Exhibitions, Italy, Firenze, 07 August 2009
MAD deals and characterizes some areas in the city of Florence. The summer wind brought the review on the move in the city of art par excellence with two exhibitions.
Recall that from 2005 MAD promotes initiatives that are intended for different audiences, involving various artistic languages, in an attempt to bring awareness and to contemporary art.
Continued operation of the MAD to bring art into non-traditional places for it, not institutionally designed to accept and load spaces so powerful tension, suspensions tangible contemporary creativity, MAD in Florence, in the heart of a city surrounded by in art history and enduring synergy between heaven and Arno.
The first exhibition is MADolcevita, the staff of painting Slebodzinska Paulina, opened last July 10 in the picturesque location in Piazza del Carmine in the exhibition area of La Dolce Vita. The 18 canvases of the artist will be on display until August 10.
The second exhibition was inaugurated Friday August 7 is a staff of Daniel Frisina, in the space in Via Artegaia Faentina, 1 (Ponte alla Badia) in Fiesole (FI).
The young artist will exhibit more than ten Pontino works that represent his creative path with two new, Attention please, and Dorian Gray. Back issues typical of paintings of Daniel: stylized men who gather around a heart or sheltering under an umbrella, as if to contain, within the black lines, the emotions of life that inevitably burst through colors and shapes. Each picture will be accompanied by a brief description / interpretation, like enrichment of title, prepared by the young writer Julia Riccò. The works, from the format for most of 80x60 and 70x50 will be on display until 23 September 2009.
"(...), The work of Daniel Frisina, 1980, as a critic in the history and criticism of Roman Silvia Sfrecola, you capture them with the immediacy that is never spontaneous, but rather frankness enforceable because each particular before being painted, is carefully and meticulously evaluated. Giuliana Bocconcello pupil, from whom he borrowed a search expressive emotionally authentic, but Daniele is a cartoonist best case, just instinctive, but faultless perfectionist who meticulously prepares all work, on paper, computer, and then on canvas. But it is the color that Daniel gives his most authentic emotionality and to some hidden, while continually battling with those black lines, so thick, trying to close, compress, and contain a real emotional momentum and passionate.
If you have seen once, its work, you remember them: his iconic men inexpressive, yet tenderly melancholy, eyes wide open but they are deprived of the mouth, arms or legs because they are given no chance to get in outside communications; to detect them is solid line, thick, coarse and black, like a snake that keeps wicked turns between its strong colors, the symbolic-expressive charge, it seems not be willing to yield. Daniele dosa and rigorously evaluate the color (green is ambiguity, the magenta heat-goodness is, the voltage yellow, blue absence) because anything goes' spiattellato 'on the canvas without a rigorous pre-selection.
And 'as if Daniel had developed its own symbolic system, a quasi-aesthetic expressive signs, irrefutable and reassuring as a traffic light (red stop of the series, go green). It seems easy, in fact his is a complicated, tightly close, which leaves little room for interpretation because he tries to control every detail, from the smallest to largest. And those who look not only have to adapt to its semantic code, respect for. "
Recall that from 2005 MAD promotes initiatives that are intended for different audiences, involving various artistic languages, in an attempt to bring awareness and to contemporary art.
Continued operation of the MAD to bring art into non-traditional places for it, not institutionally designed to accept and load spaces so powerful tension, suspensions tangible contemporary creativity, MAD in Florence, in the heart of a city surrounded by in art history and enduring synergy between heaven and Arno.
The first exhibition is MADolcevita, the staff of painting Slebodzinska Paulina, opened last July 10 in the picturesque location in Piazza del Carmine in the exhibition area of La Dolce Vita. The 18 canvases of the artist will be on display until August 10.
The second exhibition was inaugurated Friday August 7 is a staff of Daniel Frisina, in the space in Via Artegaia Faentina, 1 (Ponte alla Badia) in Fiesole (FI).
The young artist will exhibit more than ten Pontino works that represent his creative path with two new, Attention please, and Dorian Gray. Back issues typical of paintings of Daniel: stylized men who gather around a heart or sheltering under an umbrella, as if to contain, within the black lines, the emotions of life that inevitably burst through colors and shapes. Each picture will be accompanied by a brief desc
"(...), The work of Daniel Frisina, 1980, as a critic in the history and criticism of Roman Silvia Sfrecola, you capture them with the immediacy that is never spontaneous, but rather frankness enforceable because each particular before being painted, is carefully and meticulously evaluated. Giuliana Bocconcello pupil, from whom he borrowed a search expressive emotionally authentic, but Daniele is a cartoonist best case, just instinctive, but faultless perfectionist who meticulously prepares all work, on paper, computer, and then on canvas. But it is the color that Daniel gives his most authentic emotionality and to some hidden, while continually battling with those black lines, so thick, trying to close, compress, and contain a real emotional momentum and passionate.
If you have seen once, its work, you remember them: his iconic men inexpressive, yet tenderly melancholy, eyes wide open but they are deprived of the mouth, arms or legs because they are given no chance to get in outside communications; to detect them is solid line, thick, coarse and black, like a snake that keeps wicked turns between its strong colors, the symbolic-expressive charge, it seems not be willing to yield. Daniele dosa and rigorously evaluate the color (green is ambiguity, the magenta heat-goodness is, the voltage yellow, blue absence) because anything goes' spiattellato 'on the canvas without a rigorous pre-selection.
And 'as if Daniel had developed its own symbolic system, a quasi-aesthetic expressive signs, irrefutable and reassuring as a traffic light (red stop of the series, go green). It seems easy, in fact his is a complicated, tightly close, which leaves little room for interpretation because he tries to control every detail, from the smallest to largest. And those who look not only have to adapt to its semantic code, respect for. "
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