https://sandyfiocchetti.com Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer Mon, 20 Aug 2018 17:34:01 +0000 https://sandyfiocchetti.com en https://sandyfiocchetti.com/Srger-EL-ESPEJO Sun, 25 Feb 2018 23:23:17 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Srger-EL-ESPEJO <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/91a43e871b2ca25b92bfefe58fdabc1aae1b2d5166c07432cd0ec58bdc43ec12/srger_sandy_fiocchetti_barcelona_miscelanea_15.jpg" data-mid="11919264" border="0" src="https://freight.cargo.site/w/825/i/91a43e871b2ca25b92bfefe58fdabc1aae1b2d5166c07432cd0ec58bdc43ec12/srger_sandy_fiocchetti_barcelona_miscelanea_15.jpg" /> <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/296c63a7c6dfe116e50ea8dad54c4aad6b50a908aa9e32c900270ef82da48c44/srger_sandy_fiocchetti_barcelona_miscelanea_4.jpg" data-mid="13359802" border="0" src="https://freight.cargo.site/w/825/i/296c63a7c6dfe116e50ea8dad54c4aad6b50a908aa9e32c900270ef82da48c44/srger_sandy_fiocchetti_barcelona_miscelanea_4.jpg" /> <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/974ded6eaab7ffa9672aff32eb290a3cc9caa7a92ccbbdd2700377cccfd81788/srger_sandy_fiocchetti_barcelona_miscelanea_10.jpg" data-mid="13359803" border="0" src="https://freight.cargo.site/w/825/i/974ded6eaab7ffa9672aff32eb290a3cc9caa7a92ccbbdd2700377cccfd81788/srger_sandy_fiocchetti_barcelona_miscelanea_10.jpg" /> <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/d35d7d189cbd25818b6916fdd11018b8fcf6285412e3aea0c1c76c8b76241ff2/srger_sandy_fiocchetti_barcelona_miscelanea_12.jpg" data-mid="13359841" border="0" src="https://freight.cargo.site/w/825/i/d35d7d189cbd25818b6916fdd11018b8fcf6285412e3aea0c1c76c8b76241ff2/srger_sandy_fiocchetti_barcelona_miscelanea_12.jpg" /> <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/b82b44da152c1191e8c363e24bb43c47bdb20380418faec972e80a7ded579327/srger_sandy_fiocchetti_barcelona_miscelanea_23.jpg" data-mid="13359857" border="0" src="https://freight.cargo.site/w/825/i/b82b44da152c1191e8c363e24bb43c47bdb20380418faec972e80a7ded579327/srger_sandy_fiocchetti_barcelona_miscelanea_23.jpg" /> <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/d491dfcb936dec84b88cca2f83a61f11024b49cdc7a8f4628ca14eba36dce116/srger_sandy_fiocchetti_barcelona_miscelanea_2.jpg" data-mid="13359842" border="0" src="https://freight.cargo.site/w/825/i/d491dfcb936dec84b88cca2f83a61f11024b49cdc7a8f4628ca14eba36dce116/srger_sandy_fiocchetti_barcelona_miscelanea_2.jpg" /> <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/41d26093263062a7c52f19a7f93684b515dc38978c678bccea0c2b62fe3528fc/srger_sandy_fiocchetti_barcelona_miscelanea_46_v6.jpg" data-mid="13359866" border="0" src="https://freight.cargo.site/w/825/i/41d26093263062a7c52f19a7f93684b515dc38978c678bccea0c2b62fe3528fc/srger_sandy_fiocchetti_barcelona_miscelanea_46_v6.jpg" /> <img width="825" height="550" width_o="825" height_o="550" data-src="https://freight.cargo.site/t/original/i/7c4b8bf289f7199020d039562ffd10f49f7fb8ffbc3550cbbd848470121e6ebd/srger_sandy_fiocchetti_barcelona_miscelanea_34.jpg" data-mid="13359858" border="0" src="https://freight.cargo.site/w/825/i/7c4b8bf289f7199020d039562ffd10f49f7fb8ffbc3550cbbd848470121e6ebd/srger_sandy_fiocchetti_barcelona_miscelanea_34.jpg" /> SRGER&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; El Espejo Miscelanea Gallery (Barcelona)Fanzine of 50 numbered and signed copies (sold out) January, 2016. Language: Spanish Film &amp; Edit: 1) Srger, 2) Jacopo Tardito Categories: Curatorial Work, Shows&amp;Projects “Todo lo que llegamos a pensar es consecuencia de lo ya vivido. El Espejo es el resultado de sentirse identificado con situaciones, hechos o sencillamente objetos, que a simple vista no tienen ninguna conexión entre ellos, pero al extrapolarlos a otros estadios toman forma y se ven reflejados en las experiencias del pasado". (Srger)EL ESPEJO, SRGER presenta su último proyecto y a la vez su primera exposición individual en Barcelona, en la galería Miscelanea. El proyecto se divide en tres partes: una publicación, una exposición (una composición de fotografías y obras en papel que se complementan con una instalación y una intervención mural) y un video. "El Espejo" explora como objetos y material encontrados en la cotidianidad que lo rodea, sugieren al artista vínculos con su imaginario más intimista, permitiéndole realizar sus obras. Situaciones que aparentemente se relacionan con lo normal o lo casual, adquieren para el autor un peculiar significado. Por medio de una multiplicidad de lenguajes visuales y expresivos, Srger presenta un paralelismo entre la realidad contada por las fotos de la publicación y de la exposición, y su "visión", que se enlaza con su faceta más creadora. Asimismo, estas fotos surgen como un flujo de emociones que se trasmutan en dibujos, instalaciones y acciones. Una especie de recopilación a diario de lo que podría concebirse como el espejo del artista, recrea analogías subconscientes entre un objeto y un recuerdo, entre la realidad y el pensamiento, entre el entorno presente y la herencia del pasado. El dinamismo de las lineas, el uso "obsesivo" de las formas geométricas, de los colores primarios y de las tonalidades negras reivindican un contenido emocional e instintivo - por lo menos a la hora de pintar - que legitima en su lenguaje una libertad de fluidez máxima que se combina con una capacidad de síntesis. Recreando una conexión entre fotografías, lineas, palabras y frames, Srger entremezcla en su gramática visual un estilo puro y una evocación poética, desligándose de todo lo que ya conocemos. VIDEO (1:30 min.) "Esta historia plantea sin más una cuestión tan vieja como la humanidad. El significado de la realidad." En este video, Srger desmantela el proceso de los eventos para reformular cuestiones sobre el tiempo. Explorando la interdependencia en el doble paradigma pasado-presente, el artista invierte el proceso de creación. Poniendo particular énfasis en el pasado, las imágenes se suceden hacia atrás. De esta manera, el artista nos permite reflexionar sobre como un evento, o una acción, no tiene sentido si no se considera su antecedente. Un discurso sobre el pasado y sus consecuencias, sobre el ensayo y error a la hora de crear, el aprendizaje y las infinitas formas de llegar al punto final, sobre las marcas que se dejan en el camino y todo lo que influye sobre él. Sin embargo, Srger se plantea también otro análisis: alternan a la creación la destrucción, tal vez suave y sosegada, que surge espontánea, dejando los eventos en su cauce natural.Sergio Goméz (Sevilla, 1983)Polifacética personalidad creativa, reivindica su origen en el graffiti. Su capacidad artística abarca tanto la pintura, la fotografía, las instalaciones y el video-art como el arte urbano. Con una herencia del diseño gráfico combina diferentes influencias, que tal vez relacionadas con las nuevas corrientes del arte abstracto, como los New Casualists, o al Suprematismo. https://sandyfiocchetti.com/Virginia-Arcaro-INTERVIEW Mon, 20 Aug 2018 17:34:01 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Virginia-Arcaro-INTERVIEW <img width="1000" height="1456" width_o="1000" height_o="1456" data-src="https://freight.cargo.site/t/original/i/fd6c2ef3b640168c4d105e976387a66fdef420bf720ece9932404496dbabacf0/Virginia_Arcaro_Fiocchetti_02.jpg" data-mid="22626913" border="0" src="https://freight.cargo.site/w/1000/i/fd6c2ef3b640168c4d105e976387a66fdef420bf720ece9932404496dbabacf0/Virginia_Arcaro_Fiocchetti_02.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/03516f3488d1c734fbca86c331bd6a34f058a7841ff987d1d941abb635b26176/Virginia_Arcaro_Fiocchetti_06.jpg" data-mid="22626921" border="0" src="https://freight.cargo.site/w/1000/i/03516f3488d1c734fbca86c331bd6a34f058a7841ff987d1d941abb635b26176/Virginia_Arcaro_Fiocchetti_06.jpg" /> <img width="1000" height="1406" width_o="1000" height_o="1406" data-src="https://freight.cargo.site/t/original/i/c4e0490b1b992c340a7655a09c1044a877239ccf70f54210a7d24403eea49955/Virginia_Arcaro_Fiocchetti_01.jpg" data-mid="22627002" border="0" src="https://freight.cargo.site/w/1000/i/c4e0490b1b992c340a7655a09c1044a877239ccf70f54210a7d24403eea49955/Virginia_Arcaro_Fiocchetti_01.jpg" /> <img width="2294" height="2233" width_o="2294" height_o="2233" data-src="https://freight.cargo.site/t/original/i/7c1c5077773cf6baa23dbabfc6a047e80eb324c916b6c5cbca81a5d827623044/Virginia_Arcaro_Fiocchetti_09.jpg" data-mid="22626973" border="0" src="https://freight.cargo.site/w/1000/i/7c1c5077773cf6baa23dbabfc6a047e80eb324c916b6c5cbca81a5d827623044/Virginia_Arcaro_Fiocchetti_09.jpg" /> <img width="1000" height="1404" width_o="1000" height_o="1404" data-src="https://freight.cargo.site/t/original/i/42e5f4262df0f92fb7d20999c35ef03b7f8bbe0fab66aabf4414a366012e749e/Virginia_Arcaro_Fiocchetti_05.jpg" data-mid="22627011" border="0" src="https://freight.cargo.site/w/1000/i/42e5f4262df0f92fb7d20999c35ef03b7f8bbe0fab66aabf4414a366012e749e/Virginia_Arcaro_Fiocchetti_05.jpg" /> <img