Biografia

BIOGRAFIA di Domenico Delnegro

Diplomatosi al liceo artistico -De Nittis- a Bari.
Laureato in pittura presso l'Accademia di belle Arti di Brera a MILANO ,con tesi sull’astratto informale con Accame- Meneguzzo.
Master in Arte e Storia della Moda presso il Brithish Institutes con ricoscimento Europeo
Finanziato dalla Regione Lombardia.

Recensito dal gazzettino dell’interland Milanese (giornale di Indro Montanelli)per la sua personale presso l’accademia di Brera nelle aule di Luciano Fabro con pitture concettuali e strutture metalliche tubi e lastre ,e da Giovanna Benvenuti docente alla statale di Milano.

Ha collaborato con galleria Interarte in via bigli a Milano con Ilia Pellegrinelli e Saveria Sardoz,
con mostra a Messina in catalogo con Francesco Gonzaga presso l’ Housing club.
Personale presso galleria Interarte a Milano.

Ha esposto al chiostro dello Juvarra a Torino in una collettiva Internazionale degli allievi di Fabro
e successivamente ha tenuto una personale presso la stessa sede nella galleria di Cerati ; opere di pittura analitica in bianco e nero rimaste nell’archivio della galleria.

Mostra personale nel Monastero di Trani-(Bari) recensito dalla Gazzetta del Mezzogiorno e successivamente con il partito dei Verdi ha esposto nelle maggiori province italiane in contemporanea ai congressi politici nelle stesse strutture ;
Bari- Napoli- Roma- Firenze- Venezia- Milano.

Ha presentato le sue opere alla galleria di Adriano Mele assistente di Lucio Amelio (Napoli),
inserito in una collettiva (con un opera blu e fasci di luce bianca–strutture luminose)

Personale a Cagliari presso i Bastioni (opere di grandi dimensioni con geometrie e caos)

Ha partecipato a 2 concorsi alla galleria Piramide di New-York e alla biennale di San Paolo in Brasile in cui e’ stato segnalato (opere astratte e gestuali).

Selezionato in circa 20 siti d’Arte italiani e Esteri con la sua produzione,e presente nella rivista Art-Expo e Red –Magazine nei prossimi mesi.

Attualmente impegnato per mostre all’estero e con il programma sull’arte di Andrea Dipre’(critico e storico) su satellite-Sky 875 con 20 trasmissioni di 15 minuti cadauna dove presentera’ le opere di Domenico Delnegro dal prossimo mese- marzo 2011.




MOSTRE IN CORSO BRUXELLES GALLERIA AM ART MARZO dal 5 al 31 marzo.
LONDRA ROA GALLERY MAGGIO.2011
BERLINO MOSTRA INTERNAZIONALE D'ARTE CONTEMPORANEA AGOSTO.2011
BARCELLONA -GALLERIA CRISOLART DICEMBRE.2011

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BIOGRAPHY Domenico Delnegro

After graduating from high school art-De-Nittis in Bari
Graduated in painting with a thesis sull'astratto informal Accame-Meneguzzo.
Master in Arts & Fashion History at the European Brithish Institutes with acknowledgment
Funded by Regione Lombardia.

Reviewed by gazette dell'interland Milanese (Indro Montanelli newspaper) for its staff at the Brera Academy in classrooms with Luciano Fabro conceptual paintings and metallic tubes and plates, and Giovanna Welcome professor at the University of Milan.

He has worked with a gallery in Milan Interarte being bigli with Ilia and Xavier Sardoz Pellegrinelli,
with shows at Messina in the catalog with Francesco Gonzaga at the 'Housing club.
Staff at Interarte gallery in Milan.

He has exhibited in the cloister of Juvarra in Turin in a group of international students Fabro
and subsequently held a solo exhibition at the gallery located in the same Cerati; analytical paintings in black and white of the gallery remained in the archive.

