RETROSPECTIVE EXHIBITION OF PAUL Scirpo "My shadow suspended inside a Ludoscopio"
(G. Bonanno - visual poem dedicated to Paul Scirpo)
With
.
eyes
remain suspended
peering
enchanted
the shadow of
nothing
greedy through
spaces insubstantial unknown to me,
try not to place
to cling to shreds of light.
Travel between uncertainty and transience
now becomes untenable.
As a Dynamo my essence fickle
breaks and penetrates into the void.
now are just light
and incessant occurrence,
fragment in flight
energy and also suspended.
In the silence
more absorbed
and restless
discover
amazed
to be
also
hours.
Giovanni Bonanno © 2010
"UTOPIA PRACTICABLE"
Presentation of John Bonanno
Art has always lived the cognitive dimension of various research and discoveries that are "filtered" by the artist compared and sublimated into something we call "creativity." The artist is primarily a manufacturer of immagini che vengono fuori dalle nuove scoperte della fisica e di tutte le scienze in genere; deve per forza leggere in profondità, dentro una complessità del sistema socio-culturale. La produzione creativa, pertanto, risente di questi fattori a tal punto che n’è altamente condizionata, per cui, produrre al di fuori di queste coordinate non ha alcun senso. Sono sempre più convinto che l’artista di oggi ha bisogno di indagini sempre più di tipo sociologico e scientifico se vuole approdare a rilevamenti di una certa consistenza e sostanza culturale. Questo modo di procedere è stato compreso da subito da Paolo Scirpa. Tra il Settanta e gli anni Ottanta, il lavoro dell’artista siciliano si collocava già in linea con diverse research and contemporary international trends and its position was independent and unique compared to the proposals made in Italy by several people who ventured into the art highly influenced by the market situation, the easier and the provisional findings regarding the time for merely speculative. Starting from an initial interest futurist and dada, he finds himself in the sixties to further research the most significant of the period, from "primitive" concepts of space research to the perception of Fontana Albers and from there to Kinetic. On the one hand, the optical research and perceptive and the other the new poetics of the New Realism of Pierre Restany. In more than 40 years of research, the artist has ever limited his vision to propose a monotone, indeed, has investigated a wide range of different possible solutions to accommodating and very surprising. I refer to the use of different techniques such as etching, painting geometric optical impression, painting phosphorus played on double perception, to the utopian projects in the area. In fact, after the "Ludoscopi" in the eighties she began producing a series of intervention projects in the territory using the montage with placement of artificial elements in the usual fabric of reality. Assumptions clear, this, a search of'impronta utopian "in which the real is metaphorically broken from signals, interferenze e presenze al neon “dis-equilibranti”. Anche in queste nuove opere, come i “ Ludoscopi”, l’elemento visivo “destabilizzante”, proposto ora in una dimensione più amplificata, altera il normale rapporto costitutivo; nasce la sorpresa, la meraviglia, lo stupore. In definitiva, non sono altro che interferenze eversive per costringerci a riflettere, elementi provvisori che tentano di “destabilizzare” un ordine consueto e accettato per normale. In tal senso, questi accadimenti ripropongono l’esigenza di una presa di coscienza; ancora una volta l’osservatore è costretto a darsi una motivazione logica. In tutte le sue proposte di lavoro, l’artista ha immesso, ever, these suggestions are of critical reflection and moral will, suggesting also the most convenient way to find and go totally without enduring it. With projects of intervention in the territory "there is a need to analyze in a shiny new key investigative personnel and its poetic vision and another report using a different dimensional scale to verify the feasibility of the thing proposed. All the work of Scirpo may be due as part of a larger project that might call "practical utopia," that area of \u200b\u200binquiry "im / possible" within the limits of disciplinary boundaries, in a fertile and happy kind of contamination since the project focuses on poetic and utopian surprisingly started to Como by artists of great interest as the great futurist Antonio Sant 'Elia, Francesco Somaini and Ico Parisi, who has investigated this practice in different ways yet to be fully present and contemporary. We only notice that we feel we do a certain militant criticism is that he omitted to another matter of contemporary work and parallel projects of intervention for a long time I am referring to the use of Mail Art, starting at least from 1983 until to 2007, which saw Scirpo this a long series of international exhibitions, (this is verified using the data of monograph M. Meneguzzo, Mazzotta Ed.), suggesting its Ludoscopi and photomontages. Mail Art is essentially the creative freedom and pure invention, without any conditions, without any coercion. Mail art is also contamination of ideas, discussion and sharing of new ideas, but especially large and undefined concept of experimental laboratory and planetary research.