width="1000" height="1457" width_o="1000" height_o="1457" data-src="https://freight.cargo.site/t/original/i/bfb0dd21b9260e7a96d5623ef19d2a865e69b55eae123ede94e5a19e3cd77ce9/Virginia_Arcaro_Fiocchetti_04.jpg" data-mid="22627010" border="0" src="https://freight.cargo.site/w/1000/i/bfb0dd21b9260e7a96d5623ef19d2a865e69b55eae123ede94e5a19e3cd77ce9/Virginia_Arcaro_Fiocchetti_04.jpg" /> <img width="2225" height="1500" width_o="2225" height_o="1500" data-src="https://freight.cargo.site/t/original/i/38c29c4aede5e6d99d9e704fb5a6446c20d4edfd3fec6d375db38790791cdff6/Virginia_Arcaro_Fiocchetti_08.jpg" data-mid="22627217" border="0" src="https://freight.cargo.site/w/1000/i/38c29c4aede5e6d99d9e704fb5a6446c20d4edfd3fec6d375db38790791cdff6/Virginia_Arcaro_Fiocchetti_08.jpg" /> <img width="1500" height="2229" width_o="1500" height_o="2229" data-src="https://freight.cargo.site/t/original/i/c1390adbc09a0beaa7ee5a6deea7ad0921e522692d60866b4a820e187093cab0/Virginia_Arcaro_Fiocchetti_07.jpg" data-mid="22627327" border="0" src="https://freight.cargo.site/w/1000/i/c1390adbc09a0beaa7ee5a6deea7ad0921e522692d60866b4a820e187093cab0/Virginia_Arcaro_Fiocchetti_07.jpg" /> <img width="3648" height="5439" width_o="3648" height_o="5439" data-src="https://freight.cargo.site/t/original/i/0b4d0fe6890229926f404ed96585006f83317309bad2e544de7af5d1110749d3/Virginia_Arcaro_Fiocchetti_10.jpg" data-mid="22627411" border="0" src="https://freight.cargo.site/w/1000/i/0b4d0fe6890229926f404ed96585006f83317309bad2e544de7af5d1110749d3/Virginia_Arcaro_Fiocchetti_10.jpg" /> <img width="1000" height="1535" width_o="1000" height_o="1535" data-src="https://freight.cargo.site/t/original/i/9ea28e00ec086800f836171ae6ee7f45157ae14a468bf0443df3501d38fedb3e/Virginia_Arcaro_Fiocchetti_03.jpg" data-mid="22627404" border="0" src="https://freight.cargo.site/w/1000/i/9ea28e00ec086800f836171ae6ee7f45157ae14a468bf0443df3501d38fedb3e/Virginia_Arcaro_Fiocchetti_03.jpg" /> VIRGINIA ARCARO Interview Posted on Libra Magazine - 25 Gramos&nbsp; July, 2018. Language: Spanish Categories: Magazine Collab, Interview Fondos planos y limpios. Miradas que rompen el espacio y un amor indudable hacia la corporalidad y las bellezas andróginas. Así se identifican las obras de VIRGINIA ARCARO. Italiana de nacimiento, Arcaro es una artista visual y fotógrafa cuyas creaciones navegan entre pinturas, collages y fotografías, y que en su obra nos revela una visión muy personal de las nuevas generaciones, de la contemporaneidad y de la moda. Tras desarrollar un estilo original y sintético que se acerca al minimalismo y al detallismo purista, Arcaro, con una herencia de las culturas underground, concibe su trabajo como un viaje hacia la búsqueda de lo “Auténtico”. Sus editoriales de moda desprenden un fuerte componente realista, y en ellas vestuarios y accesorios asimilan una función comunicativa para convertirse en un medio que da forma a las visiones de la artista. Arcaro trabaja principalmente entre Milán, París y Londres. Sus fotografías han sido publicadas por The Greatest, Hunter Magazine, Vogue París y Glamcult. Mientras que entre sus clientes se encuentran Dior Homme, Acne Studios y Saint Laurent. Nosotros hemos hablado con ella para que nos cuente más sobre su producción artística. Hola Virginia, cuéntanos algo sobre tus comienzos. Desde que era niña siempre he desarrollado una afición hacia la creatividad. Pasé la mayor parte de mi vida creando imágenes y recurriendo a mi gusto personal y mis estudios en función de ellas. Todo empezó con el dibujo, para luego llegar a la pintura y, en los últimos años, a la fotografía.Nunca he tenido dudas sobre cuál hubiera tenido que ser mi camino. Tampoco creo que esto tenga que ver con una elección consciente, se trata más simplemente de un proceso natural. Ésta ha sido mi vocación desde el principio. Entonces, estudiaste pintura como especialidad en Bellas Artes. ¿Cómo crees que pintura y fotografía se influencian mutuamente en tu obra? Amo las tradiciones, pero sin intención y con un hábito inmutable consigo romper algo en ellas que lleva a la consecuente, como obvia, imposibilidad de poder seguir definiéndolas como tales. Mi trabajo fotográfico nunca ha sido relacionado con el hecho de ser fotógrafa, pues más bien está vinculado con el mensaje e imaginario que comunico a través de la fotografía. Lo que hago es simplemente expresarme a través de un medio: sea la imagen fotográfica u otras formas de expresiones compatibles con el trabajo que estoy creando en ese momento. He pintado durante muchos años y reconozco que mi estilo inicial, puramente pictórico, ha evolucionado en comparación con las pinturas del primer período. Es cierto que eso pasó también gracias a la fotografía. De hecho, mis obras artísticas actuales son piezas hechas en técnica mixta, donde imprimo y re-elaboro mis fotografías con pinturas sobre lienzo o papel. Tus obras se caracterizan por la eliminación de lo superfluo, una elección que nos proporciona imágenes en bruto, directas y dominadas por elementos esenciales pero impactantes. A veces, cuando pienso en una imagen, busco algo que pueda considerarse extremo a nivel visual, mientras que en otras ocasiones prefiero concentrar mi atención en la belleza de una atmósfera o de una cara. A menudo enfoco mi atención en el cuerpo y en el rostro humano, que creo que son el verdadero emblema de la figuración. El aislamiento de la figura es también un elemento recurrente en mi trabajo, de ahí emerge la elección de poner el sujeto sobre un fondo neutro y limpio. Fondos tan planos y limpios. ¿Por qué es esta afición? Francis Bacon es uno de mis artistas predilectos. Creo que su trabajo pictórico ha sido una gran inspiración a la hora de relacionarme con los fondos planos y limpios. Palacios, suburbios, escenarios que visualmente recuerdan el decadentismo ruso. Háblanos de las ubicaciones que sueles usar. Mis raíces ciertamente han jugado un papel decisivo y han influido en la forma en que me expreso y describo la realidad. En cuanto a mi preferencia por este tipo de escenario, me siento más conectada con esta tipología de lugares, dado que crecí en ese contexto. Una de tus editoriales más recientes, realizada en colaboración con la marca independiente Heliot Emil, ha sido publicada por Funnytastes Magazine. Es muy interesante la idea de no publicar no las imágenes originales, sino sus fotocopias. ¿Por qué esta decisión? El tema del número de la revista es “Fast Fashion”. La opción de haber usado solo ropa y accesorios de una marca independiente como Heliot Emil, en lugar de utilizar artículos y accesorios más pertenecientes al mundo del luxury, ha sido fundamental a la hora de poner en evidencia una crítica tanto a lo que es el consumismo obsesivo que caracteriza nuestra contemporaneidad, como al anhelo excesivo que se creó en torno a las tendencias del momento y el problema de la sobreproducción. Todas las imágenes son fotocopias, para dar mayor fuerza al concepto de crítica “de la copia de la copia de la copia” en términos de producción de muchas marcas del momento. El mismo concepto se aplicó a las imágenes de la serie, que son voluntariamente similares entre sí. Un concepto que también nos lleva de inmediato a la idea de la repetición. En cambio, una de tus nuevas series pictóricas se titula “NO TIME, ONLY ETERNITY”. ¿A que se asocia la elección del título? Y específicamente, un trabajo de esta serie presenta un uso particular del blanco, asociado con la técnica mixta del collage y la inserción de vendajes. ¿Puedes explicarnos el valor simbólico de esta combinación de elementos visuales? Con esta serie de trabajos realizados en técnica mixta sobre tela me vinculé al tema del tiempo y la eternidad para reflexionar sobre la imposición que mente, pensamiento e ideas actúan con respecto al cuerpo y su fugacidad. En la obra a la que te refieres, la cabeza del joven se separa del cuerpo, que se encuentra disuelto, suspendido en el blanco, el color símbolo de la luz e iluminación del pensamiento. Las vendas, por otro lado, son una referencia simbólica al tiempo y a la eternidad, una referencia a la técnica de momificación perteneciente a la civilización egipcia, que fue hecha para asegurar precisamente que el alma de los muertos pudiera vivir más allá de la muerte de su cuerpo. Y en fin, háblanos un poco acerca de tu proyecto personal: NO HOPE – NO FEAR. ¿Cómo nace y qué son para ti esperanza y temor? Para mí, el proyecto NO HOPE – NO FEAR es un estado mental. El título se debe a una reflexión sobre el peso decisivo que tienen la esperanza y el miedo, constituyendo la sustancia y la raíz de la voluntad. La noción de tiempo es un concepto ilusorio de organización convencional. Todas las experiencias se ven y se crean en el momento presente, donde el pasado se concibe solo como una memoria y el futuro se reconoce como total o parcialmente especulativo. El miedo y la esperanza siempre están unidos porque ambos son formas de pensamientos ansiosos que alejan nuestros recursos físicos, mentales y emocionales del momento presente. Cuanto menos nos dejemos guiar por la esperanza y el miedo, más clara será nuestra visión de la vida. Pasando de la pasividad de la esperanza a la creatividad de la intención y la aspiración, se alcanza una clara comprensión del momento presente, en el