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Angelo Mazzoleni


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Painting, Photography, Sculpture ... 68 Followers Member since 2002
Italy

Biography

BIOGRAPHY ESSENTIAL


Artist of established reputation , Angelo Mazzoleni was born in Florence June 7, 1952 .

 Start early in his artistic career , already cultivated in his early years , under the guidance of some teachers and attending courses at the Accademia Carrara of Bergamo.In these years , participates in the first exhibition of paintings in England and in other Italian regions. Some travel, particularly in Germany and in Paris , enrich his artistic and cultural baggage and affect the first part of pittorica.Noto soperto also for having some important fossils donated to museums in Milan and Bergamo, including a erionide a generally still unknown and which was given its name ( Pseudocoleia Mazzolenii ) in their scientific publications. The interest in the mystery of the past, for history, especially early in his ancestral size , is one of the other elements that characterize his research in the field of painting, even before the foundation , with other artists, the group "... Read More

BIOGRAPHY ESSENTIAL


Artist of established reputation , Angelo Mazzoleni was born in Florence June 7, 1952 .

 Start early in his artistic career , already cultivated in his early years , under the guidance of some teachers and attending courses at the Accademia Carrara of Bergamo.In these years , participates in the first exhibition of paintings in England and in other Italian regions. Some travel, particularly in Germany and in Paris , enrich his artistic and cultural baggage and affect the first part of pittorica.Noto soperto also for having some important fossils donated to museums in Milan and Bergamo, including a erionide a generally still unknown and which was given its name ( Pseudocoleia Mazzolenii ) in their scientific publications. The interest in the mystery of the past, for history, especially early in his ancestral size , is one of the other elements that characterize his research in the field of painting, even before the foundation , with other artists, the group "NEW ART SINCRETIC " .

And ' active in the arts for three decades .

" The evolution of the artist, now thirty years , is marked by a personal search of the origins of the world of its vital forces , which , despite the variety of topics and techniques , appears as a single inner journey through time and the realities of our present. Three are the main moments of this whole path :

- The investigation of the myths of childhood and early history through symbolic representations of primal forces and energies of man ( historical origins )
- Research of the archetypes being and life through both decompositions in levels of reality through both compositions of matter for the most part " ovuliformi " or different structures whose main themes are: the symbols connected to the paths of light, temples and labyrinths the soul.
- lately, Angelo Mazzoleni he founded with other artists , the group - motion " NEW ART SINCRETICA " which, as is clear from its manifesto proposes a new experimental research of synthesis and processing personal and historical inter-ethnic artistic languages ​​expressed by the various arts and cultures over time in order to create a work of art globally.

As regards the contents and the experimental stages the work neo- syncretic in Mazzoleni is characterized by three main cycles :
- The historical syncretism ,
- With strong contemporary social characterization ,
- The spiritual syncretism

More generally, throughout the evolution of the artist, is aimed at a synthesis of innovative and wide-ranging between past and present , aiming to represent the spring sources of life and size and mysterious ancestral human soul and the world. "

The Master has exhibited in major Italian cities , in large institutional spaces , galleries and museums in the United States , Canada and other foreign locations , including: the Biennale art in Turkey, Paris and Spain.

. Criticism and reviews on various newspapers and art magazines , several televi... Read less

Mazzoleni Angelo

Official manifest of the new group-movement "contemporary sincretysm".


Official manifest of the new group-movement "contemporary sincretysm".

OFFICIAL MANIFESTO Of the GRUPPO-MOVIMENTO "NEW ART SINCRETICA

" With the Manifest present, some artists, on the base of the comunanza of some elements of bottom of their poetica surveying, has decided to give life to a plan of experimentation of new distances of search, through the foundation of the group "new sincretica art" On the base of elements that to already they join us, means, through the exchange of experiences, ideas, emotions and plans, to generate a process of historical-universalistica synthesis that you carry, in the freedom total of everyone, to the development of a thematic distance of sincresi between past, present and future are in diacronico sense that sincronico meant in total intercultural sense. If the inner travel joins us through the time and the history, between the various cultures of the world, to riscoperta of our origins and roots, we want parallel to rivendicare our dissent against to a sure type of "elittario" system, directed from powers, than, to fine of profit, they arrogate the right to govern great part of often puts into effect them market of the art degrading some the value, imposing models and lines to sense unico.Rispettiamo every shape of art but not us piacciono the mistificazioni, tv the trash,i cultural models faces to only provoke scandal to the ends of the fine succeeded one to if same. Like artists, we think of having to give to our contribution also to one difficult fight against the cultural degradation and the present mediatico conformismo in our globalizzata society. The sincretica art, also placing to the center of its operating dynamics the experimentation and the innovation, pursues in fact, without preconstituted outlines, in free and instinctive way, an art "total" based on the recovery of that today e' gone lost, because of some degenerations capacities from the globalization and a sure oligopolistico market. Cio' means also: a continuous comparison between contemporaneità and the world of our origins and the expressed higher values from the history, therefore the riscoperta one of new umanesimo against the forfeiture of artistic values and human products from a sure capitalistico-technological culture Proponiamo in new shapes a search inspired to the recovery of the concept of beauty and universalità of the work of art transposed in the world puts into effect them. We are contrary to the mercificazione of the art and the today imperante culture and to the "spettacolarizzasione of the art" when it reveals itself lacking in contained depths of or fruit of mode or mercantile interests. We propose the return, in new way, to a creative process that you bring back but the man and its emotions to the center of the universe-work, to its deep values, bringing back the art in the places that compete to them: houses, churches, ancient dwellings etc, so that the works accompany in the time the life of who live to them. To case we do not use, beside those traditional, material ones that has the most possible characteristic of being "natural", "old", for being able to tell a history or infinite history beside ours and to that one of who has preceded to us. We hope that our works know to evoke, with the emotions, also the riscoperta one of the humanitas today partially lost and can lead back the observer towards the istintuali sorgive sources of the being, our history and our present. The sincretica art cannot more be than as well as defined neither explained but only seen through the continuous evolution of our works like continuous a free process dynamic-creative from we stimulated and produced and is therefore, only one of the traces of passage of the group, a common frame of reference in which everyone can operate liberations towards other horizons and new experimentations. The group-movement "sincretica art" is opened to contributions of other artists, criti to us, operating cultural interested. BERGAMO 3-Novembre-2004 the founders of the group-movement "Neosincretico": Angel Mazzoleni, Mark Ceravolo, Tommaso Coconut, Carl Oberti, Alfonso Rocchi

