I Colori dell'Estasi I - Cagliari

I Colori dell’Estasi I – Cagliari

Contemporary art exhibition

Exmà, Municipal Center for Art and Culture, Cagliari

from February 28 to March 25, 2007

The project was born from the meeting of two artists Maria Cristina Madau – a plasticienne director whose work is centred on the connections between theater, plastic and visual arts – and Jean-Marie Barotte, who after a long experience as an actor with Tadeusz Kantor’s Cricot 2 theatre group, moves on to devote himself entirely to painting. The project uses the different expressive media forms in a highly orchestrated manner by drawing upon the personal experiences of each of the curators.

The exhibition will host works by: Marta Anatra, Jean-Marie Barotte, Luigi Negro Barquez, A.Benson / F.Serra, Gaetano Brundu and Andrea Portas, Pina Inferrera, Caterina Lai, Monica Lugas and Paola Porcedda, Maria Cristina Madau, Italo Medda, Carlo Nonnis, Gianfranco Pintus, Rosanna Rossi, Raffaello Ugo, Daniela Zedda.

Catalogue is printed by Silvana Editoriale

Contributions by art critics included in the catalog are by Lorella Giudici, art historian, critic and lecturer at the Academy of Fine Arts of Brera, Milan, and by art critic Anna Maria Janin.

The Cagliari event was sponsored by the City of Cagliari Department of Culture, by the Department of Education, Culture, Information, Entertainment and Sports of the Autonomous Region of Sardinia, and by the Department for Cultural, Recreational and Sports Affairs of the Province of Cagliari, in collaboration with Consorzio Camù.

The colors of ecstasy is a dramatized exhibition itinerary that, through painting, multimedia art, installation, performance and stage action, sets outs to investigate the fascinating subject of ecstasy in its myriad forms: forgetfulness, memory , abandonment, revelation, pain, dream, illusion, eroticism and mysticism. Ecstasy is thus understood as a creative experience, a process of estrangement from the conscious state, a voyage to the outer reaches of the self in a bid to discover the mysteries lying and inside things and beyond them.

The comparison with contemporary art, namely with an art that speaks to us in the language of our time, is an experience mixing awe and contemplation, but also pain and reflection, a knowledge process that relies on signs, images, symbols, myths with the power to evoke reality, history and fantasy in an unstoppable, timeless flow.

A travelling exhibition: the project takes on new sectionss with every city it visits.

The means of expression change, and along with them the manner in which theater and visual arts are made. New language forms elaborating on universal themes are created: the body, the sign, the word, time. Our way of conceiving the world modifies art, and  the opposite is true as well; a contemporary concept allows us to transcend the linear dimension of time that was once the exclusive domain of magic, mysticism, or dreams: the reality and the imaginary, the past, future and present all interact in a virtual dimension. We could say, then that these new language forms do not concern the representation but the vision, or revelation: a ritual vision shared with the viewer, which leaves room for the creation, setting itself as both query and open space. This language form takes in the viewer’s point of view, who is free to stop or leave, wander past or linger in or around the stage area. The actor withdraws and, by stepping back gives life to not just characters, but visions shared with the audience. For their part, they do not necessarily identify with the character, but live through this experience in a unique relation addressing solely the dialogue with the art work before them.

This experience does not require a set time or necessarily viewing the entire duration of the action. The vision of a mere instant may be just as enthralling: disgusting to some or mesmerizing to others. The construction and the dimension of time are variable. In the conception of total art, this language form does not give an account of creation, but shares it like a revelation, and the wayfaring spectator comes to witness an event, an accident on the road where the art work may lead to a pause. The boundaries do not apply only to the theater and the visual arts but also to visual arts and theater: then painting becomes a sign, the scene handwriting, that mythical scene, which the artist re-creates formally as an initiatory scene, a sequence of stations, a spiritual and artistic journey.