For Scirpo, this practice of mail art was needed to meet particular conditions for its original research, there is the moment of the free trial of the issues addressed in comparison with other companies in the world (the global laboratory network) and also the time of implementation of interventions tested and experimental research staff in the circuit of so-called official. Even today, one has to consider the injury interventions in the mail art as a practice entirely secondary or unnecessary, while we believe that to understand the actual extent and full of him, even this aspect of his work needs be investigated and analyzed extensively.
For the full text critic to Paul Scirpo visit: http://giovannibonanno.blogspot.com/2010/10/mostra-retropettiva-di-paolo-scirpa.html
L'INTERVISTA
PAOLO SCIRPA: ALLA RICERCA DELL’INFINITO
G.B. Come nasce P. Scirpa artista, quali sono le origini della sua ricerca?
P. S. Ho iniziato a studiare pittura fin dall’adolescenza. Dopo aver completato gli studi artistici, ho soggiornato negli anni Sessanta in diverse città europee, approfondendo la conoscenza delle Avanguardie storiche e frequentando per molti anni le officine grafiche di Salzburg. It is in this cultural environment that I met Oscar Kokoschka emphasized the importance of space and light in the artwork. As a young man I went to the studios of artists and architects, visiting exhibitions, museums and art circles.
The idea behind my paintings and plastic ideation was always that of a central base from which everything converges and diverges. Through the knowledge of art history (eg. The Manifesto of Boccioni and cinevisuale) and science are gradually shifted to translate my needs, using light as the autogenous neon tube, and with the help of the mirror, creating space- simulated light forever.
GB For any creative work of research or just rely on technology alone will have to investigate all-out taking into account the different working hypotheses?
PS must investigate and consider all the assumptions that mature in us and around us. I was always fascinated and attracted by a conscience experimental attention to inventions, new techniques. I think we need to filter with critical awareness to grasp every idea for those forces within himself that, translated into signs or pictures, determine its own identity.
GB
the beginning what was the art scene in the sixties in Sicily?
PS At the beginning of sixties, the situation in Sicily, has been accepted as a good standard, it was not easy for me. The atmosphere at the time it seemed that in the not permit to see more, so it became necessary to maintain contacts with artists from other environments and cultural backgrounds that led me to the decision to move to Milan, a city more suitable for the contacts, especially in Europe. Today I consider this important choice and positive, despite the difficulties encountered.
GB What cultural atmosphere breathed in Milan in the 70 and 80 compared to now?
PS It was not an easy situation: they were years of social transformation taking place because of a dispute that lasted for a long in the seventies. Everything was in crisis and questioned. He felt an intense cultural ferment that allowed contact with artists considered historic. He felt the presence of Lucio Fontana, missed a short time before my arrival in Milan, the force of his work was well established in many artists who had known him. His conception of space gave me a strong push to look confidently forward. Today the weather seems to me quite different. Everything is back to an apparent serenity, where the free spirit and industrious in his silence is not easy to insert and cultural spaces are structured, it seems to me, in areas of power and the market. The ideas of the new generations with extraordinary means I often seem to lively and surprising.