Solo exhibition at the Monastery-of Trani (Bari) reviewed by the Journal of Southern Italy and then with the Green Party has exhibited in major provinces in contemporary Italian political conventions in the same facilities;
Bari-Naples-Rome-Florence-Venice-Milan.

He presented his works at the gallery's assistant Mele Adriano Lucio Amelio (Naples)
added to a group (with a blue light beams by white-light structures)

Staff in Cagliari at the Ramparts (large-scale works with geometry and chaos)

He has participated in two competitions at the Pyramid Gallery in New York and Sao Paulo Biennale in Brazil in which 'was reported (abstract works and gestures).

Selected sites in 20 Italian and foreign art, with its production, and in the magazine Art-Expo and Red-Magazine in the coming months.

Currently working for exhibitions abroad with the program on the art of Andrea Dipre '(art critic and historian) in 875-Sky satellite broadcasts with 20 to 15 minutes each, where it will' works by Domenico Delnegro next month and March 2011.




CURRENT EXHIBITIONS BRUSSELS AM ART GALLERY March 5 to 31 March.
LONDON ROA MAGGIO.2011 GALLERY
BERLIN INTERNATIONAL EXHIBITION OF CONTEMPORARY ART AGOSTO.2011
GALLERY BARCELONA CRISOLART DICEMBRE.2011

Formazione artistica

Fondatore del FIDIM MUSEUM di milano 300 mq in contesto di fondazione Marconi in centro a MILANO,mostre di artisti di fama mondiale e emergenti da promuovere sul mercato.

Laureato in pittura presso l'accademia di Brera con tesi sulle avanguardie storiche e in particolar modo sull'area informale e concettuale con il professor Accame e Meneguzzo .
Accademico di brera,allievo del concettualista luciano Fabro esponente dell'arte povera anni 60.
Master in arte e storia della moda presso il Brithish Institutes,con ricoscimento Europeo finanziato dalla Regione Lombardia.
Espone in italia e all'estero ,recensito da
Montanelli e Gazzetta del mezzogiorno .
Ha esposto con Gonzaga e Fabro--
Recensioni di Benvenuti giovanna docente alla statale di Milano.
Svolge una ricerca tra macrocosmo e microcosmo in chiave pittorico-concettuale ,con influenza o ispirazione al tachisme tedesco e al lirismo.
E' una nuova visione di pittura per cui ha coniato il nome di Atomismo e al momento e'l'unico movimento possibile teoricamente per innovazione in quanto le avanguardie si sono sempre estremizzate per un verso o per l'altro,la cui ripetizione sulla concettualita' di frattura e di iconoclastia gia' operata da artisti di inizio secolo intraprendono sul piano empirico-gnoseologico una ripetivita' conducendoli sull'asse del depauperamento intellettuale e del baratro della coscienza,nonche' del nulla, ma solo una treatralita' che appaga il glamour dei mass-media .
L'opera d'arte e' pari al sublime assoluto il grande mistero universale , pari a quello della fisica quantistica ,le cui chiavi sono secretate e suggellate nello scrigno di Dio ogni tentativo di effrazione viene bocciato automaticamente e l'artista improvvisato anche di successo si ritrova nel vuoto e nell'oblio.
Questo e' il fallimento concettuale di tutte le avanguardie storiche dopo Marcel Duchamp con il gabinetto in galleria "lo spiazzamento ideologico" ,e la "relativita'" di Albert Einstein interpretata da Pablo Picasso nel cubismo con la relazione spazio-tempo.
Dopo il cubismo nasce L'Atomismo di Domenico Delnegro che cancella in automatico mezzo secolo di storia dell'arte contemporanea ,questa e' la rivoluzione dell'arte contemporanea ogni tentativo di effrazione nei miei confronti e'vano e inutile anche con la piu'estrema concettualizzazione critico-storica ,perche' il suo essere artista non e' spiegabile e' irrazionale come tutta la sua creazione.
Seguite sky 875 per avere un ulteriore chiave di lettura grazie al critico Andrea Dipre'.
Far entrare lo spettatore-fruitore in una nuova dimensione e'il mio sogno,d'altronde l'arte e'fatta per "sognare".
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Graduated in painting at the Academy of Brera with a thesis on historical avant-garde and especially informal and conceptual area with Professor Accame and Meneguzzo.
Brera Academy, a student of Luciano Fabro conceptualist poor exponent of 60 years.
Master of Arts in History of Fashion in the Brithish Institutes, with acknowledgment European funded by Regione Lombardia.
Exhibitions in Italy and abroad, reviewed by
Journal of the Montanelli and noon.
He has exhibited with Gonzaga and Fabro -
Welcome to Joanne's reviews professor at the University of Milan.
Research plays a key between macrocosm and microcosm in pictorial and conceptual, with influence or inspiration to tachisme German and lyricism.
It 'a new vision of painting for which he coined the name of atoms is theoretically possible at the time e'l'unico movement as the vanguard of innovation have always been an extreme one way or another, the repetition of which the conceptual 'fracture and iconoclasm already' made by artists of the century embark on an empirical epistemology-a Repeatable 'intellectual and leading them on the axis of the depletion of the abyss of consciousness, as well as' the void, but only a treatralita' that satisfies the glamor of the mass media.
The work of art 'that is the great mystery of the sublime absolute universal, equal to that of quantum physics, and the keys are marked confidential and sealed in the casket of God attempts to break is automatically rejected and the artist also improvised successful finds itself in a vacuum and into oblivion.
This 'conceptual failure of all the avant-gardes after Marcel Duchamp with the toilet in the gallery "ideological displacement" and the "relativity'" Albert Einstein played by Pablo Picasso cubism in connection with the space-time.
Cubism was born after the atom Domenico Delnegro that automatically deletes half a century of history of contemporary art, and that 'the revolution of contemporary attempts to break on me e'vano and useless even with the piu'estrema critical-historical conceptualization, 'cause its not being an artist' and explained 'irrational as all His creation.
Follow 875 for sky to have a further key to reading with the critic Andrea Dipre '.
Bringing the viewer-user to a new dimension It is the dream of mine, for that matter art e'fatta for dreaming.

