{"id":1842,"date":"2015-06-15T17:37:18","date_gmt":"2015-06-15T15:37:18","guid":{"rendered":"http:\/\/carminejandoli.com\/divulgazioni-2\/"},"modified":"2021-02-12T22:17:24","modified_gmt":"2021-02-12T21:17:24","slug":"divulgazioni","status":"publish","type":"page","link":"https:\/\/carminejandoli.com\/en\/divulgazioni\/","title":{"rendered":"Selected print"},"content":{"rendered":"

Jandoli monograph<\/strong><\/p>\n

\"\"<\/p>\n

\u201cAmong all the creative acts performed by the artist, the most legible one is the drawing. The drawing, also, is the first expressive act chosen by the artist when he sketches the future form of what is still a personal, internal emotion… Therefore, the drawing is essentially movement, a tension between light and dark. The way a certain kind of black is counteracted to a certain kind of white, the modulation and the mutual transfer from one another or the resolutness of their contrasts… everything contributes to suggest a particular, dynamic rythm. A spot in a drawing is designed as much as a sound in a musical composition. Except in some cases where these elements are deliberately neutralized, the drawing is nothing but a trace \u2013 almost an emission \u2013 of specific characteristics of a life in movement…\u201d.<\/em><\/p>\n

\u00a0<\/em>Ren\u00e9 Huyghe<\/p>\n

\n

\u201cThere is no art, even abstract art, that is placed far away from the visual and emotional experience \u2013 and even so if the abstraction doesn’t feel the need to refer to a specific object. The artist talks about a tension inside the artwork through which he is able to express his vitality as an organism. All this comes from his relationship (anyway generalized) with an external world based on common experiences (and art itself takes part of it), but from a construction purely interior…\u201d. <\/em><\/p>\n

Robert Goldwater<\/p>\n

\n

In this new monograph on the artist, the focus is settled in the theme of the “journey” as another occasion for the artist to talk about the landscape, uniquely outlined in the paintings by the his attentive eye showing the artist\u2019s sensitivity.
\nDiscovering that travelling, as well as reading and listening, is always the most useful and shortest way to reach yourself.
\nThe works of these years mediate the practical experience of reality and enlightening the present.
\nJandoli’s works are outlined on various thematic aspects, mainly expressive and linked together. There are works which represent man’s lyrical and tragic relationship with nature, such as “Terra dei Fuochi” of 2010, “Bellico” of 2013.
\nAs well as, “Holocaust” of 2000 deals with the discussion on violence together with “Semantic Density” of 1993, while “Cromie Inquiete” of 1998 shows the attacks of men against men.
\nIn the same expressive intensity, the works are treated with a style full of raw power, connected with a psychological and existential path.
\nThe artist’s creative intuition is interpreted with a multiplicity of visual paths. These paths are the main problem of the tense reading of the present, albeit with a gaze projected towards a possible, intuitive future. The contemporary analysis takes place thanks to the metaphors put in place by the artist who reiterates the emotional reading of the poet and the traveler.<\/em><\/p>\n

Silvia De Vecchi<\/p>\n

\n

The artist says about himself: \u201cI’ve never written anything willingly about my expression of thought… Several times I’ve felt emabarassed in front of my work which made me realize that the artwork I was going to create didn’t comply an internal need. I’ve always looked for a place made of memory; found thanks to emotional and intuitive impulses, but as time goes by some specific contexts \u2013 representative of the reality \u2013 completely lost their initial interest.
\nFor me, representing a reality based on imagination, dream or memory is not enough, at least not anymore: it’s the painting itself \u2013 not its representation \u2013 that has to become reality\u201d.
\n<\/em><\/p>\n

Carmine Jandoli<\/p>\n<\/p><\/div>\n

Memory Fifty years later – 1945\/95<\/strong><\/p>\n

\"\"<\/a><\/p>\n

\u201cWhen we say that a community remembers we are in fact saying that the past has been actively
\nimparted to the present generation and that it has been accepted and endowed with meaning. On
\nthe contrary, a community \u201cforgets\u201d when the generation who is in posession of the past doesn\u2019t
\nconvey it to the next generation, or when it rejects it and still doesn\u2019t impart it, which is the exact
\nsame thing\u201d.<\/em><\/p>\n