GB Futurism Dadaist and experience were the two essential moments of his poetic journey that has enabled it to land in the seventies to produce substantial results in line with all investigations of international research. He tells me how did the series of "Ludoscopi" and the proposed "consumer Megalopolis."
PS For several years my paintings tended to be structured on an abstract plan of the city (the series of Habitat), and my experience on the ground path from the Manifesto of Boccioni, from Dadaism, Pop Art, the New Realism and why not by Patafisica has gradually moving towards more activation image by creating visual compositions - polioggettuali and the use of various materials. In '72, using boxes in use of various products of our civilization, I presented the Megalopoliconsumistica as social commentary. Since my research based on a strong drive perfect and having the need to express the values \u200b\u200bin my work, I felt the need to rework the consumer Megalopolis, stripping it of its meaning ironic artificial city. The primary structures that already exist within it, became signs - neon light, a geometry processing of primary forms today. In my
ideation plastics, light becomes a real tool writing space where space is an accumulation of various propagation of light. I tried different solutions of the optical volumes: from the cube, parallel to the cylinder. I made curved spaces that are connected, wells in which the light tubes degrade a true abyss illusory cubic structures feasible. In addition, my hypothetical idea of \u200b\u200bneon lights illuminate the stairs of the auditorium of the Greek Theatre of Syracuse is found in the concentric circles of Ludoscopi. Contemporary
GB to "projects of intervention in the territory" is participating in several international projects of Mail Art in the global circuit, otherwise, parallel and convergent, to do research to 360 degrees. How did those in anni l’interesse per la Mail Art , e se tale esperienza, ancora in atto, è da considerarsi solo marginale rispetto ai lavori realizzati nel circuito dell’arte cosiddetta “ufficiale”.
P. S. Negli anni ’80 Ray Johnson e le operazioni di Mail Art che ritengo importanti laboratori in progress di ricerca internazionale e di idee spesso sorprendentemente originali, hanno suscitato in me un interesse tuttora vivo. Le tematiche che mi venivano proposte da varie parti del mondo erano
stimolanti e le sentivo come sprone a una nuova dimensione. Avevo già l’esigenza di rapportare le mie opere di luce con l’ambiente. Il mezzo postale permetteva di comunicare con ogni parte del mondo, così nacque in me the great idea to pass on simple postcard with a collage of architecture, urban landscapes, etc., the images of my works of light as a message of peace.
then considered the idea of \u200b\u200bcollage enlarge these, then read a number of projects in the existing intervention, which of course I've come up with pictures made by myself.
GBIn occasion, his poetic work was read in error as a pure and simple perceptual research divorced from moral and spiritual reasons, which we believe is the key component to truly understand all the work done by you in different years. What do you mean by infinity?
PS 's true. My research work is also perceptive, which, in itself, it seems important, but consider it as a fundamental support which allows me to give content to the expansion of light. The idea of \u200b\u200binfinity has always made me think and was the motive of my work. So the depth of the fictitious ludoscopi become the means and message at the same time as trying to chase a beauty ideal and the infinite that is within us.
GB E 'correct to think that after the practice of "light boxes", "projects of intervention in the territory" and the practice of mail art, with the latest work, for example, “Il teatro e il suo doppio del 2009", lei ha un urgente bisogno di confrontarsi con lo spazio del paesaggio reale e non soltanto virtuale e metafisico. Cosa ne pensa?
P. S. Per la loro stessa natura i Ludoscopi dovrebbero dialettizzarsi con uno spazio più ampio e caratterizzato, dando un respiro più profondo all’ambiente preesistente e al mondo il suo nuovo senso con una nuova architettura concettuale.Con gli ultimi lavori, come ad esempio Il Teatro e il suo doppio, ho avvertito la necessità di utilizzare nuovi materiali, marmo, legno e la realizzazione programmata al computer: una stupefacente sorpresa per me nel vedere l’eccellente risultato. Tutto questo rimane come archetipo, ma sarebbe auspicabile per me superare l’utopia to create a similar work, where the idea of \u200b\u200bLudoscopio remains intact at the base, perhaps a new monument for the show tomorrow, designed for the theater inside and outside at the same time imagining large-scale performances with choreography.