que la visión se hace más amplia y profunda. Al lograr profundamente la mortalidad o la interdependencia de otras personas y situaciones, penetrando profundamente en lo que realmente son, se alcanza una conciencia expandida. &nbsp;Las esperanzas y los temores se abandonan y, por lo tanto, somos libres de descubrir la claridad, dándonos cuenta de que nada será para siempre, aprendiendo a vivir con un cambio constante. El resultado de mi investigación, en lugar de llevarlo al lienzo, o traducirlo sólo a través de una fotografía, se expresó a través de un trabajo gráfico, que luego imprimí en varias prendas como camisetas y sudaderas. En esta perspectiva, la prenda misma se convierte en una obra de arte que se puede llevar. https://sandyfiocchetti.com/Sixe-Paredes-ABSTRACCION-NUMERICA Thu, 22 Mar 2018 00:10:52 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Sixe-Paredes-ABSTRACCION-NUMERICA <img width="850" height="567" width_o="850" height_o="567" data-src="https://freight.cargo.site/t/original/i/bddc2815f0a9aad4a1fd19bf98db12df73dd0dbdab841f17eb1c9c7f56d615a9/ANTES-DESPUES-AHORA-due-graffiti-per-celebrare-la-mostra-di-Sixe-Paredes-Collateral-3.jpeg" data-mid="13389868" border="0" src="https://freight.cargo.site/w/850/i/bddc2815f0a9aad4a1fd19bf98db12df73dd0dbdab841f17eb1c9c7f56d615a9/ANTES-DESPUES-AHORA-due-graffiti-per-celebrare-la-mostra-di-Sixe-Paredes-Collateral-3.jpeg" /> <img width="935" height="500" width_o="935" height_o="500" data-src="https://freight.cargo.site/t/original/i/24ea5b0c4a29cf82cb543783c23b363b2f28d93e7ed4358cae3dac93910517da/sixe_paredes_abstraccion_numerica_sandy_fiocchetti_3.png" data-mid="14964212" border="0" src="https://freight.cargo.site/w/935/i/24ea5b0c4a29cf82cb543783c23b363b2f28d93e7ed4358cae3dac93910517da/sixe_paredes_abstraccion_numerica_sandy_fiocchetti_3.png" /> <img width="850" height="394" width_o="850" height_o="394" data-src="https://freight.cargo.site/t/original/i/ead57b12955224dffcf34625b57d921d8af9359970bdacbf0ba6daf780300243/sixe_paredes_abstraccion_numerica_sandy_fiocchetti_2.jpg" data-mid="14964211" border="0" src="https://freight.cargo.site/w/850/i/ead57b12955224dffcf34625b57d921d8af9359970bdacbf0ba6daf780300243/sixe_paredes_abstraccion_numerica_sandy_fiocchetti_2.jpg" /> <img width="275" height="183" width_o="275" height_o="183" data-src="https://freight.cargo.site/t/original/i/3ffb09c8d33616fbe30e4172d1bce538977f980b5003f9b41dc82d0e33235e77/sixe_paredes_abstraccion_numerica_sandy_fiocchetti_1.jpg" data-mid="14964210" border="0" src="https://freight.cargo.site/w/275/i/3ffb09c8d33616fbe30e4172d1bce538977f980b5003f9b41dc82d0e33235e77/sixe_paredes_abstraccion_numerica_sandy_fiocchetti_1.jpg" /> SIXE PAREDES Abstracción Númerica Series of works created for: - Art Truck Project,&nbsp;INK and MOVEMENT, Spain 2016 - 'Antes, Después, Ahora' show,&nbsp;CCE (Centro de Cultura de España), Lima (Perù) 2016 - ARTEKO project,&nbsp;CS gallery, Bilbao 2017 May, 2016. Language: Spanish (English version soon) Categories: Shows&amp;Projects En "Abstracción Numérica", SIXE PAREDES se relaciona con el tema de los Números, empleados como símbolos para hablar de la crisis, pero también observados en relación a sus vínculos con las culturas ancestrales y a una proyección mística. En estas obras, el artista explora de forma personal la estructura ontológica y funcional del Número. La esencia del Número se caracteriza, de hecho, por su peculiar dicotomía: ser una entidad ajena o propia al ser humano. Construyendo una amplia crítica como consecuencia de un proceso de adaptación socio-económico, Sixe investigó precedentemente sobre nuestra percepción hacia los números en su serie "Crisis" presentada en Arco 2012. Sin duda alguna, el sistema capitalista-liberal en el cual vivimos acaba convirtiéndonos en números, todo lo que participa en él, incluidos nosotros, se regula en función de su "valor de cambio" y cada individuo se relaciona con la sociedad como parte de un mecanismo estadístico. El hombre, privado de su esencia, reducido a un estudio de mercado deviene un "número”; no se relaciona más con un entorno concreto sino, bombardeado por una información que "abstrae su realidad", se aliena. Por otro lado, el Número nace como algo fuertemente vinculado e intrínseco al ser humano, en particular en referencia a su capacidad de racionalizar, a sus necesidades practicas y aún más religiosas. Se formularon diferentes aritméticas según las distintas culturas y civilizaciones. Se conocen sistemas que empleaban la base 5, 10 o la base 20, claramente debido al hecho de contar con los dedos, y otros con base 12 y 60 elaborados por civilizaciones que necesitaban medir los ciclos temporales. La utilización del "cero" como número, también fue algo en principio muy peculiar, presente exclusivamente en las culturas indias, incas y maya, que surgió principalmente a través de conceptos filosóficos y religiosos. Sin embargo, en su dualidad primigenia, el Número no abarca únicamente la aritmética sino también la numerología y una cautivadora actitud mística. Como en su trabajo anterior, también en esta serie Sixe no prescinde de su enlace intimo con la tradición andina, según la cual gracias a las matemáticas el ser humano se halla en conexión más profunda con la realidad cosmológica. "Las ofrendas quechuas del sur del Perú son platos alimenticios, banquetes destinados principalmente a la pachamama y los apus, pero también elaborados sistemas matemáticos regidos por operaciones sofisticadas". En este sentido, los Quechuas consagran las matemáticas a ser considerada una herramienta para lograr una totalidad universal, o sea un lenguaje absoluto que permite unificarse con el cosmos. Aproximandose a un trabajo de prevalecía simbólica, Sixe plasma así en su obra la belleza del Número y su misterio. A modo de cables numéricos, desde hace años el artista utiliza series de números, en las que predominan los impares del 1 a 9, generando escrituras automáticas con números, símbolos y formas geométricas que en forma de mensajes encriptados se revelan códigos cifrados perdidos en el tiempo. Un lenguaje visual que el artista retoma expresamente en esta última serie, en la cual afronta otros temas estrictamente conectados al Número: la criptografía y las Numbers Stations, como la cubana Atención o la muy conocida ENIGMA. https://sandyfiocchetti.com/Margarito-dela-Guetto-Julia-Panades-VISIONS Thu, 22 Mar 2018 12:36:28 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Margarito-dela-Guetto-Julia-Panades-VISIONS <img width="1050" height="700" width_o="1050" height_o="700" data-src="https://freight.cargo.site/t/original/i/a2915a7eee7afb0395032012d061ed3e7cc7d4e93fe92890cb561d2a5262165c/doble_cobra_margarito_dela_guetto_julia_panades_sandy_fiocchetti_s.jpg" data-mid="13429787" border="0" src="https://freight.cargo.site/w/1000/i/a2915a7eee7afb0395032012d061ed3e7cc7d4e93fe92890cb561d2a5262165c/doble_cobra_margarito_dela_guetto_julia_panades_sandy_fiocchetti_s.jpg" /> <img width="1536" height="1024" width_o="1536" height_o="1024" data-src="https://freight.cargo.site/t/original/i/8d65922be5c137ac09222098a3af4135b72732f2e2dadf63670e39494a88759d/llibre-julia-panades-margarito-dela-guetto-50.JPG" data-mid="13430203" border="0" src="https://freight.cargo.site/w/1000/i/8d65922be5c137ac09222098a3af4135b72732f2e2dadf63670e39494a88759d/llibre-julia-panades-margarito-dela-guetto-50.JPG" /> <img width="1536" height="1024" width_o="1536" height_o="1024" data-src="https://freight.cargo.site/t/original/i/ebba5cd3fc910c3d73a3d76d2cb0170617a8f80d4f2d9814620672ecc31614f2/llibre-julia-panades-margarito-dela-guetto-44.JPG" data-mid="13430288" border="0" src="https://freight.cargo.site/w/1000/i/ebba5cd3fc910c3d73a3d76d2cb0170617a8f80d4f2d9814620672ecc31614f2/llibre-julia-panades-margarito-dela-guetto-44.JPG" /> <img width="1024" height="1536" width_o="1024" height_o="1536" data-src="https://freight.cargo.site/t/original/i/da407089b5206794d8a6c207218ab897d5eb0534ef509b55106ffc6e48e1708e/llibre-julia-panades-margarito-dela-guetto-3.jpg" data-mid="13430431" border="0" src="https://freight.cargo.site/w/1000/i/da407089b5206794d8a6c207218ab897d5eb0534ef509b55106ffc6e48e1708e/llibre-julia-panades-margarito-dela-guetto-3.jpg" /> <img width="1024" height="1536" width_o="1024" height_o="1536" data-src="https://freight.cargo.site/t/original/i/58203873d333414afbc24a898d0f83e16ad9a85c4fa835d8025153e59e8c95eb/llibre-julia-panades-margarito-dela-guetto-28.jpg" data-mid="13430539" border="0" src="https://freight.cargo.site/w/1000/i/58203873d333414afbc24a898d0f83e16ad9a85c4fa835d8025153e59e8c95eb/llibre-julia-panades-margarito-dela-guetto-28.jpg" /> <img width="3968" height="2620" width_o="3968" height_o="2620" data-src="https://freight.cargo.site/t/original/i/447843de580a7e05e63aa52b194a27b55ea4e051b9ed389fae9b14dc43b0a8d9/visions.jpg" data-mid="14811631" border="0" src="https://freight.cargo.site/w/1000/i/447843de580a7e05e63aa52b194a27b55ea4e051b9ed389fae9b14dc43b0a8d9/visions.jpg" /> MARGARITO DELA GUETTO &amp; JULIA PANADES Visions Show &amp; Book launch at&nbsp; IMPOSSIBLE PROJECT 
Barcelona 
and 
OFFPALMA PHOTO
 Mallorca.
