At Palazzo Lucarini Contemporary a great exhibition dedicated to different aspects concerning identity. Two artists compare different ethnic groups, languages, cultures and visual features. Two artists who find in the terms “fluidity” and “permanent change”, the definition both of their existence and of their creative path.Object: contemporary art exhibition
Artists: Mario consiglio, Yonel Hidalgo Perez
Project: Maurizio Coccia
Curators: Maurizio Coccia and Mara Predicatori
Didactics Set: Mara Predicatori
Promoting Public Authority: Commune of Trevi
Organization and Logistics: Cultural Association Palazzo Lucarini Contemporary
On the Occasion of: FESTIVOL 2011
Opening: Saturday, October 29, 5.00p.m.
Dates: October 29 2011-January 8 2012
Location: Centre for Contemporary Art “Palazzo Lucarini Contemporary“, Via B. P. Riccardi 11, 06039 Trevi, Italy
Opening Hours: Thu through Sun, 3.30p.m.-6.30p.m. Free Entrance
Info: Centre for Contemporary Art “Palazzo Lucarini Contemporary”, T/F +39 0742/381021, email@example.com, firstname.lastname@example.org, www.palazzolucarini.itWith Camouflage Palazzo Lucarini comes back to a ticklish and often misunderstood topic: the concept of “identity”. In fact, through contemporary art, this exhibition aims at bringing into question all the rhetoric which intruded (even with twists and mystifications) the media field in the year celebrating Italian National Unity . Two best possible witnesses were invited: Mario Consiglio and Yonel Hidalgo Peréz. Mario Consiglio is Italian but he is living in Berlin after spending a long time in London. Yonel Hidalgo Peréz, instead, is Cuban and has lived in Italy for many years. The two artists concentrated on the practical aspects of the subject. Starting from matters dealing with their personal daily experience their presence highlighted the existence of a new social category. It is an hybrid subject, born by migratory flows, heterogeneous both in ways and reasons, which critically put itself into the context of reception. We are not dealing any more with the “emigrant” who, passively, aims at integration, but, on the contrary, here he is the propulsive element of a new kind of culture where contamination and change define a brand new principle of identity. Therefore the interwoven comparison of the artist’s points of view is a validation of the current worldwide situation. Not only that because the geopolitical inclination crossing their work, in fact, is confirmed in the versatility of their respective art talent. They share a vocation for the concrete “practice” of making art which is reflected in their works. Such art works restore a strain towards the transformation, both physical and of meaning, of the artistic matter, and transport on the level of the artistic research an aptitude for change which is by now indispensable for surviving the urgent requests of current events.
Mario Consiglio exhibits drawings and posters modified through the superimposition of enamel and collage. From an iconographic point of view Mario Consiglio is attracted by the world of animals. He absorbs these figures and at a first glance they are often unrecognizable, in a dense and fluid monochrome. These works are specifically intended for this exhibition where dissimulation – intended as a stylistic cipher – is applied with an instinctive manner which exaggerate the sense of concern coming from familiar, but alien forms.
Yonel Hidalgo Peréz, instead, mainly exhibits sculpture works. Theirs are manufactured products of refined implementation which, thanks to the virtuosic treatment of the matter (it is often polychrome ceramics, but not only), weaken the border between human and not-human. We are in front of surreal, dreamlike visions of changing entities. It is a Baroque imagination pivoting on the self-portrait in order to give back the idea of an identity which is constantly hanging in the balance. It is a Medieval bestiary enriched with the neurosis of modernity. Once again the exhibition, in the context of FESTIVOL 2011, demonstrates the attention usually reserved to contemporary culture by this show. It is a further sign of how Trevi can happily combine tradition and innovation becoming a more than reliable witness of our times, in constant and unstoppable evolution.
He was born in Maglie (Lecce) in 1968 and currently lives in Berlin and Perugia.
He graduated at the School of Fine Arts in Urbino. He exhibited his works in many private and public spaces both in Italy and abroad: Grimm Museum (Berlin), Trolley Gallery (London), Galleria Carbone (Turin), Galleria Seno (Milan), Studio Visconti in Milan, Studio La Città in Verona, Galleria Astuni in Pietrasanta (Lucca). He is also present in the Umbria section of Biennale di Venezia at Palazzo Collicola in Spoleto.
He’s one of the most important artists in Umbria, currently living in Berlin and internationally well known. In Mario Consiglio’s first works images dealt with the world of comics, while in his latest works they originate from an accurate analysis of the day-by-day housing, television and symbolic level. Such images tell everyday life through original techniques and in perpetual evolution. Mario Consiglio works on the ironical alteration of image and on the re-use of different materials, approaching hot topics concerning contemporary society and its decadence.
YONEL HIDALGO PEREZ
He was born in Las tunas, Cuba, in 1970 and lives in Leghorn.
He graduated in Art and Painting in 1989 at Academia de Arte “Vicentina de la Torre” in the same town. Between 1992 and 1994 he was chosen by Galéria Municipal de Arte in Guaimaro as curator of cultural programming. In 1997 he got a teaching post for painting at the same academy where he graduated. At the same time he was graphic designer at the Press Department of the Provincial Direction of Culture in Camaguey and scene designer for the Compañia de Ballet of Camagüey. In the same years he was invited to take part to various “salones”, that is exhibitions of contemporary art in all the provinces of his country where he received mentions and prizes. Hidalgo has lived in Italy since 2003. In his adopted country he privileged the participation to no-profit and, in general, unconventional exhibition projects, but always dealing with a critical approach to the role of art in western society.
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