From 30/01/2019 To 09/03/2019

"In this series of works, which are part of the cycle entitled" Aesthetica ", started in 2015, Daniele Bongiovanni has arrived at the clear and rarefied purity of a pictorial material consisting almost only of white spatial and luminous suggestions, just animated by delicate chromatic traces indeterminate.
It is the result of a remarkable evolution of his research in the direction of a radical will of essentialization, or if one wants sublimation, of the figurative language. It is a progressive awareness of the importance of elaborating his compositions not only as representations inspired by external reality but also, above all, as an expression that emerges directly from the constituent elements of painting, namely from the delicate and complex primary interrelation between the two-dimensional physical space of the support and the methods of drawing up the colors.
In this sense Bongiovanni has managed to put on stage artifacts that on one hand are characterized by peculiar evocative values ??and on the other, by a tension that, in some ways, we can define analytical and minimal (if not really minimalist): visions that they stimulate the observer's imagination, and at the same time have clearly self-referential connotations.
Such stimulating ambivalence is particularly effective given that these are paintings that, at first glance, seem legitimately to fall within the traditional genre of the landscape. But they are landscapes sui generis because we find ourselves not so much in landscape paintings but rather in vibrant and evanescent "landscapes" of painting.
And it is the same painter who suggests a reading of this kind through the titles of the paintings, so vague and problematic: On the white, Ether, Nature continues, Do not (far), Blue with distance, and Not (landscape). And above all this last title is a clear declaration of intent: a landscape that is not landscape, a "pseudo-landscape".
I may say, perhaps too risky, that these paintings could be placed between two extreme points of reference, or sources of inspiration: on one hand the fascinating almost mystical fading of the luminous and spatial dimension of the most indeterminate visions of William Turner (in particular his watercolors), and on the other hand the minimalist rigor and the conceptual white monochromatic sensitivity of Robert Ryman, in which the purist reduction of the process of painting is carried to the extreme consequences. And of course we could cite many other suggestions, more or less relevant, along the path of modern and contemporary painting: from certain spiritual atmospheres of symbolists like Odilon Redon to the marvelous fluctuating impressions of the last Monet, from Mark Rothko's surfaces to experiences with values more rarefied chromatics of informal artists and the analytical area.
It is worth adding some consideration on the way in which Bongiovanni has "laid out" his painting, that is on the formats of the single canvases, on the diptychs and triptychs, and on the development of sequences of images. In the case of paintings that have a horizontal rectangular shape (for example in continuous Nature) the effect of the composition is, in a certain sense, more naturalistic, because it refers to the classical measures of landscape paintings. But when the supports are square, as in most of the works, the aspect we say so conceptual is accentuated more, because the square shape is perceived as more rational. In this regard, just think of the fact that the square was a particularly favored format by the artists of geometric abstractionism, from Mondrian to Joseph Albers, and especially from the exponents of minimalist painting (for Ryman it was "the perfect space"). And even more linked to the conceptual and minimalist spirit is the articulation of the pictorial operation through series of supports structured in regular sequences. This is why Bongiovanni's work, which expresses the conceptual dimension of his painting most, is Nature with Deus, a sequence of thirty small squares arranged horizontally on the wall. It is a work that plays on two levels of reading: the one from a certain distance that allows to capture the overall rhythmic and chromatic effect almost like a musical counterpoint; and the close one that allows the use of individual visions, like an anthology of
micro-landscapes. But we can also say that all the elements of the exhibition, seen as a whole, form the score of a complex unitary work. "

Francesco Poli

Daniele Bongiovanni
Con Pura Forma
Opening January 30th, 2019
6.30pm - 9.30pm
From January 30th to March 9th 2019
Raffaella De Chirico Contemporary Art
Via Della Rocca, 19 10123 Turin

open by appointment at +39 3928972581

Art Exhibitions Turin

Contemporary Art Exhibitions Turin
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