 Published by DOBLECOBRA - Numbered ed.
 of 50 signed copies.
 Junio,&nbsp;2015.
 Language: Spanish Category: Shows&amp;Projects, Editorial Representando diferentes disciplinas, en el proyecto "VISIONS" Margarito dela Guetto y Julià Panadès entrelazan dos distintas gramáticas visuales en su terreno común Mallorca. Julià abarca un conocimiento en un campo multiteoretico, en el cual aborda una gestión de símbolos, imagenes y narraciones propias. Margarito enfoca su trabajo fotográfico hacia la captura de la instantaneidad del tiempo, y en una efectiva percepción de lo "real" bajo el filtro de una espontánea ironía. Utilizando una dualidad de lenguajes expresivos, los artistas mallorquines establecen una cooperación que funda su identidad en el uso de máscaras y en el sentido del humor que los autores interpretan a partir de diferentes facetas. Asimismo, las obras presentadas en "Visions" resultan ser una performance improvisada de Julià, apta a desvelarnos el proceso de algunas de sus instalaciones, y al mismo tiempo una representación visual que se concatena con la fotografía de Margarito, cuya presencia se percibe con evidencia sin que él aparezca físicamente, a través de sus máscaras y de su lectura fotográfica de la realidad. Máscara para trascender el ego, este el primer punto de contacto entre los artistas. Máscaras para esconder identidades. Bajo la forma de una severa critica a los selfies, azote desasosegante de la época contemporánea, Margarito y Julià así interpretan paralelamente la fragilidad de un sistema sesgado por la egolatría de sus personajes. Sin duda alguna, desvinculándose de una perspectiva unilateral, estas obras consiguen mantener una óptica de misticismo combinada con una visión irónica y divertida, donde los autores construyen una continuidad entre lo real y lo ficticio; realizando así un trabajo que surge de manera intuitiva, vital y extremadamente visionaria, inmerso en una velada atmósfera onírica. La ironía es un trato peculiar imprescindibile que marca tanto toda la obra de Margarito como la de Julia. Hijo de una profesora de yoga y de uno psicologo transpersonal, en sus instalaciones Julia se centra en la reproducción de rituales de transcendencia, “lugares donde poder trascender el ego y conectar con la naturaleza”, a través de los cuales crea un paralelismo entre la sacralidad de los rituales religiosos y la del arte contemporáneo, y entre sus lugares de adoraciones, los templos y los museos.Esgrimiendo reliquias de un pasado que no permanecen fuera de las narraciones de las obras, Margarito y Julià también plantean un discurso relativo a la apropiación y a la conservación de elementos folclóricos mallorquines, adentrandose en un viaje que los lleva hacia sus orígenes. Ensayando desde el punto de vista de los dos autores nuevas lecturas a sus terrenos de infancia, los artistas nos ofrecen una revisitación más madura de los mismos lugares, donde una aura de infantilidad permanece entre calaveras y ocultismo; revelando, por otro lado, una profunda conexión con la naturaleza, tema repetido por Julià, como advertencia para recordarnos que “la sociedad capitalista ha llevado a la devastación el planeta”.Quizás, sin parar, buscamos caminos hacia algún lugar con la vana esperanza de encontrarnos a nosotros mismos, cuando quizás, el camino correcto tenga una dirección opuesta. Mirar atrás, volver atrás. Hacia a la infancia. https://sandyfiocchetti.com/Victor-Castillo-INTERVIEW Sun, 15 Apr 2018 20:02:17 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Victor-Castillo-INTERVIEW <img width="450" height="453" width_o="450" height_o="453" data-src="https://freight.cargo.site/t/original/i/c6e5a911dfc5a83e3c948c17b51b021e4d3f4ee230ea9e7df3160d9e46737448/2.jpg" data-mid="14932622" border="0" src="https://freight.cargo.site/w/450/i/c6e5a911dfc5a83e3c948c17b51b021e4d3f4ee230ea9e7df3160d9e46737448/2.jpg" /> <img width="560" height="560" width_o="560" height_o="560" data-src="https://freight.cargo.site/t/original/i/bf36271b0811ebe34398af281a1d747f0f705fb4dad62ded2f162fb2d821ac5f/Schermata-11-2456234-alle-13.03.20-560x560.png" data-mid="14932764" border="0" src="https://freight.cargo.site/w/560/i/bf36271b0811ebe34398af281a1d747f0f705fb4dad62ded2f162fb2d821ac5f/Schermata-11-2456234-alle-13.03.20-560x560.png" /> <img width="560" height="560" width_o="560" height_o="560" data-src="https://freight.cargo.site/t/original/i/3c21d39f8f0ae9f6fc15c9f562ef148a28ad3eb3c20ce2dd0aabef1345e81f90/Schermata-11-2456234-alle-13.04.24-560x560.png" data-mid="14932778" border="0" src="https://freight.cargo.site/w/560/i/3c21d39f8f0ae9f6fc15c9f562ef148a28ad3eb3c20ce2dd0aabef1345e81f90/Schermata-11-2456234-alle-13.04.24-560x560.png" /> <img width="540" height="540" width_o="540" height_o="540" data-src="https://freight.cargo.site/t/original/i/e8deb65edfcb267a25b351560729aaf48be013295bb506187bc6fd96d43c6a4c/victor-castillo-04.jpg" data-mid="14934117" border="0" src="https://freight.cargo.site/w/540/i/e8deb65edfcb267a25b351560729aaf48be013295bb506187bc6fd96d43c6a4c/victor-castillo-04.jpg" /> <img width="560" height="563" width_o="560" height_o="563" data-src="https://freight.cargo.site/t/original/i/223ad8092be9c49bb68cb3b56ea9c43e46ccae2d282a1c85ec113f7dc2ab3e85/Schermata-11-2456234-alle-13.05.17-e1351867101153.png" data-mid="14932748" border="0" src="https://freight.cargo.site/w/560/i/223ad8092be9c49bb68cb3b56ea9c43e46ccae2d282a1c85ec113f7dc2ab3e85/Schermata-11-2456234-alle-13.05.17-e1351867101153.png" /> <img width="560" height="424" width_o="560" height_o="424" data-src="https://freight.cargo.site/t/original/i/40293b2303c4b8219afc4aade72656240c3957e8262b06df0c65f8ff574bc82e/Schermata-11-2456234-alle-13.05.08-560x424.png" data-mid="14932779" border="0" src="https://freight.cargo.site/w/560/i/40293b2303c4b8219afc4aade72656240c3957e8262b06df0c65f8ff574bc82e/Schermata-11-2456234-alle-13.05.08-560x424.png" /> <img width="580" height="438" width_o="580" height_o="438" data-src="https://freight.cargo.site/t/original/i/de92a2b4ec60bad829cc8ee2e4b1c6011c85a2f7d4175669a665032950a776ba/VC_DancingDays.jpg" data-mid="14932782" border="0" src="https://freight.cargo.site/w/580/i/de92a2b4ec60bad829cc8ee2e4b1c6011c85a2f7d4175669a665032950a776ba/VC_DancingDays.jpg" /> <img width="700" height="525" width_o="700" height_o="525" data-src="https://freight.cargo.site/t/original/i/ebdcf220adced90bd7129c83bc3a81255a9eb21f150c24f4b97f8ce040553e4d/Victor-Castillo-Sorry-For-Laughing-2014.jpg" data-mid="14934300" border="0" src="https://freight.cargo.site/w/700/i/ebdcf220adced90bd7129c83bc3a81255a9eb21f150c24f4b97f8ce040553e4d/Victor-Castillo-Sorry-For-Laughing-2014.jpg" /> VICTOR CASTILLO Interview Posted on Original-Signature (Singapure) October, 2015. Language: English Categories: Magazine Collab VICTOR CASTILLO (Santiago, 1973) is a Chilean artist who, strictly connected with the city of Barcelona, is actually based in Los Angeles. Persuaded by the idea of a unity wherein everything is connected and various elements depend on each other serving themselves mutually, he defines his work as a "hybrid", as the result of the convergence of various paths, which go through the fields of critique, sensuality and fear up to hope.Self-educated artist and celebrated exponent of the Low Brow Art, Castillo finds out in painting a strong communicative medium able to shock people and prompt them to think. Born in 1973, the same year of the military coup in Chile, most of his production is centered on the criticism of a society dominated by lies, the horrors of the dictatorships and the theme of colonization.In the same way of the U.S.A. and its televisions have deviously shaped and hidden propaganda messages behind the iconography of their cartoons, Victor adopts this type of aesthetics to rediscover his own personal language. The characters in his paintings reinvent tales imposing their both fascinating and terrifying presences, revealing us the secret thread that knits together the naivety and the cruelty representing the double face of childhood.Through a connection with his inner emotional sphere and establishing an empathic approach to the environment, the artist reconnect us with the universality of mankind's feelings, to portray the violence inherent to the human being nature, the brutality of ambition, fear, corruption, envy, as well as love, passion and sensuality. Precisely on the theme of sensuality, deemed as an unavoidable part of life, and on the joy of pleasure and beauty, we must delight in order not to empty our existence, Castillo centers his newest project, titled "Pure Pleasure", his temporary pause to social criticism, whose he is going to say something about right now. As well-known, your work shows an obscure and dark imaginary that contrasts with your nature. It doesn't express your intimate and inner being but better your vision about the world, the reality and the society. How has the Chilean dictatorship influenced you?Very deeply. The dictatorship lasted 15 years, even though it seems it's still going on. Sometimes I'm trying