Ypsef Hayim Yerushalmi <\/p>\n

\n

This art collection wants to help the knowledge of the Italian Resistance, showing it in colours, shapes and different materials without any sort of rethoric on manneristic reconstruction. In these 105 works, through the filter of art, one can directly approach a peculiar moment of our history, with its light and its shade.The memory of the past cannot get lost, even though its preservation is a hard and difficult task; even though its recollection involves a judgement, maybe a doubt, a reflection. This is our message, the strong idea of our research: the past is the ground of the present.
\nPrimo Levi, in one of his last poems, a sort of will, says that in the individual and collective past are the threads weaving the cloth of our existence.
\n<\/em><\/p>\n

from \u201cMemory Fifty years later\u201d – Carmine Jandoli<\/em><\/p>\n

\n

The acknowledgement of the didactic value of the collection created by Carmine Iandoli is essential, both for the choice of the subject, which requires a historical reflection on the Resistance, the liveliest among the periods of the recent past of our country, and as an opportunity for critical reflection on the creative potential of today’s artists and on the quality of their work.
\nThe term quality is perhaps the key to this initiative because, if it were not supported by a high quality level – in the choice of the invited artists and in the sincere commitment with which they responded to the invitation – the whole operation would have ended in sterile commemorative rhetoric.
\nThe need for artists to move within an apparent constriction of theme and form, rather than reducing the expressive possibilities, multiplies its power, because every linguistic, formal and poetic solution realizes – to quote Schiller – its own “freedom in the phenomenon”.<\/em><\/p>\n

from Qui Touring, maggio1999
\nThe castle of memories
\nby Maria Fratelli<\/p>\n

\n

Selected print<\/strong><\/span><\/h3>\n\r\n
\r\n
Exhibition in Cremona (April 18-29, 1995)
\nPalazzo Comunale - Sala degli Alabardieri<\/strong><\/h5>\r\n <\/i>\r\n <\/i>\r\n
\r\n

\nCultura Magazine<\/strong>\u00a0– January 27 \/ February 2, 1995<\/a>
\nLa Provincia<\/strong><\/a>\u00a0– April 13, 1995<\/a>
\nLa Provincia<\/strong><\/a>\u00a0– April 18, 1995<\/a>
\nCronaca<\/strong><\/a>\u00a0– April 21, 1995<\/a>
\nMondo Padano<\/strong>\u00a0– April 24, 1995<\/a>
\nCultura Magazine<\/strong>\u00a0– April 28\/ 4 may 4, 1995<\/a>
\nMondo Padano<\/strong>\u00a0– May 1, 1995<\/a><\/p>\n<\/p><\/div>\r\n <\/div>\r\n <\/div>\n\r\n

\r\n
Exhibition in Bologna (May 2-20, 1995)
\nPalazzo dell'Archiginnasio<\/strong><\/h5>\r\n <\/i>\r\n <\/i>\r\n
\r\n

\nla Repubblica<\/strong><\/a>\u00a0– May 3, 1995<\/a>
\nl’Unit\u00e0<\/strong><\/a>\u00a0– May 3, 1995<\/a>
\nil Resto del Carlino<\/strong><\/a>\u00a0– May 6, 1995<\/a>
\n<\/p><\/div>\r\n <\/div>\r\n <\/div>\n\r\n

\r\n
Exhibition in Siena (June 5-18, 1995)
\nPalazzo Comunale - Magazzini del sale<\/strong><\/h5>\r\n <\/i>\r\n <\/i>\r\n
\r\n

\nLa Nazione<\/strong><\/a>\u00a0– June 3, 1995<\/a>
\nLa Nazione<\/strong><\/a>\u00a0– June 4, 1995<\/a>
\nil Cittadino<\/strong><\/a>\u00a0– june 4, 1995<\/a>
\n<\/p><\/div>\r\n <\/div>\r\n <\/div>\n\r\n

\r\n
Exhibition in Milan (June 5-23, 1995)
\nPalazzo Bagatti Valsecchi<\/strong><\/h5>\r\n <\/i>\r\n <\/i>\r\n
\r\n

\nRegione Lombardia \/ Provincia di Milano<\/strong><\/a>\u00a0– Press release<\/a>
\nIl Giorno<\/strong><\/a>\u00a0– June 30, 1995<\/a>
\nIl Giorno<\/strong><\/a>\u00a0– July 5, 1995<\/a>
\nla Repubblica<\/strong><\/a>\u00a0– July 5, 1995<\/a>
\nl’Unit\u00e0<\/strong><\/a>\u00a0– July 5, 1995<\/a>
\nil manifesto<\/strong><\/a>\u00a0– July 5, 1995<\/a>
\nLiberazione<\/strong><\/a>\u00a0– July 5, 1995<\/a>
\nL’Indipendente<\/strong><\/a>\u00a0– July 5, 1995<\/a>
\nVivimilano<\/strong><\/a>\u00a0(Corriere della Sera) – July 5-11, 1995<\/a>
\nLombardia Notizie<\/strong><\/a>\u00a0– July 5, 1995<\/a>
\nla Repubblica<\/strong><\/a>\u00a0– July 13, 1995<\/a>
\nIl Giornale dell’arte<\/strong><\/a>\u00a0– July-August,<\/span> 1995<\/a>
\nVivere a \/ Living in Milano<\/strong><\/a>\u00a0– Summer 1995<\/a>
\ncivilt\u00e0 ambrosiana<\/strong><\/a>\u00a0– September-October,<\/span><\/span> 1995<\/a><\/p>\n

