art
twelve o’clock, September 29, 2021 – 4:32 pm
In the church of the Madonna del Carmine a «Perimeter of the sensitive» curated by Giacomo Zaza holds together the works of the two artists
from Marilena Di Tursi
ANagraphically distant but stylistically similar for a common sensitivity to investigate space in a conceptual key, Giuseppe Spagnulo (Grottaglie, 1936 – 2016) and Raffaele Quida (Lecce, 1968, in photo) share the same exhibition itinerary in Matera, in the seventeenth-century spaces of the Church of the Madonna del Carmine, incorporated into the Palazzo Lanfranchi. Starting tomorrow, the exhibition “Perimeter of the sensitive”, conceived and curated by Giacomo Zaza (in collaboration with the National Museum of Matera, under the patronage of the Province of Matera and the Municipality of Matera), brings together the two artists marked by a formal research of essential abstractionism. Set in the single nave and in the side chapels of the ancient architectural organism, the selected works contrast the generous decoration of the container with the bare eloquence of geometric shapes. In the case of Spagnulo they are connected to rough volumes, careful to preserve the physicality of the material and to reinvent, in archaic tones, the international language of minimalism. Elementary structures of the early nineties, mixed with iron oxide, volcanic sand and coal, balance solids and voids in happy contrast with the concavities and convexities, peculiar to the marble ornaments of the altars. They oblige the gaze to continuous realignments between elements in opposition to each other. The chromatic register is also rigorous, developing elegant and restricted variations of a monochrome with burnt nuances.
The interview with the teacher
Quida happily fits into the conversation with the master, combining grays and browns of a production mostly from the 2000s, a moment in which his conceptual research focuses on the use of large sheets of paper lowered into tanks of black pigment with more absorption processes. or less intense. Or with photosensitive papers that detect fingerprints or with powders obtained from marble slabs that have fatally returned to fill in the traces of the extraction. Silent, discreet exercises that on display mainly concern squares and rectangles, drawn or materialized in iron frames. They overlap, creating plastic effects, shapes that circumscribe a void, perimeters for open contents, in the usual game of the art of mixing presence and absence
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29 September 2021 | 16:32
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