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 Exhibitions 

Butterfly Effect:
 
Giusy Lauriola

 

 

The Protagonists of the artist’s works are urban wonderers on Roman streets, who in the vision of their everlasting wanderings, offer themselves as existential metaphors. Daily visions are elaborated in a new dimension: a short circuit between the artist’s reality and inner being.

Keeping in mind The Butterfly Effect’s famous theory, insignificant changes in the initial condition, including small movements of air molecules created by the beat of insect wings, could resultingly cause great variations: a single action can unexpectedly determine the future.

In this unusual scenario, we can fathom Butterfly wings, mysteriously leaned against wanderers who seem nearly unconscious of them, but which are symbols of our timid, but coloured and graceful aspirations; the ones we don’t even, at times, recognize in ourselves, but which unbelievably go along with us.

The artist leaning the wings on the wanderers incites the creation of a butterfly effect which could come from positive thinking, like that running after dreams, to improve our lives.
Wings that can result in our personal success, as superbly represented by Nike, the winged victory god, coalesce in the Acropolis together with Athena. Later Athenians cut her wings to prevent the god and victory from going away from their town.

The reference to the past and beauty of Rome, where, coincidentally, the artist lives, is often used as a backdrop to her works, together with reference to Greek mythology in order to evoke the past glories of Rome and Greece in this exhibition, so as not to forget the great wisdom of the past.

Giusy Lauriola’s works are created on two layers, canvas and plexiglass, in order to imagine a profound work which inspires movement and tries to surpass the two-dimensional aspect.

                                A5:
Mauro Bellucci Giusy Lauriola Dino Ignani Mauro Molle Enrico Lorenzani

 

 

 

On Thursday 28th May, an exhibition called A5 starts at the Domus Art Gallery.

A5  stands for 5 Italian artists, who will be showing a collection of art works at the Athenian Gallery. These artists ate two photographers Dino Ignani and Enrico Lorenzani and three visual artists, Mauro Bellucci, Giusy Lauriola and Mauro Molle. A5 also indicates the dimension of the paper used in this exhibition. Each artist has expressed him/her self though 5 or 6 works, considered as a " mini-solo exhibition". Black and white photos of the greek musician, Diamanda Galas, taken by Dino Ignani are exposed in the gallery.

These photos were taken in 1984  durining a concert in Rome. When they met, the photographer had already been working for years to a project called " Dark Portrait". She was an icon for a lot of young people in those years. Young people, who belonged to the underground culture in the 80's, used to call "Dark". Mr Ignani still remembers the kindness and affability shown by the singer, even after a lond and challenging concert, she gave him all the time needed to be photographed.

Enrico Lorenzani in the project City Lights "steal" light in order to grasp and make eternal the soul of every city: from the romanticism of Prague to melancholy of Brighton or the sparkling confusion of Bangkok. He tries to "steal" what he can express with his works. He wants the spectator to enjoy this gift, the feelings and sensation lived during his creative process.

Mauro Bellucci and Mauro Molle have named their exhibition Bio-Tech. Their chimneys represent something built by human beings, they are also responsible for pollution.Molle shows hunting scenes between birds and flies. Both the artists want to highlight the relationship between predators and prey, the same relationship involving human beings and their planet or different animals. Bellucci also shows the Fencers: lonely athletes, who are at the centre of attention, expectations and promises, as to follow their destiny. Unknown to others and with their faces covered, thei represent the absence of a hero in our society, in actual facyt they could potentially represent each of us. Molle also shows his Deconstructions: "arms, feet, hands have an exclusive symbolic value. They are not appendices any more, but they can express an idea of physical and ideal effort in action. In other words we have an expression of vital energy (Romina Guidelli).

Giusy Lauriola shows 5 works, which go through her artistic work in the last years.In some paintings there is the use of resin to crystallise images of people walking through the streets of Rome, these paintings focus on woman, which befor had wings, now floating in the air and winning gravity through their skill, as  well as colored wings and worlds.. It has occurred a kind of program reset, in which each element has been isolated and underlined.

The earth, the typi-cal Roman streets, has been emphasized showing views of an ideal global world where boundaries are only created by colors so far away from actual our reality.

 

 

Domus Art Gallery inaugura ad Atene giovedì 28 maggio la mostra collettiva dal titolo A5, acronimo per i 5 Artisti italiani che insieme espongono nella galleria ateniese: due fotografi Dino Ignani e Enrico Lorenzani e tre artisti visivi, Mauro Bellucci, Giusy Lauriola e Mauro Molle. A5 si riferisce anche alla dimensione, lunghezza e altezza di un foglio di carta che in questo caso è proprio la dimensione del catalogo presentato. Ogni artista ha scelto la sua dimensione per esprimersi con una serie di opere, selezioniate come mini personali. 

Dino Ignani espone foto in bianco e nero della musicista greca, Diamanda Galas, scattate nel 1984 quando venne a Roma per un concerto mentre il fotografo stava lavorando da un paio d’anni al progetto "Dark Portraits". Lei era un'icona per molti giovani che si riconoscevano nella cultura underground degli anni ottanta - che in Italia era comunemente chiamata Dark -. Ignani ricorda la gentilezza e disponibilità della cantante che, anche dopo il lungo e impegnativo concerto, gli dedicò il tempo necessario per farsi fotografare. 

Enrico Lorenzani nel progetto “City lights” ruba la luce per afferrare e rendere eterna l’anima delle città: dal romanticismo di Praga, alla melanconia di Brighton o alla confusione scintillante di Bangkok. Ruba, sottrae per trasferire tutto nei suoi lavori e rendere partecipe lo spettatore delle sensazioni e dei sentimenti provati nel processo creativo. 

Mauro Bellucci and Mauro Molle  hanno deciso di presentare un’installazione dei loro lavori dal titolo Bio Tech. Le ciminiere di Bellucci rappresentano uno dei prodotti costruiti dall’uomo, che in parte hanno contribuito all’inquinamento del nostro pianeta. Molle mette in scena la caccia tra gli uccelli e le mosche.  Per entrambi il gioco è tra prede e predatori che sia l’essere umano e il suo pianeta o due rappresentanti del mondo animale. Bellucci, inoltre, espone gli Schermitori: solitari eppure catalizzatori di sguardi e di attese e di promesse, i suoi atleti inseguono, oscuri e celati in volto, il loro destino, metafora della rappresentazione dell’eroe mancante nella società contemporanea in cui potenzialmente ognuno ci si può rispecchiare. Molle mette in mostra anche le sue Decostruzioni: “braccia, piedi, gambe, mani, assumono valore simbolico esclusivo, non appendici, sicuramente prosecuzioni di slancio fisico e ideale, che richiedono attenzione e vogliono  esprimere soprattutto Energia Vitale” (Romina Guidelli).

 Giusy Lauriola, presenta una serie di opere che ripercorrono gli ultimi anni del suo percorso artistico. Dai lavori che ritraggono persone che camminano per la città di Roma, cristallizzate dall’uso della resina, agli stessi viandanti, che si vedono spuntare ali sul dorso, metafora di aspirazioni inespresse e resi tridimensionali con l’uso del plexiglass, fino alle ultime opere In cui è avvenuto come un reset del programma, una tabula rasa. Si osserva con occhi nuovi quelle ali, isolate e rese uniche, quelle donne che prima anche se dotate di ali non volavano e ora vincendo la forza di gravità e per la loro destrezza restano sospese in aria, quella terra che vista dall’alto diventa il mondo.