GB artistic quest of young people today is somewhat monotonous and uniform guidelines group pre-tax, see the striking example of the young Chilean Ivan Navarro (Chile 1972), which exactly duplicated the research carried out in many light years her, with the presumption to pass it for her and presenting it in a big cultural event such as the 53rd Venice Biennale in 2009 (Chilean Pavilion) ben sapendo che tali proposte creative erano già state formulate e documentate oltre trent’anni prima. Una similitudine di intenti che ha fatto pensare, persino, ad un “omaggio” alla sua interessante ricerca piuttosto che di una nuova e seria proposta poetica. Cosa consiglierebbe ad un giovane artista che decide oggi di approdare al mondo dell’arte?
P. S. Consiglierei di praticare la manualità artistica, di approfondire la conoscenza storica e di essere a contatto diretto con altri artisti, sperimentando a costo di sbagliare, pronti a ricominciare. Vorrei raccomandare di saper cogliere nel proprio intimo quelle sollecitazioni che, tradotte in segni, determinano una propria identità e, con etica professionale, never to be followers.
Giovanni Bonanno
PAUL Scirpo / BIOGRAPH born July 5, 1934 in Syracuse, since adolescence she studied painting at the local school art, continuing after gli studi artistici a Palermo ed a Catania. Soggiorna negli anni Sessanta in diverse città europee, approfondendo la conoscenza delle avanguardie storiche. Frequenta per molti anni le officine grafiche di Salzburg alla Kunstlerhaus ed alla Internationale SommerAkademie fữr Bildende Kunst culturalmente animata da Oskar Kokoschka; riceve il Premio della città per la litografia e vi incontra John Friedlaender nel cui studio successivamente lavorerà a Parigi.
Nel 1965 partecipa alla IXa edizione della Quadriennale Nazionale d’Arte di Roma. Nei primi anni della sua attività propende verso un espressionismo lirico già preoccupato dalla sintesi formale. Il suo impegno è di offrire un contributo umano ed artistico rispondente al proprio tempo. Nel 1968 si trasferisce a Milano dove sarà, più tardi, titolare di una Cattedra di Pittura all’Accademia di Belle Arti di Brera. Tiene una sua personale nel ’69 a Milano, alla Galleria l’Agrifoglio, presentato da Vittorio Fagone, nel ’70 ad Amsterdam, Galerie De 3 Hendricken , nel ’74 a Bergamo, Galleria Fumagalli ed a Salzburg, Galleria Achleitner. In questo periodo i suoi interessi spaziano dalle ricerche del Nouveau Réalisme di Pierre Restany alla Pop Art.
Nel 1972 presenta alla mostra “L’Oggetto Posseduto”, presso la Galleria San Fedele, un’opera di denuncia sociale, ”Megalopoli consumistica”, incentrata sull’assemblaggio di una large amount of disposable containers and wrappers. Subsequently, Dorfles publish the image in his book "The interval Lost", published by Einaudi. Scirpo draws also from the Technical Manifesto of Futurist Sculpture Boccioni, who had theorized the possibility of use of electric light in the artwork and links to art optics experiments, focusing on basic values \u200b\u200band plastic on issues of perception. His research is oriented towards a dimension in which the color is no longer painting, the volumes are no longer carved in size they become characters, and assets to a spectacular time, the primary elements of light and space. Around alla metà degli anni Settanta, Scirpa avvia dunque la realizzazione di opere che vengono definite da Carlo Belloli, in un suo approfondito saggio critico, “ludoscopi”, sculture che, per mezzo di un sistema di specchi e di luci al neon e tramite il gioco combinatorio di elementi essenziali - minimali (quali triangoli, cerchi, quadrati), propongono la percezione di spazi abissali, di profondità illusorie. Opere di grande suggestione e di immediato impatto visivo: in esse la luce non è più un elemento raffigurato, ma è opera essa stessa, generata dall’interno, che crea fughe prospettiche all’infinito, “veri iperspazi-luce”, in cui “si pratica l’abolizione del limite tra il reale e l’illusorio”, come nota Corrado Maltese, che nel 1981 lo segnalerà per la Pittura sul Catalogo Nazionale d’Arte Moderna Italiana Bolaffi, edizione Giorgio Mondatori e Associati. Al posto dei tradizionali segni della pittura si ha la generazione di segni/luce, segni/colore, che ci fanno affacciare su spazi vertiginosi, virtuali.