to get out of it, but it's truly impossible. During my childhood, the dictatorship influenced on my country by establishing the censorship. There was really few of cultural, there were almost no art galleries. The principal media channel was the TV and its constantly bombing from Hollywood.I grew up watching the American cartoons and loving them as drawings of very good quality. At the beginning they looks so naive and childish and it was just later when you find out their double sense. There's a sort of indoctrination for children in them. A form of strong domination and alienation at the same time. For this reason, it's not so rare that people grown up in my country feel this irrational love for the States and they are limited by this culture.During my adolescence I started to realize what had really been happening and what actually meant living the brutal repression. Of course, all this generated a disappointment towards the state, the government, the official and the institutions. I'm still disillusioned and the actual crisis it's a proof of my ideas.Another fundamental event that might have leave a mark on your life was the experience at the School Art...Well, at the Art Academy, more or less the same happened.In all my childhood I had been drawing in a completely spontaneous way so when I arrived at the Academy I had already reached a personal artistic experience. They aimed at "clearing" you, turning you into a product of them. I tried to resist until I had to abandon the school. No professors wanted to give me painting lessons and I didn't degree, but the day I left the school, that's was the day I felt an artist for the first time. According to the academics, I was not a painter, but an illustrator. But, in my opinion, everything has been done with painting actually, so putting any kind of canons make no sense anymore.Certainly, I respect the artists who choose to follow the academic career, but I think they do this because they are frighten to be independent. In this century it is very risky. But I prefer feeling free more than safe under an institution that directs and manipulates me. The problem is that Academy should be an instrument, but unfortunately is turn into a discourse. This make Chilean art so conservative and connected to the Art school.For all these reasons, obviously, you was rather forced to leave Chile.Yes, of course. Well, firstly I moved to Barcelona in 2004 thanks to an invitation at the BAC!, the contemporary art festival made in Barcelona. I arrived in a very good period and the city truly changed his life, opening up several possibility for my career in Europe. I begun to work for the Iguapop Gallery and my works become to be recognized internationally. But suddenly, due to the economical crisis, the art market deteriorated rapidly, in Spain and in all Europe, and in 2008 everything was already changed. I stayed in Barcelona until the Iguapop Gallery closed in 2010. Actually I'm based in Los Angeles, but I keep loving Barcelona so I'm used to spend many time here. Another European city to which I'm particularly connected - even due to its art market - is Berlin. Then, your speech suggests you aren't very interested in being identified with the Pop Surrealism movement. Really, I don't feel very identified with Pop Surrealism even though many people have always associated me with this movement. Maybe due to an article written on the newspaper "El País" in 2007 where they said that I was a member of it. Perhaps I'm more connected to Lowbrow art, as an art outside of the Academy, and influenced by the pop culture. It's a wider movement with a more social feature. The Pop Surrealism is more specific. It should be considered as a part of Lowbrow Art, but they cannot identify. Pop Surrealism is about dreamy, about a peculiar kind of beauty, languid women with big eyes ... I'm not really into this, although my new project presents these elements.So, can you reveal us something about your new project "Pure Pleasure"?Last year I started a new project, under the title "Pure Pleasure", with the Merry Karnowsky Gallery (that represents me in L.A.) . I 'm creating erotic works with languid women. I've been working in Barcelona even thought, unfortunately, the project is not destined to Barcelona. After all these years painting mad guys and diabolical children, suddenly I need to take a break so I'm realizing works with girls. Thinking on politics all time gets tired, as talking about the horrible world where we live in. Life gets its attractive side, as well, and we must enjoy pleasure and sensuality. It's important as much as music. Just imagine a world without music, or without sensuality ... On the other hand, this doesn't mean I'm abandoning the subject of criticism. It's just a pause I needed, for painting for pleasure. Finally, I would like to better know your opinion on the painter Francisco Goya. Well, for sure I may regard Francisco Goya as a sort of mentor. Since I have never had painting classes, I never felt a deep romance for painting but I always considered it as something practical, as a communicative medium. My first paintings were flat, with very flat colors, pop and very graphic, looking like cartoons. I was in Louvre but for some reason I wasn't shocked by the artworks presented in this museum. But when I went to the Prado in Madrid and I saw the work by Goya for the first time, well, in this moment I perceived a change inside me. Really I cannot explain it well … I felt to be in front of something deeply authentic and there I understood why many people think Goya is the first modern artist. He realized to blend the classical, the ancient and the savage style in a very expressive and dark way, revealing a very modern attitude at this time. It was the first time I was intensely touched by a painting.I was shocked also by the dark atmosphere in his paintings, then bound with the Obscurantism present for so long time in Spain because of the inauspicious influence of religion. So I decide to use it also in my works. Starting from this point, I've discovered a new whole universe, investigating all time and developing a new study of light on my paintings. https://sandyfiocchetti.com/Manika-Post-NATURE-MOVES-IN-CURVES Thu, 22 Mar 2018 18:29:05 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Manika-Post-NATURE-MOVES-IN-CURVES MANIKA POST Nature Moves in Curves The Wrong BiennaleFestival Internaciónal de Cine de Perú 2017 - 2018. Language: English (Spanish Version here) Categories: Shows&amp;Projects NATURE MOVES IN CURVES (3:06 min.) is a video artwork by MANIKA POST (Lima, 1985), in which the multidisciplinary Peruvian artist explores the conceptual impact of the newest physical and mathematical theories and conjectures raised from the Einstein's theory of Relativity.Mixing short videos related to science and nature, downloaded from the Internet, the aim of Nature Moves in Curves is showing us how nature really knows how to act and create, always following the fastest and most perfect and curved ways. "In life, as in art, the Beautiful moves in curves," said Lord Lytton, and so does it in nature. In 1905, whilst Europe was settling the basis for that period we still keep in mind as the Middle Ages of our epoch, the physicist Albert Einstein started a wider revolution within our mindset, smashing out the old concept of time. Like Poincaré and Lorentz's studies, Einstein's work suggested the idea that time should not be considered as "absolute" — as it was supposed to be up until then (Isaac Newton, Philosophiae Naturalis Principia Mathematica) — but it turned out to be relative, ‘observer-dependent,’ and so strictly connected to the space. Assuming, hereafter, time as the 4th dimension we are living in, Einstein theorized that temporal duration depends on the observer and his position, hence explaining why we perceive time as going faster in some point of the Universe, rather than on the Earth. Inspired by this idea and the non-euclidean Riemann geometry, some years later the mathematician H. Minkowski created a mathematical 4-dimensional structure that connected the Space and the Time, the better known “space-time” or “Minkowski space-time,” which was used by Einstein as a local model to easily describe his physical theory. The main property of the space-time was linked to its peculiar geometry — according to Einstein indeed the space-time is not flat, but distorted, curved by objects because of their mass and energy. That distortion in space-time is what we feel as gravity, this was the key idea of Einstein's theory of general relativity, finally published in 1915. By doing so, space-time says to matter how to move, whilst matter says to space-time how to curve itself: but removing matter, space and time do not exist anymore. This amazing conjecture suggested the idea that objects, like the Earth, aren’t forced to follow curved paths by the force of gravity, but that they just follow the straightest possible paths in that 4-dim space-time, now distorted, defined as