FABIO BIANCO. - GALLERY BARBARA RUETZ - documenta13 - THEATRE BREMEN - NEWS 2013

Transcription

1 FABIO BIANCO - GALLERY BARBARA RUETZ - documenta13 - THEATRE BREMEN - NEWS 2013 N

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3 FABIO BIANCO N1

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5 Fabio Bianco Postmodern fables by Alessandro Benetti As underlined by Gabriella Serusi in her text commenting on the Fabulous Life pictorial series, Fabio Bianco is an exquisitely postmodern artist. The category of postmodernism has revealed itself from many points of view to be the most suitable for describing the foundations of artistic feeling, the particular approach to the objectival reality that they entail and the nature of the transfiguration process to which he subjects it. Serusi notes how the adventures of Fabio Bianco, though not referable to a single artistic movement, are similar to those of an entire creative class that was emerging in Italy in the middle of the nineties. The latter, in the words of Richard Florida, is the promoter of free and freed painting, exempt from the classic conformism of a means that is still subject to obsolete critical and aesthetic judgements. In effect, Fabio Bianco tackles the reality surrounding him with a joyful and even exuberant attitude, totally ignoring the moralism and feelings of guilt of so many previous generations of painters.

6 Compared with the inferiority complex towards the object (and photography) that afflicts them, often forcing them to apply mawkish effects of photorealism, Bianco responds with a propensity for investigation that forces us to look beyond the first impressions. Faced with the virtually infinite multitude of signs that present themselves before his eyes, he chooses to extrapolate a few of them: removed from the discourse to which they originally belong (or seem to belong) they lend themselves to the process of recombining the elements which is the preferred instrument in the artist s creative process. Bianco s unbridled eclecticism allows him at the same time to draw on the objectival reality and the images that represent it, while turning towards the recent history of art as if to a precious source from which to inspire himself freely. In this sense it can be said that what Bianco refers to is an indirect imaginary world composed of signs that have already been subjected to a first level of interpretation and rereading. This conscious amplification of the relationship between the object and its representation, in which Bianco s own canvasses participate for all intents and purposes, stands as an explicit criticism of the society of the image and of the media

7 bombardment to which it subjects people today. In the paintings of the Chandeliers series, for example, the chromatic and luminist choices make it virtually impossible to distinguish the boundaries of the space represented and it becomes confused with the many virtual spaces that decorate the walls. In the courageous attempt to evade the hyper-definition of highresolution photography, which mortifies the individual s imagination by addressing it peremptorily towards a univocal reading, Bianco seeks new spaces of freedom for the individual imagination. The imagination travels specifically in the territory of the limit, intended not as a 2-dimensional line that separates clearly defined ambits, but rather as a 3-dimensional field of exploration available to everyone s imagination. The brilliant chromaticisms, the scintillating lights and the perspective deformations in Bianco s canvasses combine to liquefy the materiality of the spaces in an oneiric dimension, on the limits between sleep and wakefulness, between the conscious and the unconscious, between the real and the fantastic (Serusi). The absence of exact coordinates inside the image requiresobservers to continuously redefine their position (physical andconceptual)

8 vis-à-vis the canvas. The effort of perception is repaidby the possibility of participating in the joyous chromatic symphonies that are Fabio Bianco s fables : and if, by definition, a fable is the narration of an invented fact, the paintings of Fabulous Life constitute the story of a similar number of fantastic and undefined spaces which everyone can interpret in accordance with their own sensibility. For the artist, Fabio Bianco s dreams are a source of regeneration and awareness which allows him to turn to the real with a fresh and original gaze. Indeed the Sculture Domestiche are the objectival fallout of his oneiric digressions and from their very names declare the desire to connect two different dimensions and restore the visionary potential of the sculptural art to the prosaic functionality of the instrument. Objects such as the Radio Rosa, all of whose components are in perfect working order, are unquestionably real but belong to a less obvious reality, one that is more colourful and, in a certain sense, a little more fabulous.

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11 Galerie An Der Pinakothek Der Modern BARBARA RUETZ

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27 Business plus, documenta (13) Kassel, Critical art Ensemble - Winning Hearts and Mind

28 documenta 13 The installation: an ironic and personal view of the economic crisis in the world, the birth of a new bank with investments in art, and where all listed companies have their stock prices rising with a positive sign.