Sono anni in cui Scirpa conosce esponenti del MAC , tra cui Bruno Munari, che scrive sul suo lavoro evidenziandone l’aspetto ludico ed entra in contatto con i gruppi dell’Arte Ottica e Cinetica, come il GRAV a Parigi o il Gruppo T a Milano. I suoi spazi virtuali sollecitano l’attenzione anche di studiosi dei rapporti tra arte e scienza, tra cui il cibernetico Silvio Ceccato, so has the opportunity to reflect on the mechanisms of human thought and some scholars who publish its plans for space-light as Roberto Vacca, in his essay "Designing positive environmental impacts" on the VIA magazine, Giorgio Prodi, in his lyrics " The mechanisms of the mind "on the Sun 24 hours and Carmelo Strano in" Reflections Art and Techno Art "magazine on the ark.
Since 1977 his works are annually until 1991, in the kinetics of Salon Grands et Jeunes d'aujourd'hui "at the Grand Palais des Champs-Elysees in Paris.
eighties develops his first project interventions on the territory through montages, simulate Scirpo the inclusion of monumental ludoscopi and their vertiginous vanishing within landscapes, buildings, monuments, cities, archaeological sites.
In 1982, the Symposium of Sculpture in the city of Caen (France) chooses his plan for a ludoscopio that is installed permanently at the Bibliotheque Municipale. In 1983, on the occasion of Leonardo, he makes a review of its work and found a number of principles in the Code of the Atlantic on the reflection of light that can be found in his ludoscopi: change of course means, transparent mirrors and neon lights. In 1984 two solo shows in Japan Nishinomiya Koshienguchi Iida and Nagano. In 1985 he joined the manifesto Scirpo Dedicated to Charles Belloli "operational guidelines of the new visualization", participating in the first group exhibition took place in the halls of Arts in Milan and Struktura subsequent manifestations of this new trend of communication inoggettiva in the same year joined the association AST (Arte- Science-Technology) in Rome attending the exhibition at Palazzo Venezia "Artists today between science and technology", edited by Corrado Maltese and other events on the same subject, reported by Bruno Munari, participates in the exhibition "The thing invented" Seibu Art Forum Italian Fair , Ikebukuro in Tokyo, Osaka, and later in Milan. In 1986, the exhibition Art-Science-Technology International Biennale di Venezia, designing an intervention of his ludoscopio be included on the so-called tomb of Archimedes at Syracuse. In the same year held several solo exhibitions including at Vismara Arte and Arte Struktura Gallery, Milan and the Palazzo dei Diamanti in Ferrara. In 1987, presents a retrospective at the Galleria Civica d'Arte Moderna in Gallarate.
