Explore the artistic activity through the exhibitions, projects, and texts, of the visual artist Aristotelis Triantis.
A group of artists belonging to the Movement “ESASPERATISMO - Logos & Bin" and pleased to invite the S.V.
event of Art Saturday, July 13, 2013 - 17.30
Lombard Castle of San Barbato - Manocalzati (Avellino)
The event will be opened by the Mayor of Manocalzati Dr. Pasquale Tirone and the ‘Department of Culture Dr. Gaetano Cierzo
This will be the founder of the Movement Adolfo Giuliani
Speakers: Lucia Basile-Journalist Dominic Raio Carlo and Roberto Sciascia - Art Critics
Collaborators Carmela Zara - Lucy Iovino - John Ariano Weekdays and Holidays 17.00 20.00
Participating Artists
Giovanni Ariano, Linda Barbieri Vita, Adriana Caccioppoli, Cataldo
Michele, Umberto Colapinto, Antonio De Chiara, Giuseppe Di Franco, Maria
Teresa Di Nardo, Roberto Elia, Walter Elia, Enrico Fiore, Stelvio
Gambardella, Rocco Grippa, Assunta Improta, Lucia Iovino, Francesco
Iuliano, Rita Lepore, Giuseppina Maddaluno, Rosario Mazzella,, Carmine
Meraviglia, Paolo Napolitano, Nicola Pasquali, Viviana Pasquali, Carmen
Pau, Silia Pellegrino, Susy Provenzale, Gabriella Pucciarelli, Antonio
Pugliese, Tammaso Resta, Maria Antonietta Robucci, Pablo Rodriguez Guy,
Ignazio Sabiucciu, Alfredo Sansone, Anna Scopetta, Domenico Severino,
Imma Sicurezza, Antonella Sirignano, Lucio Statti, Leo Strozzieri,
Aristotelis Triantis, Gianfranco Vasile,
PERFORMING ACTS ON PHOTOGRAPHY May 19 - August 26. 2012
The Unknown Artist Virtual Museum, in partnership with the Fonlad
Festival present the on line show “Performing Acts on Photography), a
photographic show centered on the relation between new technologies, art
and the body.
Fotografia Photography
Adrian Lis (Roménia Romania), Aristotelis Triantis (Grécia Greece),
Benvinda Araújo (Portugal), Draga Jovanivic (Canadá Canada), Eva Lewarne
(Polónia Poland), Francesca Fini (Itália Italy), Khalil Charif (Brasil
Brazil), Lorraine Field (Canadá Canada), Marija Barkidija (Croacia),
Osvaldo Cibils (Uruguai), Paz Tornero (Espanha Spain), Pedro Polónio
(Portugal), Pit Kinzer (Alemanha), Sabriye Celik (Turquia Turkey),
Takeshi Furuya (Japão Japan), Tom Estes (Irlanda Ireland)
The multidisciplinary performing arts are continuously instigated by
new technologies. If the body were originally the relationship with the
public and the unexpected major components of performative action, with
time became constant the embodiment in every work of art - including
photography. However, the characteristic ambiguity of photography, this
is not expressed in a single form of performance art. In this context,
we can identify four types of events: the documental, the creation of a
photographic subject as a result of a performative action, the
performance in portrait photography and the application of the concept
of everyday performative photography as an object.
Over
fifty artists representing fifteen different countries for a total of
over one hundred and twenty works on display will be visible in three
different locations. These are the numbers of the third edition of
AMBIENTARTE, this year curated by Massimo Nicotra.
The exhibition, which fits in the “Med Yacth Festival”,
kicks off April 21, 2012, is organized by “Association 900”, “cgroups,”
Municipal Art Gallery diGaeta “. We exhibit artists from countries
around the Mediterranean such as Albania, Greece, Palestine, Syria and
Turkey Iseaele just to name a few. The artists will discuss on the topic
of water intended as a union but also of unity among peoples, the
liquid mass that can serve simultaneously as a glue separation factor.
The exhibition not only within the Med Yacht festival venues will have
as the Art Gallery and the headquarters of the 900, cha will be the
backdrop for paintings, installations, sculptures and video art products
that are compared to demonstrate that culture is unique. The exhibition
is sponsored by the city of Gaeta, Lazio Region, "Med Yacht Festival.”,
Municipal Gallery of Contemporary Art “John of Gaeta.”
Curator: Keith A. Buchholz. Local producer: Vėjūnė Sudarytė. Initiator: Ed Carroll.
As part of the USA Government’s culture week in Lithuania, Kaunas
Biennial marks the 50th anniversary of the 1st Happenings of George
Maciunas in New York. A group of 220 contemporary Fluxus artists mark
his unique contribution to contemporary art practice. Location: Kaunas
City Trolleybus with performances by Leard Reed Altemus III, Melissa
Rose McCarthy and Mary Campbell (USA).
