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freedom ... normal ....

These days I often think of freedom ... Not long ago I had the freedom, perhaps a thought too high .. now I hear things in a different way the I live in a different way and I do not know this, but it gives me a sense of freedom, before I had, and I thought of a list of my freedoms.

Mandrazzi, the sky blue and full of stars, watching the Flintstones, read a book by an American author, drink a glass of wine, the first glass of water in the morning, open the window just wake up and see the mountain from the front, listening to my favorite music, fantasizing about the trip I will do, think about the journey that I did pick fruit directly from the tree, lying on the beach, watching my cats sleep with my cats, playing with my grandchildren, to buy something for home, leave the car without a goal, meeting an old friend, make a call, shoot shit, so you know those are free, take another job, to complete a job, to hear a good story, see a film of some kind, a film review wester Sergio Leone or John Ford. Indignant about what's happening to my generation in Italy, buy newspapers in the morning, look for the latest technology on the Internet, see a film on TV 50 years, look at photos of when I was little, holding a dinner for friends, think about the next summer, hear the Christmas spirit, now lost and not tomorrow, think of my father, look at photos of when he was young; think in America, to think that I will find my dear friends and new adventures. Listen to what my mother is saying, do not listen to me telling me who did not understand anything, not an interest of those who leave the time you are in, put the sun, plant a tree in my new campaign that smacks of old .. think about my grandmother, I think .. think about my normal freedom ...

Lincoln Log Frontier Instructions

Pericles' speech on democracy "

Here in Athens we do like. Here
our government promotes the many instead of the few: and this is called democracy.

Here in Athens we do like. The laws here

ensure equal justice for all in their private disputes, but we never ignore the merits of excellence.
When a citizen stands, then it will be, in preference to others, called to serve the state, but not as an act of privilege as a reward merit, and poverty is not an impediment.

Here in Athens we do like.

The freedom we enjoy extends also to their daily life, we are not suspicious of one another and do not ever annoy our neighbors when our neighbor like to live in his own way.
We are free, free to live just like we like, and yet we are always ready to face any danger.
An Athenian citizen does not neglect public affairs when waiting to their private affairs, but also is not concerned with public affairs to work out their private matters.

Here in Athens we do like.

We have been taught to respect judges, and we were also taught to respect the laws and to never forget that we must protect those who receive offense.
And we were also taught to observe those unwritten laws that reside in the universal sense of what is right and what is common sense.

Here in Athens we do like.

A man who does not care about the state we do not consider it harmless, but useless, and though a few are able to create a policy, all well here in Athens we can judge it.
We do not regard the discussion as an obstacle on the path to democracy.
We believe that happiness is the fruit of freedom, but freedom is just a figment of the value.

So, I proclaim that Athens is the school of Hellas, and that every Athenian growing developing in him a happy versatility, confidence in himself, his readiness to face any situation and that is why our city is open to the world and we never expel a foreigner.

Here in Athens we do like.

Pericles - Speech to the Athenians, 461 BC

Brown Mucous Before Every Period

5) from the second series "Suffering" 1976-77 (under construction - under costruction)

Portraits / Portraits - Portraits / Selfportraits

Dark Skin Brazilian Thick

4) from the second series "Suffering" 1976-77 (under construction - under costruction)

"The room of wheat" , 1976-77, color photos, 180x180 cm

"The room of wheat" , 1976-77, color photos, 180x180 cm.

"The cabinet and the self-portrait" - 2-color photos 180x170 cm.

"The cabinet and the self-portrait" - 2-color photos 180x170 cm.

"The cabinet and the self-portrait" - 2-color photos 100x100 cm.

"The cabinet and the self-portrait" - 2-color photos 100x100 cm.

"The cabinet and the self-portrait" , 1977 - an overview (part)-180x350 cm.

Baggy Soft Pants Wholesale

3) from the second series "Suffering" 1976-77 (under construction - under costruction)

"The bedroom is my ... cousin - color photo - 180x180 cm.

"The bedroom ... my cousin" - color photo - 180x180 cm.

"Jorge Luis Borges & Riverside Angelo Moscato , 1977 - color photo - 100x100 cm.

