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THE CAKES ON MY CARPET
On May, 2013 the Gallery called “Der Pinacoteke Der Moderne Barbara Ruetz” in Monaco presented the new series of works created by Fabio Bianco and entitled “ e Cakes on My Carpet”. is new cycle of works is conceptually conceived as one large triptych and it’s formally a natural artistic continuum with the earlier pictorial production named “Fabulous life”. Moving as usual within a dimension to the limit between the dreamlike and symbolic, the artist probe and reveal his personal interpretation of a more general sense of wonder. Large chandeliers, which mark interior surfaces through an almost baroque light, are followed by the suggestions of “loci ameni” and of “parterre de borderie”, where sumptuous banquets also took life through great “gateau”. rough time and space, the cakes become now, almost ironically, the direct testimony of the contact pointbetween the intangible and visionary world of the mind and the concreteness, almost raw, of the real (his carpet). LA TORTA NEL MIO TAPPETO (ITA) La Galleria Der Pinacoteke Der Moderne Barbara Ruetz di Monaco ha presentato nel mese di Maggio 2013 la nuova serie di lavori realizzata da Fabio Bianco ed intitolata “The Cakes on My Carpet”. Questo nuovo ciclo di opere, concettualmente concepito come un unico grande trittico, costituisce formalmente un naturale continuum artistico con la precedente produzione pittorica “Fabulous life” nella quale l’artista, muovendosi come di consueto all’interno di una dimensione al limite tra l’onirico ed il “simbolico”, affrontava e svelava la sua personale interpretazione di un più generale stato di meraviglia. Ai grandi lampadari che scandiscono le superfici degli interni attraverso una luce quasi “barocca”, si susseguivano le suggestioni tipiche dei “loci ameni” e dei “parterre de borderie”, in cui anche sontuosi banchetti prendevano vita attraverso maestosi “gateau”. Torte, appunto, che attraverso il tempo e lo spazio, divengono ora, quasi ironicamente, la testimonianza diretta del punto di contatto tra il mondo intangibile e visionario della mente e la concretezza, quasi cruda, del reale (il suo tappeto). (N. Silva) MY SWEET HOME Fabio Bianco’s painting is at tool for visionary aperture. Though it does not abdicate the real subject, itsurpasses and transforms it through the complex interweaving of chromatic layers. Liquid and metaphoric, his painting cracks and breaks the limits and fixities of closed environments, multiplying planes and vanishing points, while confusing the distance between things: ceiling and floor, image and reflection. Fabio Bianco was born in 1971 in Mirano, Venice. He has dealt with art very early, attending an arts high school and studying subsequent painting at the prestigious Accademia di Belle Arti in Venice. The exhibition “My Sweet Home” placed in our gallery shows his colored works. Interiors are clearly perspective and yet blur the boundaries to the illusion of the dream world, as a kind memory. We remember almost flowing down chandelier or a forest which breaks inside out. Fabio reveals to us imaginary creations, in a never ending visual repertoire that seems to be that, but it isn’t. Through its characteristic and authentic style, unusual and excessive colors flow and overlap as if they were metaphors for the human chaos and for the confusion of emotions and mental tension. His scenes are works of a free exchange with the reality, they oscillate between possibility and truth. His works are not the strict mimesis of hyper-realism and imitation. His painting is free, sometimes obsessively, fantastic and also ironic. It connects present and past, figuration and abstraction and explores the relationship between space and viewer, between what is and what shows it. This dilemma is a kind of fusion in a visual prism. Rooms opening into new rooms and the 2-dimensional painting which passes through light and perspective in the 3-dimensional one. Fabio pulls the doors of the imagination which resist the digitized and mechanized world. Fabio Bianco has won many awards and already had exhibitions in important places as Documenta in Kassel, Biennale in Venice, as well as other exhibitions around the world. (Andrea Müller) FABULOUS LIFE The title Fabulous Life emphasizes the dreamlike and fantastic atmosphere that characterizes this series of works, the pictorial medium exploited by Bianco becomes the means to penetrate into a world rich in particulars to be understood, in a play of chromatisms full of great brightness, where reality and fiction continue being in an indissoluble bond. Fabio Bianco, just like in a wonderland, describes, through poetic lightness a universe where the everyday life becomes fantastic and in which its subjects are actors in a climate of real and imaginary. A sense of motionless peace glides on the large painting of Fabulous Life. Like no noise disturbs the story in dreams; the invasion of ladybugs covering the sky goes on silently, just as silent as the cry of the girl who notices a bear wandering undisturbed among the