El Grupo-Movimiento Neosincrético

El pasado nueve de octubre de 2004 en Bérgamo (Italia) se constituyó el grupo-movimiento Neosicrético, basado en la experimentación y el trabajo constante de investigación de sus componentes para conseguir un nuevo arte sincrético en un contexto de gran experimentación como el actual. Encabezado por el artista Angelo Mazzoleni, fundador del proyecto, contando con los artistas Marco Ceravolo, Tommaso Cocco, Carlo Oberti y Alfonso Rocchi como parte fundamental del mismo, basado en la síntesis de los conceptos, ideas, teorías, movimientos, corrientes y actitudes artísticas desde la época primitiva, pasando por la Edad Media, Renacimiento, Barroco, arte moderno, contemporáneo y actual. De los istmos a las corrientes personales, individuales, a la concepción del arte personal de hoy. De la percepción cultural colectiva y global, a la actitud de introspección del artista actual, que basa su obra en un análisis de la estructura de la evolución artística, surgiendo elementos de fusión, a partir de conceptos y teorías del pasado, de otras historias y legados plásticos, pero también del gran marasmo colectivo, de la conciencia universal, de lo creado a través de los siglos y lo que está por crear y que pervive en el inconsciente colectivo.

La sensación insertada en el magma del individuo

Asimismo, nos encontramos en un planeta dentro de una galaxia, que está influido por otros planetas y galaxias, energías que se hallan allí y aquí, la carga de los genes y el legado de la historia a través de libros, catálogos, museos y colecciones particulares y la obra propiedad de las galerías. Todo influye, desde un punto de vista simbólico, alegórico, pero también humanístico, de lenguaje plástico, de sensación insertada en el magma del individuo.
Idea, espíritu, la libertad como entelequia, la fuerza de la transformación de la materia, la exhuberancia del color, entendido como fuerza plástica en sí misma, que oscila a través de los conceptos, que cobra vida con autonomía. Todo forma parte de la historia, del pasado, del legado, no solo la pintura o la escultura, sino también los materiales integrantes que forman parte de las disciplinas plásticas más clásicas.
Además, no sólo son las obras lo que importa, sino también el legado de las ideas y de las filosofías. No se trata de racionalizar el arte como tal, sino de indagar en la memoria húmeda humana, en el meollo de la viveza de la propia existencia. Es decir que cuando los integrantes del Grupo Movimiento Neosincrético bucean en los paradigmas de la historia, en las concepciones artísticas del pasado, a través del tiempo, no lo hacen de manera intelectual, buscando nuevas ideas, sino que su discurso descansa en el corazón, en la sensibilidad, en la necesidad de conectar con otras sensibilidades del pasado para originar una nueva sensibilidad, más atractiva, menos racional, con mayor viveza, determinante, dotada de la potencia de quien domina la vertiente más sentimental del arte.

Sublimando el espíritu los conceptos se integran

Con la sublimación del espíritu los conceptos se integran, la síntesis alquimística se realiza y el resultado es más plástico que teórico.
Por consiguiente no es necesaria una nueva teoría, sino la existencia de artistas que profundicen mediante la realización de obras que han vuelto a sus orígenes y que están dotadas de química, magia y amor dorado por la luz celestial que las ilumina. Luz celestial entendida como energía transformadora. Es volver a creer en la propia evidencia, en la amalgama de pensamiento y obra, de certeras voluntades que han formado a los individuos durante generaciones. Es como escuchar el canto del pájaro exótico en la noche del bosque encantado. Se transmite la tradición de generación en generación, sin olvidarse de eslabones perdidos. Si uno se rompe la cadena puede desaparecer y el hermoso cántico del ave no se volverá a oír más. El Neosincretismo consiste en recuperar el canto del ave, pero también el bosque, la vegetación y la respiración del espectador, que, espera, con impaciencia, que el milagro, un año más, se produzca.

Búsqueda de sí mismos en el espacio/tiempo

Las ideas son la base de la sabia que circula por las venas de los creadores por antonomasia, pero luego, buscan su materialización. El artista necesita cuantificar, explicar y determinar la obra, palparla, para que también otros la toquen y la sientan. Si se pierde en palabras el legado se lo lleva el viento y no se produce la trascendencia que toda obra encierra en sí misma. No hay posibilidad de retorno si no hay voluntad de cambio.
A menudo se ha perdido mucho tiempo siguiendo ideas, pero no hechos, en otras ocasiones son los hechos lo que importan y no las ideas o ni tan siquiera las personas. De ahí que estemos hablando de un movimiento que busca nuevas ideas a partir de la búsqueda de sí mismos. El individuo pintor como fuerza en sí mismo que trocea la imaginación y regenera nuevas ideas. Hay una tendencia a presentar nuevas concepciones, a determinar caminos que derivan de la propia idiosincrasia de quienes nos rodean, en el sentido de ser más que un teórico, de querer ir más allá de la propia limitación, de las circunstancias que definen movimientos que, a menudo, no son entendidos porque no se ha profundizado en su legado. De ahí que esté claro que todo viaja a la velocidad de la luz, a ritmos vertiginosos, a conciencia, intentando contactar con la propia evidencia, con la esencia de la propia virtualidad, para hallar en lo fenomenológico, la posibilidad de la auténtica transformación de los conceptos. Lo paradigmático es que movimientos que se basan en el centro de la persona como individuo dejen de lado la propia esencia que los ha motivado. Es decir que entran en una dicotomía en la que no hay una salida plausible que identifique su porvenir. Se trata de hallar una verdad dentro del marasmo de verdades, de encontrar una nueva visión de lo que nos motiva para ser más evidentes.

