All'Ombra del bianco
QUI arte contemporanea
La simbologia dell’ombra accomuna tutte le culture, dalla concezione salvifica o ottica nella cultura occidentale, fino a quella Buddista, illuminante. Nelle trame rituali i simboli naturali costituiscono delle maglie importanti, dei punti di raccordo per la conquista dell’essenza sottile degli esseri. La mostra All’ombra del bianco , proposta nella Galleria Edieuropa e a cura di Vittoria Biasi, percorre alcuni possibili linguaggi attorno a due concetti imprendibili: il bianco e l’ombra. Lavorando sulla memoria, l’immaginazione consacra l’ombra a poesia della mente, come il bianco è il luogo del divenire, della ricognizione dell’anima, delle figurazioni interiori.
Dall’idea di ombra, quale luogo del divenire, nasce il progetto di incontro tra la cultura buddhista degli artisti Thailandesi Amrit Chusuwan, Sakarin Krua, Sittichai Pratchayratikun e un percorso, dell’Occidente, tra il bianco e la luce espresso nelle opere degli artisti Enrico Castellani, Fabrizio Corneli, Maria Chiara Calvani, Paola Levi Montalcini, Alessandra Porfidia, Stato di famiglia.
Dalla seconda metà del Novecento in Occidente si assiste ad un fenomeno di appropriazione del reale, che emerge come poetica delle cose, degli oggetti. I nuovi linguaggi pongono in atto un’idea di desiderio, di contattato con il mondo, tracciano un panorama artistico che assume il comportamento semplice, il piacere quotidiano, la ricerca emotiva di un sentimento di amore. Lo sguardo sul circostante penetra il profondo delle cose e lo fa riemergere con un procedimento animistico, determinando un rapporto vicino alle ritualità orientali. Il sentiero di costruzione rituale degli artisti Thai si coniuga con la ricerca scientifica degli artisti italiani Enrico Castellani, Paola Levi Montalcini, Fabrizio Corneli. La scansione ritmica della luce e del bianco conducono nel percorso della rivelazione, della percezione di un mondo coperto da veli e catturare la differenza tra l’essere e l’apparire. La costruzione seriale degli oggetti, negli artisti Thai Sakarin Krua e Sittichai raggiunge l’eleganza e la poesia che Alessandra Porfidia, Maria Chiara Galvani, Stato di Famiglia compongono scrivendo lo spazio bianco.
All the cultures are united by the symbology of tree and shadow. Some peoples think that the shadow of the brambles in the night hides mean sprites who frighten the wayfarer. In our imagination the physical and psychic dimension fuse together to find out the freedom. In “going through rituals the natural symbols are very important mesh, connection points”. In such a sense it is possible to track a history of the shadow starting from the redeeming conception through the western culture up to the Buddhist inspiring one. Working with the memory, the imagination devotes the shadow to a poem of the mind, to a white (without colour) place where ones own soul can have a look around, of inner figurations.
From the idea of shadow, as a place of becoming, originates the project of meeting between the Thai Buddhist culture and the Western one through the works of the artists Amrit Chusuwan, Sakarin Krua, Sittichai e Fabrizio Corneli, Alessandra Porfidia, Lucia Romualdi, Stato di Famiglia.
A history of cultural swaps goes through the Western and Eastern world. The 20th century develops a procedure of an unusual research, into which the artistic world get close to the reality of the every day facts. In the Western world during the second half of Nine hundred century we witness a phenomenon of reality appropriation, which comes out as a poetics of things, objects. The up to date languages put an idea of wish and contact with the world into action, they outline an artistic landscape which assumes the simple behaviour, the every day pleasure, the emotional research of a feeling of love. The glance at the surrounding penetrates the core of things and makes it resurface through an animistic process. The new connection is rooted into the relationship with the eastern cultures during the first years of Nine hundred century and pinpointed during the second half of the same century.
The history of Thai modern art starts to make cultural exchanges with the West and it is greatly developed thanks to Silpa Birasri’s involvement (Corrado Feroci), during 1923 appointed sculptor at Fine Arts Department, becoming during 1943 the first Rector and Academic Principal of Faculty of Paintings and Sculpture. The influence of some Western cultural trend, among the others in a specific way the Impressionism and the Abstractionism, and the student movement during 1973, they trod a new path into the Thai art. The student movements looked for dialogue with the reality, telling social histories and accepting the admission of new media into the artistic expressiveness, sidestepping concerns of the traditional fiction oblivious of perspective conception about the space and chiaroscuro. The elaboration and the synthesis of a path and of a dialogue with its shifts occur, for some artists, inside the aesthetics and the Buddhist philosophy.
In the Shadow of the White
The proposed artists are representative of a particular nature of Thai world, that one is swarming around the old town’s streets, near by the temples, repository of traditions, of the circular conception of life. Amrit Chusuwan, Sakarin Krua, Sittichai put at the centre of their research the respectfulness for a gestural and behavioural rituality, of some appearance for the daily life and talk to the spurs of the globalized world, looking for the entrance or the connection where from it is possible to reconstruct the Buddhist thought. Amrit Chusuwan applies the philosophical wisdom to small objects which are means by which is possible to reach perception of a world covered by veils and be able to capture the difference between the being and the appearance. The artists discover the tale of the daily life to reach the great philosophic topics. The large Sittichai’s mandala is built through the child’s innocence repeating the same form in order to create an unforeseen construction, and he plays asking himself questions whose reply is already known by himself.
Sakarin Krua shapes his histories, follows his teachings through smallest materials to the limit of unseen to reach its object visibility! It is the Buddhist harmony of gesture applied to the visual art or to the art of garlands realized with magnetic rituality by the little sellers around Bangkok’s streets.
Along this path of handiwork, of ritual works, of research of a way to reach the vision, the poetics of Thai artists wed with the Italian ones.
The time is a cosmic mystery, is an affection of the soul. The space is a black immensity, enfolding us: is that in which we gravitate and breathe. The messages that across the space are tracks, blades of light, cosmic electricity, signs, strokes, dots that are fired into the topic nerve and run straight to our closed eyelids.
As in oriental mind, in order for objects to have meaning, the artist dematerialise, by a proceedings of substraction. Substract! end as Artist arrives at the forms into pure light.
Thread of light is a remote segment, a line, a rout, that unites the world. The motion of the stars, the tides, are The universe’s waves, the secret melody, that lives the heart without our knowing it!
The anamorphosis of Fabrizio Corneli obtains from horizontal ability to plan through an optical and percipient technique an allusive figuration for inner narrations between the shadow and the light. Alessandra Porfidia superimposes flat surfaces and lines, as a stage of hidden spaces, of concrete worlds in the execution of a rituality getting awareness of new meditative places and attention for acts movements originating every things.
The artists Stato di Famiglia complete the poetics of construction revising the picture (photo image) into the appealing world of Swarovsky crystal, giving to the rituality the meaning of reminder for the reality and its impressiveness.
The experience among the different artists like Fabrizio Corneli, Alessandra Porfidia, Lucia Romualdi, Stato di Famiglia and Amrit Chusuwan, Sakarin Krua, Sittichai brings about the construction of a planning affinity between the Thai Buddhist thought and the Oriental Catholic one of the Western world.
Artisti Thailandesi: Amrit Chusuwan, Sakarin Krua, Sittichai Pratchayratikun.
Artisti Italiani: Fabrizio Corneli, Alessandra Porfidia, Stato di famiglia, Maria Chiara Calvani.