In 1990, during the 125th anniversary of the Politecnico di Milano, Rossana Bossaglia invites him to submit his work to the CNR as a contribution to a symposium sponsored by UNESCO for "New technology and art - scientific roots of aesthetics ". It is also present in shows on Patafisica and in 1993 in Osaka Foundation of Culture, the International Triennial Competition of Painting , nel 1995, a Bologna, alle mostre “Utopie della città – La città virtuale” presso palazzo Sanguinetti e “Arte e Vita Artificiale” presso il Futur Show. Nello stesso anno presenta il suo lavoro con una mostra in occasione del convegno “Arte + Scienza – Mutamenti indotti dalle nuove tecnologie nell’arte contemporanea " presso l’Accademia di Belle Arti di Brera a Milano. In alcuni ludoscopi egli idea raccordi illusori che creano uno spazio plastico curvo; in altri il raccordo seminterrato è praticabile; in altri ancora, di struttura cubica, la multispazialità è data dalle fughe prospettiche all’infinito, visibili da ogni first, that intersect on the diagonal of the cube itself.
in 1996 created a mosaic taken from the electronic processing of the 'Annunciation by Antonello da Messina at the Museum of Palazzo Bellomo in Syracuse and in the same year he held a new exhibition at the Galleria San Fedele, "Routes communicating," by Marina De Stasio. In 1998 he presents his ludoscopi during transmission RAI "one morning" and take part in Bagheria exposure to the "Museum" - Centre of Contemporary Art in Sicily. In '99 he held another solo show at the Arte Struktura Gallery, Milan, "The plasticity of light" by Andrea B. Del Guercio with photographic interpretations John Ricci. There is a lot of other shows and exhibitions including, in 1999 in Taegu (Korea), "99-Milan Taegu Arts Exhibition" in 2000 at the XIII edition of the Quadrennial National Art in Rome (Projections 2000 - Space the visual arts in the multimedia company), Seoul (Korea), Museum of Modern Art "Brera in Korea," International Projections of the Brera Academy in Milan and the world at the invitation of Luciano Caramel, the Rotary Club Milano Scala Oval Rotarians "and in 2001 the exhibition" Matter Mother 3 - Technology "by Claudio Cerritelli and Massimo Torre Colombera Bignardi at the Foundation of Gorla Maggiore (VA) in Milan Accademia di Belle Arti di Brera "Horizontal vs. Vertical" in Pieve di Cento (Bo) at the Museum G. Bargellini the exhibition "Generations 30 years" by Giorgio Di Genova.
complete the project in 2002 to install a mobile work archetypal neon lights of the Greek Theatre of Syracuse, on a scale of 1 / 10 in 2003, is to "Blu events" of the Cultural Arc and the source of Syracuse and Cadoneghe (PD) to "Art built", the Museum Umbro Apollonio di San Martino di Lupari by Malek and George Pansera Segato. In 2004 he held his solo exhibitions at the Art Gallery of Milan Vismara "Painting and the object kinetic and the Library of the Academy of Fine Arts of Brera "Utopias of the city" curated by Claudio Cerritelli. In the same year he participated in Fabriano in the event "In a sign of solidarity" by Di Domizio Durini designs and the setting in the city of Syracuse to two sculptures in steel mirror, whose sketches had been made since 1987, the ' a "The burning mirror" opera mobile devoted to Archimedes, the other "Star Light" dedicated to Saint Lucia, and is present in 2005 in Pennsylvania (USA) at the VI Biennale d'Arte Sacra traveling "Jacob's Ladder" in 2006 to display " the centenary of the CGIL "in Syracuse and in Mantua and was invited to the 45th Prize Suzzara" The Future of Tradition "by Claudio Cerritelli and the exhibition" Sicily "at the Galleria Credito Siciliano Acireale by Marco Meneguzzo in Milan to "Winds over one hundred" years of here in Verona "Verona Art '06", stand Valmore Art Studio Vicenza in 2007, presents him with a solo retrospective in Vicenza and at the same time MiArt 07 in Milan.
Scirpo Paul has also produced works for public spaces and churches and is present in many public and private collections. He recently made the ludoscopi of neon light, permanent installations in the Church of Our Lady of Divine Weeping in Venlo, The Netherlands, Milan, designed by the architect. Razzini Carlo. In the same church for several years he played with the temporary facilities "pastoral guidelines" by Cardinal Martini.
