Paintings and papers created by Enzo Cursaro in recent years, which shows a marked interest in the sign as an expressive figure that finds in the plot, a narrative plot full of references drawn from the anthropological sphere. “At stake is the figure of his existential identity, of his link with the places where he was born, with Paestum and his mystery. Attica is above all the panorama that opens to his eyes when, from the top of his studio, they range over the expanse of the plain that welcomes the Magna Graecia city going west, until reaching Capri. It acts as a reunion with its origins, with memory, with the vitality of the first encounter with the sign “.
Enzo Cursaro was born in Paestum in 1953. He studied in Naples where, at the Academy of Fine Arts, he followed Domenico Spinosa’s lessons and where he graduated in 1978. In those years his interest was oriented towards abstract-informal compositions, which he would later resume in the 90’s. In the second half of the 70’s, as soon as he left the Academy of Fine Arts, he began his relationship with San Carlo Art Gallery directed by Raffaele Formisano, thus becoming an active part of a group of artists belonging to the Mezzogiorno (South of Italy). For about thirty years (1983-2012), he lives permanently in Verona, where he teaches art history and pictorial disciplines at public secondary schools. Since the mid-eighties he has exhibited mainly in Europe. Recently he has returned to Paestum where he lives and works.
Tuesday, January 23 at 6pm opening of the exhibition of selected works for the valuable publishing, now in its 15th edition, dedicated this year to Italian artists under 30.
The exhibition proposes the works of Andrea Bressan (Cittadella, Padova), Flavia Bucci (Castel Frentano, Chieti), Emanuela Cruccu (San Gavino Monreale, Medio Campidano), Francesca Dondoglio (Torino), Flavia Carla Fanara (Formello, Roma), Roberta Favarato (Milano), Marco Goi (Sabbioneta, Mantova), Xhimi Hoti (Verona), Annatonia Luperto (Galatone, Lecce), Davide Pisapia (Napoli), Andrea Schifano (Castro, Lecce), Marco Tallone (Revello, Cuneo); paintings, drawings, engravings, photographs that testify to a new generation of Italian art.
The works on show are the winners of the competition announced by Gutenberg Edizioni for the realization of the 2018 CALENDAR: a contest in which 78 young artists under 30 participated, a significant adhesion that responds to the novelty that, from fifteen editions, marks the calendar art. The commission composed of Massimo Bignardi (Storia dell’arte contemporanea, Università di Siena), Danilo Maestosi (journalist and novelist), Franco Marrocco (artist and Director of Accademia di Belle Arti di Brera-Milano) e Giuseppe Rescigno (artist) has selected the works that today articulate the GUTENBERG CALENDAR 2018.
The exhibition will run till February 3rd (from Tuesday to Saturday from 4 pm to 7 pm).
Painting as a reinvented space, which loses its Newtonian definition, to rise as a thought, this is the subtitle of the show, curated by Massimo Bignardi, at the Centro Di Sarro from September 22nd to October 15th 2016.
opening: September 22nd, 6.00 pm
Mary Cinque was born in 1979 in Naples, where she lives and works. This is her first solo show in Rome and exhibits a series of medium and large paintings on canvas.
“As Merleau-Ponty wrote you can’t ‘do an exhaustive inventory of the visible’ and this is the assumption that pushes the painting, whether figurative or abstract, to celebrate the mystery of the ‘visibility’. For Mary Cinque, the city is the painting ideal accomplice in its fate to celebrate the enigma of visibility. This is very clear in this cycle of paintings dedicated to urban views, a recurring theme in her work, which she address to on canvas, paper or wooden table depicting the dimension of space as well as the dimension of the place. Essentially the artist tears away from Daedalus, mythological guardian of the arts of architecture and sculpture, the illusory certainty of space assigning it to the timelessness of the image. She does it by reducing the volumes to flat color in which architecture, the whole city, loses its Newtonian definition to rise to an amalgam of time, memory and, thus, future. Painting becomes in this sense another actual place, full of narrative value that is typical of those who try to tell the being in her own time”. (Massimo Bignardi)
Event organized during the Giornata del Comporaneo promoted by Amaci
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