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Diplômé en peinture à l'Académie de Brera avec une thèse sur l'avant-garde historique et zone particulièrement informel et conceptuelle avec le professeur et Accame Meneguzzo.
Brera Académie, un étudiant de l'exposant Luciano Fabro conceptualiste pauvres de 60 ans.
Master of Arts en Histoire de la mode dans les Instituts Brithish, avec accusé européen financé par la Regione Lombardia.
Expositions en Italie et à l'étranger, examinées par
Journal de la Montanelli et midi.
Il a exposé avec Gonzague et Fabro -
Bienvenue à la professeure Joanne Critiques à l'Université de Milan.
Recherche joue un rôle clé entre macrocosme et microcosme pictural et conceptuel, avec une influence ou une inspiration pour tachisme allemand et lyrisme.
C'est une nouvelle vision de la peinture pour laquelle il a inventé le nom d'atomes est théoriquement possible à la circulation e'l'unico temps que l'avant-garde de l'innovation ont toujours été l'extrême d'une façon ou d'une autre, la répétition de ce qui le conceptuel «fracture et l'iconoclasme déjà" réalisés par des artistes du siècle se lancer dans une étude empirique épistémologie-a répétable »intellectuelle et de les conduire sur l'axe de l'épuisement de l'abîme de la conscience, ainsi que" le vide, mais seulement une treatralita »qui satisfait le glamour des médias de masse.
L'œuvre d'art »qui est le grand mystère de la sublime absolu universel, égal à celui de la physique quantique, et les touches sont marquées confidentiel et scellé dans le cercueil de Dieu tente de rupture est automatiquement rejetée et l'artiste aussi improvisée réussie se trouve dans le vide et dans l'oubli.
Cette «défaillance conceptuelle de toutes les avant-gardes après Marcel Duchamp avec les toilettes dans la galerie" déplacement idéologique »et la« relativité »,« Albert Einstein joué par Pablo Picasso cubisme dans le cadre de l'espace-temps.
Le cubisme est né après l'atome Delnegro Domenico qui supprime automatiquement un demi-siècle d'histoire de l'art contemporain, et que «la révolution des tentatives contemporaines pour briser sur moi e'vano et inutile, même avec le piu'estrema conceptualisation historico-critique, parce que ce n'est pas être un artiste »et a expliqué« irrationnel que toute Sa création.
Suivez 875 pour le ciel d'avoir une nouvelle clé de lecture avec le porte-parole Andrea Dipre.
Amener le spectateur-utilisateur à une nouvelle dimension C'est le rêve de ma part, que l'art e'fatta matière à rêver.