Potenciación de un nuevo humanismo en la creación artística

En un mundo de evidencias, en un contexto de arte individual, que surja un movimiento como el del Neosincretismo me parece ideal, fundamental y hasta cabalístico. Es como si los masones se hubieran puesto de acuerdo para crear una nueva filosofía en un mundo exacerbado por la tecnología, por el progreso mal entendido, por la excesiva racionalidad. Se trata de volver la cabeza hacia adentro, de ser consecuentes con nosotros mismos, de entendernos como humanos, es decir de potenciar el renacimiento de un nuevo humanismo en la creación artística. Pero, se trata de un humanismo cuyo centro es el ser humano, dado que se busca consolidar una actitud de claro apoyo espiritual a las debilidades y grandezas de las artes plásticas, en el sentido de recuperar de manera clara sus posibilidades de expresión al margen del dictado del mercado, pero, a la vez, contando con el mismo para dar a conocer su legado.
El purismo, el excesivo comisariado, la influencia de una determinada actitud en el artista obligándole a crear obras dentro del concepto de series temáticas, de repetir la misma fórmula, porque era más idóneo, porque el purismo del momento consideraba que es más adecuado de cara al sacrificio en la santa misa de las nuevas catedrales ha tergiversado, en ocasiones, el verdadero sentido el arte.
El Grupo Movimiento Neosincrético se desmarca de esta tendencia, buscando, como contrapartida, que el artista sea coherente consigo mismo, y que sea esta propia coherencia quien le dictamine el verdadero camino a seguir, de hallar en la piedra filosofal de su corazón plástico el camino.

La búsqueda de un nuevo arte

No es cuestión de profundizar una y otra vez en una misma obra, en un idéntico contexto plástico, para hallar los recovecos perdidos, el eslabón extraviado que lo conducirá al ‘santa santorum’. Se trata de crear con libertad, sin tener en cuenta la actitud del comisario o del mercado, de hacer tantas obras distintas como caben en un determinado espacio si su libre albedrío así se lo dicta. Es una coherencia que es difícil de sustentar, porque no hay posibilidad para la locura, para desestructurar una actitud, dado que está en boga reconstruir, reconfortar, volver a escenificar a partir de lo hallado. Es decir que hay repeticiones constantes de una misma fórmula hasta conseguir una serie clónica, que, a menudo, se aparta de los deseos del creador, que son más dispersos, o bien se nutren de otras fuentes de inspiración que le exigen un desarrollo más anárquico o menos dirigido. De ahí que se distancien, en cierta manera, del arte más tecnológico y racional.

El hombre retorna al centro del universo

La suya es una búsqueda de un nuevo arte en el ámbito emocional, plástico, expresivo, simbólico y alegórico. Buscan la síntesis histórico-universalista, a través del tiempo. Uno de sus objetivos es conseguir un arte diverso, distinto, original, dentro de un contexto capaz de producir emociones que se aparta de las palpitaciones que puede generar determinado tipo de instalaciones o una parte del arte digital, sobre todo aquel que se distancia del proceso de realización e intervención física directa del artista.
El hombre, el ser humano, como nuevo ser que retorna al centro del universo, que realiza su postulado a partir de la proyección individual y colectiva de su obra, que se fundamenta en la fuerza de la propia evidencia, en la potenciación de la elegancia de la libertad, en constatar el proceso de introspección realizado en el interior de la obra. Es la propia obra quien nos comunica emociones, siente, se distancia y cobra, finalmente, independencia.

Potenciar la naturalidad del arte

No es necesario contextualizarla en un espacio teórico o filosófico concreto, porque desde el momento en que el artista la produce se genera una nueva conciencia o entidad del ser. De ahí que los neosincréticos no conciban la producción repetitiva de variantes de una misma obra, dado que una es sinónimo de conjunto, y cada obra son series, colecciones, universos, que ayudan a avanzar con mayor libertad al artista.
Asimismo tampoco están de acuerdo con las esquematizaciones de un cierto racionalismo, de una geometría excesivamente fría, buscan, al contrario, dotar a la obra de calidez, de investigaciones paralelas para fomentar las ideas contrapuestas. Del diálogo surge la propia fuerza de la evidencia. Se trata de volver a potenciar la propia naturalidad del arte, proponer la posibilidad de contemplar la simplicidad, la fuerza de lo sencillo, la evidencia de la técnica, los pigmentos, perspectivas, zonas equilibradas o no de la composición a partir de una nueva revolución de las ideas. Hay una naturalidad en la pintura y escultura que hoy se pierde por el proceso de segmentación y fragmentación que sufren.
Se intenta deconstruir para volver a construir, pero, dentro de unos parámetros en los que la teoría está en función de la imagen, del mercado, de la necesidad de romper para que la dinamicidad del funcionamiento de la creación no se pierda definitivamente.
Los neosincréticos no son partidarios de la deconstrucción, porque es una vuelta al pasado, a las teorías de antes, sustentadas en lo istmos para, luego, hallar, una explicación mucho más paradigmática, en el sentido de superar detalles, concesiones, bucear en las posibilidades de quienes van más allá de las limitaciones que nos envuelven. Las limitaciones son el recurso al pasado para construir y deconstruir lo ya sabido.

El pasado no es excusa

El Grupo Movimiento Neosincrético, no busca el pasado como excusa, sino que, directamente, es su fuente de inspiración, es la base o punto de partida a través del cual se conecta en las vertientes más elementales y vigentes de la propia efusividad.
La efusividad, el egoísmo, el calor humano, corazón, amor, sentimiento, lágrimas, virtuosidad, moral o la no moral es o son importantes en un contexto en el que todo está perdido en el sentido espiritual del término. No hay imaginación, la fantasía ha dejado paso a la desesperación del ‘epater le bourgeois’ o a asustar con obras que rompen por el solo hecho de romper. El mercado produce esta necesidad y el artista piensa en el mercado y crea una producción en línea con el mismo. ¿Dónde se halla el papel del artista que siempre ha creado al margen del mercado, que ha generado obra por sí mismo, para sí mismo, al margen de la moda y las tendencias?
Ahora surgen obras rompedoras por que el mercado demanda creaciones. Es una solución para el marchand o el galerista, pero una condena al fuego eterno al artista, porque pierde el norte, despistándose en lugar de centrarse a partir de una elaboración específica y directa de un entramado de posibilidades basada en vivir en el alambre pero sin profundizar en el verdadero significado de la palabra arte.

