Gaspare Manos – THE PURPLE SERIES PAINTINGS AND DRAWINGS 2010-2013

THE PURPLE SERIES

PAINTINGS AND DRAWINGS 2010-2013

The Serie Violet
PAINTINGS AND DISGEGNI 2010-20132

PROJECT TITLE: PINOCCHIO TOWER OF BABEL

CORPORATE SPONSOR: FONDAZIONE RUSTIA‐TRAINE, TRIESTE

CURATOR: ELISA HALLEUX Ph.D. Professor . art historian, Università 'La Sorbonne, Paris.

 

Professor. Dr. ELISA HALLEUX – The Serie Violet :

GASPARE MANOS - PURPLE SERIES NO. 3

GASPARE MANOS – PURPLE SERIES NO. 3
150X160CM olio su tela
2010-2013 Private collection.

"An image and 'one where the past meets the present in a flash to form a constellation». This thought of Walter Benjamin's operatives beautifully translates the essence of the work of Gaspare Manos.
This artist and all his works reflect an "encounter"

GASPARE MANOS - PURPLE SERIES NO. 3

GASPARE MANOS – PURPLE SERIES NO. 3
– 150X160CM olio su tela
2010-2013 Private collection

Meeting, to begin, between different places : universes, culture, Also many languages, His paintings are included in the. L’anima di Gaspare Manos e’ vagabonda, itinerant, and 'precisely this diversity', in this amplitude, in this endless opening words, that it finds its units'. Since its infancy, the artist travels the world, and in his paintings Venice and Africa touch without ever colliding : the distant echoes of the painterly touch of a brisk Tiepolo mingle with powerful forms that recall the property is' majestic and serious of African masks. Cosi’ pure certe figure femminili dalle curve marcate, even exaggerated, evoke archaic goddesses ; but these women of the age 'past are flanked by cherubs' heads Baroque curls, or silhouettes schematic , throw down 'with a few quick strokes and precise, that seem to come from a comic book.

Meeting, accordingly, distinct periods of : survival, or the return, a refinement of all aristocratic, very Settecentesca, comes with one modernity 'radical, visible in the essential trait and its aesthetic choices. While the language of art, perfectly assimilated and dominated, antiquity 'and the Renaissance - Michelangelo, especially, of which we can recognize certain poses such as Slave in the Louvre, or the Genius of Victory, or David – is to feed your imagination of a density 'figurative exceptional.

GASPARE MANOS - PURPLE SERIES NO. 9

GASPARE MANOS – PURPLE SERIES NO. 9
– 162X114CM olio su tela
2010-2013 Private collection

Gaspare Manos free and breaks the mold in his compositions bypassing any classical conception of space. Another sign of his contemporaneity ', the many cartoons or "sequences" represented in his paintings defy any logical chaining temporal. Everything 'and' left open : the viewer decide to see what he creates a resonance.

Meeting, then, of the figurative and the abstract. The works of Gaspar are regularly punctuated by the rhythm of lines that go up. Verticality 'and upward motion are found both in its descriptions of the city', as in his portraits, in its allegorical inventions and his abstract works.

GASPARE MANOS - PURPLE SERIES NO. 4

GASPARE MANOS – PURPLE SERIES NO. 4
– 150X160CM olio su tela
2010-2013 Private collection

Meeting, finally, color and stretch, as in this Series Purple , extensive set of drawings done in oil on paper or canvas. The strong graphic appearance of un-esclcude a great attention paid to the effects of matter. In definitiva, the unit 'among all these designs that blend places, subjects, temporality 'and scales of size , is given by a color - purple - which is itself the result of a synthesis. Meeting of the Blue Pointing the spirit, spirituality, the purity of a line freed from all material heaviness, and a red that makes you feel intensely emotional dimension, so passionate and carnal 'meaningful in this series, is the color that brings continuity in the discontinuous. Without the original, the color plays a fundamental role in the structure of the work - a role usually reserved for the design.

