Członek od 30.05.2002
Data ostatniej aktualizacji: 19.06.2018
ANGELO MAZZOLENI BIOGRAFIA ESSENZIALE
Angelo Mazzoleni nasce a Firenze il 7 Giugno 1952.
Inizia presto la sua attività artistica, coltivata già negli anni giovanili, sotto la guida di alcuni maestri e frequentando corsi di perfezionamento presso l’Accademia Carrara di Bergamo. In questi anni, partecipa a prime mostre di pittura in Lombardia ed in altre regioni italiane. Si interessa inoltre di paleontologia scoprendo, in particolare, alcuni reperti fossili importanti, donati ai musei di Milano e Bergamo, tra cui un erionide di un genere ancora sconosciuto ed al quale è stato dato il suo nome (Pseudocoleia Mazzolenii)nelle relative pubblicazioni scientifiche. L’interesse per il mistero del passato, per la storia, soprattutto primitiva, nelle sue dimensioni ancestrali, è uno degli altri elementi caratterizzanti la sua ricerca anche nel campo della pittura, prima ancora della fondazione,con altri artisti, del gruppo "NUOVA ARTE SINCRETICA".
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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
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)