Instrospección, libertad, propia evidencia, emblematicidad y neosincretismo

Introspección, búsqueda de la propia evidencia, constatar la verdadera idiosincrasia de la creación plástica. Volver a buscar la emoción, entendida como fomento de un arte del corazón, natural, evidente, coherente con la filosofía de cada creador, en el sentido de dar libertad absoluta, tanto para crear obras individuales o bien series temáticas, obras singulares, u otras que bucean en las interioridades del espejo de Alicia en el País de las Maravillas.
Son valientes, porque se lanzan de cabeza dentro del espejo para experimentar aventuras, enigmas, situaciones delicadas, sensibles, especiales, momentos de gran emblematicidad, instantes singulares que definen una manera imaginativa de ser coherentes con la imaginación, con el paso del tiempo, con el buceo a través de la historia, de la fenomenología de los istmos, implicándose con los grandes artistas que han sido y que aún hoy influyen en la historia de las artes plásticas.
La síntesis produce el arte fusión, el mestizaje que luego se transforma en un nuevo arte, en una expresión plástica sincrética, neosincrética, en el sentido de viajar en las interioridades de la propia esencialidad, para ensamblar todos los fragmentos posibles de las diferentes épocas en una composición que se enriquece de manera alarmante, pero también, se instala en la verdadera concepción de una creación artística actual, en la que lo importante es lo que se dice y como se dice, además de su factura técnica y su calidad.

Joan Lluís Montané
De la Asociación Internacional de Críticos de Arte


RETURN TO THE CANVAS...


Return to the canvas ,work of Mazzoleni Angelo, who synthetizes its thought on the contradictions of puts into effect them system arte.L' reference to the cuts of Fontana who already preconized those that would be happened also without to preview of the degenerations, wants to propose a various reading here:in truth draft of gashes and hurt ricucite, like in one sutura,un provocative return therefore to the meant burlap as a recovery of the preduchampiano concept seen the degenerations puts into effect them that on that line later on they have been produced. Today the system art appears more and more dominated and managed from a narrow oligopoly financial that, through the several use of stages and the control of part of the average, has ended with svilire the values and meant more authentic of the art deteminandone one crisis and forfeiture in the search of the contents more and more uniforms and conformisti. Little men of being able culturally, often incompetenti, today impose the public and to the collectors cultural models to only sense deciding what it is art and what no.Rete of distribution of this process is great galleries, critics consenzienti us, institutions and musei.Oggi, on the wake of as far as its time preconized from L. Fontana and realized from Duchamp, they are continued to propose artistic models, installations, drawn objects of the truth deals to you for art, in the conviction that all puo' to be art. This model of thought, than, could have a sense to the times of Duchamp, pero' own mercantile mistificazione has been translate later on in one true and. All the system stands on lowers of often crafts them auctions Americans where they only come sold works to accessible exorbitant prices to rich collectors. An art for little, an art that is born and dies a decided unseizable art from the high. This monopolistic system discriminates and excludes in fact all that that it is opposed to you or it does not follow this line of thought. This program - manifest that e' opened to the adhesions of anyone agrees, wants to try to open a debate on these topics and to try to carry one ahead cultural controinformazione to protection of the art of the artists but also also and above all of the public and the collectors. Also respecting every shape of art, we in fact think that: - the duchampiana, valid idea in that context and today continuously riproposta in distorted way, does not have more sense in the moment in which degenerated it e' in a search of the innovation and of the succeeded one at all costs, translate itself in I use of the scandal and the fine to if, single same trasgressione in order attracting the attention of the average. For other, the spettacolarizzazione of the art and the culture, beyond distorting and mistificare the artistic values also has produced one deep cultural crisis of which to es. the so-called TV trash with the negative consequences that achieve some is an example (loss of the bottom meant one of the true artistic search, superficial crises of values, models that exalt the myth of the money of the happened one, disorientation and increase in the young generations, superficialità and passivity of thought, loss critical sense etc.) - To consider every object like possible art, moreover, means of fact to declare that all we can be artists,ma that only those who has a stage and that they come chosen from the system puts into effect them can exercise of the profession and gain of lauti compensations, means that all e' art at the same time and that the art does not exist. Above all it means to guarantee the thesis of comfortable that: us they cannot be aesthetic criteria and objective parameters,un minimal, in order to judge more seriously distinguishing between true art and that bogus one. We support instead that these parameters exist and go recover in order to give back credibility to you to all the system. These parameters to our warning are: - riicerca, experimentation tied to profondita' of expressed contained messages and - originality, unicita' and coherence of the artistic distance in the time, - qualita' and expressive technique joined to thickness of the topics and in the poetica, - revaluation, beside puts into effect them shapes of art, the absent painting and sculpture qualita' by now nearly in the great fairs of art, in the public and private national and international exposures. But above all that the judgment on what is art or does not come down gives one serious and transparent selection, not decided from private monopolies, but from part of commission of competent persons (critics us, historians of the art men of culture etc.) name from the national institutions.


