genre: contemporary art, personal
Saturday, January 29, 2011, the Gallery "Arianna Sartori & Arts object design "of Mantua, in Ippolito Nievo 10, inaugurates the staff of the master Jordan Garuti, valuable event, which will be this-I confirmed by the presentation by art critic Renzo Margonari at 17.30.
The exhibition, curated by Arianna Sartori, remains open to the public until Feb. 17, at the following times: 10.00-12.30 / 16.00-19.30, closed holidays.
... Garuti now travels by himself. Speaking of his pictorial ways you can denote that the re-spruzzatu are actually "tufts", as they produce the shaman ritual and symbolic purposes, the optical illusion of crumpled papers is not in a scholarly citation, but runs, however, the need to physically manipulate the medium in which then process the image, count on the fact that he is an artist by instinct Garuri and not cul-ture, and be aware of its technical capacity resulting from a manual and empirical experience in the practice of various materials. He admired a great teacher, foolishly ignored by most of the Italian painters, Corrado Cagli, was, in Cremona, one of the few friends of the loneliest Master of Fantasy, Sereno Cordani. So he has a national and a local reference that identifies two artists for whom the eclectic-mechanical system of techniques and forms was the constant practice in the proof of his poetry or free of any pre-schematic concept. Having said this, it should be reserved for each piece of evidence even a brief reflection. So you can understand why a painting at the bottom of barbaric sometimes violent, almost always dramatic, not at all captivating, often cacaclismica, and voltage variations that are pulling in opposite directions, tearing the unity of expression, it appears as fascinating and largely sympathetic. The technique of image ...
Garuti acts on two floors, imitation proposed as the optical illusion of a straight-evocative pictorial material delivered by self-referral. I have to remember, as significant, that mile-wide range of avails itself of a long experience of professional practice by renowned restorer, which sets a basis of solidarity and practical skills not common. Therefore, the apparent spontaneity of his figures is the result of an exercise liberating, not only instinctual expression. This finding may open the multiple of bipolarity that characterize the expressiveness of this artist from the dual culture, Modena and Cremona.
His paintings are determined as areas that slip on each other to perceive the light. The effects of rock-paper, found in the experiments learned to Cagli, using the dusty painting (which was in-visa to some criticism for a long time, accused of anodyne technique) adopted by Cordani occasionally as well as a few other artists (among others Roberto Grippa), the Cremonese master, however, often associated with working with a brush. Hybridizing with the procedure, Garuti, perhaps unconsciously, accept this fact but I know-vrapponendo the different techniques, so that we can see through one another. In his work, like the various tech-niques, so that we can see through one another. In his work, such a procedure takes a very special meaning, because through the consistency of these different ways paintings can be found on the point-tion between his European sensibility - the bearer of harsh rule derived from the legacy of ancient greek then Renaissance aesthetic - and the deep knowledge of tribal Africa and the Far. The first is de-ceased by the consistency of calligraphic mark. The painting is a technique dusty primordial our at-tual tools air pressure is not that the modern version of the bone wire through which primitive man blew colored powder on the cave walls, and is still used by Aboriginal people. In painting the sign and the Far stain, giving rise to a write a long-premeditated if condo existential philosophical concepts, occur almost by force median Garuti painting also has tracks caused by a gesture that is highlighted with large brushstrokes, strong, and clots of matter that the applicant-Dano Action Painting. All these aspects come together in a difficult but interesting blend interde-you.
In observing the works of emerging Garuti further ambivalence is the coexistence of solutions expres-sive divergent and even conflicting coming tut-ever to blend in the constitution of the same image. The barrier normally interposed between what we conventionally call abstraction and figure-tion is saturated. Thus we have the proof to show that the practice of certain insistent theoretical convictions often have little meaning. Through the dusty painting which determines the environmental features, the representation of figures add up to more traditional forms outlined, and concludes with the dripping, the precise atmosphere of the event but quickly developed a long time, Garuti created a sort of sandwich with a very unusual figural flavor. At the same time puts its action in im-native a territory from the borders rather indefinite where the chromatic material plays a dual role, appoint-to, to describe and represent things, but also set the atmosphere, so with a traditional use for the purpose of "fiction", but with other different applications, also reflected their material consistency according to a current view of the stimulatory function of physical sensations that is attributed to the identity of the vehicle .... " Renzo
Margonari, 2005
"Giordano Garuti, dear artist, which winds violently in this movement, a mentality that does not request a meeting with the pictorial world in terms of likelihood and duplication (as it is now easy to see in artists which refer to the a. ..) but the concentration on freedom of artistic its origi-nal action Garuti ... Jordan has a mentality that does not request a meeting with the pictorial world in terms of likelihood and duplication but the concentration on freedom of its original Art-making action ... ".
Achille Bonito Oliva
" ... They seem to try to exorcise the nightmares suffered in the dark vicissitudes of its existence, seems to free-will, and leave confused, but with a certain energetic visionary fury, the ghosts of things he saw, and as ectoplasm-manandoli brief vortex, flame and toxic tar ... For some time stream is stationary, has taken over breath, and in fact to blow trial was put before him, to scratch with brush strokes and overlap-ste, these maps smoke-binders of its chaotic path ... ".
Elda Fezzi, 1971
" ... It is often expressionistic with attendance dream, dreams but not abstract and metaphysical free but always arising from a fund into the life and history, so your beautiful art is political (not bakery) in the sense that reflects and emphasizes the originality of our tragedies our fears, our malice. Congratulations!
Ferruccio Monterosso
"... It is a creative act that we see, in the end, the result of a germination poetry in painting, GE-stualità educated with the knowledge that amounts to an act dictated by primal instincts of writing. But do not delude ourselves, nothing is random in Garut paint, but just seeks to acquire a renewed sense, scartan-do and the banality of consuetudinarietà known. In this, the entire current page is nothing but development, temporary and perhaps permanent, of a painting that was already there, the visionary and ab-BIAM parasurreale well known that in recent years of intensive work of the artist. It is, in my opinion, a lot of good that there is this new moment of writing, since it is tantamount to a return to the inspirational sources that, for a prolific author at times, are critical, however, this does not detract from the future in order to pursue new tracks, new paths, new ways. The
liberating gesture and instinct on which to conduct some insist the painting of this author more thickeners-ing to the territories of surreality, it's actually a sign that the "arsonist" but realizes "pompier", to paraphrase a famous statement, or part of an anarchist but discipline in painting will be monitored by this: pure painting, without artifice it cunning, made of pure color, pure sign, enclosed in a single ge-am that is, which takes place in the village of a moment in space and to the extent necessary for its com-Piers.
This exhibition is an act of pure painting, without else to add, which, in his magnificent and simple magic-city, is the one and all. Go see this show fascinating, as only they know are the challenges that an author who has achieved national success and not just some authority in the field, dares to get involved, with the courage of the mad and the true artists .... " Tiziana
Cordani, 2007
The artist was born in Modena Jordan Garuti, he lives and works in Cremona.
exhibitions since 1965. Among the awards won in 1973 include the First Prize of Contemporary Art "II-Lietti Cava D'Oro" (MI) and First Prize in 1975 "Stand" (gold medal) Municipality of Cremona.
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