Contemporary art blog
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He started to apply himself to the artistic photography in Milan at the Master G. M. Sandre’s photographic Studio; time after he developed his artistic research undertaking professional advertising photographer career.
Many contemporary world famous artists as: John Cage, Joseph Beuys, Nam June Paik, Giuseppe Chiari, Geoffrey Hendricks, Takako Saito, Joe Jones, Charlotte Moorman, Hermann Nitsch, Heinz Cibulka, Otto Muehl, Marina Abramovic, Urs Luthi, Joseph Desiato, Toby Cole, Thierry Parmentier Fabian Alejandro Hojman and Marcel Marceau, were subjects of his photographs.
In his photographs recur bodies placed on platforms or pedestals, “fixed” as sculptures in unnatural static and expressive poses.
Born in Buenos Aires in 1969. Graduated from the Art School Prilidiano Pueyrredón in that city. He has developed a paint that calls itself “abstract symbolism”, which is a metaphysical question of human existence. He has exhibited and sold his works throughout the world.
"Talking and thinking to Massironi equivalent to retrace the history of the last half century of research perceptual. The artistic climate in the late fifties was generally characterized by an informal atmosphere, an art in my opinion easy, that all they could do, to the point that the degeneration brought to enforce paintings also from chickens and monkeys with results not dissimilar to those of the artists.
However, someone eluded to this prevailing atmosphere looking to travel new roads belonging to the world of making mental. Young people who worked in places distant from each other and from conditions, background and training experiences very different, often not knowing the existence of each other, because no historian or critic had theorized what was happening.
But when the most varied circumstances brought them to meet, immediately recognize themselves as subjects of the same way of feeling, more oriented towards design and architecture, sociology and psychology with respect to individual artistic trends. A spontaneous germination that would have coagulated around Almir MAVIGNIER to start with the "New Trends". And Manfredo Massironi was among these young people. " (Getulio Alviani, in Flash Art n. 274, February to March 2009)
"Faced with the work of Irene Kowaliska you run out of words, literally silent. The white that surrounds her small figure captures the silence of God. "To thee only silence is praise adequate, o Signore, o Irene”, it can be said.
This underlines our belief that by Vietri, tra le due guerre, passed only one absolute artist, only a poet, Irene Kowaliska.
All other "tedeschiesi" are good, son belli, are used, ma I.K. è un’altra cosa, è un’altra “casa” Madre. Has in it the sense of death (dell). And the extended life.
I.K. works by subtraction, the absolute minimum. She herself seems to feed on nothing, nothing, not yield to the slightest desire. You have to battle, its, in communion with his figures, made of little, abstinence, of atonement. " (Eduardo Alamaro, of Vietri pottery village, 2005)
“Haunted by the history of anarchism, of which from 1962 collects all possible documents to reconstruct the events graphically, Flavio Costantini, through the rigor of his gouaches that modulate the spot color, the contrast of the characteristic outline gnarled, filter-halo within which they materialize the figures of those of his anarchist, so closely related to the oppressed narrated by Kathe Kollwitz or by Ben Shahn, and with the skilful addition of evocative collage elements, returns the facts and humor with the passion of gesture Passanante or Ravachol.
Like a spider patient he embroiders metallic structures belle époque, weaves the bruises warps the suburbs beginning of the century, outlines, stone by stone, the network of cobbled neighborhoods Anonymous, relentless webs in which to catch and fix forever the anarchic gesture.
The functionality cold and geometric design of the facade of a building or tile a floor of a school gym, the suggestion of its findings: old labels, manifest testate e vintage, and the timeliness of his quotes, the railing of the balcony newsstand Newspaper, dall'addobbo to the conference room to the coffee Liberty, all conspire to carefully delineate the reality evoked by the obsessive detail and unsettling dreams, where the insistence of a particular expands and reverses the perspective.” (Paola Palottino, of L'Eternauta, 1982)
"The artistic figure of Alberto Biasi is one of the most consistent and influential in the field of what has been called in Italy arte Software, and elsewhere optical art, or who is also qualified by the term kinetics.
The work of Biasi belongs to the great season of Modernity and neoavanguardia, and contemporary - if not before - the experience Gestalt European, especially French and German, while it is certainly ahead of the so-called Op Art American.
The initial intention to work in group, the desire to make measurable perception, the desire to do the work of art a universal perceptual system add to his work - and a few other of those years - a utopian value that makes it even more emblematic of a world of values related to the construction of a model of perception world, Gestalt perception of which was a kind of metaphor, a test of how linguistically sector could and should be the new artistic horizons and human.” (Marco Meneguzzo, of Art a part of cult(hours), remove background noise, 5 May 2011)
Many are the writings of Joseph Guerreschi, The bibliography of this Milanese painter is vast. I want to remember him in the intense moments that we shared with my husband, when we came to visit us and illustrating his amazing etchings, starting from the early sixties , until his death prematurely just fifty-six years in Nice.
Browse the stacks of graphics , perceiving under our fingertips strength of the burin, the incision suffered in describing the dramatic content, became a ritual where they joined the deeper considerations about the war, on its "Judeo period",on the female figure devastated and offended . Everything is dramatic in its absolute realism, where there's no place for free, for indifference. His hand in the design is effective, the strong mark of quality and extraordinary.
The use of colored pencils incredibly balanced and decisive. Some large paintings, violent, descriptive and exciting recounting the war in Greece ,have accompanied me for so many years creandomi always exciting and intense pain ever, although the red blood and the wreckage were "real" as in realtà.La suffering Guerreschi filled his whole being, by his great stature to his giant hands ,I always remember that when they took my leave of the.
“The activity of the Bonazzi is part of the final of the Italian Art Nouveau Klimt that had attracted artists such different backgrounds and attitudes which Casorati, Chini, Jad, Alberto Martin (…).
The contact with the French culture of the Bonazzi involves connections with those Italian artists who travel or for election of domicile had landed on the banks of the Seine, by Umberto Brunelleschi in the first place, Lorenzi, at the same Alberto Martini, to name just a few of the many involved in that kind of painting and decorative graphic and illustrative of’Art Decò. It is that part of the art which must maintain, when evaluating historical and critical, a prominent role in the determination of customs and figurative tendencies engaging in a direct way the human sphere, from fashion to show”. (Anthony Storelli, in “Acts and memories of Clementine Academy in Bologna”, 1974).
Bolognese painter who moved in the fifties in Paris where he died in 2010. It was a very interesting man and his conversations over a glass of good wine and a plate of good food, were particularly vivid.
Friend and frequenter of the most important Milanese artists of the new figuration. Painter to all effects. In the fifties many of his paintings are in which are depicted in a very bloody animals to the slaughterhouse, sangue e carni macilente. With an extraordinary painting technique ,unable to create spaces of environmental and emotional intensity ranging from domestic interiors more ambiguous to the sunny beaches of Romagna or the island of Panarea.
The presence of children who run, playing blind man's buff, that appear restless or hide, is very frequent in his paintings, as the escape of female images.
Bergamo artist of rare human quality in addition to the great purity of his work. Always curious and eager to range between design, il teatro, la pittura, la scultura. His confidence and his modesty in porgersi is one of the most beautiful things that I can never remember my long experience in contact with the artists.
His painting that accompanies me on a daily basis, always manages to make me feel his physical presence. I seem to hear "tell" his finest paintings, in balance and tensione estrema. Its perfect designs, in which the lines of pencil vibrate and create its forms sometimes harsh sometimes sinuous. Transparent colors on pavatex. The oils on canvas compact and always in harmony with spaces.