THE Three phases of the syncretism off Angelo Mazzoleni


As he has said himself, Mazzoleni Angel has recently founded with other artists the group - movement "new art sincretica", a new distance of search whose essential lines is indicated nel manifest del group, brought back nell' appropriate section. Every artist of the group has naturally, interpreted this distance in ways diversi.Per those that concerns its founder, exactly Mazzoleni, can say that it crosses three main moments, that they are groups in the section works to you of this situated one: The HISTORICAL SINCRETISMO (gallery one), CONTEMPORARY (gallery two) and SPIRITIUALE (gallery three). The years of this distance go from that one of the foundation of the group until the times put into effect them where the master is experimenting also uses it of photographic techniques always pero' with uses it of materici elements. It would be riduttivoe too much complex here to analyze of the developments, with I often use it of various techniques, but it also goes said that draft in appearing diversita' of only travels exploratory in the time and the space that cover all the inner levels and of the history of our past and of the present, until casting in the future, interrogating themselves on that it attends us to of of the matter and the dimensions of our present. An only travel therefore whose essential features have been characterizes to you from the recent critic of D. Of ortenzio and that here we bring back in its it passes more meant to you but that however not puo' that to only partially describe the thematic and spiritual complexity of the work of the master: ... "Ma in the phase, that one that the artist calls the HISTORICAL SINCRETISMO, culminated with the foundation of the new group sincretica art, passes to a search of innocence and purity that the individuality of the being in primigenia the purity of the world projects: works as Primordi (oil) and ancient Writings (oil) sanction the abandonment to a type of painting that, intentionally, traces great rupestri paintings of the primitivo man with obvious fidelity and nearly emulativo spirit. Here it is the heart of the search of Mazzoleni, than cove in the cloth of the progenitori of the world - becomes the primitivo man that it designed buoi on the walls of the caverns of Altamira - and of it assumes the point of view, contemplating it truth as he was the first man on the earth, with semplicità, astonishment, desire of communication and discovery and at the same time through the several use of materials and complexes, the invention of "cuts and gashes on the time" that its works rerun in many, he wants to emphasize the existential crisis of our age, crisis of values, mercificazione of the art, respect to expressed authentic a istintuale world piu' from the works of the great masters But this is, perhaps, only the preparatorio moment that precedes the true detection: the third phase, than Mazzoleni it identifies with the SPIRITUAL SINCRETISMO the experimentation of the so-called ovular painting. Works like Door of the night (oil and mixed technique), Dimensions (oil and mixed technique) and sacred Memory, icona of the neosincretismo (oil and mixed technique) mark the landing place to new Lydians, than they are not more those of the infantile riscoperta one of I and the world, perhaps but they suggest, probably, the rise to a dimension neanche more human, but lunar, spaces them, towards which the man it projects more its elevated desire than acquaintance: the discovery of the universe that surpasses it. In a sure sense, therefore, Mazzoleni Angel it proceeds for very precise stages, ognuna di.le which constitutes the necessary step towards the final rise. The celebration of the memories and the atmospheres that have popolato infancy of the man, before still that that one of the artist, constitutes the taken one of conscience of the own roots, the introspettivo moment in which I it discovers if same, takes action of the own identity and fixed in just the genetic and cultural patrimony the sign of the own origin characterizes them; the identification with the primitivo man makes yes that, in a single moment, the entire history of the man, to leave from its archaic origins, meets in its personal experience, in which particular and universal the rispecchiano one and is identified until getting confused, since the history of one is the same one of the other, and more border between the human being does not exist and the world that encircles it In that is the communion with the universe, that it passes necessarily through the reconciliation of I with if same, before, and with the world, then - that is with that history millenarian that has carried it and hour here, in this And the fusion with the universe is not other if not one pushed strongest that door the artist beyond every physical and conceptual barrier and the free one towards the highest shape than acquaintance of himself and the world. The man becomes through same of this way of acquaintance, and is in the expressive power and visionaria of the human mind and the heart that all is found again and it rejoins itself, the power of the universe that orients us in one direction or the other and that one of the man who the scruta trying the signs to you of one truth to possess and to reveal. This is the sense of the works of Mazzoleni Angel, sense that the spectator can pick independently from the prioristic acquaintance of the thought that inspires to them. The production of this artist speaks effectively from himself, with loquacità and clarity, to prescind from any theory: the search of the Master is the same one of the primitivo man, of the man of all the ages, that it turns its look to the sky with the spirit of a Prometeo bewitched from the world and, however, made thirsty of it. The desire that pervade the individuo/artista Mazzoleni is a desire of fusion with the truth and all its primordiali forces. From here the idea of a perfect identification between the man and the universe, the feeling of rising of profane pantheism, that it celebrates the forces of the world and the nature like rispecchiamento of the inner force that pushes the man towards the analysis and the deep discovery of that encircles it. The same spirit and the same spirit pervadono the earth and the individual, the modern man and that primitivo, like if millenia of progress were cancelled in favour of a dimension of absolute acquaintance and incontaminata, than nutre only of the extraordinary power who the man instills in the world and, al same time, from the world receive. This is meant of the Neosincretismo di Angelo Mazzoleni, than, on the plan of the pure pittorica technique, teorizza the fusion of experiences present passages and, therefore like, on that one closely conceptual, preconizes the idea of the man as focale point towards which the forces of the history and the cosmos converge all, and in which the extreme synthesis of they is operated. In effects, in the intentions of its founder, Mazzoleni exactly, the Neosincretismo is an attempt of fusion of artistic styles different, pertaining to various ages and experimentations, a expressive synthesis of techniques and possibilities that it allows to reach to an only artistic shape, able, just thanks to its absolute oneness, to give body to the highest conceptual synthesis that the works of the artist sottintendono. That is obvious in the paintings of the Master, that it intentionally reaches to the most various experiences of the history of the last and contemporary art (many its works seem to contain obvious callbacks, beyond that to paintings building of the primitiva art, to the fantastic and dreaming style of Chagall, to a geometric abstractionism of stamp avantegarde artist or to the feminine lineamenti of a Modigliani) in favour of a eclettismo in which - same it asserts - finding again the true feature symbol, the single and possible oneness of the own painting. Not, therefore, the adhesion to an only outline, a topos that it becomes the sign characteristic of that painter, but the choice of one pluralità of styles and techniques in which finding again, of against, unit and fullness. And just this is the synthesis of means express to you and the ideological contents that the painting of Mazzoleni Angel searches systematically. To fuse the various styles, the technical different of which, in the centuries, the man has taken advantage itself, means to make yes that also the pure pittorica technique uniforms, in a sure sense, to the total philosophical plan of which the art of Mazzoleni Angel carrier makes itself: to find in the man the nevralgico point of the entire existence, the creation all and the forces that move the earth and generate the life. I he encloses within of himself this infinite universe, since just its to inquire, in order to know and to give a sense to the things, of it sanctions the deep and vital existence. And, however, from that universe it is born and derives, for a mystery of perpetual creation that it incessantly tries to inquire and to clear. Placing itself, therefore, profane, like alpha and Omega of this sconfinato world, the man proceeds in its distance of acquaintance and discovery of the primordiali forces - more than ever present and he lives - that they move its same existence, collective and characterizes them. DANIELA Of ORTENZIO - Journalist of art (REVIEW DI EQUIPèCO)