"Jorge Luis Borges & Riverside Angelo Moscato , 1977 - color photo - 100x100 cm.

"Jorge Luis Borges & Riverside Angelo Moscato , 1977 - color photo - 180x180 cm.

"hat" , 1977, color photograph - 180x180 cm.

"hat" , 1977, color photograph - 180x180 cm.

"hat" , 1977, color photograph - 100x100 cm.

Maxine Cartoon For Retirement

2) from the second series "Suffering" 1976-77 (under construction - under costruction)

Work in Progress

1977-1997-2005

Translation-Replacement

the second series "affected" 1976-77

from place to place

The House Largo Giulio Cesare Capaccio

"The Living and The Contemporary Art Deco" - "The Urinal" - "The spittoon" - "The Hat" - "The bedroom", etc..

environment, items of furniture, objects, images and (hard task) to recall, through color photography with the Yashica Mat G 6x6, the atmosphere of my childhood who still breathed in these places, in some ways still remained intact. Places where I felt the joy, fear, curiosity and early first sexual impulses. The decision to build a real size of the environment, is to try to tear at the memory and return to reality, to something that was in those years vanished and today, physically, as a result of the earthquake of 1980, there is .

After a picture at a glance, a number of paintings in the living room, and saw the art deco sofa grandfather's protagonist and storage of various objects belonging to him and the rest of the family, combined between them from my direction, in particular in the other images, I have been focusing in close-up of three elements: the urinal ; the spittoon ; hat ; the bedroom, etc.. in their context. Each of these objects, took me back to special times in which curiosity was starting to know them and discover them in the use, look at my mother, my father, my grandfather, my elder brothers, relatives and guests who never failed.

The intention now, in rereading today, as for the "Freedom", is to present the images in other sites, in a sort of "translation-replacement" from place to place, in fact, with some variations to the project, environmental, internal and external.

"The living room sofa and art deco" - N. four-color photographs

n.1-board 100x100 cm.

"The living room sofa and art deco" - N. four-color photographs

panel # 2 - 180x180 cm.

"The living room sofa and art deco" - N. four-color photographs

Framework # 3 - 100x100 cm.

"The living room sofa and art deco" - N. four-color photographs

n.4 Framework - 100x100 cm.

"The spittoon." 1976/77 - N. three color-

n.1 Framework - 180x180 cm

"The spittoon." 1976/77 - N. three color-

panel # 2 - 180x180 cm

"The spittoon." 1976/77 - N. three color-

Framework # 3 - 100x100 cm.

Merial Purevax Feline 4

GOoD Moscato & Art Photos Emilio D'Amato - the first series "Suffering", 1975/76 (in the pipeline - under costruction)

"The Tomb of the family," 1975/76. N. 3 photographic reproduction B & W, 70x150 cm ..

"I Funeral of my grandfather James, anarchist, musician, shoemaker, innkeeper and former miller " , 1975-76

" The funeral of my grandfather James ", 1975-76, part. cadres 7:08

"The funeral of my uncle" , 1975-76 - Part 4:05 paintings

"The funeral of my uncle Nicola Riviello, Royal Army Marshal chosen" 1975-76

through family photographs, from 1975/76, I try to build a training and education received in the historical, social and environmental impact of my childhood (in order to throw it all away, to remove certain clichés ). Starting from the first the home, through photographs, objects, environment, and looking out gradually outside the habitat daily with its customs, with its many signs of a story and a past culture, and continuity "branched", but consistently, in a line of thought, with its possible and (apparently) inevitable developments , I also recall the figure of a good photographer (Emilio D'Amato ). The classic photographer, who like the Fratelli Alinari, in its small, has documented more than half a century of local life in the Town / Country Land and its surroundings. A photographer who has documented, among the other, hundreds of funerals, including the following two that affected my affective and intimate family: my grandfather's funeral in 1957 (when I was 10 years old) and my uncle, my father's brother, in 1941 (six years before I was born), apart from other works presented on this page.

a) "The funeral of my uncle Nicola Riviello, Royal Army Marshal chosen"

Specifications: n.8 image sequence playback Photo B / W sepia.

media, sizes and varying amounts.

b) "The funeral of my grandfather James, anarchist, musician, shoemaker, innkeeper and former miller":

Specifications: sequence of images of photographic reproduction n.9 B /

media, sizes and varying amounts.

works never exhibited

Campaign 21 - February - 2005

How Do U Mix The Face Bleach

Letter to Luciano Inga-Pin (draft) - Sorry I'm late!

