.
SUBJECTS AND PERIODS In recent years his research is entirely directed toward "The New Atlantis", a project by himself that name, the result of its continuous voltage to a language of art in increasingly objective and essential meanings and references, and finds fulfillment in a series of pottery and bronzes that seem to come from the distant future while bringing impressed traces of a past very remote, but very familiar to our contemporaries. Chionna materializes his Utopia: a possible new horizon of an artist that seems now reached the apex of a twilight. The art of Chionna was often called by critics "the art of courage", but his works look to become, narrates, in plastic forms. His works are evidence of a research project out of his time and that this look at our history, traces of ancient and modern civilizations, old and new utopias in the forms and elements that are traveling from far away in time and to allow 'observer to investigate, as well as the geometrical envelope itself, the interior of matter.Archetypes of a distant glimpse of a future past "fossilized" in the matter which time brings to light, devouring the outer casing.
TECHNICAL: sculpture-painting in oils.
ART CRITIC : Paul Levi
INVESTIGATIONS ON FOURTH MILLENNIUM Leonardo Chionna is the author of three-dimensional signs, sculptures from the archaic, barely held dreams, the prophecies made of a material. We are dealing with an artist who announces the next millennium, next quarter, showing the degradation of archaeological remains and that from the future back to the present. There is a need in his quest to immerse themselves in the mystery of time signature plastic, revealing himself and us, reversing a prophetic insight into a kind of excavation in search of the debris and the messages that we leave to posterity. Behold therefore the object of his research with the detachment of the scientist, by measuring the inevitable mutability of matter over time in history, renewing the old philosophical axiom that nothing is created, nothing is destroyed, and everything to do turns. It is difficult to answer the question if it is an abstract artist Leonardo Chionna or figurative, and it would still be too hasty to confine him in any of the two terms, especially in this case, are completely generic. It is, therefore, that our part of the sculptor remains elusive. In truth, its roots are many, the first of which is a kind of figuration left open - the trace fossils of the tread of a tire can be the reconstruction of a hypothetical event. On this figure is superimposed on the pace of atonal color, and the extraordinary quality of the hot surface of the material bronze, which is well away from any temptation to decorative, sets out an aesthetic message of clarity, precision and formal balance. Cryptic and restless, this artist offers the viewer the creative vitality of an archetype, that of Atlantis, where the utopia of a golden age is inextricably intertwined to the idea of a hopeless ruin, and no illusions about the fate of progressive ' humanity. Chionna rightfully belongs to the Italian school of the late twentieth century, having opted for the exact wording of a formal classical ancestry, where different forms are combined with rigor, partly abstract and partly figurative allusion, and reinventing a kind of metaphysics of ' no. We are here to work in front of a manipulator of materials at a maker of asymmetric and symmetric dual moments, the complex rhythms of motifs that tend to the solemn portrait, in a balanced formal logic. In each of these searches, memory, archaeological or anthropological nature over time, to reach the shore of an ambiguous elsewhere culturally close to our present, which, moreover, it avoids the easy references to the story to ideology or commitment; Indeed, there is a clear desire not to betray the artist's poetic that inspires him, and that continues to celebrate in every new development. Each piece is then open to a decoding instant, as it represents the concrete expression of an inner dialogue or a question. The freedom of the modeling does not refer in any case to nature, but rather the display of a mental universe or space-time paradox, where past and future interfere in our present certainties. Author of symbolic and abstract forms at the same time, expressed in their appearance of artifacts dating and classified, the artist builds his utopias cultured according to a subjective truth, that the observer receives through stylistic and conceptual integrity of form, establishing a relationship of shared theoretical assumptions that motivate it.