GASPARE MANOS - PURPLE SERIES NO. 10

GASPARE MANOS – PURPLE SERIES NO. 10
– 120X80cm oil on cardboard
2010-2013 Private collection

 

L 'meeting, it can be seen, thus takes into Gaspare Manos form ambiguous alliance of opposites. The Series Viola and 'fraught with this issue. The artist entrusts us, to resume his own words, a question mark on the world, on the identity 'of things and beings. But his search for a personal form of truth ', or authenticity '- research which we can see the character tireless through the incessant repetition of certain motifs, image of a spirit constantly seeking – this search for what 'is under, of what 'goes beyond' the appearances, the fictitious, illusion, paradoxically passes through the staging of a lie subdued. Pinocchio thus becomes' a ubiquitous figure : like a recurring dream and disturbing, returns from one canvas to another, to cast doubt on the carefree youth of this' naked and love that is offered to our eyes. Similarly masks, under the appearance of faces in which one eye and 'open and another, and' closed ( No leakage) disturb the effervescence and unleashed erotic figures - embracing couples, women who have, young sensual - with multiple variations that animate many of these drawings.
The strange Arcadia that presents itself before and 'an invitation to reflect on our way of being in the world.

ELISA HALLEUX Paris 2013

1. INTRODUCTION
The project proposed by the Italian Gaspare Manos (1968) for an exhibition in the city 'of Venice during the 55. International Art Exhibition 2013 (referred to hereafter as the Biennale) PINOCCHIO is titled TOWER OF BABEL SERIES PURPLE and includes works by the artist executed in the period 2010-2013 exposed for the first time in this exhibition.

The project has as its main objective the presentation of works on canvas and cardboard made with the idea of ​​then present thereafter a large ceiling painting on canvas (40m2) to replace the 700 'painted by Francesco Fontebasso (1707‐1769) Duodo Palace in Santa Maria del Giglio (San Marco), Venice, and went missing for almost a century.

Once painted, would be the first major new ceiling performed in Venice in two hundred years, after so many sold and lost, just as the Banquet of Cleopatra of which only a black and white photo of Naya. The ceiling has to be proposed as a form upward architectural structure that lends itself to the concept of Babel. Maintaining the original architectural structure, the artist has the intention to live in a vortex upward a series of memories, people and objects of his inner world - a world that has created drawing on the diverse realities' lived in (Asia 1968‐75) (Africa 1975‐82) (Europe 1983-present).

2. WHY 'BABEL AND PINOCCHIO ?

As we know, the story of Babel explains the confusion of tongues due to the variation of human language. We could interpret the construction of the tower as an act of defiance to God ordered by the tyrant Nimrod, according to the interpretation proposed for the first time in the first century Josephus.

But Gaspare Manos aims to overthrow the classical interpretation with a greater emphasis on explicit ground homogeneity 'cultural and linguistic mentioned in the narrative itself. This reading of the text sees the actions described in Genesis not as a punishment of human pride, but as an etiology of cultural differences: Babel as the cradle of civilization '- as the cauldron of ideas which then increase the universal knowledge.

The key character that does Gaspare interact with objects and characters depicted in the works and proposals' Pinocchio. This wooden puppet who dreams of a real life 'often forced to lie becoming synonymous with lie. C’e’ qui una crudele dualita’: a Pinocchio who escapes from her reality 'of puppet property, and once "alive" invents a further life telling lies - that 'once again inventing other reality'. It makes us' reflect this very character status' in the balance 'of the human; trapped between body and mind: two different worlds and concatenated; that 'the internal (staff / dreamed) and the outer (living / social) - Two worlds that often lie to himself and to others.

A partly autobiographical project, the artist Manos has developed over 40 years to accept his person and become himself: CIOE 'artist. Only by accepting himself and ceasing to live a lie like Pinocchio, the artist was able to interact peacefully with people, information, objects, places and thoughts of its historical and social context - approaching more 'to a state intoxicated with love for all the elements that make up the' his' world and universal encyclopedia. Only by understanding and loving in the same way the constituent elements of this inner world do you talk to the babel and that 'in us.

Pinocchio Babel and then become a strong metaphor for the development of thought and society 'in general, but also a specific metaphor of the complex world of art, its institutions, of collectors, funding mechanisms, of the many hidden messages and forces at play.

