Library
UNIVERSITAS
has
"kasu graphic notes"
UNIVERSITAS
has
"kasu graphic notes"
staff
of
John Casu
Carthusian SIGN BETWEEN ABORIGINAL AND AESTHETIC
Casu If John had been born back in the Middle Ages, it was without doubt a great scribe.
The strong and meticulous attention to detail, the prevailing cut miniature images created, careful handwriting expert expressed in writing and dash characters are all evidence (and at the same time distinguishing) of a penchant for graphic clarity and the accuracy of signs today - unfortunately - become rare and for that - no coincidence - due to the great tradition (and the performance practice) of times distant and forgotten past.
While not wishing to go and dig up categorizations entirely dispersed into the mists of the past (those of Cennini to those of the Vasari), allegedly aimed to decide the relevance of drawing in design and in the genesis of the painting (and its autonomous significance of the work already full of art and complete in itself), the fact is that the very act of artistic Casu authors such as raises and reiterates the absolute relevance of technical and language all too often (and too much carelessness) accused of obsolescence, since apparently exceeded instruments and modes of expression (such as the use of information or to sign for any contamination sorta) improntati ad un’estrema immediatezza delle cinetiche progettuali ed esecutive.
Il coltivare un pensiero e una manualità artistiche per così dire “d’altri tempi” (in virtù della loro tempistica pausata e dell’approccio meticoloso e misurato) non può, dunque, che essere obbligato oggetto d’attenzione e valorizzazione, soprattutto alla luce di questa dilagante predilezione per la rapidità ideativa ed attuativa, che va prendendo sempre più corpo nell’attuale contesto delle arti visive, a disdoro di quel lento e progressivo esercizio fabrile al cui interno avviene non solo l’addestramento manuale, ma anche (e in particolar modo) l’affinamento delle idee.
Not surprisingly, therefore, that the attention and the work of John - that is man and artist of his time - winds along a narrow ridge and interesting, where the taste "antiques" of the calligrapher is combined perfectly with the interest for subjects and topics (mostly borrowed from the aboriginal cultures of Africa and Oceania) typical visual developments of the last hundred years, thus confirming the practical possibility of updating (with character mode wisely hybridized, perfectly in tune with the best of contemporary guidelines a) a thought and a gesture still vital and highly effective narrative. No
obsolescence, then, nell'acribia grafica del nostro Casu, ma una effettiva capacità di tradurre un fare “antico” nei termini e nei modi d’un impianto linguistico maggiormente in linea con i tempi, sì da rispettare a pieno quei “nomadismi estetici ed artistici” che sono il sale dell’inventiva visuale dei giorni in cui viviamo.
Sarebbe fin troppo facile obiettare che l’irruzione dell’arte tribale nei perimetri ottici dell’Occidente risale già al periodo di Gauguin (e quindi alla fine dell’800), non costituendo, per tanto, un’assoluta novità; e tuttavia, l’influenza esercitata da quel tipo d’espressione non può essere confinata esclusivamente ai decenni a cavallo fra ‘800 and 900 (think of Picasso, Modigliani or Kirchner), being still able to provide many ideas and suggestions, as also demonstrated by the great significance in view of the author has made the painting of the native Australians in recent decades.
And in this context (and especially the role and centrality of the natural world) draws liberally Giovanni Casu, reaffirming the strong and undeniable ability to marry the graphic tradition of the society "evolved" and turned the fertile imagination of people are wrongly considered "primitive." It is enough to turn our eyes to the many zoomorphism (from simple allusions to actual depictions of animals) rod on paper (or transposed on wood or canvas) with painstaking care and kaleidoscopic polychrome, or the game of overlaps and intersections between old photographs of Aboriginal people (by taste clearly ethnographic) and contours drawn with anthropomorphic solutions (when the aesthetic totems meets with derivations Graffitist), to understand fully the attitude of our Casu to take on an exuberant visionary (and "world view" mixed with animism and a sense of panic), thanks to a lexical system that redial optical terms in the exuberance of a millimeter syntax executive. Inclination, which he always manifests in its fullness even in large peculiar set of Sicily, in which the imaginative and polyphonic variation of geographic data (and topographical), while moving from the ethnic connotation, it transcends the full value surface folk, to open up a dynamic of possible arrangements (and related variants narrative) able to go beyond stereotypes and predictable clichés.
