SALOME'

Qui voglio presentare Salomè micropop, in una contestualizzazione NEW WORLDS:

si tratta in chiave contemporanea l'iconografia della principessa giudaica citata nel vangelo secondo Matteo, protagonista degli episodi famosi di Flaubert e in una importante opera di Oscar Wilde (quindi protagonista del mondo e della cultura OCCIDENTALE).

 

Tomoko: Salomè

Nella reinterpretazione di Tomoko, Salomè diviene contemporanea icona del consumo di Massa: Hello kitty che porta sul vassoio la testa di se stessa "un'analisi critica Kawaii", tipicamente micropop, dove una delle icone del capitale mondiale porta la sua stessa testa decapitata, come fu quella di San Giovanni battista.
Cg

ENGL:
Here i would like to introduce a Micropop Salomè, a contextualization NEW WORLDS:
it comes in a contemporary iconography of the Jewish princess, mentioned in the Gospel of Matthew, as well the protagonist of the famous cases of Flaubert and an important work of Oscar Wilde (then starring in the world and Western culture).
The reinterpretation of Tomoko, Salome becomes contemporary icon of mass consumption: Hello kitty that brings the head of itself (herself?) "a critical analysis Kawaii", typically micropop, where one of the icons of the capital of the world brings its own decapitated head, as was that of St. John the Baptist.

Salomè, by TAKATO YAMAMOTO:

Salome is mentioned in the New Testament as the daughter of Herodias, a Jewish princess. Christian traditions depict her as an icon of dangerous female seductiveness. Salome’s story has long been a favourite of artists such as Titian, Gustave Moreau, Aubrey Bearsley, Oscar Wilde, Gustave Flaubert

SALOME' nella STORIA DELL' ARTE 

Artemisia Gentileschi: Salomè con la testa del Battista

Caravaggio: Salomè. olio su tela (91 x 106 cm) dipinto tra il 1607 e il 1610

Guido Reni

Leon Herbo (1.889)

lucas Cranach- Il Vecchio (1530) - salome

Bernardino luini

Oscar Kokoschka, salome (1906)

Oscar Wilde (interpreta Salomè)

TIZIANO

 

VIDANGIL project: 30 artisti COREANI a MILANO.

Avete mai visto 30 artisti coreani, tutti insieme a Milano?

"Nonostante la tecnologia made in corea (dalla telefonia mobile, smart tv e APP alle automobili, fino ai diffusi elettrodomestici e magari qualche film di KIM KI DUK) pochissimo conoscono questa parte di Asia con la sua cultura millenaria e gustosi piatti tipici, un player importantissimo insieme a Cina e Giappone"

cg

Testo critico per 2011 VINDAGIL Project
opening: martedi 13 dicembre 2011, ore 18.00 @The Don Gallery. Via Cola Montano 15. Fino al 24 dicembre 2011

30 Artisti Coreani in Italia , per un confronto inedito che esplora l' influenza che le icone POP, la globalizzazione dell' immaginario, le arti ormai innalzate a livello "alto" come moda e design ( fino a qualche decennio fa relegate a arti secondarie), stanno esercitando nell'arte contemporanea asiatica e sugli immaginari degli artisti emergenti.

Un' analisi che parte dalla generazione che affonda le radici ancora prima, in una lunga e affascinante tradizione di letteratura e mitologia che collegano Corea, Cina e Giappone, Storia e storia dell'arte orientali che purtroppo non vengono studiata nei programmi di studio delle scuole italiane.



Quanti posseggono un telefono o un monitor o un prodotto tecnologico Coreano? In italia e in una città "trend setter" come Milano probabilmente tanti ma pochissimi sanno pronunciare correttamente il nome della principale città "SEOUL" o conoscono i principali piatti tradizionali come il gustosissimo KIMCHI

La mostra ci offre una chance, un punto di vista privilegiato, un avvicinamento culturale fatto attraverso le immagini e gli oggetti di una mostra di qualità che ci dimostra come l'arte Europea, colonizzando il mondo a livello economico e culturale nei secoli scorsi, si stia sempre più aprendo  e mettendo nuovamente in discussione, traendo oggi "nuova linfa vitale" da questi giovani talenti creativi: un' apertura multi linguaggio e interculturale che preannuncia la società del futuro.

Possiamo cosi avere esperienza diretta della cavalcata senza sosta, inarrestabile delle figure che rappresentano il desiderio , i characters, i comics, gli ideogrammi  e i simboli delle culture asiatiche attuali, tra passato e presente, interpretati da artisti coreani di qualitò, lanciati alla pacifica conquista dell' immaginario collettivo del mondo occidentale.