In an eclectic period like ours, which also allows the phenomena of self-review or past experiences, Scirpo is now offering its courses to prospective space-light, recovering consumerist language of his first complaints of the medium or the experimental one, thus forming so the user faced with new experiences to think about. His research also tends to paint a materiality and space no longer simulated but represented.
lives and works in Milan where he studied in Via Federico Chopin, 99, CP 20141, tel. fax 02-57404737
and e-mail: paoloscirpa@virgilio.it
monograph published last
The monograph, recently published Mazzotta by the publishing house, about two hundred documents with color images and black and white the intense production of Paul Scirpo. Contains extensive critical introduction by Marco Meneguzzo (Optics infinity in both Italian and English), a selection of Paul's writings and a rich Scirpo critical anthology (Anthony Bird, Gabriel Mandel, Vittorio Fagone, Pedro Fiori, Carlo Munari, Domenico Cara, Roberto Sienese, Corrado Maltese, Miklos N . Varga, Demetrio Paparoni, Carlo Belloli, Marco Meneguzzo, Dorfles, Silvio Ceccato, Bruno Munari, Alberto Veca, Luciano Caramel, Annette Malochet, Richard Barlow, Pierre Restany, Daniela Palazzoli, Rossana Bossaglia, Carmelo Strano, Francesco Poli, Marina De Stasio, Cesare Chirico, Maurizio Vitta, Antonio Musiari, Andrea Del Guercio, Giorgio Di Genova, Flaminio Gualdoni, Francesco Poli, Claudio Cerritelli, Giorgio Seveso, Danielle Lussier, Emanuele Zucchini, Geneva Bria, Ornella Fazzina).
REVIEWS
Scirpo Paul lives in Milan. His work has always been reaching out to a soul searching out of any bond of belonging. Since the 70 is changed from a two-dimensional iconography to the modularity of a space object that the light and the mirrors become polioggettuale. His research is directed towards a dimension in which light and space and become protagonists intangible spectacular. The artist is concerned to represent not so much real light as the light "ideal" that the idea of \u200b\u200binfinity and therefore uses the means at its disposal, light tubes and mirrors. Realize Ludoscopi, three-dimensional works that propose the fictitious depth perception, real-hyperspaces light that has abolished the boundary between the real el'illusorio. B. Munari highlights too playful. Its virtual spaces call the attention of scholars of art and science. Over the years, also produces great works of consumer complaints, installations and paintings that are almost a two-dimensional representation of Ludoscopi. In the 80s developed the first project interventions by entering its luminous chasms in various architectures. For years it has shown at the Salon Grands et Jeunes d'aujourd'hui, Paris, then to the IX and XIII Quadrennial in Rome and recently at ZKM in Karlsruhe and In addition to the Neue Galerie Graz His works are in museums and collections. It 'was a lecturer at the Accademia di Brera.
The INFINITY OPTICAL Marco Meneguzzo
(...) The "Ludoscopi" are three-dimensional works, illuminated by neon geometric elements, carried out since 1972 - at the same time, that is, the survey of consumers - and over the years have been accompanied by a series of works - oils and acrylics on canvas - which seem to be the portrait of the two-dimensional representation. Since the first "Ludoscopi" the artist has substantially reduced to three geometric shapes - square, circle and the triangle - the whole alphabet, and moves these forms, repeating endlessly in the mirror in space is a real space, because the work is three dimensional, the light is generated by a light instrument, but continues to be, also, a mimetic space, represented nearly two-dimensional. It essentially illusory. Just Scirpo pointed out to me recently, surprised at this recognition (knowing again, see what you had already seen), as in concentric circles of neon we find the shape of the staircase, the steps of the ancient theater, the greek theater, that theater that he had seen, indeed lived, a native of Syracuse, as if imprinting indelibly transformed a culture in biology, DNA ... The form chosen is multiplied into a series of translations and intersections further suggesting a potentially infinite space, well beyond the actual physical size of the work. In this sense, the choice of using a real instrument like the bright neon seems natural, because supported by an inner necessity and ideal: it is a real commitment to the deeper reasons for a search that, for Paul Scirpo, is that of light as a unifying element of reality (if we were a bit 'more religious, we could say "creation", as perhaps he would say).