the geodesic lines (the minimum line that can be drawn on any surface between any two points), perceived in a 3-dim space structure as a curved line. And, just as objects, so does light, deflected by gravity and moving on the straightest-possible lines in curved space-time.Likewise, even if we look behind the theory of relativity, we discover that curves seem to us occurring constantly in nature as the only possible paths. From sea shells and flowers petals to spiral galaxies, from the romantic beauty hidden in a planetary nebula to the structure of human lungs and the DNA molecule, the natural fractal patterns, the Fibonacci sequence and the golden section are all around us, depicting how nature strictly moves in curves. Fluctuating between the senses of extreme contraction and expansion, as W. Goethe said, even the human soul steady advances in a spiral movement, rather than through linear progression, just like rivers reach their own destinations following curved paths, which average sinuosity is the stunning pi, rather than straight ones. In such a matter, conceived as a conceptual journey, this piece by Manika Post deals with the microcosm and macrocosm, mingling in between materiality and transcendental spirituality of elements, and playing with metaphors created by the poetic interconnection of images and sounds. https://sandyfiocchetti.com/Joan-Cornella-INTERVIEW Mon, 16 Apr 2018 12:12:18 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Joan-Cornella-INTERVIEW <img width="599" height="465" width_o="599" height_o="465" data-src="https://freight.cargo.site/t/original/i/8524ce832114c416d6e5b390b205d7df7688930c07fcbe7d8361335d66c95380/joan_cornella_sandy_fiocchetti.jpg" data-mid="14859926" border="0" src="https://freight.cargo.site/w/599/i/8524ce832114c416d6e5b390b205d7df7688930c07fcbe7d8361335d66c95380/joan_cornella_sandy_fiocchetti.jpg" /> <img width="540" height="767" width_o="540" height_o="767" data-src="https://freight.cargo.site/t/original/i/ed25f4442d1f3e57379c48022318f026efe8ff8bb44ff7b2d9797f6d9d9d5f4a/Joan-Cornella-Comics-Rainbow.jpg" data-mid="14917568" border="0" src="https://freight.cargo.site/w/540/i/ed25f4442d1f3e57379c48022318f026efe8ff8bb44ff7b2d9797f6d9d9d5f4a/Joan-Cornella-Comics-Rainbow.jpg" /> <img width="610" height="891" width_o="610" height_o="891" data-src="https://freight.cargo.site/t/original/i/2c7fa339037875129c43c2be2a04e6657ce7993dd89de8b4bc7c230316272272/5b1792594832d441f7797619dfd7e092--alternative-comics-bd-comics.jpg" data-mid="14917666" border="0" src="https://freight.cargo.site/w/610/i/2c7fa339037875129c43c2be2a04e6657ce7993dd89de8b4bc7c230316272272/5b1792594832d441f7797619dfd7e092--alternative-comics-bd-comics.jpg" /> <img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/0693ec85c83b3136e0dd6162b04ae44e653fe3b8550cb32f18b47bd32f6c084c/cul-de-sac.jpg" data-mid="14917665" border="0" src="https://freight.cargo.site/w/595/i/0693ec85c83b3136e0dd6162b04ae44e653fe3b8550cb32f18b47bd32f6c084c/cul-de-sac.jpg" /> <img width="1040" height="1441" width_o="1040" height_o="1441" data-src="https://freight.cargo.site/t/original/i/54b23177bd6d9263ff0a15c5de93392fb75abe27a78b1780f67d0ee7bd74f439/71iFyY7bd0L-1.jpg" data-mid="14917571" border="0" src="https://freight.cargo.site/w/1000/i/54b23177bd6d9263ff0a15c5de93392fb75abe27a78b1780f67d0ee7bd74f439/71iFyY7bd0L-1.jpg" /> JOAN CORNELLA' &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Interview Posted on Original-Signature (Singapure) June, 2014. Language: English Categories: Magazine Collab Nearly having hit it up with his last publication “MOX NOX” presented at the beginning of the month at the Fatbottombooks (Barcelona) and already out of stock – JOAN CORNELLA '&nbsp;(Barcelona, 1981) is one of the most talented catalan illustrator and cartoonist.&nbsp;Overstepping banalities, grey moralism and that politically correct usually more racist than Mengele himself, Joan is able to put up spectacular little stories ironically and cynically devastative, usually composed by 6 cartoons rigorously drawn on paper and invaded by a sagacious black humor that finally donates originality and style to the contemporaneous.His only apparently mute tales, populated by funny and always happy figures that despite all never loose their personal gracefull, grow up into the illustrator’s mind through a particular reflexion on the “absurd” as quite calling a Beckettian flair. It’s quite impossible finding a “rational” sense in his stories, even if there is always someone trying to deduce some political (or even philosophical) reason from them because the tales by Cornellà live into a surrealistic atmosphere made of irrational and illogical. So that, meanwhile someone finds absurd laughing on the death and the misadventures of life, he realizes to make the absurdness of the death and the life the central theme of his funny works. Hi Joan! Can you tell us something about yourself? As I think it should start to be sick of this answer, tell us what you prefer.One day a guy wrote me a message on Facebook. He told me he was a fan interested to make an interview in a Starbucks. I acceded to met him and when I arrived there I found some kind of crazy ex convict trying to steal me with a fork. Since then I try to do all the interviews by email.So, the first thing that impact on your works is your skill to combine cute characters with “heavy” situation. That’s a great component to make your illustration so “absurd”. But why do your figures are so happy to suffer?I don’t think that my characters are happy to suffer. It’s more like they are happy even if they hurt themselves. They live in a world of extreme happiness, there’s no time for suffering. Live is wonderful and they must have fun all the time. Where do your interest for the “absurd” came from? What does help you to find inspiration?My influences are very diverse: comedy sketches like Monty Python and oher cartoonists like Glen Baxter or Helge Reumann. Other influences are the ingestion of bad food that causes hallucinations, agressive behaviour, blackouts and temporary blindness. And well, lately I found very inspiring the work of Molg H, a spanish cartoonist.You draw rigorously on paper, and I think you mostly use watercolors or acrylics. Isn’t it? What do you think about the digital comics?Yes, water colour in paper. I used to paint with ink but in all my recent works I use water colour or acrylic. I prefer the handmade comics but anyway, the most important thing to make a good comic is to have something to tell, the way you do it or the esthetics are secondary. For a short period of time I did digital comics, they are fine too.The lack of texts, as well as having charging his works with a plurality of interpretations, has given them an universal comprehensibility that – even though the social networks – has lead you to an international popularity. Do you think you are appreciated more out of Spain? Can you image any reasons?Yes, it’s seems to me that I’m more appreciated out of Spain, but I don’t know why. I guess spanish people don’t understand the silent comics. Or don’t like them. Or they are just noisy. But I love silent comics and I love SILENCE. I need silence when I’m working. But sometimes I stop working and I begin to whistle while I stare at my room’s ceiling. In this case, I cover my ears because I’m always out of tune.Why do you think people are so afraid of laughing on the death, misadventures, things like that … and over all on themselves, as it gonna crack their “perfect appearance” that they have tried to build up?Actually, I don’t think so. In fact I think we all laugh at misery. It’s the most hilarious thing. And death, we all think about death but we don’t want to talk about it. So if you talk about death in a funny way it can be sort of cathartic. And let me say nobody laughs at success, success just produces envy. We live in a world riddled with envy.Finally, if you should describe yourself through an hypothetical tale of yours … what would you paint?I would knock the door of my neighbours and dance on the floor. Depending on their reaction I keep on dancing with more or less enthusiasm. I would have a big smile on my face. And well, basically I’m always smiling, I mean I’m a extremely smiling person in real life. I would describe myself as a full time smiling person. and I’m also a caucasian man with two legs and halitosis. But it doesn’t matter. The thing is that I couldn’t imagine me as one of my characters because I live in real life and my characters are essentially unreal, they are like automatons. https://sandyfiocchetti.com/Zosen-y-Mina-Hamada-YINYANG Thu, 22 Mar 2018 18:44:37 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Zosen-y-Mina-Hamada-YINYANG <img