Sami interaction GIULIANO ARNALDI my artistic research 1
AFRICAN MAIEUTIKE'.... I am impressed by the evidence of the works of primary archetypal arts, whether they are African, Oceanic, Asian or remote as the rock carvings : monumentalising and "translating" the material (in relation to my different goals time to time) I try to use those objects as elements of a real metaphorical alphabet made of signs, materials, colors, shapes:: I write with them the stories that I want to tell, often linked to the news, hoping to then highlight the mythical element.
MY GOLDEN MASKS AND SCULPTURES: an artistic action of traditional African objects. In many African works, including copies , there are traces of authenticity,u truth.. is the archetype that manifests . You need to be able to see. I try those tracks, it is my way of making art: are implicit traces , not obvious , it is often the perception of a set of forms and signs , sometimes the way of setting the sea pe , or the aggravation of a single element . With this series of works I try to highlight these tracks with the preciousness of gold: gold itself is an archetype , we instinctively associate the idea of preciousness and beauty, but not enough to gild an object to make it beautiful. Beauty must be inside, in power . Gold can be used to make her feel. In the past I used another way , and I'll do it again: I modified the size of objects , turning thirty centimeters tall wooden sculptures in bronze three-meter , and monumentality is coming out with great power . In this case I chose a lighter action , more essential. I would like to lighten the artistic gesture , have more substance with less matter; perhaps it is a need of artistic ecology, perhaps the need for a different look . I hope that the result proves beauty : the beauty is the best indicator of the truth.
NIGRA SUM, SED FORMOSA…( Ct 1,6 ) I may have found a way ( and that is not challenging and expensive as to Monuments ..) to give birth to some thoughts that are living every day in the midst of the beauty of my job. I started with the gilding of recent invoice traditional African masks and objects , devoid of history and sometimes even of apparent charm. The Gold communicates immediate and disruptive way an authoritative precious message. But I do not find convincing some objects revised with gold. It seems to me they ask something else to bring out the energy that I see in them , and I would like the end result was satisfactory for me but also readable for those who will want to see them . I do not want to change the form and matter , Because i do not care it, adding or taking off, but changing the look. It remains the color . It is not easy : in Africa color is language as form and sign, and thus the risk is to adulterate the profound content that I seem to perceive in those artifacts . By using the gold it don't mean " changing " , but translating an object and declare publicly its intimately precious nature . Those like me who think that art should speak, not pleasing herself in a kind of artistic autism, but they must be understood. The Artists have always been storytellers , who have just chosen themselves or the rest of the world as recipients of the narrative . This applies especially in times like these , where each one is called to do his part in the life, for what it is, what it does . Regarding color , that's why I thought of the absolute black , opaque and deep . “The black can be defined as the visual impression that is experienced when no visible light reaches the eye, which combines all the colors of light that stimulate in the same way the three types of receptors sensitive to colors. Pigments that absorb light rather than reflect it give rise to "black". A black pigment, however, results from a combination of different pigments which, together, they absorb all the light of each color. If you are used the correct proportions of three primary pigments, the result reflects so little light as to be black.
This leads to two seemingly opposing descriptions but Black complementary. Black is the lack of all the colors that form the light, or a combination of multiple colors of pigment. See also primary colors and primary pigments. We know that the black color includes all the colors of the light spectrum. There is, however, something that we see that black is no color, even the color black: the black of space. "(Wikipedia) It would be already enough : let’s consider also , and above all , that black is by definition the color of Africa . In many African cultures it symbolizes wisdom and prosperity , the name of Ancient Egypt was Kemet , Black Earth because of rich of silt and so fertile and fruitful . But what convinced me was to remember the Black Madonnas , and they associate to the famous and mysterious " Nigra sum sed formosa" written in the Song of Songs of Solomon (Song 1.6 ) Net of different interpretations of both the Jewish tradition of the Christian ( and many pseudoesoteric bestiality ... ) that wonderful poem is a dialogue between lovers , passionate , intense, “carnale”..and this mysterious Woman " Black , but beautiful .. " it evokes the thickness and the suffering of women condition, of his knowledge essential today to save a world endangered by too many millennia of macho paternalism . So Here it is the series “Nigra sum..sed formosa ..
TO LOOK INSIDE What's inside a relic , which is the mysterious energy that encompasses ? And above all , how it's possible "look inside" with eyes of the heart ? I thought that African relics - and in this case the Kotoko warriors encased in small leather bags with magical and therapeutic materials - could also make live and engaging an aseptic instrument such as X-rays used in medicine , transforming it into a form of artistic expression . Then photographing the plates , thanks to the skilled hands of Fulvio Rosso, allowed us to obtain an additional and impressive reading of the works .
