H I P P OP ART Mauro Perucchetti
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H IP P OP ART Mauro Perucchetti
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Mauro Perucchetti
Introduction Mauro Peruchetti’s work is a mixture of Minimalism and Pop, fused together with an elegance and an ironic wit that seem typical of a certain kind of Italian sensibility. For example, one of his key symbols is the Jelly Baby – a little sweet in rudimentary human form, which for him symbolizes the disposability that permeates all aspects of the contemporary consumer society. He uses it to mock the aspirations that this society claims that it has, but which it so often cynically betrays. What we meet in this exhibition are a Jelly Baby converted into a giant image of Buddha, and rows of Jelly Babies in different colours who come together to create the model of a skyscraper – an imaginary headquarters for the United Nation in New York, slightly grander and more elegant than its present building. We also meet a roll of toilet paper entirely covered in Swarowski crystals – as pithy a metaphor as one can imagine for useless, senseless and perhaps injurious luxury. The Swarowski crystals are an unusual material for Perucchetti. What he is really in love with is the glowing transparent resin that is his primary material. A small group of works here are abstract, and make no specific moral or political point. In two, the plastic forms a kind of rippling pool, coloured a glowing orange. Looking into the depth of these pools one can perhaps imagine the presence of submerged images – from 200 Orange & 4 Purple a giant eye seems to gaze back at one, while in Evaporating Thoughts one can perhaps just discern a submerged medusa, her head surrounded by floating strands of hair. My reaction to these panels reminds me of Leonardo’s famous instruction to a painter seeking an original composition – to look at an old mottled wall, and find a figurative image in its random markings. Another piece, entitled LSD (Limited Slip Differential), genuinely rejects figurative imagery. It consists of projecting triangles of resin placed against a white ground. The edges of the triangles are coloured, the centres are clear. When light strikes this array of shapes, a magical play of different hues appears. This is ‘optical art’, but of a very different kind from the Op Art of the 1960s and 1970s. The punning title hints that the optical effect is due to a hallucinatory drug, but really what it springs from is a savvy use of contemporary technology. Yet there may be an underlying moral here, even if there is no specific image. LSD speaks of the way in which technology can be used to produce delusions about society itself.
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It is interesting to contrast this piece with another which looks superficially similar but is in fact very different in both intention and in effect – in this second case the white panel offers what look, at first glance, like elegant scent bottles in various hues. It is only when one looks more closely that one realizes these are not scent bottles but representations of hand grenades. There are other instances of this aestheticisation of the deadly included here – for example a replica of an AK47 rifle in transparent red resin, and another of an artificial leg, also in resin, but with a metal foot. These works are political statements but the idiom is resolutely Pop. It is interesting to compare some of them with their direct predecessors in the history of Pop Art, since Perucchetti is clearly not afraid of comparisons of this sort. The American Flag alludes to the celebrated series by Jasper Johns, the first of which was created in 1954. It’s crackled surface suggests the way in which a split America seems to have compromised its moral authority in the interim. USSR combines the hammer-and-sickle emblem of the now-defunct Soviet Union with dollar signs gradually creeping in from the margins. It refers to Andy Warhol’s dollar-sign series made at the beginning of the 1980s, when the Soviet cosmos and the American one still seemed to be rigorously opposed, and has something to say about the impact made by Enron-style capitalism on the Soviet Union’s successor state. The idea of a ‘moralised’ Pop may at first seem paradoxical, since Pop, in its original American form was amoral in the most literal sense, uninterested in social issues and also in codes of conduct. However, it is at this point that one has to recall that Perucchetti is Italian. Though he lives and works in Britain. The Italian Arte Povera movement, founded in 1967, took over ideas from American Minimalism and Conceptual Art and used them as the basis for a powerful social critique that was not to be found in the transatlantic originals. Perucchetti operates the same way vis à vis his Pop source materials. The works in this show have a studied elegance which seems, to use the adjective in a loose sense, very Italian. But they also make pithy comments on a wide range of moral issues. Edward Lucie-Smith, 2006
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Mauro Perucchetti
Foreword
It brings me immense joy to present this publication, which features wonderful images of Mauro Perucchetti’s unusual work. Mauro once mused, “I wish I could be a politician to govern fairly, a religious leader to guide pragmatically and a powerful entrepreneur to serve as an example and inspiration to others, but I can’t. However what I can do hopefully is create art that makes people think about global issues.” Indeed, Mauro’s sculptures, which are a hybrid of Pop and Minimalist art, have been wildly successful in captivating the hearts and minds of viewers everywhere. The radiant colours and polished surfaces of his Jelly Babies may seem delightfully humorous on first glance, but they also embody disconcerting revelations on the excesses of the material world we inhabit. Ever since I made his acquaintance some time back, I have always found myself being intrigued and charmed time and again by the tireless verve and effulgence of Mauro’s mind. The reflective quality of the resin, crystals and marble that Mauro uses give his sculptures a playful appeal. Yet the lustre and the almost delectable charm of his work belie a more important message that Mauro intends to convey: like his shiny but translucent sculptures, we are caricatures of our obsessions and aspirations, and we have been made hollow by our aggressive pursuit of consumerist culture. The reader will find that this book presents some fine examples of Mauro’s work that demonstrate his interest in our relationship with material culture. This is perhaps what I like best about Mauro: the way in which he makes sharp social commentary and mixes it with a dash of aesthetic sophistication. Mauro’s rich experiences prior to his career as a sculptor have no doubt contributed to the adventurous spirit that manifests itself
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through his many experiments with different media. Initially trained in theatre studies, Mauro later embarked on a series of interesting careers ranging from film production to interior design. The lessons that he acquired through these various disciplines enriched his artistic understanding of the world, and also afforded him a unique vision that makes each and every one of his artworks recognisably his. I would like to take this opportunity to thank Mauro for his friendship, and for sharing with us his love of art through his marvelous sculptures. As you take in the photographs in this book, I hope that you too will take delight and find meaning in his beautiful creations.