The interest of the artist Gaspare Manos for the city ', history, Social Development, chaos, language, the perception, the relative nature of reality ' (especially when it comes to social perception opposed to the individual) and 'behind this SERIES PURPLE exhibited for the first time in Venice in 2013. The theme of Pinocchio and Babel allows the artist to explore themes and topics that fascinate him. One use of the figurative in contemporary goes to show even a skill 'now very rare in the world of art, that of the design - the latter is also know as a metaphor - that 'a return to base (line) to understand the chaos of today (the color).

3. PHILOSOPHY OF THE PROJECT

For this project, the artist has assigned a primary importance, in scope gnoseologic, his experiences of life spent in different continents. The proposed works are therefore a mink “transcendental” of his inner world : Pinocchio Babel and the key to understanding. This SERIES PURPLE and 'the result of a philosophical inquiry which lasted over 20 years and has even prompted the artist Gaspare Manos to get a Ph.D.. in London in 1996.

The key concepts of the project are [1] inner perception as reality 'as opposed to the inner or dream [2] reality 'as mink or social pluralism; [3] the role of the past on the present language and perception; [4] globalization. The key principle behind the artist's thought and that of the Phenomenology, that is, a philosophy that begins with an exploration of the "reality" that presents itself to us in conscious experience as a means to grasp the Absolute Spirit that is behind what we see and live.

With his constant traveling and living around the world for over 40 age, the artist and 'had to dip into various cultures with traditions, languages, ways of thinking, remember and pass on memories of very different – metabolized and internalized them to integrate and learn more about himself and his space / time. In this way the artist gave himself a chance 'access in part and that' a "universal encyclopedia" of knowledge, of fragments of thought with roots totally different. The wonderful diversity 'gave him a vision of this Babel of encyclopedia of universal knowledge where, often the truth 'becomes fiction and fiction becomes truth'.

The artist with these works and the idea to paint a large ceiling subsequently wants to emphasize the transcendental aspect of art in general: the dream that often hides behind the aspiration of knowledge.

It 'also important to note that the new ceiling proposed in this project will' be presented in its context; in a room of the first floor of Palazzo Duodo, San Marco 2506, Venice 30124 Santa Maria del Giglio built by Scamozzi in the 500 '. Once executed at Palazzo Duodo, the ceiling give 'life to a vortex of shapes and color viewable from the bottom of even-even as a picture. View a work from under bending his head implies a completely different psychology - a little 'how to kneel before the greatness of ideas and human actions.

FOR MORE INFORMATION ON THE ARTIST GASPARE MANOS:
WWW.GASPARE-FOUNDATION.COM

CORPORATE SPONSOR INFORMATION :
The Foundation non-profit scientific and cultural Eugenio Maria Dario Rustia Traine of Trieste, aims to preserve and protect cultural heritage, artistic, history and literature that are important. The Foundation organizes conferences, concerts and exhibitions in Europe, independently published and promotes the edition of books with third parties, lyrics and discs. It has a rich library (of which can be found on the first line 4.000 security) and 'responsible for the preparation of illustrated periodicals for the documentation and dissemination of the Foundation's initiatives in the world.
They are auditors of the Foundation Traine representatives of the Ministry of Culture Dr. Marco Menato and substitute Dr. Livio The Naia, employees Piero Bonacci and Ada Ceccoli and substitute Marcello Gabrielli.
The Board of Directors of the Foundation is formed, addition to its Chairman, by the Vice President Comm. Liliana Pessina, by the Secretary Dr. Rachel Denon Poggi , by Professor Clare Motka Luxardo that takes care of the cultural, Ferruccio Tommaseo by the engineer who oversees the Accountant General and the Enea de'Vidovich that takes care of the administrative, coordinates the youth sector and contacts with foreign. The music industry is maintained by the teacher and musicologist Sergio Siccardi Julian De Zorzi, one of the exhibitions of plastic arts figurative critic Sergio Brossi.

Foundation of Science and Culture and Dario Eugenio Maria Rustia Traine Via dei Hyacinths, 8 Trieste T: 040.425118 F: 040.4260637 info@rustiatraine.it Presidente: On. Renzo de'Vidovich

PHOTO WORKS : ANDREW BROOKE www.andrewbrooke.com

 

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