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Diplom in Malerei an der Akademie der Brera mit einer Arbeit über historische Avantgarde und vor allem informelle und konzeptionelle mit Professor Accame und Meneguzzo.
Akademie Brera, einem Schüler von Luciano Fabro Konzeptualist armen Exponent von 60 Jahren.
Master of Arts in Geschichte der Mode in der Brithish Institute, mit Rückschein Europäischen Region Lombardei mit finanziert.
Ausstellungen in Italien und im Ausland, rezensiert von
Amtsblatt der Montanelli und Mittag.
Er hat mit Gonzaga und Fabro ausgestellt -
Willkommen auf Joanne Rezensionen Professor an der Universität von Mailand.
Die Forschung spielt eine Schlüsselrolle zwischen Makrokosmos und Mikrokosmos in bildlicher und begrifflicher mit Einfluss oder Inspiration Tachismus deutschen und Lyrik.
Es ist eine neue Vision der Malerei, für die er den Namen der Atome geprägt ist theoretisch zum Zeitpunkt e'l'unico Bewegung möglich als Vorhut der Innovation immer eine extreme Art und Weise gewesen sein, oder andere, die Wiederholung, die den konzeptionellen "Fraktur und Ikonoklasmus bereits" von Künstlern des Jahrhunderts gemacht auf das geistige und führt sie auf die Achse der Abbau der Abgrund des Bewußtseins, sowie 'die Leere, sondern nur eine empirische Erkenntnistheorie eine wiederholbare ein treatralita ", dass der Glanz erfüllt einschiffen der Massenmedien.
Das Kunstwerk ", dass das große Geheimnis ist das Erhabene absolute allgemeiner, gleicher, dass der Quantenphysik, und die Tasten sind als vertraulich gekennzeichnet und versiegelt in den Sarg von Gott versucht zu brechen automatisch abgelehnt und der Künstler auch improvisierte erfolgreich findet sich in einem Vakuum und in Vergessenheit.
Dieser "konzeptionelle Scheitern aller Avantgarden nach Marcel Duchamp mit der Toilette in der Galerie" ideologische Verschiebung "und die" Relativität "Albert Einstein gespielt von Pablo Picasso Kubismus in Verbindung mit dem Raum-Zeit.
Kubismus war nach dem Atom Domenico Delnegro, die automatisch löscht ein halbes Jahrhundert Geschichte der zeitgenössischen Kunst geboren, und dass "die Revolution der zeitgenössischen Versuche, auf mich zu brechen e'vano und nutzlos sogar mit dem piu'estrema kritisch-historischen Konzeption, denn es ist nicht als Künstler "und erklärte," irrational wie alle seine Schöpfung.
Folgen 875 für Himmel auf eine weitere Taste, um mit dem Kritiker Andrea Dipre "Lesung.
Bringing den Betrachter-Benutzer in eine neue Dimension Es ist der Traum von mir, für diese Angelegenheit Kunst e'fatta zum Träumen.
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Se graduó en pintura en la Academia de Brera, con una tesis sobre la historia de vanguardia y zona de especial informales y conceptual con el profesor Accame y Meneguzzo.
Academia de Brera, un estudiante de exponente Luciano Fabro conceptualista pobres de 60 años.
Master of Arts en Historia de la Moda en los Institutos Brithish, con el reconocimiento europeo financiado por la Regione Lombardia.
Exposiciones en Italia y en el exterior, revisadas por
Diario de la Montanelli y el mediodía.
Ha expuesto con Gonzaga y Fabro -
Bienvenido al profesor Joan comentarios en la Universidad de Milán.
La investigación desempeña un papel clave entre macrocosmos y el microcosmos en el pictórico y conceptual, con influencia o inspiración para tachismo alemán y lirismo.
Es una nueva visión de la pintura para la que acuñó el nombre de los átomos es teóricamente posible en el movimiento e'l'unico tiempo como la vanguardia de la innovación siempre han sido un extremo de un modo u otro, la repetición de que el marco conceptual "la fractura y la iconoclastia ya" hechas por artistas del siglo embarcarse en 'intelectual y los lleva en el eje del agotamiento de los abismos de la conciencia, así como' el vacío, sino un empírica epistemología-una repetible sólo una treatralita "que satisfaga el glamour de los medios de comunicación.
La obra de arte 'que es el gran misterio de lo sublime absoluto universal, igual a la de la física cuántica, y las teclas están marcadas confidencial y sellado en el ataúd de Dios intentos de romper es automáticamente rechazado y el artista también improvisada éxito se encuentra en el vacío y en el olvido.
Este "fracaso conceptual de todas las vanguardias después de Marcel Duchamp con el baño en la galería" ideológica de desplazamiento "y la" relatividad "Albert Einstein, interpretado por Pablo Picasso el cubismo en relación con el espacio-tiempo.
El Cubismo nació después de que el átomo de Delnegro Domenico que automáticamente elimina medio siglo de historia del arte contemporáneo, y que "la revolución de los intentos contemporáneos de romper en mí e'vano e inútil, incluso con la piu'estrema conceptualización crítico-histórica, porque su no ser un artista "y explicó" irracional como toda su creación.
Siga 875 por tener un cielo más clave para la lectura con Andrea Dipre el crítico ".
Con lo que el espectador-usuario a una nueva dimensión que es el sueño mío, para que el arte e'fatta materia para soñar.