Christian Gancitano, operatore Culturale (asXPO),esperto di culture pop asiatiche


ITALIA-COREA: albori di collaborazione culturale

La mostra, grazie alla partnership tra CIAC (Corea Italia Associazione Arte e Cultura) e Associazione asXPO (associazione culturale milanese, culture network) che hanno già collaborato in altre occasioni, rappresenta un concreto momento di contatto e scambio culturale, di incontro tra persone appassionate di arte e cultura, fermamente convinte che le arti debbano essere riconosciute e sostenute a livello globale come driver di sviluppo anche economico e sociale, un veicolo fondamentale per la condivisione di CONTENUTI e modelli ASPIRAZIONALI senza i quali anche l'economia e il mercato globalizzato e la tecnologia non avrebbero importanti fondamenta.

Ciac e asXPO (associazioni culturali non profit)

ENGLISH:

Textus receptus for 2011 VINDAGIL Project

30 Korean artists in an original comparison that explores influences that POP icons, the globalization of the imaginary and raised arts such as fashion and design (until a few decades ago considered secondary arts) are playing  in contemporary Asian art and on emerging artists’ imaginary.

An analysis that is rooted in a long and fascinating history of literature and mythology that connects Korea, China and Japan. Asian history and art history that unfortunately are not studied in Italian school.

How many have a phone, a monitor or a Korean technological product ? Probably many in a ‘trendsetter’ Italian city as Milan, but few of them know how to pronounce the name of the main city ‘SEOUL’ correctly or know the main traditional dishes like the savory ‘Kimchi’.

This exhibition gives us an opportunity, a vantage point of view and a cultural approach through images and objects of quality. It shows us how European art is increasingly opening  and calling into question, after having economically and culturally colonized the world in centuries past. An opened multi-languages and multi-cultural attitude that draws now new life from these young creative talents and shapes the future society.

So we can have direct experience of a non-stop run of characters that represent desire. Comics,  ideograms and symbols of the current Asian cultures, between past and present, performed by top Korean artists, pitched towards the peaceful conquest of the collective imagination of the Western world.

Christian Gancitano, Cultural manager (asXPO), Asian pop culture expert

Thanks to CIAC (Corea Italia Associazione Arte e Cultura) and asXPO association (a cultural association in Milan, a cultural network) partnership – already active on other occasions – this exhibition represents a mere opportunity of cultural exchange among people with a passion for art and culture. These people believe that arts should receive credit and overall support as an economic and social development driver and could be an important means for the sharing of contents and aspirational models without which global economy, market and technology would not have important basis.

Ciac and asXPO (non profit cultural associations)

浮世絵 Ukiyo-e, l’estetica del mondo fluttuante, as a contemporary value

浮世絵

L’estetica “ del mondo fluttuante” viene introdotta durante il periodo EDO (1600-1868), dominato dallo shogunato dei TOKUGAWA.

Questa tecnica artistica divenne molto popolare a Edo durante la seconda metà del XVII secolo

 a partire dalle opere monocromatiche di Hishikawa Moronobu (ca. 1670).

 All'inizio, si utilizzava soltanto inchiostro cinese,

 in seguito alcune stampe vennero colorate a mano con dei pennelli, ma nel XVIII secolo Suzuki Harunobu sviluppò la tecnica della stampa policromatica per produrre nishiki-e.

UNA CULTURA DI MASSA: albori di un arte POP (e non della pop art)

Gli Ukiyo-e non erano costosi perché erano prodotti in massa ed erano pensati principalmente per gli abitanti della città che non potevano permettersi dei veri dipinti. Alle origini, il soggetto principale degli Ukiyo-e era la vita della città, in particolare le attività e le scene dei quartieri dei divertimenti:

belle cortigiane, grossi lottatori di sumo e attori famosi erano ritratti mentre svolgevano il loro lavoro. In seguito divennero popolari anche i paesaggi, mentre non apparvero quasi mai soggetti politici e di altre classi sociali all'infuori di quelle più basse (composte appunto da cortigiane, lottatori di sumo e attori).

Il sesso non era un vero e proprio tema a sé, anche se comparve spesso in queste stampe.

Gli artisti e gli editori erano talvolta sottoposti a sanzioni per queste stampe sessualmente esplicite, dette shunga.

La bellezza femminile UKIYO-E, nel passato e oggi: ritratti BIJINGA (bijinga portraicts and the feminine beautyness, in the past and now)

美人畫

(Bijinga lit., "beautiful person picture") is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography.