ANGELO MAZZOLENI BIOGRAPHY


BIOGRAPHY ESSENTIAL


Artist of established reputation , Angelo Mazzoleni was born in Florence June 7, 1952 .

 Start early in his artistic career , already cultivated in his early years , under the guidance of some teachers and attending courses at the Accademia Carrara of Bergamo.In these years , participates in the first exhibition of paintings in England and in other Italian regions. Some travel, particularly in Germany and in Paris , enrich his artistic and cultural baggage and affect the first part of pittorica.Noto soperto also for having some important fossils donated to museums in Milan and Bergamo, including a erionide a generally still unknown and which was given its name ( Pseudocoleia Mazzolenii ) in their scientific publications. The interest in the mystery of the past, for history, especially early in his ancestral size , is one of the other elements that characterize his research in the field of painting, even before the foundation , with other artists, the group "NEW ART SINCRETIC " .

And ' active in the arts for three decades .

" The evolution of the artist, now thirty years , is marked by a personal search of the origins of the world of its vital forces , which , despite the variety of topics and techniques , appears as a single inner journey through time and the realities of our present. Three are the main moments of this whole path :

- The investigation of the myths of childhood and early history through symbolic representations of primal forces and energies of man ( historical origins )
- Research of the archetypes being and life through both decompositions in levels of reality through both compositions of matter for the most part " ovuliformi " or different structures whose main themes are: the symbols connected to the paths of light, temples and labyrinths the soul.
- lately, Angelo Mazzoleni he founded with other artists , the group - motion " NEW ART SINCRETICA " which, as is clear from its manifesto proposes a new experimental research of synthesis and processing personal and historical inter-ethnic artistic languages ​​expressed by the various arts and cultures over time in order to create a work of art globally.

As regards the contents and the experimental stages the work neo- syncretic in Mazzoleni is characterized by three main cycles :
- The historical syncretism ,
- With strong contemporary social characterization ,
- The spiritual syncretism

More generally, throughout the evolution of the artist, is aimed at a synthesis of innovative and wide-ranging between past and present , aiming to represent the spring sources of life and size and mysterious ancestral human soul and the world. "

The Master has exhibited in major Italian cities , in large institutional spaces , galleries and museums in the United States , Canada and other foreign locations , including: the Biennale art in Turkey, Paris and Spain.

. Criticism and reviews on various newspapers and art magazines , several television services including the National TG 2 .

EXHIBITIONS AND AWARDS KEY
years - 1980-2007

Art Gallery Sentry Box - Bergamo , Ars Gallery - Bergamo, Bergamo - Modi Gallery , gallery Ovary - Lecco, Milan Gallery Modigliani - room, Rosa Luxemburg- Bergamo, Bergamo - Capricorn Gallery , , international award - Raphael Milan, seg .. conc . Nat . Agazzi -Bergamo , Gallery of Literary Café - Bergamo , Gadel Pomero Rho -Milan , Circ.art . -Bergamo , GP- Dorga Gallery Aries - Selvino, Galleria. -Promotion art - Bergamo, Salon International de Peinture art and sculpture Mac - Monaco - Principality of Monaco , Living Bank pop. -Novara , G.Promotion art- .Gressoney - Valle D' Aosta, G.Prom . art- room Santa Maria Busto Arsizio and Varese , G.Prom . Art- center Rosetum -Milan - Rome Galleria Tartaglia , Gal . prom. art room Clarisse - Rapallo, Lamiani Gallery Horti -Roma Salon d ' Contemporary Art - Trieste , Turin - Telaccia Gallery , Miami Art Center, Miami- Florida -USA. Art Review in old houses - artis recensio : the halls of the Italian VITTORIALE , Gardone Riviera- Brescia , Fisher Island Miami Beach. FL- USA , Art Center Villabianca - Terragni - Seveso , Gallery Gora -Montreal -Canada . , Browse art in large dwellings - Artis recensio : NATIONAL MUSEUM oF ARCHAEOLOGY -Rocca Albornoz with television service to TG 2 NATIONAL NIGHT , Galleria Gard- Rome, Galleria Calcagno -Catania , art exhibition in large mansions - Artis recensio , : palace " Loggia dei Mercanti " Porto - Vecchio -Genoa , Former church of St. Sisto -Bergamo: PRESENTATION eXHIBITION OF NEW GROUP - NEW ART MOVEMENT SINCRETICA , browse art in large - Artis recensio houses the Museum of Contemporary Art " V Column " Pescara , browse art in large mansions - artis recensio the Austrian Museum of Peschiera del Garda to Brescia and the Museum of Cream , 25th Edition art in large mansions , artis recensio at the Palace Potenziani Rieti Foundation's headquarters Varro , Bonacossa Palace - Museum of Art and Science - Milan , published by Mazzotta catalog , MorettieMoretti Gallery , Paris, the Palazzo Ducale in Urbino 27 exhibition of contemporary art in old houses , catalog edition Mazzotta ...

WORKS IN STAYING AT : Galleria Tartaglia - Rome , Galleries Calcagno , Catania, art- gallery -Promotion Bergamo , Group - art research -Bergamo .

Many of his works are also published on several international sites.