SGUARDI .....,
Gaze strikes me: inside there is essence of life. In this case I chose to mix - or if you prefer a more noble term conceptualize - times, styles, shapes. The painting that opens the sequence is a nice seventeenth century work. The young man smoking a pipe, and has a look that follows the observer, with a languid feeling maybe licentious. I chose to put the mask Yena (Kwoma culture, P.N.G.) in a frame because framing is used routinely to define and develop a work, but the term derives from the greek κορωνίς -ίδος, which means curved line but also fulfillment. To do the work in my head I needed a homogeneous context definition, and the three frames are similar in shape and the aesthetic appearance: then perform well the hole feature. The look of the mask is perhaps more readable and linkable to other objects when seen bordered by a frame. Thanks to the frame binder takes a sense the third part: the mirror. Just have the courage to look inside. What will we see? "Not even the wisest can say: the Mirror shows many things; things were ... things that are ... and some things that have yet to occur. “ ( Dama Galadriel, Lord of Rings ) Giuliano Arnaldi, Vendone November 5, 2016. the installation is exhibited in the Oceania Room, MAP Vendone. Notes to photography 1) I preferred to take the picture without the mirror in the third frame: I prefer to stop this without the artifice of what it would reflect, and leave every opportunity to "reflect" the responsibility of a track, which will then experience of those who will interact in that instant. 2) the color casting that appears on top on the third frame is part of the fresco by Andrea Mattiello in Oceania Room, where this work is exhibited.
Il Monumento a Nicola Calipari e Felice Cascione ad Arnasco ( SV).
OPERE MONUMENTALI / MONUMENTAL WORKS
BRONZO, M.3 Ciclo dell''8 settembre, in memoria degli Eroi Normali. Il monumento venne inaugurato ad Arnasco ( Sv) in località Bezzo il 26 aprile 2005 a circa 50 giorni dall'assassinio di Nicola Calipari avvenuto a Bagdad E’ a lui, e in memoria di Felice Cascione, che l’opera e la piazza sono dedicati. L’opera è la copia di un flauto del popolo Mossi ( Burkina Faso ):l’ oggetto originale è utilizzato per accompagnare le danze, attraverso un suono mono o bitotale che imita la voce umana. Ho monumentalizzato quest’opera d’arte africana per rendere evidente il fatto che l’armonia e non la dimensione ad essere monumentale; l’ho tradotta nel linguaggio materico che usiamo in occidente per fare memoria di fatti importanti, il bronzo. Ciò evidenzia l’archetipo formale che possiamo leggere, in ogni tempo e in ogni uomo. Il manufatto è posizionato con un criterio archeoastronomico: la proiezione dell’ombra crea ogni 25 aprile alle 12 ora solare una linea che parte dalla prima stele e guarda a sud, in direzione del Sentiero di Fischia il Vento, l'inno alla Resistenza contro il nazifascismo, composto su queste montagne da Felice Cascione e su queste montagne cantato la prima volta la notte di Natale del 1943 BRONZE, M.3 Cycle of September 8th, in memory of the “Normal Heroes”. The monument was inaugurated in Arnasco (Sv) in Bezzo on April 26, 2005 about 50 days after the assassination of Nicola Calipari in Baghdad It is to him, and in memory of Felice Cascione, that the work and the square are dedicated . The work is a copy of a flute by the Mossi people (Burkina Faso): the original object is used to accompany the dances, through a mono or bitotal sound that imitates the human voice. I have monumentalized this work of African art to make clear the fact that harmony and not the dimension to be monumental; I translated it into the material language we use in the West to remember important facts, bronze. This highlights the formal archetype that we can read at any time and in every man. The artifact is positioned with an archaeo-astronomical criterion: the projection of the shadow creates a line from April 25 to 12 hours, starting from the first stele and looking south, in the direction of the Path of Fischia il Vento, the hymn to the Resistance against Nazifascism, composed on these mountains by Felice Cascione and on these mountains sung for the first time on Christmas Eve of 1943 .
About Fibonacci 01/ Seal . 2006 Acciao m 1 x 13 Ho monumentalizzato il segno di un antico sigillo Sumero in pietra, alto circa 4 cm riproducendolo su moduli di m 1 x 1 in acciaio lucido tagliato al laser. l'installazione finale presente nel Parco Mnemosine a Onzo prevede 13 moduli allineati. la scelta del n.13 è legata sia alla Sequenza di Fibonacci sia ai diversi significati del numero 13. L'opera viene esposta anche con un numero di pannelli pari a 1, 3 o 5. I monumentalized the sign of an ancient Sumero stone seal, about 4 cm tall, reproducing it on 1 x 1 m modules in laser-cut polished steel. the final installation in the Mnemosine Park in Onzo has 13 modules aligned. the choice of n.13 is linked both to the Fibonacci Sequence and to the different meanings of the number 13. The work is also exhibited with a number of panels equal to 1, 3 or 5