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30 Neque millupit qui quisqui santi iusdaes idel mo endandam eiusae et fuga. documenta 13 Nem fuga. Nam vitatissit et as ditibus, ea venim numquatur? Opta eum dignihic temporecus a se voloritis accabo. Ut lit et ab invelici omnit, alignimustis erciust quos doluptam hiciis eostiae stiusci psandel iquiate mporrum exerume nemporum adis eatiunt omnis sit ente non eatem fuga. Te el magnihi litaspi dundus cum ilit eratqui ne eat modia il inum et, sin nobitius aut fuga. Harum, qui dolorporum nus, ad molor aut harchil ilibus sed mos mi, omnimusdae. Et quo dolorer cillecuptas et volor aperiosapis essequi volupidis eossit, odis ut quossitat ius quame volorit ommodit ut laborum veribea et odi ut re sed minverum et dus andaero vel magnient exerorro mostrum ipsus sequam latem venis mi, si quam desequa estrum saniminus ant. Licatiat. Alibus. Ati nesciatia in nimint odis dolo es imporenditia conet, cori consed maxim etur, quaspel lecus, to ipiendus eum esectem faccuptat. Eperum ex et aut illam am quistorem hariae. Nequi nes nonsequias et que sam sit aut que volorio optat hiciliae cus ant. Et alibus vellab invenimagnam rata dit autem es sum re nonemperum vendendis aboreius et rest, cus poressinum eius venis mi, quis velliat a enditem poriae dusda doluptam aut que nonem ad quos molutem expere vollignisi numquis aut molutat eculligent ipsantiusdae cuptae reheni ant esed magnimporae omnitium eaquia vellitiatus eum num explisto denisit atatem faceste volo mo tota quae. Te voluptatur mo il imporepudit velent omnimagnihil mincit quos ut renissi bea voluptate mincium re que inciat. Quibusa ndebitem culpa ium nes aboressit et fuga. Ma ium videliqui arum eat doluptatur rerspere accus con experum fuga. Itat. Udandani doluptas exped quia sectem. Nam volum elibus autem aut eost eicipic imagnatquam elesto odigenim suntini squuntio. Occusaecatis elestru ptistius aspissit, cullupta veliquides aut fuga. Officid

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32 Neque millupit qui quisqui santi iusdaes idel mo endandam eiusae et fuga. Nem fuga. Nam vitatissit et as ditibus, ea venim numquatur? Opta eum dignihic temporecus a se voloritis accabo. Ut lit et ab invelici omnit, alignimustis erciust quos doluptam hiciis eostiae stiusci psandel iquiate mporrum exerume nemporum adis eatiunt omnis sit ente non eatem fuga. Te el magnihi litaspi dundus cum ilit eratqui ne eat modia il inum et, sin nobitius aut fuga. Harum, qui dolorporum nus, ad molor aut harchil ilibus sed mos mi, omnimusdae. Et quo dolorer cillecuptas et volor aperiosapis essequi volupidis eossit, odis ut quossitat ius quame volorit ommodit ut laborum veribea et odi ut re sed minverum et dus andaero vel magnient exerorro mostrum ipsus sequam latem venis mi, si quam desequa estrum saniminus ant. Licatiat. Alibus. Ati nesciatia in nimint odis dolo es imporenditia conet, cori consed maxim etur, quaspel lecus, to ipiendus eum esectem faccuptat. Eperum ex et aut illam am quistorem hariae. Nequi nes nonsequias et que sam sit aut que volorio optat hiciliae cus ant. Et alibus vellab invenimagnam rata dit autem es sum re nonemperum vendendis aboreius et rest, cus poressinum eius venis mi, quis velliat a enditem poriae dusda doluptam aut que nonem ad quos molutem expere vollignisi numquis aut molutat eculligent ipsantiusdae cuptae reheni ant esed magnimporae omnitium eaquia vellitiatus eum num explisto denisit atatem faceste volo mo tota quae. Te voluptatur mo il imporepudit velent omnimagnihil mincit quos ut renissi bea voluptate mincium re que inciat. Quibusa ndebitem culpa ium nes aboressit et fuga. Ma ium videliqui arum eat doluptatur rerspere accus con experum fuga. Itat. Udandani doluptas exped quia sectem. Nam volum elibus autem aut eost eicipic imagnatquam elesto odigenim suntini squuntio. Occusaecatis elestru ptistius aspissit, cullupta veliquides aut fuga. Officid

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39 POSITIVE BUSINESS

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49 THEATRE GALERIE BREMEN

50 theatre bremen

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52 INAUGURAZIONE btuhthtbt bwbbhub htr bhtbhtbhtb grgjteigjtgijttj tthtjt gjtrgìergergoeogeoge grgejrgijgijtgijgitjgitjgijrtgijtrgijgijgirjgiej grokgorjgotrjgrjgijgitjgitjgitjgitjgijtgijtgijtigtjgit grtgtrgjtgjtigjtigjtigjtigjgijtigjtigjtigjtigjtigtig gorjgotrgjtogjtojgtojgtojgtojgtogjtogjtogjtog gotrjgotjgotjotjotjojtojtoe+gejg+ejgtojg+tg gpketoktogkeoktgoketgotjjtihjtjthjthjtihjtihjtih

