RUVIDEZZE 0.2 è la nuova mostra collettiva dedicata all’incisione presso la Galleria Cartavetra.

Gli artisti presenti nella collettiva annuale della galleria, sono legati dall’utilizzo delle tecniche incisorie. Tecniche magistralmente controllate e  ricche di esperienza, rigorosamente declinate dal cambiamento e dall’innovazione.

In mostra circa 25 opere degli artisti: Danielle Creenaune, Rosita D’Agrosa, Eriko Kito, Gabriella Locci e Cristiano Rizzo.

Gli artisti invitati per questa nuova stagione di Ruvidezze esaltano, ciascuno col proprio stile inconfondibile, una tecnica millenaria e rituale. La ricchezza di linguaggi manifestati, poetici e formali, trova convergenza nella traccia, nel segno corposo e nel risultato vibrante e ruvido delle opere esposte, strofe di una scrittura muta e mai completamente esplorata. La Ruvidezza è espressione della materia, quando la si lascia libera di sperimentare e parlare; è vitalità selvaggia, aspra e vivace.

-Danielle Creenaune è un’artista australiana che vive e lavora a Barcellona. Il suo lavoro si concentra sul dialogo tra le persone e il paesaggio. Su come il paesaggio venga percepito in base alle esperienze di vita pregresse e su come tutto questo si rifletta sul linguaggio visivo del “segno”.

-Rosita D’Agrosa vive e lavora a Firenze. Le sue opere suggestive ed evocative richiamano il corpo e il mondo femminile. Porta avanti un lavoro denso di simbolismo che si interroga su suggestioni, emozioni e intuizioni.

-Eriko Kito nata in Giappone, fiorentina di adozione. La sua ricerca artistica è dedicata alla poetica dell’immagine. Le sue incisioni sono immediate e raffinate vibrazioni dell’anima.

-Gabriella Locci è impegnata nella sperimentazione e nella ricerca, col suo lavoro approfondisce e sperimenta le tecniche incisorie. E’ la creatrice della struttura di sperimentazione e ricerca Casa Falconieri di Cagliari, fondatrice e presidente del Festival Internacional de Grabado F.I.G. di Bilbao.

-Cristiano Rizzo, nativo di Borgomanero, rivolge la sua opera al quotidiano e alla memoria. Il suo stile ironico conferisce alle sue immagini una forza semplice e reale.

La mostra sarà accompagnata dal catalogo numerato e firmato, realizzato a mano da Cartavetra, contenente un testo critico di Luca Sposato. Una tiratura limitata a 120 esemplari della serie “Libri ad arte“, di cui venti copie contenenti un’ opera originale di ogni artista.