They wrote of him:

S. Di Carlo - Fed Crit . d ' art in Rome , L. . Lazzari (critic and journalist ), A De Santis , D.Merino , L. . Lorenzi ( critical) , G.Barachetti , L.Lepri ( - journalist ' s art and critical) -D . On the Hortensius ( giornaliata ), C. Cutrufo ( art historian ) , G.Latronico ( art critic ) , G. Bonomo ( art critic) , G. Sillato ( art historian ) - Verona, University "La Sapienza", Rome , A. Dipre ' , Emanuela Dho (reporter in the interview group syncretic ) .....
.
Publications :
General Catalogue Mondadori - Milan
Catalog Alemandi - Torino
Eco di Bergamo
The Province (Lecco )
Bergamo today
Art boè (Palermo )
Artecultura (Milan) .
The small Trieste
Magazine Arte Mondadori - Milan -
University "La Sapienza" Rome -
General Catalogue Mondadori - Milan
catalog eLecta
Catalog Mazzotta Milan -

Television services: TG 2 NATIONAL display at the National Archaeological Museum of Viterbo ,
TG3 - Liguria, Telenord , TG 2 National exhibitions in big mansions Loggia dei Mercanti - Palace -Genoa .
Review of "The Republic , The Century, The Merchant of Genoa , TV studio , Channel Italy SKI ...

The artist lives and works in Via M. Domini: 8-24121 Bergamo- Italy
Tel : 035 / 245159 STUDIO via T.Tasso -Bergamo
Tel.Cel : 3473503238
email: mazzoleniangelo@libero.it


ITALIAN CONTEMPORARY ARTISTS : ANGELO MAZZOLENI


EXHIBITIONS AND MAJOR AWARDS
The teacher has exhibited in major Italian cities in the USA, Canada, the Biennale art in Turkey and other large institutional spaces and museums in Italy.



The artist is present in representation for the area of Milan,
ARTITALIA.-Centro Milanofiori.

They wrote him:

S. Of Carlo- Fed. Crit. D art Rome, L.. Lazzari (critic and journalist), A De Santis, D.
Merino, L.. Lorenzi (critical), G. Barachetti, L. Lepri (-journalist of art and critical) -
Perugia, C. Cutrufo (art historian), G. Latronico (art critic), G. Bonomo (art critic), G. Sillato (art historian) -Verona, A Dipre, L. Mountain '(federaz. critical Spain art for the exhibition of art presentation of the group syncretistic) University "La Sapienza" Roma, University of Chicago .....
.
Publications:

The echo of Bergamo
The province (Lecco)
Bergamo today
Art boè (Palermo)
Artecultura (Milan).
The small Trieste
Magazine Arte- Mondadori-Milano
University "La Sapienza" Roma
Catalog alemandi-torino
Catalog Mondadori-Milano
TV reports:
TG 2 NATIONAL Channel Italy ski, a canvases,
Tg3-Liguria, Telenord, TG 2 National exhibitions in large estates -Palazzo Loggia dei Mercanti-Genova.
Reviews on "The Republic, The Century, The Merchant of Genoa

The artistavive and works in M. Domains: 8-24121Bergamo-Italia
Tel.: 035 / 245159 STUDIO in T.Tasso-Bergamo (2 ° courtyard interno-gruppo-la research


dimensions of the lights


oil and mixed media on canvas


A discussion between G. Politi ,director off Flash art and the artist Mazzoleni on art system degradation


The position of the artist on puts into effect them market of the art.

The work here at the side of the teacher "loss" is among the various levels of other possible reading, just the philosophical vision of the artist on this issue and expressed already in the manifest of the "new art syncretistic.
According to his idea today, in a globalized world and mercificato, the role of the artist has changed, can not 'more limited than in producing art but also to express culture and critical thinking through its social commitment to the whole round.


G.POLITI-flash art:

Dear Mazzoleni,

"But yes, it is Christmas, there is a somewhat 'mental space and
Therefore spendiamolo time in these
Reflections.
If you viaggiassi if looking through newspapers, magazines,
Museums, galleries top, that the only see
Art mentioned, it is, the art top
And celebrated is that of Damien Hirst, Jeff Koons,
Maurizio Cattelan, Vanessa Beecroft and hundreds and
Hundreds of artists to their neighbours or not but that
Move on the ground of research, news,
Transgression of them. And their Pe ril
When there is no alternative. A work of my
Jeff Koons friend has recently achieved over
23 million dollars (also acquired by a
Merchant who will rivenderla at a price
Plus, of course). Exaggeration of the market?
But when there is someone who pulls out of
Pocket 23 million dollars more rights auction
Etc.. It is not a bluff as qualcunio
(Including you) is led to think. But is the same
Raphael price that is a commissioning
Could afford to buy houses, villas,
Castles. Why my dear Mazzoleni always say
Always repeat always has been with the market
His eyes attentive to identify and celebrate
Artists. Not having an aesthetic or
Parameters (dimmene a), the only parameter is today
And the market visibility through
Galleries, museums, art magazines. Remember,
Market is intelligent, cynical (not looking
Face-to-none), objective. The market is not the
Simple sale but summa of judgments and
Views of the art system (critical,
Gallery, museum, collector, media, public)
Operating selections and assgna primates. The market
Is not the indiscrimninato my opinion, or your
A gallery that promotes the child or grandchild
Maid. The market (not the marketplace
Local) is lit, selective, above parties.
Then of course between the mesh can enter
Occasionally some intruder, as everywhere, but
Will be expelled soon. The market is all of us,
Market was the commissioning and Renaissance
Next, the market was the moment that
Beloved, and extrapolated chosen
Impressionism compared to the romaticismo,
Market chose cubism, futurism,
Dadaism, Duchamp, etc.. Etc.. But not alone. And '
Obviously, every artist tries to enter
This complex world and selective, and only a few will
Succeed because this option requires quality
No doubt, determination, discipline, vocation.
The great artists of which I mentioned above living
Only on the basis of their
Work and his defence. But I do not deny that any
Artist, which does not enter into this elite can
Realized otherwise got a reputation and
Successful (market) local, national,
Provincial, etc.. And then I think that any
Artisrta is a being kissed by luck
The mere fact of being able realoizzare with
Their work. Here at a glance this is my
Vision and philosophy of rational; is the
Same as Giacinto Di Pietrantonio, or Bonami or
Gioni, etc.. Of all those people who operate
Professionally in the art system.
Besides how to put into question and
Argue that this is a stunt or
Speculation when the whole world is on Basa
These parameters? From India to China, South and
North America, Europe, the values and parameters
These are indicated by me. Up to that,
Various reasons (war, political upheaval,
Mass invasions, etc..) Will not be replaced
By others. But for now can only be
Them.
Greetings.
Giancarlo Politi

Sorry any typos but I do not find the time to reread.