In the time it took to organize this show, major shifts occurred –
shifts in location, works to be shown, participants, activities, and
ideas of what Fluxus was, is , and could be. A call for works was put
out to the “Eternal Network” of Artists, Non-Artists, Poets, Flux
people, and Friends to interpret the idea of Fluxus, and in doing so,
honor the legacy of George Maciunas, the founder of Fluxus, who was born
in Kaunas and emigrated with his family to the United States.
The premise for the show was simple – interpret the concept as you
like, using the idea of Textile as a point of departure. Both Flux
people and Mail Artists share the inherent love of found materials, and
alternative processes. Works range from Found and altered objects, to
postcards, boxes, digital images, film, publications, poetry, E-mail,
and performance scores. The works often have some handmade quality, and
in the process of curating the show, nothing is edited. Some unwritten
rules of the network are: “Show everything that you receive” and “All
artists are given equal billing”. As you explore this exhibition, feel
free to handle the objects, open and close the boxes, and interact with
the works. Fluxus works are tactile works – Meant to Communicate and
Inform.
When Fluxus started, roughly 50 years ago this year, Maciunas brought
together a wide variety of artists who were working outside the
boundaries of what was seen as art by the general public. In Al Hansen’s
“On Fluxus” (which has been republished in a pamphlet form as part of
this exhibition), he states that “Fluxus rejected what was felt to
matter in the New York and European art machinery.” In many ways it
still does.
Recent institutional interest in Fluxus has changed some things, as
the cheaply made multiples (intended to derail the value of art) have
become fetishized. Values of early Fluxus works have risen dramatically,
and an expanding crop of Curators and Collectors have enshrined works
made during Maciunas’ lifetime, drawing and end date on Fluxus at 1978
with George’s death. With most Movements in art this would be easy, but
Fluxus, a fluctuating group of international artists, has never
considered itself a “Movement”. Artists have continually been drawn to
Fluxus, and have taken up its banner since the exit of its chairman,
sometimes with the blessing of its early participants, sometimes bravely
on their own, building networks that eventually interweave with others
to form the broad spectrum seen in this exhibition. It can be guaranteed
that no matter how remote, these artists, by minimal degrees of
separation, can draw a path back, directly to George.
In the words of Dick Higgins, a member of that first circle of
George’s, “Fluxus has a life of its own, apart from the old people in
it. It is simple things, taking things for themselves and not just as
part of bigger things. It is something that many of us must do, at least
part of the time. So Fluxus is inside you, is part of how you are. It
isn’t just a bunch of things and dramas, but is part of how you live. It
is beyond words.” George’s gift for organizing and developing such a
network, which has been described as “An Attitude”, “Way of Life”, and
“An extended family”, is bigger than anything a date or label can
contain. We salute George best by continuing on this path. Ben Vautier
may have said it best, “Fluxus Never Stops!”
At the conclusion of the Third Triennial International
Movement Esasperatismo Logos & Bin, which was held in the beautiful
and prestigious setting of Castel dell ‘Ovo, Naples, from February 5 to
March 3, 2011, with great success, visitors flocked from all over Italy
and abroad, interested in our cultural message, I would like to thank
the 110 artists of the movement with which their works on display have
been able to express and disseminate the message of Esasperatismo.
I thank the three bins of Gold “to present at the Culture,
Advocate Gerardo Marotta, the Maestro Roberto De Simone and Professor
Clementina Gily, recipients of the Award for the years 2008, 2009, 2010,
with their efforts to the highest thickness, were able to give prestige
to an artistic event and a cultural reality in which not have of media
all attention they deserve.
Previously, on 11 December 2010, at the Palazzo delle Arti
Napoli (PAN), was presented the same catalog of the Triennale and
celebrated with a special status of Italian Post Office with a mobile
office, the tenth anniversary of the Movement Esasperatismo Logos &
bin which was created a special card.
The occasion was delivered on 3 ° "Golden Bin” for the
Culture 2010 to Clementina Gily Professor, Professor of Aesthetics at
the University Federico II of Naples.
At the conference moderated by the intervened lawyer the
Professor Clara Guarino, Gerardo Marotta, founder and president of the
Italian Institute for Philosophical Studies, Maestro Roberto De Simone, a
theater director, composer and musicologist, Professor Emily Mallard,
head teacher, Dr Nicola Oddati, Minister of Culture of the City of
Naples; the Professor Dominic Raio, journalist and writer.
The award “Golden Bin” for Culture was established in
2008. The first three were awarded annually. The next will be awarded
every three years, from 2013, coinciding with the International Art
Triennale.