width="1195" height="728" width_o="1195" height_o="728" data-src="https://freight.cargo.site/t/original/i/75d199d6266a92e1d6431636ef447e94113fb49519ed1870adc8856edc17f432/zosen-mina-yin-yang-sandy-fiocchetti-1.png" data-mid="14953254" border="0" src="https://freight.cargo.site/w/1000/i/75d199d6266a92e1d6431636ef447e94113fb49519ed1870adc8856edc17f432/zosen-mina-yin-yang-sandy-fiocchetti-1.png" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/9b1b2ed8653b64158c8e2f2a83c7483c970c3361712f030a991cacb3a7a5191d/zosen-mina-yin-yang-sandy-fiocchetti-2.jpg" data-mid="14953255" border="0" src="https://freight.cargo.site/w/1000/i/9b1b2ed8653b64158c8e2f2a83c7483c970c3361712f030a991cacb3a7a5191d/zosen-mina-yin-yang-sandy-fiocchetti-2.jpg" /> <img width="800" height="533" width_o="800" height_o="533" data-src="https://freight.cargo.site/t/original/i/a053754d7193c7a4b80782038812d9a44f67cf8b025bc02b2e23906ae9ab6432/zosen-mina-yin-yang-sandy-fiocchetti-3.jpg" data-mid="14953256" border="0" src="https://freight.cargo.site/w/800/i/a053754d7193c7a4b80782038812d9a44f67cf8b025bc02b2e23906ae9ab6432/zosen-mina-yin-yang-sandy-fiocchetti-3.jpg" /> <img width="800" height="533" width_o="800" height_o="533" data-src="https://freight.cargo.site/t/original/i/5cfdfa667d5706cb7809238432f8acdd217e3af12afe67a680f2933a1e03aac6/zosen-mina-yin-yang-sandy-fiocchetti-4.jpg" data-mid="14953257" border="0" src="https://freight.cargo.site/w/800/i/5cfdfa667d5706cb7809238432f8acdd217e3af12afe67a680f2933a1e03aac6/zosen-mina-yin-yang-sandy-fiocchetti-4.jpg" /> <img width="800" height="533" width_o="800" height_o="533" data-src="https://freight.cargo.site/t/original/i/600cbf6b67f42606531a88cf8b60f93925dd37fbfac8838cf48d7124b1dad684/zosen-mina-yin-yang-sandy-fiocchetti-5.jpg" data-mid="14953258" border="0" src="https://freight.cargo.site/w/800/i/600cbf6b67f42606531a88cf8b60f93925dd37fbfac8838cf48d7124b1dad684/zosen-mina-yin-yang-sandy-fiocchetti-5.jpg" /> <img width="1197" height="731" width_o="1197" height_o="731" data-src="https://freight.cargo.site/t/original/i/68bda8a219059ebebefd2fb4d7fe867799ecc540cf5b92bd2138acd3c9fb6243/zosen-mina-yin-yang-sandy-fiocchetti-6.png" data-mid="14954722" border="0" src="https://freight.cargo.site/w/1000/i/68bda8a219059ebebefd2fb4d7fe867799ecc540cf5b92bd2138acd3c9fb6243/zosen-mina-yin-yang-sandy-fiocchetti-6.png" /> <img width="1198" height="734" width_o="1198" height_o="734" data-src="https://freight.cargo.site/t/original/i/aa3157cca4acdd28eed0c34a4328e407310dabab04bc81c72f6243efac145519/zosen-mina-yin-yang-sandy-fiocchetti-8.png" data-mid="14954719" border="0" src="https://freight.cargo.site/w/1000/i/aa3157cca4acdd28eed0c34a4328e407310dabab04bc81c72f6243efac145519/zosen-mina-yin-yang-sandy-fiocchetti-8.png" /> ZOSEN Y MINA YinYang GALO ART Gallery, Turin &nbsp; May, 2015. Language: Italian (English version soon) Categories: Shows&amp;Projects ZOSEN e MINA HAMADA presentano alla GALO ART Gallery di Torino “YIN E YANG”, il loro primo duo-show in Italia.Concetto basilare del pensiero tradizionale filosofico cinese, lo YinYang designa il binomio di due principi indissolubili, antitetici e complementari, dalla cui combinazione e interazione procede la totalità del mondo fenomenico. Lo Yin rappresenta il femminile, la terra, l'oscurità, il nero. Lo Yang, il maschile, il cielo, la luce, il bianco. Simbolo dinamico, lo YinYang non tratta della contraddittorietà duale tipica della civiltà occidentale, bensì diviene archetipo dell’armonia degli opposti, definiti non in termini assolutistici ma relativistici, giacché nessun elemento può considerarsi totalmente Yin o Yang in quanto naturalmente contiene parte dell'altro.Questa dicotomia, questo simultaneo scambio, senza alcun dubbio è più che mai evidente nella coppia di artisti, Zosen e Mina Hamada.Legati da un'esaltazione del colore di cui, richiamando le istanze dei Fauves, fanno propria la potenziale capacità espressiva, Zosen e Mina crescono con differenti background ed è a Barcellona che trovano il loro terreno comune. Lui nasce a Buenos Aires. Lei è giapponese, nasce in Louisiana ma presto si trasferisce a Tokyo. Lui rivendica fin dall'adolescenza un interesse per la street culture, attraverso lo skate prima ed il graffiti poi, per il punk e la cultura D.I.Y.. Lei si avvale di un percorso più accademico e legato all'illustrazione.&nbsp;Il loro percorso artistico comune muove i suoi primi passi con l’esposizione "Neofauvismo" nella IAM Gallery di Madrid. La loro collaborazione creativa può interpretarsi come un riflesso della vita personale dei giovani artisti. Nei loro cammini Zosen e Mina si son influenzati ed arricchiti vicendevolmente, mantenendo sempre viva la propria essenza ed originalità, e riuscendo a non precludere a sé stessi un’evoluzione individuale e distaccata.Riconosciuti a livello internazionale, nel loro connubio artistico, Zosen e Mina sono capaci di unire su differenti supporti, sia tela o muro, i singoli processi visivi ed interpretativi della loro pittura, che si palesa con evidenza attraverso una propria forza, allegria, joie de vivre e fresco impatto visivo.Composizioni di forme e figure puramente spontanee ed intuitive si generano, di norma senza alcun bozzetto previo, caratterizzate da un' assenza totale di contorni. Il lavoro di Mina Hamada è un gioco di colori intensamente legato ad uno studio delle forme, di linee dinamiche che fluttuano eteree, al tempo stesso delicate e vibranti sulla tela, accarezzandola. Il suo linguaggio artistico nasce come una semplificazione della natura, delle sue forme che raccontano storie celate da un approccio astratto, trasmettendo, attraverso lo spirito genuino dell'infanzia, quell'energia vitale che vibra in ogni elemento.Zosen sviluppa un'iconografia più diretta ed un simbolismo profondamente legato al folklore di diverse culture, come possono essere una calavera o delle maschere, combinazioni di lottatori messicani e sculture africane, che l’artista modernizza attraverso l’uso del colore ed un approccio ironico. Così facendo Zosen modella un mondo simbolico in cui è evidente come la forza della pittura risieda nella pittura stessa, nel suo colore squillante e nelle sue relative contrapposizioni cromatiche, un mondo che simultaneamente parla e si relaziona con un vivido interesse verso la critica sociale.Seguendo la tematica dello YinYang, Zosen e Mina Hamada presentano alcuni lavori inediti creati in duo ed individualmente in occasione dell’esposizione di Torino, tra i quali opere con fondo bianco o nero realizzate come confronto fra gli artisti.L'inaugurazione avrà luogo il 2 di Maggio nella Galo Art, galleria da cinque anni referente in Italia per la street art. https://sandyfiocchetti.com/Flavita-Banana-La-Fille-Bertha-Ale-De-Cristofaro-LE-DEUXIEME-SEXE Thu, 22 Mar 2018 18:15:15 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Flavita-Banana-La-Fille-Bertha-Ale-De-Cristofaro-LE-DEUXIEME-SEXE <img width="947" height="608" width_o="947" height_o="608" data-src="https://freight.cargo.site/t/original/i/48933cf673da1cfcdc77f19d1c5a4f8783690ba11cc7e4d98ddc05156c851328/Schermata-2018-04-17-a-18.34.15.png" data-mid="14938143" border="0" src="https://freight.cargo.site/w/947/i/48933cf673da1cfcdc77f19d1c5a4f8783690ba11cc7e4d98ddc05156c851328/Schermata-2018-04-17-a-18.34.15.png" /> <img width="898" height="609" width_o="898" height_o="609" data-src="https://freight.cargo.site/t/original/i/50b4715ec88411130bc5f9f6841bdfb1dafbcac7afefe48b095bb2dc02cb9e30/Schermata-2018-04-17-a-18.35.28.png" data-mid="14938144" border="0" src="https://freight.cargo.site/w/898/i/50b4715ec88411130bc5f9f6841bdfb1dafbcac7afefe48b095bb2dc02cb9e30/Schermata-2018-04-17-a-18.35.28.png" /> <img width="1060" height="608" width_o="1060" height_o="608" data-src="https://freight.cargo.site/t/original/i/14cd4564d71b4c17bf1fb39d2ebb80347b75fc0dd587bb0c0237f0fda6097d9b/Schermata-2018-04-17-a-18.36.38.png" data-mid="14938145" border="0" src="https://freight.cargo.site/w/1000/i/14cd4564d71b4c17bf1fb39d2ebb80347b75fc0dd587bb0c0237f0fda6097d9b/Schermata-2018-04-17-a-18.36.38.png" /> <img width="978" height="609" width_o="978" height_o="609" data-src="https://freight.cargo.site/t/original/i/a4680a61075f14a976164aafc58cb244cc46b440c5c94fa942fdac2278d1534a/Schermata-2018-04-17-a-18.37.31.png" data-mid="14938146" border="0" src="https://freight.cargo.site/w/978/i/a4680a61075f14a976164aafc58cb244cc46b440c5c94fa942fdac2278d1534a/Schermata-2018-04-17-a-18.37.31.png" /> LA FILLE BERTHA, ALE DE CRISTOFARO, FLAVITA BANANALe Deuxième Sexe? Aternino, Pescara&nbsp; Juny, 2017. Language: Italian Film &amp; edit: Eleonora Mambella Categories: Curatorial Work, Shows&amp;Projects L’esposizione si prefigge come scopo quello di celebrare la figura femminile, presentata nella sua eterogeneità, considerando tanto personalità iconiche quanto donne comuni, e analizzando al contempo questioni sociali attinenti la nostra epoca. E’ stata raggiunta effettivamente una parità fra i sessi, o siamo ancora considerate “il secondo sesso”? E quali significati la società contemporanea occidentale attribuisce ai termini “donna” e “femminile”? Mettendo a confronto figure eccellenti dell'illustrazione, italiane e non, sul tema del nuovo femminismo, o meglio di un femminismo visto secondo una prospettiva contemporanea che si discosta da visioni prettamente embriste, FLAVITA BANANA,&nbsp;ALESSANDRA