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Окончил в живописи в Академии Брера, защитив диссертацию на исторический авангард и особенно неофициальных и концептуальные области с профессором Accame и Meneguzzo.
Brera академии, студент Лучано Фабро концептуалист бедных показателем 60 лет.
Магистр искусств в истории моды в Brithish институтов, с признанием европейских финансируемых Regione Lombardia.
Выставки в Италии и за рубежом, рассмотрены
Журнал Монтанелли и полдень.
Он выставлял с Гонзага и Фабро -
Добро пожаловать на отзывы профессор Джоан в университете Милана.
Научные исследования играют ключевую между макромира и микромира в живописных и концептуальных, с влиянием или вдохновения для tachisme немецком и лиризм.
Это новое видение картины, за которые он придумал название атомов теоретически возможно в движение e'l'unico время как авангард инновации всегда были крайние так или иначе, повторение которого концептуальных "разрушения и иконоборчество уже" сделаны художниками века приступить к "интеллектуальной и ведет их на оси истощение бездны сознания, а также" недействительными, но только эмпирические эпистемологии-Повторяется treatralita, удовлетворяющей гламур из средств массовой информации.
Произведение искусства ", то есть великое таинство возвышенное абсолютного всеобщего, равного, что в квантовой физике, и ключи отмечены конфиденциальной и опечатаны в гроб Божий попытки сломать автоматически отклоняется и художник также импровизированные успешной находится в вакууме и в Лету.
Этот "концептуальный провал всех авангарды после Марселя Дюшана с туалетом в галерее" идеологической перемещение "и" относительности "Альберта Эйнштейна играет кубизма Пабло Пикассо в связи с пространством-временем.
Кубизм родился после атома Доменико Delnegro, который автоматически удаляет половиной века истории современного искусства, и что "революция современного попытки прорваться на меня e'vano и бесполезно даже с piu'estrema важнейших исторических концепций, потому что его не художник и объяснил "иррационального, как и все его создания.
Следуйте 875 на небо, чтобы дальнейшее ключ к чтению с критиком Андреа Dipre.
Приведение просмотра пользователей в новое измерение Это моя мечта, для этого e'fatta вопрос искусства сновидений.
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وغير رسمية وخاصة منطقة والمفاهيمية مع Accame أستاذ وMeneguzzo.
أكاديمية بريرا ، وهو طالب من الأس لوتشيانو فابرو conceptualist الفقراء من 60 عاما.
ماجستير في الآداب في التاريخ من الموضة في المعاهد Brithish ، مع الاعتراف الأوروبي بتمويل من لومبارديا Regione.
معارض في ايطاليا والخارج ، والتي استعرضها
مجلة Montanelli والظهر.
وقد عرض أعماله مع غونزاغا وفابرو --
مرحبا بكم في استعراض جوان أستاذ في جامعة ميلانو.
البحوث تلعب مفتاح بين الكون ومصغرا في التصويرية والمفاهيمية ، التي لها نفوذ أو إلهام tachisme الألمانية وغنائية.
انها رؤية جديدة في الرسم الذي صاغ هذا الاسم من ذرات من الممكن نظريا في الوقت حركة e'l'unico كطليعة للابتكار دائما متطرف بطريقة أو بأخرى ، فإن تكرار التي المفاهيمي 'كسر وتحطيم المعتقدات التقليديه بالفعل' بواسطة فناني القرن الشروع في العملية نظرية المعرفة ، ومتكرر الفكرية ويقودهم على محور من استنزاف الهاوية من وعيه ، وكذلك 'باطلة ، ولكن treatralita فقط' ترضي بريق وسائل الإعلام.
العمل الفني 'وهذا هو السر العظيم للسامية المطلق الشامل ، مساوية لفيزياء الكم ، ومفاتيح يتم وضع علامة سرية ومختومة في النعش الله محاولات لكسر رفض تلقائيا والفنان مرتجلة أيضا ناجحة يجد نفسه في فراغ وفي غياهب النسيان.
'فشل المفاهيمي للجميع gardes - أفانت بعد مارسيل دوشامب مع المرحاض في" نزوح الأيديولوجية "معرض و" النسبية 'هذا" ألبرت أينشتاين لعبت من قبل بابلو بيكاسو التكعيبية في اتصال مع الوقت في الفضاء.
ولدت التكعيبية بعد Delnegro دومينيكو ذرة أن يحذف تلقائيا نصف قرن من تاريخ الفن المعاصر ، وهذا من الثورة المعاصرة محاولات لكسر لي e'vano وغير مجدية حتى مع piu'estrema المفاهيم التاريخية الحرجة ، 'السبب وليس كونها فنانة وأوضح' غير عقلاني وجميع خلقه.
اتبع 875 للسماء أن يكون المفتاح لمزيد من القراءة مع 'أندريا Dipre الناقد.
يصل المستخدم إلى المشاهد بعدا جديدا وهو حلم من الألغام ، لهذه المسألة e'fatta الفن من أجل الحلم.