Caro Luciano,

excuse the delay, but even after more than a year after your "death", I like to write to you now that I have a blog, without the emotion of the moment ... because to me you are always in Pontaccio struggling with your shows with your friends and with young artists ... where I left a part of myself ... and then you know very well that it was time for me, and it is on, its very ... almost non-existent, although relentless, distracted as they are, from everyday life and my thoughts (sometimes) I instinctively pushed adventure trails sketchy (perhaps in advance, without realizing it) by going to dig in my training, my reality from a cultural and anthropological starting with four walls, to reach a much broader reality. ... but never do calculations unable in the time ... because the magic moment and anxiety (for me) of creativity, "calculated" stroke and strategies. This, perhaps due to factors of character to my shyness, and doubt which never leaves me, what drives me to become aware posthumously? ... It seems so, and it is very likely ...

many comings and goings in your home gallery Pontaccio street with the balcony from where I look happy chatting with other friends and fellow travelers. ... ... How many memories with many hopes. ... How many new friends met, thank you, your ability to communicate and to attract a whole new generation of artists. I remember when the doorbell rang at your door windows. We always looks with enthusiasm, interest and sympathy, with those eyes magnified by glasses, binoculars and the two seem to be ever-present smile. Always polite. Always honest. I also remember your shepherd dog that made you watch for a while. I remember in particular when I met George Verzotti and spoke in a very friendly and affectionate me and my work I was doing a bicycle from one part to another of Milan, as an agent of the House Edtrice Einaudi, praised as a young artist in doing this work for a living ...

I like others, I was in your "waiting room". My only regret is that dialogue "broken" between you and me, about my work, those years on horseback, between 1975-76 and 1978 ... In fact, when I got to know, among others, Mimmo Paladino in your gallery via Pontaccio (1978), the air we breathe in the art world, began to change, unfortunately, not only for artists like me, but (I think) for a "gallery" like you, rush, which was interested in every moment ... I realized, that time was not conducive to my way of working, much to discourage me in completing my presentation through the works of some super 8 films made between 1975, 76 and 1977-78 that I still had to arrange for the presentation. A presentation that a little later, I had the Galleria Taide of Salerno (Lista di Pietro and Cristina Di Geronimo). Jobs then you have seen on VHS, between 1997 and 1999-2000. When I called you answered me that they were excited ... Then I do not know what happened ... we have not heard. I am the eternal unstable (to live) in an Italian public school increasingly problematic and degraded, with all the consequential aspects pouring (and flow) in the life everyday ... and you continue your activities, including the busy schedule, with passion, to the last.

fact that year 78, while Mimmo told me inter alia, he was looking for a home in Milan, the undersigned, the left hand (for a painter friend: Franco Tripodi) his little house (40 m2 on the fourth floor of Via Torricelli at no.5), who no longer works with the publishing house Einaudi, and realizing that "return to order" through the manual and decorative painting, replied that he was going to leave that city. Leave Milan, feeling "useless" given the difficulty in surviving and rejecting the other side, the ease of the undergrowth of the market city of Milan. For the respect that you definitely try to me, I was invited by you (after you had planned a presence in my gallery with a couple of my works) to adapt to new realities, which as I said, I did not feel to "accept", heartfelt thanks, convinced until the last of my work (even if a thousand doubts) that I was doing and that I had done until then and I was doing, looking beyond the present, unconsciously projected into the 90's, you still do not knew well all the way, from the moment they "objectively" (as we were both overwhelmed by the return to order with the "tsunami" of the trans and other "movements" like) you were forced (maybe), even without "betray" to "abandon" and I was given more time to continue let you know. The "new future" that teorizzasti in 1983, along with Renato Barilli, was still far away ... So I took the trouble ... not because I did not know painting "by refusing the painting" (in fact I could continue with my sign that neo-expressionist I was a teenager, a student at the Institute of Art of Salerno), but because my work looked beyond myself first, the narrative art, body art, performance was very "different" from other experiences that you had proposed in those years in Milan, including a large Gina Bread and Marina Abramovic, William Cavellini Achilles and many others. A similarity was possible with other young people on a job (maybe) a purely photographic ...