DE CRISTOFARO e LA FILLE BERTHA presentano così le loro opere, rivelandoci una multiformità e complessità dell’essere donna che contrasta gli stereotipi e la riduzione all’uso di cliché. Dalla “Mistica della Femminilità”, dove si appurava il problema inespresso che caratterizzava l’infelicità e la depressione delle casalinghe americane degli anni Sessanta, predisponendole ad un abuso di alcol e psicofarmaci, fino alla società attuale, si produce un cambio che tristemente si scopre unicamente paradigmatico. La parità sessuale non esiste, ma ad esistere sono, invece, " delle nuove forme di riproduzione ed accettazione di una disuguaglianza che non si riproduce più tramite la coercizione esplicita delle leggi, o attraverso l'accettazione di una supposta inferiorità femminile, quanto per mezzo della libera scelta di quello a cui siamo stati in realtà incamminati" (Ana de Miguel, "Neoliberalismo sexual, el mito de la libre elección", Ediciones Cátedras, Madrid, 2015). Il passaggio al capitalismo, del resto, ha portato ad una fraudolenta liberazione del corpo della donna, altresì percepita come una sua "oggettivizzazione". La donna passa dal dover riconoscere come sua unica funzione sociale l'essere moglie/madre ideale, ad essere "oggetto", simbolo di un marketing pubblicitario su base sessuale per la vendita di un prodotto. Instagram stesso, i ripetuti selfie tutti uguali, si rivelano oggi un continuo richiamo di attenzione e accettazione basato esclusivamente su una esibizione superficiale della fisicità, che si riallaccia a ciò che Andrée Michel definì già come "le nouveau narcissisme".Questo cambio di paradigma da donna passiva a donna attiva avviene dunque unicamente come conseguenza della trasformazione del suo stato giuridico ed economico, senza sradicare però quegli arcaici pregiudizi, che vengono al contrario rafforzati (Andrèe Michel, Andrée Michel, "Femmes, sexisme et sociétés", Presses Universitaires de France, 1977), alimentando ancor più uno stato di disuguaglianza.Questo cambio di paradigma da donna passiva a donna attiva avviene dunque unicamente come conseguenza della trasformazione del suo stato giuridico ed economico, senza sradicare però quegli arcaici pregiudizi, che vengono al contrario rafforzati (Andrèe Michel, Andrée Michel, "Femmes, sexisme et sociétés", Presses Universitaires de France, 1977), alimentando ancor più uno stato di disuguaglianza. Un immaginario che storicamente associa l’archetipo “femminile” all’idea di debolezza, fragilità, passività, e che oggi si estende all’idea di “fare molto shopping”. Riviste che ci mostrano come essere mogli, amanti, madri, studentesse e lavoratrici perfette, creando nuovi tipi di nevrosi in uno Stato che non supporta, bensì limita, la realizzazione professionale delle donne. Pregiudizi che semplificano il ruolo ed il valore della donna nella società riducendolo alle due uniche funzionalità antitetiche che da sempre hanno affiancato la figura femminile (“santa” o “prostituta”), isolando la donna stessa da ciò che la caratterizza come essere umano, dalla sua personalità, unicità ed originalità.Dissentendo da una tale visione semplicistica, che ormai sarebbe già il caso di poter definire come anacronistica ed obsoleta, questa mostra esamina le identità delle artiste in relazione alla diversificazione dei loro linguaggi, peculiarità estetiche, personalità e background, presentando una selezione di lavori, precedenti ed inediti (realizzate espressamente per la mostra), di Alessandra de Cristofaro e La Fille Bertha, che si affiancano alle prime vignette di Flavita Banana tradotte in italiano in esclusiva per l’esposizione. https://sandyfiocchetti.com/Zosen-y-Mina-Hamada-NEOFAUVISMO Sun, 15 Apr 2018 20:14:10 +0000 Sandy Fiocchetti - Arts Manager, Independent Curator, Arts Content Writer https://sandyfiocchetti.com/Zosen-y-Mina-Hamada-NEOFAUVISMO <img width="800" height="635" width_o="800" height_o="635" data-src="https://freight.cargo.site/t/original/i/7245907a3b5d480b8e3a8978b8334d01bbb8244a13d9aacbf9adc1b69d014bf2/zosen-y-mina-otomo-atomico.jpg" data-mid="14962820" border="0" src="https://freight.cargo.site/w/800/i/7245907a3b5d480b8e3a8978b8334d01bbb8244a13d9aacbf9adc1b69d014bf2/zosen-y-mina-otomo-atomico.jpg" /> <img width="450" height="600" width_o="450" height_o="600" data-src="https://freight.cargo.site/t/original/i/78e1e9aa86c454b5aeb936ea4719a280770aabea6bc9a26e6e8dc366d83d1cdc/zosen_mina_hamada_iam_sandy_fiocchetti_5.jpg" data-mid="14962712" border="0" src="https://freight.cargo.site/w/450/i/78e1e9aa86c454b5aeb936ea4719a280770aabea6bc9a26e6e8dc366d83d1cdc/zosen_mina_hamada_iam_sandy_fiocchetti_5.jpg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/ac7793942695ae73e448a94ab9988b95e8cec30fb84c0346352604cb4815f5f5/zosen_mina_hamada_iam_sandy_fiocchetti_3.jpg" data-mid="14962720" border="0" src="https://freight.cargo.site/w/800/i/ac7793942695ae73e448a94ab9988b95e8cec30fb84c0346352604cb4815f5f5/zosen_mina_hamada_iam_sandy_fiocchetti_3.jpg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/8f13940b7ba92c1b2f4feaef304b690dbf3e7e511a3026c60628aea481b20a7a/zosen_mina_hamada_iam_sandy_fiocchetti_1.jpg" data-mid="14962713" border="0" src="https://freight.cargo.site/w/800/i/8f13940b7ba92c1b2f4feaef304b690dbf3e7e511a3026c60628aea481b20a7a/zosen_mina_hamada_iam_sandy_fiocchetti_1.jpg" /> <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/d111c6aa84502cdb522fc36943a4352134ffa2b34b64c09b6ab27674b6be0a85/zosen_mina_hamada_iam_sandy_fiocchetti_2.jpg" data-mid="14962715" border="0" src="https://freight.cargo.site/w/800/i/d111c6aa84502cdb522fc36943a4352134ffa2b34b64c09b6ab27674b6be0a85/zosen_mina_hamada_iam_sandy_fiocchetti_2.jpg" /> <img width="768" height="576" width_o="768" height_o="576" data-src="https://freight.cargo.site/t/original/i/d28394ee4bb8740e346a00099da3db8ef4bfe827f75a94a912304fcebbd87ebe/zosen_mina_hamada_iam_sandy_fiocchetti.jpg" data-mid="14962900" border="0" src="https://freight.cargo.site/w/768/i/d28394ee4bb8740e346a00099da3db8ef4bfe827f75a94a912304fcebbd87ebe/zosen_mina_hamada_iam_sandy_fiocchetti.jpg" /> ZOSEN Y MINANeofauvismoIAM Gallery, MadridPosted on Original-Signature (Singapure) &nbsp; February, 2013. Language: English Categories: Shows&amp;Projects Last February 15th ZOSEN and MINA HAMADA finally presented their first duo show, “NEOFAUVISMO”, at IAM Gallery Madrid. For that occasion I can’t drop the ball to go to La Escocesa, where the artists have their own studios, and, welling out their kind flair, make them some questions about the exhibit. Soon Zosen, showing some new creations, starts explaining me the show’s name.“Neofauvismo” as new fauvism, cause they feel rather heirs of that avant guarde. Like the Fauvist, “les fauves” or “wild beasts”, as you prefer call them, this two young and explosive artists employ the color - "their accidental common ground"- in a pure, strong, vivid, provocative and savage way, feeling so to inher from that world – not the style – but the consciousness that the color hedges the skill to express feelings and emotions”, otherwise that the capacity to provide the artworks of a maximum expressive emphasis through a formal representation simplification and the use of vibrant colors.Zosen and Mina Hamada, couple artist now based in Barcelona, came from two different cultures and backgrounds. Zosen’s born in Buenos Aires (Argentina) but he moved to Barcelona in the 90′s while Mina born in Louisiana (USA) and grows up in Japan. For sure it’s not easy mixing and combining so different worlds into an only one, but Zosen and Mina have realized it. Their symbolic universes (the one more instinctive, strong, direct as well for the social themes and natural of him; and the one more feminine, sweet, enchanted and meticulous of hers) look out for themselves and, thanks to the power they hire colors, they can meet each others and magically melding, integrating and enriching mutually, creating artworks that often and surprisingly seem to born from just one author.Zosen and Mina Hamada, both tied to the underground, move into interdisciplinary fields (illustration, painting and graffitis) and represent a part of the more creative artistic scene active in Spain. They meet so quite by chance, during a workshop given by Zosen, and soon they’ve started joining and merging their creativities to realize artworks on different supports, like walls and paper. They’ve already collaborate in many projects, like mural interventions, silkscreens and a recent book “Otomo Atomico”, but it’s for this show that they work together on canvas for the first time, letting enter once again their style and their world into a gallery, inviding it – as all the spaces round them – with their flair, freshness, glee and positive power. Right ready to exhibit in Japan next March, Zosen and Mina has opened “Neofauvismo” in Madrid during the ARCO, the most important art contemporary fair in Spain and all the offARCO activities, surely giving to the gallery the most colored and funniest way to celebrate its first year anniversary.