organizzazione di mostre alivello mondiale ,curatore di importanti eventi tra cui festival mondiale dell' arte a Shanghai ,palazzo delle esposizioni maggio 2013-
Gran Palais de Paris LOUVRE e altro fiere in europa nelle maggiori capitali.



Tematiche

Atomiche , bibliche e profetiche .
In the contemporary art scene emerging in recent years, new art forms related to the issues of biotech. Creative research stands now at a new and challenging situation, even considering the fact that the very concept of "art" has, recently, purchased a considerable dilatation, also with the emergence of new forms of expression. Art focused on transit, on the mutation, on becoming, Art in the Age of Mechanical Reproduction recombinant genetic art as philosophy of the movement: these and other new concepts are communicated to us by contemporary artistic expressions. ETHICAL FUNCTION OF ART "The relationship with the new and unsettling redefinition of the field of biological life once again the problem of the ethical function of art and a comparison with new hypotheses of change of reality.
One of the primary roles of art is to represent and help to define the natural and cultural identity of their time. Today, that identity is constantly growing and rapidly transformed by techno-scientific research. The epistemological and ethical aspects of the relationship between research and techno-scientific society are thus become the subject of increasing attention by contemporary artists.
In this complex multidisciplinary and transdisciplinary landscape, contemporary art is placed between the complex apparatus of techno-scientific research and society. "Art is the opportunity to highlight the taboos, the unspeakable, the unprovable, it is the metaphor most powerful man in an artificial world made of information flows, is a proliferation of energy in the infinite freedom of the imagination, is like a battlefield where there is a radical form of creation, has the task of exposing the problems and generate awareness. That contemporary art scene is described as our contemporary "art above all of contamination, no longer closed and" secure "in separate locations, an art that began to spread outside of the specialized channels, which creates places, directions, warps that has the ability to construct mental screens on which to project their wishes and neorganismi transformations, new cognitive situations, new extensions of the body, a dimension of art, the more alive, more extreme, the one that has taken a concept revolutionized what is meant by mutation of the bodies, bodies such as rebellion, new categories of human, transhuman, posthuman. So far science has not made major changes in our physical nature, although its effects have significantly altered some of the cultural behaviors established during the evolution of man, such as gender roles. Perhaps in the coming decades, questions relative to the body, mind, ego, become meaningless. New technologies, genetic engineering, artificial intelligence, cybernetics and virtual reality, are rapidly redefining the terms of the physical experience.
Contamination and mutation, these "places" that track changes in the new art, an art that blends into the skin and the mechanisms that trigger the transformation tools, language, body, period. "The scene of 'contemporary art presents us with a revolutionized concept of man and of his relationships, is a scene in which permanently changed the theoretical horizons of the new relations of human and nonhuman are interwoven with new artistic experiments. The idea of the first major mutations and aware of the human body come to us from the sixties, when hippies nudes they tested the first sexual revolution and the astronauts in their space walk weightless sanctioned the beginning of a new era of the human condition and unlimited possibilities. Also from the late sixties we receive, in addition to the certification body by the hippies, Body Art and also the first phenomena of replication of identity, the first followers of rock idols and omens of future "mental", of altered psychologies of possible worlds provided in the works of Burroughs, Ballard, and Dick, outlining a new human figure that includes the tools tecnocomunicativi. The Vanguards, with the actions of Dadaism and Surrealism, had made the mixture of different artistic languages, with the body art such bonds are strengthened and melt and the artist himself becomes a work of art, the body becomes absolute language, moldable material . If the body art was a practice of personal involvement, and physical body, the body that emerges from the eighties and nineties still carries with it the flesh and blood, but mixed with