Come molti altri, il sito usa i cookies per facilitare la fruizione dei contenuti. Per saperne di più sui cookies e su come gestirli consulta la nostra policy sui cookies
Accetta e continua

In & Out

  • _in__out_01_02
  • _in__out_01
  • _in__out_03
  • _in__out_04
  • _in__out_05
  • _in__out_06
  • _in__out_07
  • _in__out_08
  • _in__out_09
  • _in__out_10
  • _in__out_11_a
  • _in__out_11
  • _in__out_12
  • _in__out_13
  • _in__out_14
  • _in__out_15_vecchio
  • _in__out_16
  • _in__out_17
  • _in__out_18
  • _in__out_19
  • _in__out_20
slideshow jquery by v5.4m

"The work of the artist is in this place a laborious a nd progressive process of perspectives and trages; the passage from an object to its image, frome one studio to the other, from to internal to social life, from a thought to a brush-stroke, from law to legend, from ethics to faith, and from Sicily to the larger world. All this is - for Gulino - a restless voyage of In and Out. It is not by chance therefore that the core of this exhibition consist of seven gigantic doors [...]. The doors that we are not entitled to open are the door-visions that Gulino has brought us out his hermitage, out of his dreams, out of the spirit, out, to the common world and the common age. Fhilosopher, painter and mystic, he allows us to share his himagery: the result of the learning and exercise that he the artist has developed to be granted the faculty to go in and out. He goes even further as he makes available for us prodogious legs, trans-vests, dancing bodies. Like the imagery of the biblical tabernacle he offers the inspiration to explore the world beyond its basic structures; he suggest the rhetorical figures to pronounce the sacred formula of the passage". (Natalia and Jaja Indrimi, Franco Accursio Gulino. In/Out, in the catalogue for the individual show In/Out, Palermo, 1999)

"The distortion of somatic features reveals that carnality and sexuality themselves experience a transition, a frenetic search for themselves. Bodies show what happens inside them: ill-concealed discomfort, upheavals, worries, desires and anxieties. Both In the "doors" and in "trans-figures" the observer's eye is not drawn to a particular detail, to a centre of attraction but is invited to observe the entire field of vision. An example of this is given by his works: transfiguration and trans-figuration stigmatize the state of dismemberment and recomposition of contemporary man [...]. To lessen the drama Gulino adds something grotesque and mocking. The exquisitely human drama of life is hilarious and fun, half-joking, hanging in balance in the impossibility to be defined". (Massimiliano Sardina, La natura superstite in Franco Accursio Gulino - Catalogo Generale Ragionato Tomo I)

Privacy policy