The artist MAZZOLENI:



Dear Director

"Did I leave with some last thoughts.
I do not doubt that what you say unfortunately reflects what is happening in
Reality today.
The point is whether this is right or not, and especially if the reputation
Of the artists you mentioned (and you remember disputed, even by
Many others, including critics, men of culture, etc.)
Meeting the true values and artistic content cast.
Premetto that my speech is not against the kind of art they produce,
If so 'were one could accuse me of being a rightly envious,
What is put into question the logic behind, as these artists have become emblem, like it or not, a certain type of merchant that I manipulation against.
So it would be just what support, if what you call it market (but it is an oligopoly, which speaks only a few rich collectors) work real selections existing artistic heritage, because who decides are often not competent persons but some financial empires, just an oligopoly which for obvious reasons of convenience and survival most of
Critics and men of culture are often subservient. If that were entirely true that
You say a Ligabue or Modigliani today as yesterday not find
No spaces were yet Modigliani and Ligabue with them and many others
Artists because this type of market does not address most of the artist that
Is not even an extrovert thirsting for success or who has knowledge
Key and does not deal in fact, even know, the works of many that
Character work in silence or simply do not have the possibility of
Be seen, or do not live in major centres and also express great
Quality 'in depth' of thought. Market, at least the prevailing today you referring generalising
, Beloved director, is not everything would be like saying that the big brother and
Island of the famous large transmissions are great because they listen and
Success among many idiots that follow (unfortunately the majority
Of the country, but also in other countries including the usa). 'Right this or
We must fight to change this setting.
What other criterion fairer we can be?
What national institutions if you deal in with series
Selections on the ground.
For you, it is art and ingenious new to Cattelan, etc. Hirst beecroft etc
Descend in detail. In your latest issue of the magazine's in
Cover a work of Cattelan (arms stretched in Nazi-fascist greeting to madonna). It does not take much genius to juxtapose dissacrare enough signs of semantic fields in various spheres and including them in a certain context.
It 'a news' this? Apart from me, I know many others
Some artists entirely unknown that these things (even with the same materials)
Already made a few years ago, the concept of the coffin or skull or
Fish Hirst of formaldehyde in their meanings and significant, the already expressed Picasso and someone
Other before and after him, I remember an unknown artist who 10 years ago
Inchiodava quartered animals on canvas, these updates? Where 'the
Scandal or the disruptive power to do these things today. By this logic, and rincorrersi outrace the news at all costs transgression to attract the media, is not that they end up losing sight of the contents, the most real art? If you watched my work "Islam and the West" I realized a few years ago (although not a conceptual I) perhaps discover that although there is almost no trace of desecration, is the same density levels on the same reading
Concept (even if it is brought within the different religious), but my work does not sell millions of euros (often artificial auctions American) it 'I wish I
Because it would be absurd (beyond the fact that I prefer not to sell my most significant).

With this course paragonarmi to no intendo
Artists you mentioned and whose compliance work, while not sharing the basic philosophy because we operate in opposite spheres, only tell you that we do not always see innovation and research
In their works.
Then: Do not under any use of a myth today anchìessi declining economic and cultural, at least at managerial level, (just think of the positions recently taken on, or GMOs do about the consumption of meat cloned etc. etc. that say long on purely commercial mercantil of American multinationals).
There 'something else that I think you miss the concept off Darwin,
Law of the jungle today no longer makes sense because, fortunately, has civilization
Developed other values that sooner or later will be afloat, are coming giò
Afloat, although it appears the opposite and most of the artists you
Mention may not survive over time because this represents the
Decadence of our age that is now approaching the bottom, I do not know if
A rebirth, as I hope and self species as say
Catastrophists. In any case the whole philosophy and mystification that
Still dominates the market and is about to finish globalizzation .
This is my thinking, and different from your so 'in my little move I
And lot so 'I founded the group sincretico aimed precisely at
Recovery in new ways, this' that today is lost through a journey back in time inside and outside myself, between past and present, in an attempt to build bridges with the reality of our present. However,
Aware that what you say is realistic and true today some
Market and dominates you, unlike me, I follow the wave, it is your
Choice, I chose a path more difficult to go against the tide, but not tell me what 'that generates this market is right or true values corresponding to the human and artistic, it is
Only partly. As for aesthetic values and criteria they have always been
the Ruling classes but today there is also a small audience
More 'evolved, as well as being a growing mass of uneducated, is a
Small slice and I for one hour I turn. And 'limited? Perhaps, are
For a provincial, as you say (without knowing anything about me) perhaps, but I do not mind that I still
Not allowed to sell and do what they feel to carry out cycles
Research also ask very different without the problem of commercial success
(I myself have my market, but I believe that Cattelan, even at those levels,
While apparently more 'free to do what seems so, while many
Unfortunately, other artists can not do so, however, is a prisoner of
The same logic of the market has decreed that the current success even though at times he seems to challenge it.
The work that you published on the cover, compared to previous perhaps
It is a signal.

Sorry you any typos but "I do not find the time to reread."


A. Mazzoleni


musician


EMERGINGS PAINTERS ITALY: ANGELO MAZZOLENI ART- PAINTINGS oil and mixed media on canvas