arrived 80 years. What I see as representing a "black hole" ... now I came back from Milan to Salerno, the summer of 1978, where in my city (Countryside), I witnessed the tragic earthquake of November 80, and where in 1982, after my first personal Thais at the Gallery of Salerno, in 1978 and 1981 (I wanted and I had to do with you, with the projection of some of my super 8 film, because it is with you and Dear Friends, other artists in Milan, which able to develop my own vision, not because I do not go well Salerno, indeed, is the capital of my province, city of art criticism, where I studied the art of dreaming), not again feel "useless", I recovered an ancient event of the river, now abandoned, which served not only to clean the streets of the city in its deviation river to a local economy that no longer existed, consisting of mills , pasta factories, paper mills and creterie, turning it into a work of art ... and the involvement of "irresponsibly" in the idea of \u200b\u200bdesign many other artists from all over Italy, to express themselves with their own expressive language through ... the performances, workshops in painting and sculpture, music, theater, dance, video ... while Lucio Amelio in Naples, at the same time, "responsibly" implemented "Terrae Motus", with some giants of international art, after inviting me to 1979 to participate as a young, new to the Review on Creativity in the South.

I can say that in my life, until today, I found only contact you as serious and rigorous, with which to confront and ; a mature ... even if my vision is not that magical moment of verification, the result of many meetings we had, for the reasons stated above, for a moment where you have "distracted" with all my understanding, but at the same time with so much bitterness and regret my part in ... Milan a "gray", where I lived for a total of 15 years (the last step from 1996 to 2003). Even today, I do not think you there is no more. To me you're always in that apartment on Via Pontaccio in a Brera by movida "empty and unrecognizable, with that smile and your eyes magnified by glasses, binoculars and the two seem to always smile and unfailing ... Your willingness to talk more open! Milan (the city with zero tolerance) has lost just a gallery, but a pillar of contemporary art in Italy ... and one of the largest in Europe and elsewhere.

Caro Luciano knew how much I missed my first solo show with you, where I invite all my friends in Milan (and friends) with whom I grew up and helped me to grow. I hope to take with you into another dimension, in Bruno's universe "infinite and the World," to make up for lost time ... even if I do not believe in reincarnation like you ...

A warm hug ...

Angelo

Where Can I Buy Everfresh Makeup

The pied pipers.

How I love the Lower Saxony. So low. A city of Saxony high contrast, was infested with flutists Teutonic. That's right, every little corner of the county was saturated by means of blower precisely, wind, and the rest of the population could not endure this rough situation how little German, ear plugs and plugs earplugs not faded 's auditory impact. After decades symphony, the weary people of non-musicians decided to put an end to the problem, engaging in a rat offrendongli obviously a rich reward in return. The mouse brought the pipers in the river and these expectations as they swam to the port of Southampton where he opened a textile factory for that kind Tightening the straps of overalls. The rat returned to the town for the money, but people thought it well to pay the rodent even if he drove out the troublemakers. The rodent thought it well to buy a bib and then to take revenge for the wrongs they have suffered. Hired JeanPaul Sartre, just out of the French Communist Party, to kidnap all the Sabine women in the country. In Lower Saxony not these things happen, in fact I love it. In high-Saxon hand, Sartre took all women from the rat. The rape took women and beheaded, killed his brother and founded a city, but that's another story. Within a few generations the population according to any fitness proliferative reset shares roditoriali, disappeared from the face of Lower Saxony. The mouse reiscrisse Sartre the French Communist Party without their knowledge, that knowledge of Sartre. But Sartre heard about it and came out reactively.