Jazz Chong Director, Ode to Art
Introduction 6
Mauro Perucchetti
HIP POP ART
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Jelly Baby Family
14 years ago I created a body of work inspired by the dilemma between cloning and religion, and cloning and medical ethics. I decided to use the jelly baby as an impersonation of cloned mankind. I was trying to capture the possible ambiguity and impersonality that could be present in a cloned human being. Â Once explored that concept I moved away from it and, with the current version, I see the Jelly Baby, with its child like innocence, embody the preciousness of family unity and the multicultural aspect of modern society. It is an honor for me to have my work placed in Singapore in such a prominent position and I hope my Jelly Babies will bring a smile to everyone who sees them.
Mauro Perucchetti The Jelly Babies have been exhibited in the Royal Academy of Arts, London, UK; In the first ever Roma Biennale at Villa Borgese, Rome, Italy; In Courchevels Winter Sculpture Festival, France; In Marble Arch London UK; At Place du Louvre, Paris, France.
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Mauro Perucchetti
GROUP SHOW
Biography
Berkeley Art Center
Mauro’s work unites Pop aesthetics with social comment, addressing some of the most pressing and difficult issues in today’s society in a way that is subtle and accessible, without being trite, shocking or obscure. Mauro is an artist connected; he sees the bigger picture and world affairs and his finger on the pulse of contemporary society. Mauro lives in London with his wife PR Director Lorena Perucchetti.
Solo Exhibtions 2013
HIP POP ART Solo Exhibition, ArtStage Singapore, Ode To Art Singapore
2012
Sem Art Gallery, (Princess Grace Academy) Monaco Principality of Monaco (Barclays wealth management Bank)
2011
Art Paris (Grand Palais) Absolute Art Gallery Belgium
2010
Galerie Bel-Air Geneva, Switzerland Modern Heroes, Hip-Pop and Daily News, Halcyon Gallery, London
2009
APOPALYPTIC, Halcyon Gallery, London
2008
Absolute Art Gallery, Knokke, Belgium Galerie Bertin-Toublanc, Paris, France
2007
Galerie Semmingsen, Olso Norway
2005
Galerie Bertin-Toublanc,Paris, France
2006
Beaux Arts,London, England
2005
The Atkinson Gallery,Millfield, Somerset, UK
2004
2004 Beaux Arts, London, UK
HIP POP ART
GROUP SHOW
2012
2011
Group Exhibitions
Berkeley Art Center
Imago Gallery, Palm Desert, California, USA 2012 Madison Gallery,La Jolla,California, USA Galerie Bel-Air, Sardinia, Italy Glaerie des Lices, Saint Tropez, France Art-Elysee (Salon d’ Art Contemporain) Paris, France Galerie des Lices, Saint Tropez, France Absolute Art Gallery, Knokke, Belgium Galerie Bel-Air, Geneva, Switzerland
2008
Galerie Bertin-Toublanc, Miami, USA London Art Fair, London, UK
2007
Rudolf Budja Galerie, Salzburg, Austria
2006
Sense and Sensuality (Blind Art 1st Prize) London, UK London Art Fair, London, UK
2005
Beaux Arts,London, UK British Art Fair,London, UK Royal Academy of Arts summer exhibition, London, UK London Art Fair, London, UK
2003
Art Palm Beach, Florida, USA Royal Academy of Arts summer exhibition, London, UK
2002
Blue Gallery, London, UK
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Mauro Perucchetti
HIP POP ART
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Jelly Baby Family Public Installation Plaza Singapura permanent public installation 2012
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Mauro Perucchetti
HIP POP ART
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Jelly Baby Family Public Installation, Le Louvre at Place du Louvre, Paris 2012
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Mauro Perucchetti
Life Size Jelly Baby Family scale shot
HIP POP ART
0.9 Jelly Baby Family 2012 5 jelly Babies Pigmented urethane resin on black granite base Father 90cm / Mother 81cm / Teenager 56cm / Small Child 45cm
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0.9 Jelly Baby Frontal shot
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Mauro Perucchetti
HIP POP ART
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Top Jelly Baby Family (table top) Opposite 0.5 Jelly Baby (3 Jelly Babies)
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Mauro Perucchetti
0.5 Jelly Baby (3 Jelly Babies) Pigmented urethane resin on black granite base, H 70 x 35 x 62cm
HIP POP ART
Jelly Baby (Slab Desk Top) Blue Polyurethane resin and stainless steel on black granite base, H36 x 22 x 12cm
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Mauro Perucchetti
HIP POP ART
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Modern Heroes Public Installation, Le Louvre at Place du Louvre, Paris 2010
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Mauro Perucchetti
Chairman Mao II Painted Resin,Stainless Steel on Acrylic Panel, 85 x 85cm
HIP POP ART
Chairman Mao (Slab) Red
Painted resin, stainless Garden steel of on Eden acrylic(7x4) panel, H 74 x 88 x 7.5cm
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Mauro Perucchetti
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Mauro Perucchetti
HIP POP ART
The Three Politicians (2008) Pigmented urethane resin. H42 x 110 x 28cm
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Mauro Perucchetti
The Three Politicians public installation at Place Du Louvre, Paris
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Mauro Perucchetti
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Buddha (slab desk top) red detail shot.