plants, while the innocently appetizing ice cream cakes, are placed on a table cloth waiting for someone’s arrival. Each canvas is made of vibrant colors, surrounded by a dazzling light that Bianco captures through the use of gold and silver leaves, an almost unreal light that interweaves itself among the woofs of the canvas creating suspended environments, sets with a strong theatrical setting. FABULOUS LIFE (ITA) Fabulous life è la nuova serie di opere pittoriche di Fabio Bianco (Venezia 1971), artista che da sempre concentra la sua indagine estetica sullo studio della luce e dei riflessi luminosi, realizzando opere dalla complessa impalcatura cromatica. Nel corso della sua carriera artistica, la ricerca estetica di Bianco si è orientata principalmente verso un’analisi profonda degli spazi interni, fastosi e luminosi di palazzi e teatri trasfigurati dalla luce ( Evolution, Chandeliers, Yes-Man ). In questo nuovo ciclo di opere il suo sguardo si addentra nelle meraviglie offerte dallo spazio esterno dei giardini di ricche abitazioni dove talvolta, tra il verde delle piante, è possibile scorgerne gli interni dai lussuosi “chandeliers”, che brillano attraverso grandi vetrate. Il titolo scelto dall’artista sottolinea la dimensione onirica e favolosa che caratterizza il suo ultimo lavoro; il medium pittorico sfruttato da Bianco diventa il mezzo per addentrarsi in un mondo ricco di particolari da cogliere, in un gioco di cromatismi di grande vivacità, dove realtà e finzione restano indissolubilmente legati. Come in un paese delle meraviglie Fabio Bianco descrive, con poetica leggerezza un universo dove il quotidiano diventa fantastico e dove i soggetti sono attori in un clima tra reale e immaginario. Un senso di immobile quiete scivola sulle grandi tele di Fabulous life. Come in un sogno nessun rumore disturba la storia; l’invasione delle coccinelle che ricopre il cielo procede silenziosamente, cosi come silenzioso è il grido della fanciulla che scorge un orso che si aggira indisturbato tra le piante, mentre le torte gelato candidamente invitanti, attendono sul tavolo apparecchiato l’arrivo di qualcuno, sotto l’occhio vigile di un alce. Ogni tela è vestita di colori vibranti, avvolta da una luce abbagliante che Bianco cattura attraverso l’utilizzo di foglie d’oro e d’argento, una luce quasi irreale che si intesse tra le trame della tela creando ambientazioni sospese, scenografie dalla forte impostazione teatrale. Il viaggio tra realtà e finzione di Fabulous life continua con le Sculture domestiche, oggetti d’uso quotidiano realizzati da Bianco con vari materiali di recupero della pittura, come tela, telaio e pigmenti, tutti supportati da progetti ad olio realizzati tra il 2008 e il 2009. Queste sculture oggetto, tra cui spicca la Radio rosa, sono perfettamente funzionanti e rappresentano una personale interpretazione dell'oggettualità domestica e quotidiana, diventando la cerniera tangibile di quell’universo fantastico raccontato dall’artista. La riflessione di Fabio Bianco sul linguaggio pittorico si inserisce in un percorso artistico di originale novità, dove forza cromatica e libertà gestuale diventano elementi essenziali di una personale ed autonoma filosofia della visione, che attinge dalle forme del reale senza però mai limitarsi al puro mimetismo, sfiorando talvolta il limite dell’astrazione. (Marianna Perazzini) |
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INCHINO
The Gallery of the Theater of Bremen, after exposure of Candida Hofer and Aiwewei, invites Fabio Bianco to build a great personal exposure. Fabio Bianco’s works can be seen for the first time in Germany and it is a happy coincidence that the paintings are shown in a spatial situation reflecting atmosphere in many moods of the artist. It concerns the radiance of exceptional interiors, in particular of theatres and opera houses. What Fabio Bianco like on the ranks architectures and on the spatiality of stage and Foyer? First, he liked the contrast of surface area and depth. It begins to pose questions to the room. How could be a so solemn atmosphere created? The not well identifiable lighting design of the artist encourages the feeling of tension, felt by the viewer as exciting and perhaps even irritating. At the same time, meeting the work of Fabio Bianco give the possibility to catch time and space, not through furniture such as seemingly weightless crystal chandeliers, but through world of matter, light and a idiosyncratic perspective Remarkable are his intense colours, such as the red, reminiscent of theatre curtains, but he also uses golden and silvery shimmering, to underline an almost sublime atmosphere of the rooms. in Bianco’s works are deserted: the viewer is the man who appears in conjunction with the space, going into this space - and it’s this the invitation in Fabio Bianco’s Bremen exhibition, to enter in the special world of images. (A. Schneider) |
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THE VIS CHROMATICA AND VIS FANTASTICA IN FABIO BIANCO’S PAINTING