Ruvidezze 0.2
Very few artistic techniques are so linked to human history than engraving.
The temporal conscience in our species has consequentially discovered the need to leave traces of its own experiences, of memories. Scratching, sculpting, and engraving were actions of material conquest, full of sensitive modification of the surrounding nature both for a search for usefulness and, with evolving judgment, for an aesthetic purpose. From the cultural intentions of cave art, to the decorative apparatuses of architectural motifs and objects of various nature and function, there has been no people or era that has not “scratched” its presence in its passage: Ruvidezze (rawness) is a symbol of the engravings released, of the inevitable change and archetype of the art itself. With the invention of paper, the need to mark the material is not lost, but new and refined applications were acquired, such as the seriality of artistic printing techniques that blossomed in the West during the late Middle Ages, consciously stealing the knowledge of the technique of putting niello in jewelry.
From that moment on, the engraving has developed an exquisite evolution, both technical and formal, proposing a friendly, autonomous language and making artists fall in love, with many intimately linked to this process, such as Durer, Rembrandt, Goya, Klinger…, but also unfolding several critics: the eulogy of Baudelaire for Etching, one of his most engaging writings.
The reputation of a simple medium of translation has, however, clouded the language and the relevance of the engraving during the modern era, even declaiming, with the birth of photography, its end. Apparently.
Thanks to the revival of manual artistic knowledge by some artists (promoters of legendary art magazines, such as Xilografia, or constituting real movements, like the German Die Brücke) during the first half of the twentieth century, due to the contrast with the spreading of new technologies but also against that artistic direction inaugurated by Duchamp, motivated by a search for procedural genuineness and link with tradition, and therefore arrived at the informal art and in particular at the “rib” of semiotic paintings, loading the engraving of conceptual dignity beyond expressive research.
Its evergreen presence in history and the range of possibilities for investigation, allows to bless the engraving as contemporary par excellence. The way it has always been.
Here is the need of reality for Cartavetra to scrutinize proposals that touch, rather dig, the field of Art Print, keeping faith to its mission of navigating in contemporary arts, with particular regard to the truth and experimentation. The artists invited for this new season of Ruvidezze (rawness are different or similar, academics or professionals, but they all enhance each other with their own unique style, a millenary and certainly ritual technique. The richness of manifested, poetic and formal languages finds convergence in the trace, in the full-bodied sign and in the vibrant and rough result of the exhibited works, granular strophes of a mute and never fully explored script.
Danielle Creenaune
Infatuated by a certain orientalism, the work of Danielle Creenaune is developed with a particular lithographic technique on a wooden plate, which allows the coexistence of a pictorial force and an engraved mark; the landscape evocation is delicately hinted, while evident, leaving the form’s protagonist expressive and bold with wide and full brushstrokes: This print evokes works by Gérard Schneider, distinguishing, in the prints of Creenaune, a vibrant emphasis not dictated by color but uniquely by the engraved mark. The gestures are not an end in itself, but serve as a lyric narration, engaging and welcoming.
Rosita D’Agrosa
The work of D’Agrosa is full of gestural force and material, compacted by archetypal forms evoking the body and the female world not necessarily defined; a carnal painting fragmented by calligraphic memories and floral preciousness, the artist alternated the bold and robust print operations that damp the damp paper with the interpreted form of the sartorial vest, accompanying the set with elegant phrases and showy scribbles drawn in pencil. It is a suggestive and melancholic composition, showing a formal solution halfway between the wallpaper of the old bourgeois salons and the diary of a young woman of the last century, playing on false memories and manifesting a proud rejection towards social and aesthetic constraints.
Eriko Kito
True to the delicacy of the Japanese press, capable of enhancing the stain and defect, the art of Eriko Kito skillfully exploits a limpid technical virtuosity proposing a rigorous landscape reading and expressionist at the same time. Constantly changing the engraving, sometimes compact, sometimes nosey, but dosing the randomness of acid, Kito returns on the paper the flavor of the starting matrix, fading the shape into a not so far lyrical abstraction, precisely, from the aquatints of Zoran Music. Interestingly, the final effect of the vertical scratches, almost like a ruined film, suggest a mnemonic call with a nostalgic taste.
Gabriella Locci
Gabriella Locci deepens the study of engraving by searching for a spatial environment that completes the engraving, the engraving then becomes the point of origin of a dense and often dark chromatic radiation, evoking a cavernous but not dismal atmosphere, but thunders, echo of both ancient and eighteenth-century primitivism, when the need arose to return to a formal synthesis. A synchronization originated from a deep knowledge of engraving, raising the sign as a symbol of itself, in a metaphorical game of overlapping meanings.
Cristiano Rizzo
Linked to a fairytale storytelling, the young Cristiano Rizzo translates the poetry of his own language into print, reducing but not renouncing a slight color, the recurrence of some type-shapes, deformations of a stereotyped everyday rather than lived, bring out all the crudeness of the engraving technique, linking it to the literary dimension, recalling the happy illustrative season to which the graphics have enjoyed for centuries (the Botanical Studies underline it). Aesthetically, Rizzo proposes forms intentionally childish and liquid, almost in an embryonic state, alternating volatile and dreamlike recognizable archetypes, composing it all with no points of drama: they are dreams of a child never born.

Collana “Libri ad Arte”

Progetto e realizzazione Cartavetra

opere di: Danielle Creenaune/Rosita D’agrosa/Eriko Kito/Gabriella Locci/Cristiano Rizzo

testo: Luca Sposato

120 copie numerate – carta Materica Fedrigoni 180gr/250gr – font Din Next pro – dimensioni libro chiuso 14.0×21.0 cm ca.

Stampato da Tipografia Artistica Fiorentina