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Bruno Di Bello
Studio per ritratto di condottiero, Moshe Dayan, 1965
Painted photographic canvas
200 x 126 cm
Studio per ritratto di condottiero, Moshe Dayan, 1965
Painted photographic canvas
200 x 126 cm
Press Release
Bruno Di Bello
Antologia
Opening: September 15, 2010
September 16 – October, 30 2010
Antologia
Opening: September 15, 2010
September 16 – October, 30 2010
The Marconi Foundation is delighted to present a retrospective by Bruno Di Bello.
The exhibition will be displayed on the four floors of Spazio Marconi and will cover the whole activity of the artist from his first experiences between painting and photography during the Sixties, to the Mec-Art period, to the big canvases combining writing and photography until his most recent digital abstraction works.
Bruno Di Bello's artistic activity began when he joined Gruppo ’58 in Naples, but his work differred from that of his mates because he was much more interested in abstract art, oriented towards a setting to zero of painting.
In 1966 he had his first solo show at Lucio Amelio Gallery. In this period he began his first experiments with photography, he transferred on light-sensitive canvas images like the Moshe Dayan face (Studio per ritratto di condottiero, 1965) or other protagonists of that period. In 1967 he moved to Milan and he settled down in “Quartiere delle Botteghe” in Sesto San Giovanni, at the time a sort of artists' district.
In 1968 he joined Mec-Art, whose leader was Pierre Restany. Di Bello researched the possibility of breaking down images, doing homage to his artistic myths (Klee, Duchamp, Man Ray, Mondrian and the Russian constructivists), so he developed an idea of art as a reflection on history of art, especially on the icons of modern movements, but at the same time as a reflection on the structure of the image itself.
The artist selected a medium different from painting: the light-sensitive canvas on which he fixed the image with light, and then deconstructed it giving the viewer the possibility to recompose it.
Then he continued his experiments on the photographic canvas as a research on writing: large white grids where he broke down a word or a single letter or an artist’s signature to reduce them to an aseptic black pattern as in Variazioni sulla firma di Klee, 1975 or in Procedimento, 1974.
The exhibition will be displayed on the four floors of Spazio Marconi and will cover the whole activity of the artist from his first experiences between painting and photography during the Sixties, to the Mec-Art period, to the big canvases combining writing and photography until his most recent digital abstraction works.
Bruno Di Bello's artistic activity began when he joined Gruppo ’58 in Naples, but his work differred from that of his mates because he was much more interested in abstract art, oriented towards a setting to zero of painting.
In 1966 he had his first solo show at Lucio Amelio Gallery. In this period he began his first experiments with photography, he transferred on light-sensitive canvas images like the Moshe Dayan face (Studio per ritratto di condottiero, 1965) or other protagonists of that period. In 1967 he moved to Milan and he settled down in “Quartiere delle Botteghe” in Sesto San Giovanni, at the time a sort of artists' district.
In 1968 he joined Mec-Art, whose leader was Pierre Restany. Di Bello researched the possibility of breaking down images, doing homage to his artistic myths (Klee, Duchamp, Man Ray, Mondrian and the Russian constructivists), so he developed an idea of art as a reflection on history of art, especially on the icons of modern movements, but at the same time as a reflection on the structure of the image itself.
The artist selected a medium different from painting: the light-sensitive canvas on which he fixed the image with light, and then deconstructed it giving the viewer the possibility to recompose it.
Then he continued his experiments on the photographic canvas as a research on writing: large white grids where he broke down a word or a single letter or an artist’s signature to reduce them to an aseptic black pattern as in Variazioni sulla firma di Klee, 1975 or in Procedimento, 1974.
During the Seventies and the Eighties he began drawing directly on the light-sensitive canvas with the light of a torch. Later in the Eighties he discovered a new way to use light: he placed people and objects between the light source and the photosensitive canvas so that they could project their shadow on it; then he developed it with broad brushstrokes as in Apollo e Dafne nel terremoto, made especially for the exhibition Terrae motus set up by Lucio Amelio in 1987 (it was shown at the Grand Palais in Paris and now it is situated in Reggia di Caserta). From the Ninenties Di Bello studied new technologies, doing research on synthetic images, on digital photographies and on the new kind of geometry displayed by computers.
The visual forms studied by Di Bello came from theoretical mathematical structure.
The images that rise from these studies and experiments are the so called “frattali”.
The show documents Bruno Di Bello's research in that course of progressive “art dehumanisation” so called and theorised by Mario Costa, a Neapolitan philosopher, who thus wrote: “Bruno Di Bello has understood that the height of the aseity of the image, for its logical and so theorethical nature, coincide with the maximum of its icyness, what he has been researching for all his life. He understood that digital images refer either to any subjects or any objects, they have no reference and they have no object. They have to be considered as models, as new thing with wich comparing on the aesthetic level."
On this occasion the monograph Bruno Di Bello – Antologia will be published by Silvana Editoriale for the VAF Stiftung in Frankfurt am Main, curated by Volker Feierabend, with texts by Michele Bonuomo, Mario Costa Marco Meneguzzo, Angela Tecce and Alessia Paolillo.
The visual forms studied by Di Bello came from theoretical mathematical structure.
The images that rise from these studies and experiments are the so called “frattali”.
The show documents Bruno Di Bello's research in that course of progressive “art dehumanisation” so called and theorised by Mario Costa, a Neapolitan philosopher, who thus wrote: “Bruno Di Bello has understood that the height of the aseity of the image, for its logical and so theorethical nature, coincide with the maximum of its icyness, what he has been researching for all his life. He understood that digital images refer either to any subjects or any objects, they have no reference and they have no object. They have to be considered as models, as new thing with wich comparing on the aesthetic level."
On this occasion the monograph Bruno Di Bello – Antologia will be published by Silvana Editoriale for the VAF Stiftung in Frankfurt am Main, curated by Volker Feierabend, with texts by Michele Bonuomo, Mario Costa Marco Meneguzzo, Angela Tecce and Alessia Paolillo.