Fabio Bianco’s (Venice, 1971) pieces have perfect resonance in this climate of rebirth in painting, in which, starting from the 2nd half of the 90’s, Italy too participated, albeit in a different way with respect to the rest of Europe. Given that, after Arte Povera and the Transavanguardia, this country had not seen the birth of artistic movements able to be exported outside the national borders, nor has Italy been able to create artistic and commercial phenomena like the YBA’s in England or the YGA’s from the art schools in Leipzig, Dresden and Berlin; it could be suggested that the fragmentary and nonuniform nature of our country favours more individual, free and independent development of artists, which are however able to engage within both local and global contexts. Fabio Bianco’s painting – like that of other artists of his generation, as well as younger artists – is “a painting free and liberated” without the classic conformity of a medium still subject to obsolete critical and aesthetic judgement. The vis chromatica of these last pieces (but also of earlier work), combine great gestural freedom and a thematic eclecticism, taking the creative research of this Venetian artist once again in the direction of territory recently conquered by invention and imagination. The question one needs to address once more is, and continues to be: Can painting be considered a privileged space with respect to the contemporary landscape, a space at this point already saturated with imagery? Put another way: What bearing could this particular perspective potentially have on our feelings and on our collective identities? From his first works, Fabio Bianco builds a relationship of free exchange with Reality; embracing the huge repertory of forms and marks that the world around him has put at his disposal, making confident use of the pointers and suggestions provided by the web and replaying History of Art’s past, both recent and distant with irony, a lightness of touch and with a post-modern sensibility. Indirect imagery, and more specifically that great “ imaginary gulf of visual imagery that the culture itself- either mass culture or alternative forms of tradition, furnishes” In the case of our artist, however, his pictorial vision does not go down the route of slavish and uncritical citation, nor does he engage in research concerning the realistic effects of photography. His perspective is a metaphoric thread, subtly weaving it’s beguiling course through reality and fiction, figuration and abstraction. In this case, the creative mind works in accordance with the mathematical principles inherent in the recombination of elements. Memory and reality, past and present, both the probable and the true, are undergoing constant change, creating for the onlooker a repertoire of visual representation that “seems to be, but is not”, both strange and familiar at the same time. In the Piscine series, paintings carried out between ’99 and 2000, Bianco attempted to find, through the use of excess and anomalous colour, an unfamiliar perspective onto everyday spaces, as well as, through the use of natural symbolism, the route to realistic but not imitative painting, able to stimulate the viewer on numerous levels and not only visually. Even these most recent pieces, where the subject matter’s vibrant colours reverberate on the canvas with a brilliant unreal light, are exercises in perception. A liquid magma of colour – painterly strokes of red, blue and orange, magenta, slight areas in gold and silver diffused here and there with a meticulous circumspection all functioning as none other than a visual metaphor for the chaos and confusion that represent the human condition – a brew of emotional and mental tension that characterise the innermost feelings of every one of us. Through the artists representations of the insides of public or private buildings, theatres, churches and palazzi, he finds that initial spark which inspire the reconstruction of mental landscapes, constitutive of that liminal space between the dream state and waking, the conscious and unconscious and the real and imaginary. The paintings throw open the doors to the imagination, liberating artistic invention from a world impoverished by imitations of reality. How can one not intimate, behind the work, the titanic force the art has undertaken in the re-appropriation of imaginative strategy and means? The recent series entitled “Chandeliers” have the romantic and literal allure of certain 19th century Central European novels, but are simultaneously enigmatic so as not to render themselves easily interpretable, but instead position themselves in a future beyond time. The employment of the recognisable and familiar as a departure point (in this case the Ca’ Rezzonico model of Chandelier) and repeating the motif obsessively in the paintings, sets up a complex game of reflections and resonance, with rooms opening onto other rooms, doors thrown open to emptiness, glass refracting the light dancing on the walls and floors which reflect the ceiling. Like a visual prism, the 2 dimensional space of the piece conquers the 3rd dimension, thanks to the informed use of