the alterations produced by nuclear waste, micro-technologies, AIDS, genetic engineering , media saturation, sexual alienation, population growth. The body becomes the border area of identity, hybridization between the self and other, between cultures and between the real and the virtual: the new era begins with a cancellation and alteration of the boundaries between inside and outside . According to Mario Perniola known lecturer and author of several books, including "The sex appeal of the inorganic" (1994), it fully supports "the idea that in the transition between the eighties and the nineties done something absolutely new and then this news is the fact that it can hardly be expressed in traditional terms. What changes is somehow the idea of art itself, in the sense that what emerges in a sense it is absolutely new experience, the dimension of which raises the question of what kind of experience it . In this case you really open to a new kind of experience where the relationship between organic and inorganic, between natural and artificial stands in completely new and completely different. In parallel with research on mutant body that has been the focus of research of the plastic arts in the '90s, the tecnoarti are kept inside with the organic theme of change untried hi-tech. The "post-human body" represented and exorcised from the plastic arts during these years is complex and threatening and the use of processes and elements of the field biogenetic allows designers to investigate and participate in and monitor what happens. Robots, cyborgs, made body "posthuman" by genetic engineering is already at work on diversion, recreation, modification of the original genes. One area that appeals (besides the wave of emotion before the first shocking results) on strong drives to overcome the limitations of the body, improve it, refine it and make it (of course) non-perishable, immortal. It prefigures the transition from the robot as a substitute (as well as a double), the Cyborg as a form of prostatic bio-mechanical technologies (as well as cross-over cultural) to "re-created body," and finally "created". The term "cyborg", which stands for "cybernetics organism", was taken from science fiction in the sixties to indicate the new man-machine hybrids, that is, humans modified by the addition of prosthetic mechanical or electromechanical, and sometimes completely beings but with artificial anthropomorphic, like the "aneroid", the "humanoid robots" or "surrogates". The image evoked by that word is that of a human being with artificial inserts in his body, such as mechanical arts, but it can also get to be entirely artificial beings that are human only in appearance. The cyborg refers to a relationship between man and technology that is changing, alludes to a similarity between man and machine that reporting of changes in size, logic and operation of the machine, but also the inevitable mutations in humans. What is difficult to understand is the right attitude to take towards the cyborg, the figure in the increasingly complex imaginary and real contemporaries, but one thing is certain, namely that hybridization with the artificial perspective is unavoidable, that one can not escape: the only choice we have is the meaning to be given to this perspective. In 1991, the critic and curator Jeffrey Deitch, New York presents a group coined a term "posthuman," will define an artistic movement and a movement of thought very specific and important, the basic concept of this idea is to overcome the limits biological. Now the man has the ability to intervene in the biological process at both ontogenetic and phylogenetic cognitive level, creating intelligences and synthetic prostheses. The passage is from an idea of the body as a physical identity limit the idea of a movable body as a support for an identity. Greatest exponent of the art posthuman is the Australian artist Stelarc, whose thinking is based on the idea of a biological body obsolete, which is improved with the mechanics and electronics. Materializing the idea that the prosthesis is no longer a lack but an excess, Stelarc is made implanting third mechanical arm on the fabric of one of its biological arm. As evidence of the changed conception of the body is mentioned here, a step by Tiziana Villani, taken from "Post-Fordist Lexicon", the text drafted by Adelino Zanini and Ubaldo Fadini: "The body as a place, area of relationships and power as performative is true border material of our time. Development of modern societies is a becoming of the body as "an instrument of performance." The body in its concreteness, in its finitude, is a threshold: threshold of time, illness, imperfection.