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Mauro Perucchetti
Buddha (slab) red Painted resin, stainless steel on acrylic panel, 90 x 75cm
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HIP POP ART
Guns and Roses (Vase) Pigmented urethane resin, cast iron with patina on a granite base, 90 x 60 x 60cm
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Mauro Perucchetti
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Guns and Roses detail shot
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Mauro Perucchetti
Pow (slab) blue
Poly urethane resin Garden andof stainless Eden (7x4) steel 74 x 88 x 7.5cm
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The Ghost inside me (purple slab) Poly urethane resin and stainless steel 90 x 75cm
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The Power of Love detail shot
Mauro Perucchetti
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Cui Xiuwen Existential Emptiness
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Mauro Perucchetti
Existential Emptiness No.6 Paper, 450 x 114cm / 300 x 76cm
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Cui Xiuwen Existential Emptiness
The Power Of Love (7 x 4) Pigmented urethane resin and chrome metal on acrylic panel, H 124.5 x 185.4 x 14.7cm
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Mauro Perucchetti
HIP POP ART
Power Of Love 0.4 (Violet) Pigmented urethane resin and chrome metal on granite base, H50 x 28 x 20cm
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Mauro Perucchetti
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Cui Xiuwen Existential Emptiness
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Garden of Eden detail shot
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Mauro Perucchetti
HIP POP ART
Garden of Eden (7x4) Swarovski crystal, pigmented resin, and stainless steel on acrylic panel H 124.5 x 180.8 x 14.7 cm
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Mauro Perucchetti
Untitled 1990-2012 (0) Pigmented urethane resin and chrome metal, 90 x 108cm
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Untitled 1990-2012 (B) Pigmented urethane resin and chrome metal, 90 x 108cm
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Existential Emptiness No.2 Paper, 500 x 78cm / 300 x 47cm
Mauro Perucchetti
HIP POP ART
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Pigs can Fly detail shot
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Mauro Perucchetti
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Pigs can Fly
Painted resin, stainless steelChairman on acrylic Mao panel,II 85 detail x 120shot cm.
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Mauro Perucchetti
Still Three Little Pigs 40 x 120 x 60 cm Swarovski crystals, resin and acrylic cabinet, 2008
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Trojan Virus detail shot
Mauro Perucchetti
HIP POP ART
Trojan Virus Pigmented urethane resin and 24-carat gold leaf on granite base 42 x 85 x 85cm
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Mauro Perucchetti
HIP POP ART
Luxury therapy (4x3) Pigmented urethane resin, glass, Swarovski crystals and chrome metal on acrylic panel 86.4 x 109.2 x 14 cm
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Mauro Perucchetti
Luxury Therapy (4x3) detail shot
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H I P P OP AR T Mauro Perucchetti First published 2013 Ode To Art Raffles City 252 North Bridge Road, Raffles City Shopping Centre, #01-36E/F, Singapore 179103 T +65 6250 1901 F +65 6250 5354 Ode To Art Kuala Lumpur 168 Jalan Bukit Bintang, The Pavilion, #06-24E/F, Kuala Lumpur 55100, Malaysia Tel: +603 2148 9816 Fax: +603 2142 6816 sales@odetoart.com odetoart.com Official artist website: www.mauroperucchetti.com Photography by Nick Parsons Š Ode To Art 2013 All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. Measurements of artworks are given in centimeters Printed and bound in Singapore
Mauro Perucchetti
www.mauroperucchetti.com odetoart.com