light and perspective on the part of the artist. If, in previous work, devoted ironically to Yes-men (the successful men of the new-economy) Bianco, through his use of strong critical polemic, confronted certain current socio-political matters directly, in the Chandeliers series, he has rendered those considerations more subtle and profound; exploring the relationship between space and the self, interiors and exteriors, the natural and the artificial, and the causes and effects of the unarrestable transformation of western civilisation. Concealed in the magical and seductive atmosphere of these painted architectonic interiors lies the perennial dilemma, concerning the difference between “that which is and that which is represented”. Today, having passed through hyper-realism, which mimicked photography and the cinema following the era of remake and imitation, we have returned to a painting that is free and joyous, inestimable in value, at times obsessive and fantastical. It is replete with colour, simultaneously powerful and fragile, but still authentic and perhaps still capable of effectively recounting through fantasy and imagination our reality and the defining spirit of our times. “At the height of concentration – observed the philosopher and writer, Alain Badiou – the century’s art aims to unite the present, the intensity of the real in life and it’s name within the formula, which is the invention of form. It is thus that the suffering of the world transforms into joy” Alain Badiou’s words seem to summarise admirably the present day’s visual arts outlook and furthermore provides the perfect inspiration for Fabio Bianco’s artistic endeavour. VIS CHROMATICA E VIS FANTASTICA NELLA PITTURA DI FABIO BIANCO Le opere pittoriche di Fabio Bianco (Venezia, 1971) si inseriscono perfettamente nel clima di rinascita della pittura a cui accennavamo sopra e che ha coinvolto, a partire dalla seconda metà degli anni Novanta, in modo diverso rispetto alla situazione europea, anche l’Italia. Se è innegabile il fatto che il nostro territorio non ha più visto nascere, dopo l’Arte Povera e la Transavanguardia, movimenti artistici in grado di essere esportati in blocco fuori dai confini nazionali, né è stato in grado di creare fenomeni artistici e mercantili come quelli dei Young British Artists in Inghilterra o quelli tedeschi dei Young German Artists, usciti dalle Scuole di Lipsia, Dresda e Berlino, è pur vero che la realtà frammentaria e irregolare del nostro paese ha favorito la crescita di numerose individualità libere ed indipendenti, capaci di relazionarsi con il sistema dei segni locali e globali. La pittura di Fabio Bianco – come quella di altri artisti della sua generazione o anche più giovani – è una “Pittura libera e liberata”, esente dai conformismi classici di un mezzo ancora soggetto ad obsoleti giudizi critici ed estetici. La vis chromatica di questi ultimi lavori (ma anche dei primi), abbinata ad una grande libertà gestuale e ad un eclettismo tematico, riconducono la ricerca estetica dell’artista veneziano in direzione di quei territori riconquistati solo di recente dalla fantasia e dall’immaginazione. La domanda da porsi è nuovamente una e soltanto una: Può la pittura essere considerata uno spazio privilegiato rispetto a quello ormai digerito delle immagini che sono venute a saturare la nostra società contemporanea? In altri termini: qual è il potenziale d’incidenza di queste visioni sui nostri sentimenti e sull’identità personale e collettiva? Sin dai primi lavori, Fabio Bianco costruisce con la Realtà un rapporto di libero scambio; attinge al vasto repertorio di forme e segni che il mondo circostante mette a sua disposizione; ripercorre la Storia dell’Arte passata e recente con ironia e leggerezza secondo un’attitudine post-moderna; utilizza con disinvoltura gli spunti e le suggestioni fornitegli dal web. L’immaginario indiretto è per l’appunto quel grande “golfo fantastico costituito dalle immagini che ci vengono fornite dalla cultura, sia essa cultura di massa o altra forma di tradizione.” Nel caso del nostro artista però, la visione pittorica non imbocca la facile via della pedissequa citazione, né ricerca gli effetti realistici tipici della fotografia. Lo sguardo di Fabio, lanciato in modo trasversale sul mondo, imbastisce una trama sottile e fascinosa sospesa fra realtà e finzione, fra figurazione e astrazione. La mente creativa opera, in questo caso, secondo i principi matematici della ricombinazione degli elementi. Memoria e attualità, passato e presente, vero e verosimile, si scambiano continuamente di posto, disponendo davanti agli occhi dello spettatore un repertorio di immagini che “sembrano ma non sono”, familiari e stranianti al tempo stesso. Nella serie delle Piscine, dipinta a cavallo fra il ’99 e il 2000, Bianco cercava, attraverso l’uso di colori accesi e innaturali, attraverso le prospettive inconsuete aperte su spazi quotidiani, attraverso l’impiego di una simbologia naturale, la via di una pittura realistica ma non mimetica, capace di solleticare tutti i sensi dello spettatore e non soltanto la vista. |