Nondenomina Church In Miami

GOoD Moscato & Giulio Cesare Capaccio - work in progress since 1986

wax Sardinian Ceramics, 1986/200, diam. 38 cm.

wax Sardinian Ceramics, 1986/200, diam. 38 cm

wax Sardinian Ceramics, 1986/200, diam. 38 cm

wax Sardinian Ceramics, 1986/200, diam. 38 cm

"The tears of the crocodile" , 2002, acrylic on canvas, 100x150 cm.

"The joy of crocodile , 2001, acrylic on canvas, 100x140 cm.

"The organization of the panther" , 2001, acrylic on canvas, 97x140 cm.

"Alban and the elephant ... www.memoires-elephants.com" , 2001, acrlic on canvas, 100x145 cm.

"Prince courteous" , 2001, acrylic on canvas, 70x100 cm.

"The bull of Agrigento" , 2001, acrylic on canvas, 70x100 cm.

"The firm of Julian" , 2000, acrylic on canvas, 70x100 cm.

"Parto immature" , 2002, acrylic on canvas, 70x100 cm.

"Vipers in coitus" , 2000, acrylic on canvas, 70x100 cm.

"The owl of Minerva" , 2000, acrylic on canvas, 70x100 cm.

"Where there is no nature, a work of art" , 2001, acrylic on canvas, 70x100 cm.

"Nunc Nosco Vires" , 2001, acrylic on canvas, 70x100 cm.

"Clouds" , 2002, acrylic on canvas, 70x100 cm.

"The first company: the'eclisse" , 1986, acrylic and gouache on paper murillo canvas, 70x100 cm.

"The eye behind the image that represents" , 1986, acrylic and gouache on paper murillo, 70x100 cm.

"The hand glimpse" , 1986, acrylic murillo canvas and gouache on paper, 70x100 cm.

http://www.undo.net/Pressrelease/

(work in progress since 1986 number of companies)

The artist Campania, Angelo Riviello, who for years lived and worked in Milan and the City of Countryside in the province of Salerno, who for years and plays an interdisciplinary work (photography, film and video, installations, sculpture, painting) in the recovery of its own root, autobiographical, historical, and cultural anthropology, presents this series, called "Enterprise", the title of a book by Capaccio, his countryman, literary and historical character of power in the period of the Neapolitan Baroque. Character knew glory, but also poverty. The historian most 'title in Naples, which was mainly the merit of promoting research in archeology. In fact it was the first excavation of an interest Pesto (today Paestum).

This is a "work in progress since 1986," a series dedicated to historical figures were born or reside in his hometown (Giordano Bruno, Giulio Romano, J. Caramuel y Lobkowitz, etc,), defined by Vasari as "... one of the ancient wonders," speaking of Giulio Romano, in his Lives. " A series that wants to be a sort of review, interpretation and / or replacement of the characters, exchanging dates, trading periods, exchanging names. By making a tribute with affection, with irony and conviction.
Claiming identity, linked at this time, especially the risks of globalization, with a culture of increasingly empty 'dominance. On the one hand it is a tribute and a re-examination, the other wants to be an excuse. An excuse to resist the encroachments of the void, that exists in our system more and more 'globalization. An excuse to reopen discussion of art in its formal discussions, but also in ideas and content, where the means for Riviello, and 'only a consequential subjective choice.
In the case of these works (except for round ceramic wax sarda), this is painting: acrylic and gouache on paper canvas and acrylic on canvas. The design consists of two ovals of the same emblem. And A 'shown in black and white, true to the original, and the other reversed and re-interpreted through painting, and often with the titles traditionally understood, where the artist seems to enjoy himself, accompanied by the technique of execution, with the date and the size of the work. Moscato and 'the surname of his mother.

The exhibition 'accompanied, in the printed two letters to the author, Jasmine D'Ambrosio (graph theorist and researcher of visual communication - art director of Associated signs of Salerno and teacher ISIA in Urbino) and Antonio d'Avossa (critical Art - teacher at the Academy of Fine Arts of Brera, Milan).

Press release from the exhibition at the Cultural Center Puskin Via Bernardino Verro, 15 - 20142 Milan 21 May 15 June 2002 19.00 hours