My contributions to author Jeffrey Crussell, RAP-10 fine arts book
catalog, an international gathering of photographers and artists who
express themselves through the lens of traditional film cameras or other
optical recording devices such as digital cameras, cell phones, pinhole
cameras and scanners.
Organizer: Association of visual artists of Serbia – section of the extended media
Exibition space:
• Art Pavilion Cvijeta Zuzurić – Belgrade
• Student Cultural Center Belgrade
• Postal Museum Belgrade
• Gallery Ikar Zemun
• Art Salon Trstenik
FROM THE HEROIC AVANT-GARDE TO POSTVANGARDE IN ELECTRONIC ERA
OPEN CONSCIOUSNESS – OPEN WORLD
INTERNATIONAL TRIENNIAL OF THE EXTENDED ART MEDIA BELGRADE 2010
OPEN MIND – OPEN WORLD
International Triennial of Expanded Artistic Media
Belgrade, 5th of August – 20th of September 2010
After the first Fluxus festival in Wiesbaden in 1962 and
the exciting transformation of the contemporary art on planetary scale,
the odyssey of expanded artistic media began by publication of Fluxus
Expanded Arts Diagram and Diagram of Historical Development of Fluxus
and all the other four dimensional, sonic, optical, smelling and tactile
artistic forms of George Maciunas in 1973, where among other things one
can find the notion of expanded cinema, which made Mr. Bozidar Zečević,
a Serbian film critic, introduce this notion and expanded artistic
media to this country.
In the very begining, in 1974, during the third April
Meeting of Students in Student Cultural Center of Belgrade, when the
contest for works of expanded artistic media was announced, there
already were various understandings and interpretations of this
phenomenon. Thus, Biljana Tomic, while writing about the assumptions of
total art gave three definitions of expanded media: 1) expanded media as
expansion of artistic language 2) expanded media – art in function of
art and 3) expanded media – towards the total art. Matko Mestrovic
writes about a catalytical interaction, as well as phenomena of artistic
interventions and conceptions that cause „unpredictable reactions in a
social space“ as Bozidar Zecevic writes about the notion of game, namely
the rennaisance of game and new forms of consciousness, and he
elaborates these thesis in an article on radical evolution in all areas.
Jesa Denegri writes about possibilities of formation of new approaches
to art, that could in a further stream of development lead to global
change of substantial phisionomy of art, when an artist will use the
widest possible register of expressive techniques, disregarding the
boundaries of a format and material, in communication with the audience
he/she will count on activation of all mental and sensual capabilities
of people. Probably the furthest analysys belongs to Vladan Radovanovic,
who studies the relation between artistic media, their collision and
interaction having in mind the research and discovering of new
aesthetical possibilities of shaping of environment in accordance with
the level of science and technology – suggesting the removal of borders
between arts, but also between art and users, advocating the unity of
expandable and expanded.
It took a decade since then to form the Expanded Media
Section within the Association of Visual Artists of Serbia (ULUS)
following the concept of Cedomir Vasic, as simultaneously in Zagreb a
specific gallery named Expanded Artistic Media Space began to work under
auspices of HDLUZ.
Since the 1970’s and the millenium switch in contemporary
art, many important changes took place, art evolved in many ways and the
process of desacralization of artistic expressions and forms and
defetishization of not just art but also the artists themselves is still
in progress. The Trienial is the meeting point of old and new artistic
tendencies, the departing and upcoming actors of contemporary artistic
practice. The Trienial invited protagonists of historical avantgardes
and neoavantgardes, begining with futurism, DADA, surrealism, Fluxus,
situationism, action and combined painting, pop art, conceptual art and
contextualism untill the ones who bear the new tendencies and media like
electronic and interactive art, experimental poetry, retrofuturism and
neoism, cinetic art, cyber and web art, digital art, video art,
performance, mail art… However, it does not mean that the concept of the
Trienial includes and favors just the evolution of contemporary
artistic forms with no regards to content of artistic works. Therefore,
the issue is not about formalism par excellence or the idolatry of
artistic forms, „which is the real soul of each avantgardism“ (Galvano
della Volpe) but the concept assumes the OPEN MIND of artists and the
OPEN WORLD, not only for the matter of artistic media.
Although it sounds like antiutopia, our aim is to show
that the Trienial demonstrates not only the transfiguration of modern
art as an OPEN PROCESS, but it questions the transfiguration of the
entire World into a more human and more tollerant world compared to the
one that we have known so far. In relation to the so called consumers of
art, the ordinary people as we experience them, art should not any
longer be a corpus mysticum of a tiny stylistic drills, estranged and
non-understandable activity of the chosen few, it should exit not just
the gallery and museum spaces but to achieve other aims and intentions
of contemporary artists, such as for example, the removal of hardly
bearable dychotomy LIFE-ART.
