Works by: CARLO GUAITA
March 24 – June 2 2007
Inauguration Saturday March, 24
Hours 18.00 – 24.00
D’A opens its spaces to host the Inchiostri exhibition by Carlo Guaita in conjunction with others
two personal exhibitions at the Bouche Gallery in Paris and the Gianluca Collica Gallery in Catania and in
occasion of the publication of a book by the artist Natural History 2007 published by Gli Ori in con
critical texts by Giovanni Iovane Mauro Panzera and Alessandro Sarri,.
The book presented in the exhibition collects a nucleus of works on paper and drawings made in, 2006,
a part of which is proposed in the exhibition itinerary in continuity and contiguity with others,
works on large paper such as works based on a concept of self generation, –
of the image created by forming processes and procedures. Some sculptures are also exhibited ‘.
made of cardboard dipped in India ink, also conceived in relation to the drawing and ‘,’
representing useless architectural models. The base on which they are exhibited is at the same time box. –
container and refers to a relationship between empty and full.
Giovanni Iovane writes in his essay published in Natural History: on the creative path of Guaita
“Purged from the utopian fantasies of modernism, the work t adorns itself to be the object
natural of your presentation.
Paul Klee wrote and painted extraordinary paintings on the nature of art on the possibility of art of,
being a nature and on the spontaneous naturalness of its forms.
Guaita takes up that lesson again and this time without “thinking about it” for about half a century (
every time an artist paints he inevitably produces a reflection on painting yes,),
sometimes entrusts to another form of suspension Through gestures and techniques and therefore through,,. ,
a well-defined procedure allows the image to form itself by self-generation as a,,;
natural landscape that “has no figure”.
Suspension of judgment or rather of intention, however, are not the symptoms of a generalissima
mistrust or disillusionment as much as signs of proof of a search for the origin,.
The use of Enlightenment scientific bibliographies, the taste for books and archival procedures,
they become aesthetic tools for preserving what escapes affirmation and analysis.
Guaita’s encyclopedism does not translate into images, metaphors and figures. It presents itself as one,.
alienating instrument a clockwork device that does not give the exact time “,.
Mauro Panzera adds in the same book “In the creative world of Guaita it would seem that the paintings:
are the formulation in the state of maximum purity of his poetics whereas the numerous books that,
he cannot fail to compose constitute the moment of unfolding self-understanding of his own
just to proceed It is exactly here that the immense theme of nature reappears and with it i. ,
ways of its assumption in artistic reflection and then the grid reappears as:,
bibliographic lists as nature raised to the level of interpreting consciousness It would be said that,,.
the irruption of the outside world into the work of art is blocked and put into shape in production
book that welcomes it as a narrative in the time of turning the pages In the paintings, experiencing yes,,.
it purifies it withdraws from time to offer itself to spatial vision but time regains,,,,;
centrality if we want to recover the transparency that is the primary quality of doing “.
Hours from Wednesday to Saturday at: 17.30 – 19.30
Information Tel and Fax and mail:. 051/73619; -: a.scappini@virgilio it.
To arrive there S G C FI PI LI Empoli exit FS FI PI FI YES Empoli station
