{"id":11193,"date":"2004-04-24T09:29:33","date_gmt":"2004-04-24T07:29:33","guid":{"rendered":"http:\/\/www.artericambi.com\/en\/?p=11193"},"modified":"2022-02-21T16:09:09","modified_gmt":"2022-02-21T15:09:09","slug":"zilch-24-aprile-2004-ore-18-00","status":"publish","type":"post","link":"https:\/\/www.artericambi.com\/en\/zilch-24-aprile-2004-ore-18-00\/","title":{"rendered":"Zilch"},"content":{"rendered":"

MARTIN BORNER, FLAVIO DE MARCO, MARCO DI <\/span>GIOVANNI, FABRIZIO DORI,\u00a0<\/span>FANTASMAGRAMMA, ANTON S. KEHER, SIMONE\u00a0<\/span><\/span>LUCIETTI, FEDERICO MADDALOZZO, STEFANO MANDRACCHIA, POLONA MAHER, ROBERTO MASCELLA, DARIO MOROLDO, ANDREA NACCIARRITI, STEFANO PARON, ARCANGELO SASSOLINO, SIMONE TOSCA<\/span><\/span><\/strong><\/h2>\n

Zilch<\/span><\/h2>\n
\"Zilch,

Federico Maddalozzo, RAL 445 D6\/E6, 2004<\/span> – Photograph\u00a0on aluminum, (3 pieces) 3,5 x 4,7\u00a0inch<\/span><\/p><\/div>\n

\u00a0.<\/span><\/h2>\n
OPENING<\/b><\/i><\/span><\/span><\/span><\/strong>:<\/i><\/span><\/span><\/span><\/em><\/span>\u00a0<\/i><\/span><\/span><\/span><\/em><\/span>\u00a0<\/i>Saturday, 24\u00a0April 2004 – H.\u00a06.00<\/span><\/span><\/span><\/h5>\n

26\u00a0April 2004 – 30 May 2004<\/i><\/span><\/span><\/span><\/p>\n

.<\/span><\/h5>\n
Curated by <\/span>ANDREA ZANCHETTA<\/span><\/strong><\/em><\/span><\/h5>\n

What orientation did abstraction undergo after Peter Halley? What ” ideal ” of abstract art has survived itself? What are the discriminators of sacred respect for modern crop circles?<\/span><\/span><\/p>\n

Is what we today call abstract the moment of culminating force of reality? is reality really unintelligible? Is it abstract to man?<\/span><\/span><\/p>\n

And if a false complexity of the forms is hidden behind the specificity that was of painting and sculpture ” pure, absolute, essential, cold ”?<\/span><\/span><\/p>\n

Within a sphere of influence of information, the latest generations have grown between graph paper, the lines and squares of school notebooks, the pixel of the television and the screens of PCs (including computer-graphics, rudimentary video games, cartoons manga, video -clips, advertising, electronic music, the geometric joints of the Lego, those of the Meccano, and the icastic value of the Rubik’s cube).<\/span><\/span><\/p>\n

The perception of the curves and straight lines that challenged mimesis are now traced back to the mnemonic memory, they adhere to a model that in retrospect meets Mondrian, Malevi\u010d, Stella, Kelly, Ryman, Palermo, but which a priori is a rational way of being in the world , with an adherence to urban languages, to mass civilization, as essential elements for relating to the dimension of man, to his environment, to the ” sentimental education ” of art.<\/span><\/span><\/p>\n

_______________________________________________________________________________________<\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

MARTIN BORNER, FLAVIO DE MARCO, MARCO DI GIOVANNI, FABRIZIO DORI,\u00a0FANTASMAGRAMMA, ANTON S. KEHER, SIMONE\u00a0LUCIETTI, FEDERICO MADDALOZZO, STEFANO MANDRACCHIA, POLONA MAHER, ROBERTO MASCELLA, DARIO MOROLDO, ANDREA NACCIARRITI, STEFANO PARON, ARCANGELO SASSOLINO, SIMONE TOSCA Zilch \u00a0. OPENING:\u00a0\u00a0Saturday, 24\u00a0April 2004 – H.\u00a06.00 26\u00a0April 2004 – 30 May 2004 . Curated by ANDREA ZANCHETTA What orientation did abstraction undergo […]<\/p>\n","protected":false},"author":2,"featured_media":11371,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15],"tags":[140],"class_list":["post-11193","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mostre-en","tag-federico-maddalozzo-exhibition"],"yoast_head":"\nZilch - Artericambi<\/title>\n<meta name=\"description\" content=\"What orientation did abstraction undergo after Peter Halley? 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