The colors of Extasy I Cagliari

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I Colori dell'Estasi I - Cagliari

I Colori dell’Estasi I – Cagliari

Contemporary art exhibition

Exmà, Municipal Center for Art and Culture, Cagliari

from February 28 to March 25, 2007

The project was born from the meeting of two artists Maria Cristina Madau – a plasticienne director whose work is centred on the connections between theater, plastic and visual arts – and Jean-Marie Barotte, who after a long experience as an actor with Tadeusz Kantor’s Cricot 2 theatre group, moves on to devote himself entirely to painting. The project uses the different expressive media forms in a highly orchestrated manner by drawing upon the personal experiences of each of the curators.

The exhibition will host works by: Marta Anatra, Jean-Marie Barotte, Luigi Negro Barquez, A.Benson / F.Serra, Gaetano Brundu and Andrea Portas, Pina Inferrera, Caterina Lai, Monica Lugas and Paola Porcedda, Maria Cristina Madau, Italo Medda, Carlo Nonnis, Gianfranco Pintus, Rosanna Rossi, Raffaello Ugo, Daniela Zedda.

Catalogue is printed by Silvana Editoriale

Contributions by art critics included in the catalog are by Lorella Giudici, art historian, critic and lecturer at the Academy of Fine Arts of Brera, Milan, and by art critic Anna Maria Janin.

The Cagliari event was sponsored by the City of Cagliari Department of Culture, by the Department of Education, Culture, Information, Entertainment and Sports of the Autonomous Region of Sardinia, and by the Department for Cultural, Recreational and Sports Affairs of the Province of Cagliari, in collaboration with Consorzio Camù.

The colors of ecstasy is a dramatized exhibition itinerary that, through painting, multimedia art, installation, performance and stage action, sets outs to investigate the fascinating subject of ecstasy in its myriad forms: forgetfulness, memory , abandonment, revelation, pain, dream, illusion, eroticism and mysticism. Ecstasy is thus understood as a creative experience, a process of estrangement from the conscious state, a voyage to the outer reaches of the self in a bid to discover the mysteries lying and inside things and beyond them.

The comparison with contemporary art, namely with an art that speaks to us in the language of our time, is an experience mixing awe and contemplation, but also pain and reflection, a knowledge process that relies on signs, images, symbols, myths with the power to evoke reality, history and fantasy in an unstoppable, timeless flow.

A travelling exhibition: the project takes on new sectionss with every city it visits.

The means of expression change, and along with them the manner in which theater and visual arts are made. New language forms elaborating on universal themes are created: the body, the sign, the word, time. Our way of conceiving the world modifies art, and  the opposite is true as well; a contemporary concept allows us to transcend the linear dimension of time that was once the exclusive domain of magic, mysticism, or dreams: the reality and the imaginary, the past, future and present all interact in a virtual dimension. We could say, then that these new language forms do not concern the representation but the vision, or revelation: a ritual vision shared with the viewer, which leaves room for the creation, setting itself as both query and open space. This language form takes in the viewer’s point of view, who is free to stop or leave, wander past or linger in or around the stage area. The actor withdraws and, by stepping back gives life to not just characters, but visions shared with the audience. For their part, they do not necessarily identify with the character, but live through this experience in a unique relation addressing solely the dialogue with the art work before them.

This experience does not require a set time or necessarily viewing the entire duration of the action. The vision of a mere instant may be just as enthralling: disgusting to some or mesmerizing to others. The construction and the dimension of time are variable. In the conception of total art, this language form does not give an account of creation, but shares it like a revelation, and the wayfaring spectator comes to witness an event, an accident on the road where the art work may lead to a pause. The boundaries do not apply only to the theater and the visual arts but also to visual arts and theater: then painting becomes a sign, the scene handwriting, that mythical scene, which the artist re-creates formally as an initiatory scene, a sequence of stations, a spiritual and artistic journey.

The colors of Extasy I Cagliari