Exhibition, United States, Miami, 21 October 2010
"Contemporary art is American," said Andrea Sampaolo. Extreme statement
Paradoxically, it is true, but for an artist like him do not seem to be no doubt about his
merits. The title of his first major overseas exhibition, the American tautological
and concise enough to prove it. It contains a poetic statement, "I am
that is contemporary American. " As often happens in this other pole of the West,
America is a transfiguration, a clouded mirror in which the European artist seeks himself. In
it is the limit that repeats itself every time it crosses is: a zero point, the space
myth of the always new and possible. But, in addition to the symbolic meaning for America
Sampaolo also has a historical substance. His painting comes directly from the place
American avant-garde aesthetic of the '50s, from its anarchic fury and innovative, and
passes through successive artistic movements such as Pop Art and Graffiti Art newer. In fact,
Sampaolo is not a painter in the modernist sense of the word, not a painter. The language
the painting is only part of his creative system. For the Roman artist, art is a
intermedia research as a process that continually opens and the impermanence
contamination. Of course, in the creative world of Sampaolo the relationship with the color and
the image is central, but his painting was enriched by dialogue with the ball transvaluation paraestetiche
of today (fashion, design, communication) regarding its applications, and
by the constant and relentless search for convergence of art and new languages, such as those
offered by information technology, for example, with regard to the manner of execution.
In short, the technological revolution, the birth of a new sensory aestheticization widespread,
even the claim of the consumer society and mass culture appear to
Sampaolo creative opportunity. Just remain alert and more importantly, independent, and this requires
a review of the artist, its role and its mode of action: no more
perched on the defensive and put in niches, more or less symbolic, but willing
to learn the rules of the game and win in their full respect. Yet the painting,
as an expression of a moving body that leaves a mark, as a gesture of painting, occupies
still a place of privilege, both in diverse artistic Sampaolo system is, as
seems to suggest the American artist, in the Babel of the iconic and impersonal
Western modernity.
American Andrea Sampaolo is therefore an exhibition of paintings - although a welcome video installation
that returns a previous performance executed by the artist. The pictures are
32, most of them belong to the cycle called Free Zone. Free Zone closes
season and opens a new era, a time marked by the artistic and existential
large expressive thrust, where the painting becomes transparent screen that receives no
opacity and hiding the quiet humanity and torn, fragile and impetuous artist. Inwardness
and expression, and artistic practice being in the world finally coincide.
Paradoxically, it is true, but for an artist like him do not seem to be no doubt about his
merits. The title of his first major overseas exhibition, the American tautological
and concise enough to prove it. It contains a poetic statement, "I am
that is contemporary American. " As often happens in this other pole of the West,
America is a transfiguration, a clouded mirror in which the European artist seeks himself. In
it is the limit that repeats itself every time it crosses is: a zero point, the space
myth of the always new and possible. But, in addition to the symbolic meaning for America
Sampaolo also has a historical substance. His painting comes directly from the place
American avant-garde aesthetic of the '50s, from its anarchic fury and innovative, and
passes through successive artistic movements such as Pop Art and Graffiti Art newer. In fact,
Sampaolo is not a painter in the modernist sense of the word, not a painter. The language
the painting is only part of his creative system. For the Roman artist, art is a
intermedia research as a process that continually opens and the impermanence
contamination. Of course, in the creative world of Sampaolo the relationship with the color and
the image is central, but his painting was enriched by dialogue with the ball transvaluation paraestetiche
of today (fashion, design, communication) regarding its applications, and
by the constant and relentless search for convergence of art and new languages, such as those
offered by information technology, for example, with regard to the manner of execution.
In short, the technological revolution, the birth of a new sensory aestheticization widespread,
even the claim of the consumer society and mass culture appear to
Sampaolo creative opportunity. Just remain alert and more importantly, independent, and this requires
a review of the artist, its role and its mode of action: no more
perched on the defensive and put in niches, more or less symbolic, but willing
to learn the rules of the game and win in their full respect. Yet the painting,
as an expression of a moving body that leaves a mark, as a gesture of painting, occupies
still a place of privilege, both in diverse artistic Sampaolo system is, as
seems to suggest the American artist, in the Babel of the iconic and impersonal
Western modernity.
American Andrea Sampaolo is therefore an exhibition of paintings - although a welcome video installation
that returns a previous performance executed by the artist. The pictures are
32, most of them belong to the cycle called Free Zone. Free Zone closes
season and opens a new era, a time marked by the artistic and existential
large expressive thrust, where the painting becomes transparent screen that receives no
opacity and hiding the quiet humanity and torn, fragile and impetuous artist. Inwardness
and expression, and artistic practice being in the world finally coincide.
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