 The term can also be used for modern media, provided the image conforms to a somewhat classic representation of a woman, usually depicted wearing kimono.

Nearly all ukiyo-e artists produced bijinga, it being one of the central themes of the genre. However, a few, including Utamaro, Suzuki Harunobu, Ito Shinsui, Toyohara Chikanobu and Torii Kiyonaga, are widely regarded as the greatest innovators and masters of the form.

 

 

北斎漫画

 

"Hokusai's Sketches” is a collection of scketches of various subjects by the Japanese artist Hokusai.

 

 

Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural. The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. Block-printed in three colours (black, gray and pale flesh), the Manga comprise literally thousands of images in 15 volumes, the first published in 1814, when the artist was 55.

Chris Gangitano

Kawaiizzazioni (to makes it kawaii)

 Tomoko and her Kawaiizzazioni technique:
digital art and vectorial art, painting, technique and variable sizes from A3 to 100x70 cm
A series of 20 tables and about 10 paintings KAWAIZZANO (make kawaii) brand, works of art and avant-pop icons, i mean POP massive culture, imaginations or world-famous.

Enfanta Margarita, Kitty, Coke: as 3 of the global strong icons

As in the artwork of David and Goliath, or that one with the last meal (Emmaus), or Bacchus (with Nutella) as well Judith and Olophernes (above), Tomoko takes Caravaggio, another KAWAIIZATED subject is the famous  "Enfanta Margarita de Las Meninas by Velazquez, mixed up of the bags of "Zara " or other main massive brand ...

Again with" Venus of Pasta "by Titian's Venus (which has influenced the work of Maja desnuda by Goya), however,  we can find " pilov" of " Hello Kitty"with venus or "maja" that rest in packages of pasta and she looks like are an icon of consume enjoyable mass product of european and Japanese, imagination of global economy.

Venus of Pasta (vectorial art version)

Venus of Pasta (with Kitty) Oil painting version

Other global brands like NUTELLA, Coke, Kikkomann, Nissin cup noodles, playstation psp, Smart car etc... are reinterpreted and made cool and kawaii, becoming subject of the "palette" creative of Tomoko.

kitty and Coke, artwork donate for Sanrio Foundation (project sanrio For Smiles)

www.tomokonagao.info
 
Typically in an artistic Micropop style, artists (mainly womens) makes repossess a massive icons, massive brand cultures in order to make them "own" and use them as a display of "your" imagination instead of fancy reset operation and diversity of the brands that tend to engage in mass consumption. 

An "allegory" superflat of the era of globalization, told with its symbols and its products.

>> For example, now, this is a work painting by Tomoko Nagao, one of the newest. I consider it as his point of arrival (developed from digital vectorial artworks) and a meaningful image to criticize subtly but effectively the current globalized era, the economy of the maddened virtual markets:

Narcissus (The Capital?) reflects, with SCRAPED knees. He is reflected in the iconography of the work of Caravaggio as a puddle. is reflected with the Coca-Cola, will become sad because maybe transform in a massive Brand (as in the flower that will effectively transformed).


Chris Gangitano

a "visionary" preview by Hokusai: Tsunami

pubblicata da Christian Gangitano il giorno martedì 25 ottobre 2011 alle ore 13.19

Hokusai Operates a "visionary" preview by the famous print that represents the great wave  (神奈川沖浪裏 Kanagawa Oki Nami Ura) of the tsunami, and many waves of ocean's subject as work and a philosophy that already announced a difficult relationship but admiration and awareness of the nature "friend - enemy" and its KAMI, his forces that influenced the japanese's sensitive creative, as well his poetry, fables, arts.

The aesthetics of floating "ukiyoe" (浮世 絵), was in fact the first real example of pre-industrial cultures on the artistic currents of the first 900 (Impressionists, Van Gogh etc ...) and the European avant-garde movements. An important advance of mass pop culture.

  (神奈川沖浪裏 Kanagawa Oki Nami Ura)

Today an independent again and fascinating japan's style has spread rapidly around the world through Manga and Anime (by Osamu Tezuka, Hayao Miyazaki, Otomo, goes on ...), through the small literature and cinema, and also through the poetic Otaku Superflat (raised by Murakami Takashi Nara Yoshimoto, etc ...) continuing with the currents and variations Micropop  expressions of Pixel Multimedia Generation of Japanese young artists, are still exploring nature mystery and human deep relations with nature happens and  nature feeling  ...

　富嶽百景　海上の不ニ

Katsushika Hokusai

cg