Installations
WORKS
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| Testi di: Giorgio Bonomi e di Valentina Gramiccia | ||||||||||||
| WUNDERKAMMERN by Giorgio Bonomi - 2009 | ||||||||||||
| Today, Adele Lotito, at the beginnings of a maturer age, is experiencing a happy and creative period and a notable productive quality. The two fundamental elements of her poetics. On a formal level, are, concerning materials, smoke and, for the composition contents, the letters of the alphabet, the different idioms, and the numbers, mainly Arab, but also Roman. Using these as a basis, the artist has, in recent times, preferred to compare the West with the East. It is, of course, the current politcal circumstances, but also and, above all, the cultural and, we could say, anthropological aspects that urge the artist wonder about the meetings, the confrontation and, if we wish, also the clash between the cultural doorways/space and civility that is increasingly bringing the two together (even if it isn't always at the most nole or highest levels). But art, where the only arm is poetic research, has always known how to synchretize cultures and aesthetics. If we think about, as an example, the meeting between the African tribal artistic culture and the refined centuries old research culminating in Cubism at the beginning of the 20th century. Lotito is not giving, nor can she give nor compete with, solutions to the questions arising from conflicts between cultures, yet she does show how they, at least iconographically, can be closer and how she, herself, whispers using other sign and poetic elements (for example, Arab letters). While carpets, including the mythical "flying" ones, protagonists of one of the literary masterpieces of all time and all latitudes, "The Thousand and One Nights", testify to the willingness to dialogue between different elements, such as Latin and Arab letters, and the black smoke that Lotito "takes" from a burning candle, become the "colour", the "picture" that enshrouds the compostion of designs and tones. At other times, the artist uses newspaper pages and, at another, concrete, real, historical elements, that are the background on which appear the characters of the alphabets, the words, and also allusive phrases and sentences (with cancelled but very comprehensible words), that the smoke "caresses" like the incense that envelops the faithful in their joyous litergies or the coffin in those of parting. Thus, the smoke does not hide, nor damage, the composition or tone spaces, making the message that Adele Lotito is putting across to us very clear and direct. |
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