Tecniche

olio su tela e smalti sintetici e reagenti chimici.

Valutazione artistica

Allo studio lucio Amelio a Napoli nel 1992 erano valutate le opere 15.000,00 dal consulente Mele in via Pessina per
lavori di piccole dimensioni 50x70.
Fine art america ha stimato il prezzo di un 1,5 milioni di euro nel 2010 con riconoscimento critico Americano ,THE TIME of ( ATOMISME ).

Bibliografia

Artista schivo e solitario alla banalizzazione dell'arte,intelletuale impegnato. Pubblicato in importanti antologie tra cui Aletti presso Feltrinelli e Elio Pecora giornalista di Repubblica.
Opera iu un suo sito industriale a Milano e spesso negli Stati Uniti nel quartiere di Soho dove ha un atelier-capannone, le sue opere fanno parte di collezioni private tra cui FINE ART AMERICA -ABSOLUTEARTS - ARTPATRON- WOOLOO
da cui genera il nome il sito consultabile per verificare la presenza delle sue opere .
La sua produzione e' consultabile su circa 20 siti a tutt'oggi, europei e americani registrando il maggior numero di visite sul WEB.
Prossimamente su SKY 875 con il critico DIPRE'.

Attestati / Premi

mostre e management internazionale
premi internazionali alla Galleria pyramide di New york e biennale di san Paolo,e archivio in Musei digitali.