Categoria | Cultura

A Koreja presentazione del catalogo Senso Plurimo 3

A Koreja presentazione del catalogo Senso Plurimo 3

Lunedì 2 luglio, alle 20, presso i Cantieri Teatrali Koreja a Lecce, sarà presentato il catalogo Senso Plurimo 3, appuntamento che chiuderà la rassegna arti visive
2012. Il catalogo, a cura di Marinilde Giannandrea, include testi critici di Simona Caramia, Marinilde Giannandrea, Salvatore Luperto, Lorenzo Madaro e Franco Ungaro ed è edito da Locopress.

L’evento è la perfetta conclusione di una successione davvero notevole di mostre, le quali sono state allestite in un box collocato nel vestibolo del teatro. Un modo
di esporre che si è andato affermando nel corso degli ultimi tre anni – siamo infatti alla terza edizione – e che dona al visitatore un colpo d’occhio considerevole,
mettendo in risalto le opere dei giovani artisti pugliesi.

Quattro gli artisti che in quest’edizione si sono confrontati con il box di Rune Ricciardelli: Sandro Marasco, Pierpaolo Miccolis, Maria Grazia Carriero,
Alessandro Passaro, che  hanno dato vita a un iter sviante sui livelli dell’esistenza e delle forme espressive, muovendo il pubblico a raffrontarsi con uno
spazio che è andato in direzione della pluralità creativa.

Le opere, tutte davvero originali, coinvolgono i visitatori in tutto e per tutto. Prendiamo, ad esempio, l’installazione di Marasco, in cui il contenitore espositivo
diviene una camera in disordine resa ancora più caotica dal pubblico, una zona individuale ricca di riferimenti psicologici. Il sapiente uso degli acquerelli da parte di Miccolis, che con il suo lavoro tratta tematiche legate alle relazioni, passando per aberrazioni contemporanee come l’inquinamento ambientale e il rapporto malato che l’uomo d’oggi ha con gli alimenti. E poi ancora il tumulto creato dalla Carriero, che ha sconvolto le regole mediante un’opera dall’atmosfera dilatata figlia di un codide digitale che riecheggia l’infinito e il vuoto. Infine Passaro, la cui pittura è esplosione, colore scagliato sulla tela e fuoriuscito dalla scatola espositiva, che è andato a occupare le pareti del foyer, perché ciò di cui parla questa detonazione artistica è un conflitto universale dell’esistenza e dell’arte.

Degno di nota appare poi il contributo di Carlo Michele Schirinzi (fuori rassegna) su Carmelo Bene, da cui risulta evidente una denuncia –  tra ironia e severità –
riguardo una memoria che, il più delle volte, sembra essere insincera e funzionale a interessi di parte.

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PGxpPjxzdHJvbmc+d29vX3Nob3dfdmlkZW88L3N0cm9uZz4gLSB0cnVlPC9saT48bGk+PHN0cm9uZz53b29fc2luZ2xlX2hlaWdodDwvc3Ryb25nPiAtIDIwMDwvbGk+PGxpPjxzdHJvbmc+d29vX3NpbmdsZV93aWR0aDwvc3Ryb25nPiAtIDIwMDwvbGk+PGxpPjxzdHJvbmc+d29vX3RhYnM8L3N0cm9uZz4gLSB0cnVlPC9saT48bGk+PHN0cm9uZz53b29fdGhlbWVuYW1lPC9zdHJvbmc+IC0gR2F6ZXR0ZTwvbGk+PGxpPjxzdHJvbmc+d29vX3VwbG9hZHM8L3N0cm9uZz4gLSBhOjg6e2k6MDtzOjYxOiJodHRwOi8vd3d3Lm90cmFudG9vZ2dpLml0L3dwLWNvbnRlbnQvd29vX3VwbG9hZHMvMTAtbG9nbzQuanBnIjtpOjE7czo2MDoiaHR0cDovL3d3dy5vdHJhbnRvb2dnaS5pdC93cC1jb250ZW50L3dvb191cGxvYWRzLzktbG9nbzQuanBnIjtpOjI7czo2MDoiaHR0cDovL3d3dy5vdHJhbnRvb2dnaS5pdC93cC1jb250ZW50L3dvb191cGxvYWRzLzgtbG9nbzMuanBnIjtpOjM7czo2MDoiaHR0cDovL3d3dy5vdHJhbnRvb2dnaS5pdC93cC1jb250ZW50L3dvb191cGxvYWRzLzctbG9nbzMuanBnIjtpOjQ7czo2MDoiaHR0cDovL3d3dy5vdHJhbnRvb2dnaS5pdC93cC1jb250ZW50L3dvb191cGxvYWRzLzYtbG9nbzMuanBnIjtpOjU7czo2MDoiaHR0cDovL3d3dy5vdHJhbnRvb2dnaS5pdC93cC1jb250ZW50L3dvb191cGxvYWRzLzUtbG9nbzIuanBnIjtpOjY7czo1OToiaHR0cDovL3d3dy5vdHJhbnRvb2dnaS5pdC93cC1jb250ZW50L3dvb191cGxvYWRzLzQtbG9nby5qcGciO2k6NztzOjU5OiJodHRwOi8vd3d3Lm90cmFudG9vZ2dpLml0L3dwLWNvbnRlbnQvd29vX3VwbG9hZHMvMy1sb2dvLmpwZyI7fTwvbGk+PGxpPjxzdHJvbmc+d29vX3ZpZGVvX2NhdGVnb3J5PC9zdHJvbmc+IC0gVmlkZW88L2xpPjwvdWw+