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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

Milena Velba überfall

Critical Texts (on site)

From the exhibition "Two or three corners of the house"

Galleria Taide Storage Facilities "- Salerno 1981

GOoD use the photo for a humble work, exhibited in his primary value of playing a scene. A corner of the gallery becomes a privileged space for a few objects that refer to the house, the activity that takes place.

finds objects that look very much like survivors of a disaster: a book, a flower, a flute, a wooden toy, a bow to be used in a small rudimentary garden, some other object to guess within Forgot recreational activity. The gallery is empty (in this case, the Thais of Salerno, known for its magazine "minimum material") white and sterile as a laboratory before an experiment. Only the corners are occupied up to a height of fifty centimeters angles used in pairs, symmetrically. On the one hand the little scene of daily life, the house too remembered or forgotten (the exhibition is titled "Two or three corners of the house"), the other a photograph of the silent representation reproduce the magic of memory, the search for a lost three-dimensionality, of a life now impenetrable except by an image, a reconstruction flattened on a sheet, as a process of condensation. "The noemi de la Photographie est simple banal; Aucune profondeure: ça a été ". But not the last memorable debate Barthes, as far as suggesting the operation of Dubuffet Riviello: As to his" theater of memory. "A comparison does not Riviello and certainly one of Dubuffet, but the search area between the two. The objects are aligned in the picture of one with attention-intention to revisit the mechanisms of memory as a canvas on the other: the memory does not allow himself to take hook of rebuilding itself, if not drained of every speck-dimensional, any possibility of ripercorribilità. So then it becomes understandable the dual position, the symmetry of the arrangement of objects and their photographic representation: it is a memory due to where they started, an attempt to repeat the elementary processes, mechanisms.

But we also groped the contrary interpretation: the dream of two-dimensional photo composition is extracted in the space of the same objects represented. The memory according Riviello, would, then, his primary labyrinth from which he does not know, nor can it, quit. The objects show their deaths and hide.

Two representations that refer to each other in a circuit not proceed, but refers only to other circuits mirror similar in other corners of the gallery (as in other corners of memory).

"Or, a soir de November, peu de temps après la mort de ma mère, je rangeai des photos.

Rino Mele

Salerno, 1981

From "Art in-transit Pubblicinvasioni "

Power 2009

" ... bread and water? " Angelo Riviello

image directly and essentially, an effective tagline that arouses curiosity. The language is certainly borrowed from the advertising touts this ... but what? The bread and water the essential elements of life are combined to a phrase that refers to a means of punishment, restraint. The artist's images and words communicate with irony and ambiguity is a complaint to the state of poverty prevailing in much of the contemporary world that is reversed easily in a exhortation to recover the sense of simple values \u200b\u200band frugal, not to forget the essential in these times of redundant.

Barbara Improta

power in September 2009