Salvo Ferlito (November 2008)
Casu If John had been born back in the Middle Ages, it was without doubt a great scribe.
The strong and meticulous attention to detail, the prevailing cut miniature images created, careful handwriting expert expressed in writing and dash characters are all evidence (and at the same time distinguishing) of a penchant for graphic clarity and the accuracy of signs today - unfortunately - become rare and for that - no coincidence - due to the great tradition (and the performance practice) of times distant and forgotten past.
While not wishing to go and dig up categorizations entirely dispersed into the mists of the past (those of Cennini to those of the Vasari), allegedly aimed to decide the relevance of drawing in design and in the genesis of the painting (and its autonomous significance of the work already full of art and complete in itself), the fact is that the very act of artistic Casu authors such as raises and reiterates the absolute relevance of technical and language all too often (and too much carelessness) accused of obsolescence, since apparently exceeded instruments and modes of expression (such as the use of information or to sign for any contamination sorta) improntati ad un’estrema immediatezza delle cinetiche progettuali ed esecutive.
Il coltivare un pensiero e una manualità artistiche per così dire “d’altri tempi” (in virtù della loro tempistica pausata e dell’approccio meticoloso e misurato) non può, dunque, che essere obbligato oggetto d’attenzione e valorizzazione, soprattutto alla luce di questa dilagante predilezione per la rapidità ideativa ed attuativa, che va prendendo sempre più corpo nell’attuale contesto delle arti visive, a disdoro di quel lento e progressivo esercizio fabrile al cui interno avviene non solo l’addestramento manuale, ma anche (e in particolar modo) l’affinamento delle idee.
Not surprisingly, therefore, that the attention and the work of John - that is man and artist of his time - winds along a narrow ridge and interesting, where the taste "antiques" of the calligrapher is combined perfectly with the interest for subjects and topics (mostly borrowed from the aboriginal cultures of Africa and Oceania) typical visual developments of the last hundred years, thus confirming the practical possibility of updating (with character mode wisely hybridized, perfectly in tune with the best of contemporary guidelines a) a thought and a gesture still vital and highly effective narrative. No
obsolescence, then, nell'acribia grafica del nostro Casu, ma una effettiva capacità di tradurre un fare “antico” nei termini e nei modi d’un impianto linguistico maggiormente in linea con i tempi, sì da rispettare a pieno quei “nomadismi estetici ed artistici” che sono il sale dell’inventiva visuale dei giorni in cui viviamo.
Sarebbe fin troppo facile obiettare che l’irruzione dell’arte tribale nei perimetri ottici dell’Occidente risale già al periodo di Gauguin (e quindi alla fine dell’800), non costituendo, per tanto, un’assoluta novità; e tuttavia, l’influenza esercitata da quel tipo d’espressione non può essere confinata esclusivamente ai decenni a cavallo fra ‘800 and 900 (think of Picasso, Modigliani or Kirchner), being still able to provide many ideas and suggestions, as also demonstrated by the great significance in view of the author has made the painting of the native Australians in recent decades.
And in this context (and especially the role and centrality of the natural world) draws liberally Giovanni Casu, reaffirming the strong and undeniable ability to marry the graphic tradition of the society "evolved" and turned the fertile imagination of people are wrongly considered "primitive." It is enough to turn our eyes to the many zoomorphism (from simple allusions to actual depictions of animals) rod on paper (or transposed on wood or canvas) with painstaking care and kaleidoscopic polychrome, or the game of overlaps and intersections between old photographs of Aboriginal people (by taste clearly ethnographic) and contours drawn with anthropomorphic solutions (when the aesthetic totems meets with derivations Graffitist), to understand fully the attitude of our Casu to take on an exuberant visionary (and "world view" mixed with animism and a sense of panic), thanks to a lexical system that redial optical terms in the exuberance of a millimeter syntax executive. Inclination, which he always manifests in its fullness even in large peculiar set of Sicily, in which the imaginative and polyphonic variation of geographic data (and topographical), while moving from the ethnic connotation, it transcends the full value surface folk, to open up a dynamic of possible arrangements (and related variants narrative) able to go beyond stereotypes and predictable clichés.
Salvo Ferlito (November 2008)
Library Opening in November 29 2008 hours 18.00
The exhibition is open daily from 09:00 to 13:00 and from 16:00 to 19:00 until December 12, 2008
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