(...) Paul Scirpo posed, and poses the problem of transcendental even "light", whose real light - produced with the tools that he also uses - is not a reflection. As if to say that what interests him is the perfect lighting, and to assert this interest, and the importance of the light for himself and for the interpretation of the world that it is done by the artist, is willing to meet with poor concrete means that the world offers, it being understood however that these means are not the shadow, the principal, imitation, reflection, indeed, that of greater meaning.
In this sense, So Scirpo belongs entirely to the tradition, even a medieval tradition, that, so to speak, who had the light not only on an optical-perceptual, but mystic: one could say then that Scirpo is much closer to Fra Angelico not to Lazlo Moholy-Nagy! Assuming this perspective, all that it comes together in a continuum that fully justified, for example, peaceful coexistence between painting and neon: it is no longer, in fact, replace the "what" - that is the painting that imitates light - with the "real thing" - that is, with the neon light that is otherwise true - because both these situations do nothing but remember that transcendent light which we want to talk Scirpo, and that both these instruments, painting and the most technological of superheated gas that produces a natural light, are nothing but the ghost visible representation. Moreover, it could perhaps be even more overturn the hypothesis of Scirpo research suggesting that even light is his ultimate goal, but this is hidden "behind" the light, and the idea of \u200b\u200binfinity. This would explain, for example, the naturalness with which the artist uses the reflective surface is in the cycle of so-called "consumerism", both in the long line of "ludoscopi" and in some previous experiments, the early seventies, in which he painted on slabs of highly polished steel: after all, he suggests reading this on several occasions, when such claims, just a short text explanation of the "ludoscopi" that "infinity in the simulated space is an idea that has long nurtured my thoughts and my inner dimension" (...)
Linear fluorescent
PAUL Scirpo
The important research conducted between 1964 and in 2009 by the Italian artist who has his works in depth with the possibilities of perception of physical and illusory light. Works that
sembrano delimitare uno spazio, invece ci trasportano in prospettive diverse create dal vuoto della luce [ ...] Domenico Nicolamarino
Al suo lavoro hanno dedicato saggi ed annotazioni critiche: Riccardo Barletta, Pietro Bay, Carlo Belloli, Luigi Bianco, Giovanni Bonanno, Guglielmo Boselli, Rossana Bossaglia, Domenico Cara, Luciano Caramel, Silvio Ceccato, Claudio Cerritelli, Cesare Chirici, Andrea Del Guercio, Mario De Micheli, Marina De Stasio, Gillo Dorfles, Vittorio Fagone, Ornella Fazzina, Pedro Fiori, Carlo Franza, Luca Frigerio, Carmelo Genovese, Aldo Gerbino, Flaminio Gualdoni, Annette Malochet, Corrado Maltese, Gabriel Mandel, Giuseppe Martucci, Giorgio Mascherpa, Marco Meneguzzo, Bruno Munari, Carlo Munari, Antonio Musiari, Daniela Palazzoli, Demetrio Paparoni, Francesco Poli, Pierre Restany, Roberto Sanesi Segato Giorgio, Carmelo Strano, Luigi Tallarico, Terrosi Carlo, Maria Torrente, Anthony Bird, Miklos N. Varga, Alberto Veca, Francesco Vincitorio, Maurizio Vitta. The artist has recently participated in the Exhibition Abstraction Sicilian 1945-68, with works of thirty leading exponents of Italian abstract art, curated by Marco Meneguzzo. Factories at Chiaramonte of Agrigento. "All material on this site is protected by copyright,