Il Messaggero<\/strong><\/a>\u00a0– January<\/span><\/span> 7, 1998<\/a>
\nil Resto del Carlino<\/strong><\/a>\u00a0– January<\/span><\/span> 7, 1998<\/a>
\nCorriere Adriatico<\/strong><\/a>\u00a0– January<\/span><\/span> 18, 1998
\n<\/a>\u00a0<\/strong>Corriere Adriatico<\/strong><\/a>\u00a0– August, 1998<\/a>
\nqui Touring<\/strong><\/a>\u00a0– July-August 1998<\/a>
\nqui Touring<\/strong><\/a>\u00a0– May 1999<\/a>
\nil Giornale<\/strong>\u00a0– October 28, 2002<\/a><\/p>\n

Comunicato stampa<\/strong>\u00a0– March<\/span><\/span> 1995<\/a>
\nVideosapere<\/strong>\u00a0(Raiuno) – July 14, 1995<\/a>
\nmacerata E-news<\/strong>\u00a0– newsletter of the Province of Macerata<\/a>
\n<\/p><\/div>\r\n <\/div>\r\n <\/div>\n<\/p><\/div><\/div>\n

\n

Volumes and texts by Carmine Iandoli and \/ or written on the artist are attached in legal deposit (D.P.R. 252\/2006, Article 7 paragraph 6) in the archives of the following Cultural Institutes<\/strong><\/span><\/p>\n

    \n
  • Ministero per i Beni e le attivit\u00e0 Culturali – Biblioteca Nazionale Centrale<\/em> – Roma<\/span><\/li>\n
  • KUNSTHISTORISCHES ISTITUT \u2013 Firenze<\/span><\/li>\n
  • Biblioteca Nazionale Centrale \u2013 Firenze<\/span><\/li>\n
  • UNIVERSITA\u2019 ALMA MATER – Bologna<\/span><\/li>\n
  • BIBLIOTECA DELL\u2019ARCHIGINNASIO – Bologna<\/span><\/li>\n
  • MAMBO \u2013 MUSEO ARTE MODERNA – Bologna <\/span><\/li>\n
  • SORMANI \u2013 Biblioteca Comunale Centrale \u2013 Milano<\/span><\/li>\n
  • BRAIDENSE \u2013 Biblioteca Nazionale \u2013 Milano<\/span><\/li>\n
  • CASTELLO SFORZESCO – Biblioteca D\u2019Arte – Milano<\/span><\/li>\n
  • Bicocca \u2013 Universita\u2019 Statale – Milano <\/span><\/li>\n
  • INSMLI \u2013 Istituto Nazionale per la Storia del Movimento di Liberazione in Italia | Casa della Memoria – Milano<\/span><\/li>\n
  • The book “Contaminazioni<\/em>” is available at: Library Puccini – Corso Buenos Aires 42 – Milan<\/span><\/li>\n
  • Biblioteca Civica Centrale – Torino<\/span><\/li>\n
  • Biblioteca Centrale Regione Siciliana – Palermo<\/span><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

    Volumes and texts by Carmine Iandoli and \/ or written on the artist are attached in legal deposit (D.P.R. 252\/2006, Article 7 paragraph 6) in the archives of the following Cultural Institutes Ministero per i Beni e le attivit\u00e0 Culturali – Biblioteca Nazionale Centrale – Roma KUNSTHISTORISCHES ISTITUT \u2013 Firenze Biblioteca Nazionale Centrale \u2013 Firenze […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1842","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/pages\/1842","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/comments?post=1842"}],"version-history":[{"count":20,"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/pages\/1842\/revisions"}],"predecessor-version":[{"id":3565,"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/pages\/1842\/revisions\/3565"}],"wp:attachment":[{"href":"https:\/\/carminejandoli.com\/en\/wp-json\/wp\/v2\/media?parent=1842"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}