e-book La meraviglia dellArte contemporanea (Italian Edition)

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Dal carattere fortemente interdisciplinare, si concretizza in una residenza per artisti e creativi, e una mostra itinerante di installazioni, video-installazioni, fotografia, pittura e scultura, arricchita da un cartellone ricco di eventi collaterali come dibattiti, performance, spettacoli di danza, musica, degustazioni e laboratori rivolti alle scuole e alle famiglie.

To welcome biodiversity in the urban environment means to anticipate forms of future today. Architecture and art play a crucial role: from the narration of the multiple possible combinations of nature and city, to the design of hybrid urban spaces, to promote urban biodiversity means to create spaces of coexistence and hybridisation between the natural and the artificial spheres.

Cities of tomorrow need spaces that create and regenerate natural ecosystems: a new urbanity where forests become a crucial asset for the survival of the planet and biodiversity is treated as an anticipation of the future to be defended, protected and encouraged. La collaborazione crea un dialogo interessante tra lo scrittore e l'artista che realizza sulla base del testo e con il supporto della casa editrice, la copertina. Anche questo passaggio sta creando nuove trame de interessanti spunti per il progetto che, appena nato, vede la sua prima presentazione ufficiale nella storica galleria d'arte contemporanea di Pio Monti a Roma, spazio che ricrera estrema sintonia tra arte, musica, letteratura con lo stile che contraddistingue Pio Monti da sempre.

Buona lettura-visione. Residenza del settimo gruppo ai BoCS di Cosenza dal 23 novembre al 19 dicembre. A cura di Alberto Dambruso. This site was designed with the. Create your website today. I perfectly remember the disorientation I felt as soon as I entered the Accademia, where within a very short span of time I discovered how many things, of which I had not been aware, had happened in the last fifty years.

It was difficult to overcome the initial feeling of resistance, a resistance determined by my previous education.

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It communicated a seductive sense of temporal suspension and stillness. Clear and mysterious at the same time, it drew a deep line of continuity between the artistic expressions of all epochs. Without straining, I could imagine it in an Egyptian temple or in a cathedral. The discovery of the Letter on Immortality became the definitive confirmation that Gino De Dominicis is a singular artist, unique in his kind.

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This letter stands as something of a conceptual backdrop for his entire production. The form and content are philosophical, suffused with a tongue-in-cheek attitude; the desire that underlies it is lucidly insane, but secretly shareable.


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It reads like the manifesto of a visionary who develops his arguments on universal themes with rigorous and crystal-clear logic. His work is directed at life. The works of De Dominicis can be seen as true tests of, and solutions to, a single problem: that of human finitude and its relation to eternity. The perfectly balancing poles, the mirrors that reflect everything but ourselves, the mirrored clock with missing hands, and many other works besides, make us intuit the presence of a notion of alterity: a sensation of still time or even of a lack thereof, like a magic trick that leaves us momentarily stupefied.

Steadfast within his solitary poetic, Gino De Dominicis appears immune to the artistic panorama of his time. To prevent catching the American flu, I suggest covering up with a knowledge of the Origin: the how, the where, the when and the why of the birth of the first civilization on planet earth. Singularity is the vehicle by which we accede to such distant and rarified frequencies of sensibility. Collectively, society makes progress and moves together with its beliefs and conventions, but it is individually that everybody traverses existence for the first time.

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It is precisely what he does when, in the face of every modern materialism and disenchantment, he reinstates a sense of mystery at the center of discourse. His works consistently evoke a feeling of occultness and appear to spring from a sensitivity ever conscious of and perplexed by the very experience of being.

In this sense of mystery, in this use of philosophy as a muse and this nostalgia for a supposed golden age, in many formal solutions and in a certain disdain for the contemporary, there persists one of the most authentic moments of Italian sensibility: the metaphysics of Giorgio De Chirico. I believe it was the very steadfastness of his poetic that so profoundly attracted me. The clarity of his writings presuppose an unambiguous choosing of sides, a general and organic vision of art, to which his works rigorously and coherently testify.

Effectively, there is no doubt that art has always been the greatest and most obstinate form of resistance against the corruptions of time and oblivion.

Pyramids, obelisks and cathedrals present themselves as immobile emanations from past times, like meteors springing from a temporal otherness. It is widely acknowledged that in past times a precise ontology of the materials themselves testified to this recognition. There is little doubt about that. How could we possibly be under the illusion that art is eternal?

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In the past, people contemplated a mere few millenniums. Today, we know that the universe has existed for billions of years, and that the earth appeared only towards the end of this interminable process. What will become of the pyramids in another couple of millenniums? Even the distinction between the arts of time and those of space, likewise plucked from history, seems to me arbitrary and limiting.


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The truth is that even a painted image fades and changes, thus continuing to suffer the processes of corruption. Air oxidizes pigmentation, and matter and light envelop everything in a kind of abrasive sheath that entraps sculpture, architecture and painting alike. A continuous molecular pother. So how, then, could we possibly fall under the illusion that matter is immortal? De Dominicis probably considered the principal arts as the most formidable deceptions of which people are capable: the illusion of immobility.

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De Dominicis himself considered the artist as an illusionist who could, by way of his own tricks, surprise even himself. This notion culminates in the mirror that reflects everything but people, an artifice that calls to mind certain machinations of 19th century illusionism.

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Upon closer examination, a painting, a sculpture, a drawing do not appear immobile; nor are they exempt from the stronghold of gravity, as De Dominicis would have us believe. But they do grant us that very illusion, allowing us to intuit the eternal. And I truly understand the reasons for his move to painting over the last few decades.