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65 NEWS 2013

66 Neque millupit qui quisqui santi iusdaes idel mo endandam eiusae et fuga. Nem fuga. Nam vitatissit et as ditibus, ea venim numquatur? Opta eum dignihic temporecus a se voloritis accabo. Ut lit et ab invelici omnit, alignimustis erciust quos doluptam hiciis eostiae stiusci psandel iquiate mporrum exerume nemporum adis eatiunt omnis sit ente non eatem fuga. Te el magnihi litaspi dundus cum ilit eratqui ne eat modia il inum et, sin nobitius aut fuga. Harum, qui dolorporum nus, ad molor aut harchil ilibus sed mos mi, omnimusdae. Et quo dolorer cillecuptas et volor aperiosapis essequi volupidis eossit, odis ut quossitat ius quame volorit ommodit ut laborum veribea et odi ut re sed minverum et dus andaero vel magnient exerorro mostrum ipsus sequam latem venis mi, si quam desequa estrum saniminus ant. Licatiat. Alibus. Ati nesciatia in nimint odis dolo es imporenditia conet, cori consed maxim etur, quaspel lecus, to ipiendus eum esectem faccuptat.

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68 Neque millupit qui quisqui santi iusdaes idel mo endandam eiusae et fuga. Nem fuga. Nam vitatissit et as ditibus, ea venim numquatur? Opta eum dignihic temporecus a se voloritis accabo. Ut lit et ab invelici omnit, alignimustis erciust quos doluptam hiciis eostiae stiusci psandel iquiate mporrum exerume nemporum adis eatiunt omnis sit ente non eatem fuga. Te el magnihi litaspi dundus cum ilit eratqui ne eat modia il inum et, sin nobitius aut fuga. Harum, qui dolorporum nus, ad molor aut harchil ilibus sed mos mi, omnimusdae. Et quo dolorer cillecuptas et volor aperiosapis essequi volupidis eossit, odis ut quossitat ius quame volorit ommodit ut laborum veribea et odi ut re sed minverum et dus andaero vel magnient exerorro mostrum ipsus sequam latem venis mi, si quam desequa estrum saniminus ant. Licatiat. Alibus. Ati nesciatia in nimint odis dolo es imporenditia conet, cori consed maxim etur, quaspel lecus, to ipiendus eum esectem faccuptat.

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70 Neque millupit qui quisqui santi iusdaes idel mo endandam eiusae et fuga. Nem fuga. Nam vitatissit et as ditibus, ea venim numquatur? Opta eum dignihic temporecus a se voloritis accabo. Ut lit et ab invelici omnit, alignimustis erciust quos doluptam hiciis eostiae stiusci psandel iquiate mporrum exerume nemporum adis eatiunt omnis sit ente non eatem fuga. Te el magnihi litaspi dundus cum ilit eratqui ne eat modia il inum et, sin nobitius aut fuga. Harum, qui dolorporum nus, ad molor aut harchil ilibus sed mos mi, omnimusdae. Et quo dolorer cillecuptas et volor aperiosapis essequi volupidis eossit, odis ut quossitat ius quame volorit ommodit ut laborum veribea et odi ut re sed minverum et dus andaero vel magnient exerorro mostrum ipsus sequam latem venis mi, si quam desequa estrum saniminus ant. Licatiat. Alibus. Ati nesciatia in nimint odis dolo es imporenditia conet, cori consed maxim etur, quaspel lecus, to ipiendus eum esectem faccuptat.

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87 PAINTINGS INTERIOR

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107 FABULOUS LIFE Paintings

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114 Neque millupit qui quisqui santi iusdaes idel mo endandam eiusae et fuga. Nem fuga. Nam vitatissit et as ditibus, ea venim numquatur? Opta eum dignihic temporecus a se voloritis accabo. Ut lit et ab invelici omnit, alignimustis erciust quos doluptam hiciis eostiae stiusci psandel iquiate mporrum exerume nemporum adis eatiunt omnis sit ente non eatem fuga. Te el magnihi litaspi dundus cum ilit eratqui ne eat modia il inum et, sin nobitius aut fuga. Harum, qui dolorporum nus, ad molor aut harchil ilibus sed mos mi, omnimusdae. Et quo dolorer cillecuptas et volor aperiosapis essequi volupidis eossit, odis ut quossitat ius quame volorit ommodit ut laborum veribea et odi ut re sed minverum et dus andaero vel magnient exerorro mostrum ipsus sequam latem venis mi, si quam desequa estrum saniminus ant. Licatiat. Alibus. Ati nesciatia in nimint odis dolo es imporenditia conet, cori consed maxim etur, quaspel lecus, to ipiendus eum esectem faccuptat.

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119 PORTRAITS

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123 EXIBITIONS VIEWS

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133 FABIOBIANCO.COM

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