Room 42 - PAOLO SCIRPA

BIOGRAFIA di PAOLO  SCIRPA

Born in Syracuse July 5, 1934; since adolescence he studied painting at the local art school, then continued his artistic studies in Palermo and Catania. Stay in the sixties in several European cities, deepening their knowledge of the historical avant-garde. He attended workshops for many years at Salzburg Kunstlerhaus graphics and Sommerakademie für Internationale Kunst Bildende culturally motivated by Oskar Kokoschka, the city receives the prize for lithography and there met John Friedlander in whose studio work later in Paris. In the 1965 edition of the Quadrennial IXa participates in the National Art in Rome. In the early years of his work leans towards a lyrical expressionism already worried by the formal synthesis. His commitment is to offer a human and artistic contribution to the respondent's time. In 1968 he moved to Milan where he will later hold a Chair of Painting at the Accademia di Belle Arti di Brera. He holds his staff in '69 in Milan, at the Holly Gallery, presented by Vittorio Fagone, in '70 in Amsterdam, Galerie De Hendricken 3, in '74 in Bergamo, Galleria Fumagalli and in Salzburg, Achleitner Gallery. In this period, his research interests range from the New Realism to Pop Art by Pierre Restany In 1972, presents the exhibition "The Possessed Subject" at the Galleria San Fedele, a work of social protest, "Megalopolis consumer," focusing on the assembly of a large number of wraps and containers. Subsequently, Dorfles publish the image in his book "The time lost", published by Einaudi. Scirpo draws also from the Technical Manifesto of Futurist Sculpture Boccioni, who had theorized the possibility of use of electric light in a work of art and art is connected to the optical experiments, focusing on basic and plastic values ​​of perceptual problems. His research is oriented towards a dimension in which the color is no longer painting, the volumes are no longer carved in size they become protagonists, intangible and spectacular at the same time, the primary elements of light and space. Around the mid-seventies, Scirpo So start the production of works that are defined by Charles Belloli, detailed in his essay, "ludoscopi", sculptures that, through a system of mirrors and neon lights and through the combinatorial game of essentials - minimal (such as triangles, circles, squares), raise the perception of spaces of the deep, illusory depth. Works of great beauty and immediate visual impact in them the light is no longer an item pictured, but is the work itself, generated from within, which creates gaps in perspective forever, "true-light hyperspace" where " practice is the abolition of the boundary between the real and the illusory, "as noted by Corrado Maltese, who in 1981 will report it to the paint on the National Catalogue of Modern Italian Art Bolaffi, Giorgio Mondadori e Associati edition. Instead of the traditional signs of the paint you have the generation of signs / lighting, signs and / or color, that make us look out of vertiginous spaces, virtual. These were years in which members of the MAC knows Scirpo, including Bruno Munari, who writes about his work and emphasizing the fun aspect comes into contact with the groups of Art Optics and Kinetics, GRAV like Paris or Milan in Group T . Its virtual spaces solicit the attention of scholars of the relationship between art and science, including the cybernetic Silvio Ceccato, so has the opportunity to reflect on the mechanisms of human thought and some scholars who publish its plans for space-light as Roberto Vacca, in his essay "Designing positive environmental impacts" in the journal EIA, Giorgio Prodi, in his books "The mechanisms of the mind" on the Sun 24 hours and Carmelo Strano in "Reflections Art and Techno Art" magazine Ark. Since 1977 his works are annually until 1991, in the kinetics of the Salon "Grands et Jeunes d'aujourd'hui" at the Grand Palais des Champs-Elysées in Paris. In the eighties, develops his first project interventions on the territory through photomontages, Scirpo simulates the insertion of monumental ludoscopi leaks and their vertiginous perspective in landscapes, buildings, monuments, cities and archaeological sites. In 1982, the Symposium of Sculpture in the city of Caen (France) chose the project of his ludoscopio that is installed permanently at the Bibliothèque Municipale. In 1983, on the occasion of Leonardo, he does a review of its work, and found in the Atlantic Codex principles on the reflection of light that can be found in his ludoscopi: change course, the media, transparent mirrors and neon lights. In 1984 two solo shows in Japan in Nishinomiya Koshienguchi Iida and Nagano. In 1985 Scirpo adheres to the poster dedicated by Charles Belloli to "operational guidelines of the new visuality", participating in the group's first exhibition took place in the halls of Arts in Milan and Struktura subsequent manifestations of this new trend of non-objective communication in the same year adheres to 'Association AST (Art-Science-Technology) in Rome attending the exhibition at Palazzo Venezia "Artists today between science and technology" edited by Corrado Maltese and other events on the same subject, reported by Bruno Munari, participates in the exhibition "The thing invented "Seibu Art Forum Italian Fair, Ikebukuro in Tokyo, Osaka, and later in Milan. In 1986, the exhibition at the Art-Science-Technology International Venice Biennale, an intervention of one of his designs ludoscopio to put on so-called tomb of Archimedes at Syracuse. In the same year held several solo exhibitions including the Art Gallery and Vismara Arte Struktura of Milan and the Palazzo dei Diamanti in Ferrara. In 1987, presents a retrospective at the Galleria Civica d'Arte Moderna in Gallarate. In 1990, during the 125 th anniversary of the Polytechnic of Milan, Rossana Bossaglia invites him to submit to the CNR his work as a contribution to a symposium sponsored by UNESCO for "New technology and art - scientific roots of aesthetics." It is also present in shows on Pataphysics and, in 1993 in Osaka Foundation of Culture, the International Triennial of Painting Competition in 1995 in Bologna, the exhibition "Utopias of the city - The virtual city" at Palazzo Sanguinetti and "Art and Life artificial "in a future show. In the same year he presents his work with an exhibition at the conference "Art + Science - Changes brought about by new technologies in contemporary art" at the Accademia di Belle Arti di Brera in Milan. In some idea, he ludoscopi fittings that create illusory a curved plastic space, in others the connection basement is practicable, and in others, the cubic structure, is given by the multispazialità escapes to infinity perspective, visible from all sides, which intersect on the diagonal of the cube itself. In 1996, realizes a mosaic taken from the electronic processing of the 'Annunciation by Antonello da Messina's Museum of Palazzo Bellomo in Syracuse, in the same year he held a one-man show at the Galleria San Fedele, "Routes communicating," presented by Marina De Stasio. In 1998 he presents his ludoscopi during RAI program "1 am" and participates in Bagheria the exposure of the "Museum" - Centre of Contemporary Art in Sicily. In '99 he held another solo show at Art Struktura Gallery, Milan, "The plasticity of light" by Andrea B. Del Guercio with photographic interpretations of John Ricci. There is a lot of other shows and group exhibitions including, in 1999 in Taegu (Korea), "99-Milan Taegu Arts Exhibition" in 2000 at the XIII edition of the Quadrennial National d 'Art of Rome (Projections 2000 - The space of the visual arts in the multimedia company), Seoul (Korea), Museum of Modern Art "Brera in Korea", International Projections of the Brera Academy in Milan and in the world, of invitation by Luciano Caramel, the Rotary Club of Milano Scala "Oval Rotarians" and in 2001 the exhibition "Matter Mother 3 - Technology" by Claudio Cerritelli and Massimo Bignardi Colombera Tower at the Foundation of Gorla Maggiore (VA) to Milan ' Academy of Fine Arts of Brera "Horizontal vs. Vertical" in Pieve di Cento (Bo) at the Museum G. Bargellini the exhibition "Generations 30 years" by Giorgio Di Genova. Complete in 2002 the mobile installation project work archetypal neon lights of the Greek Theatre of Syracuse, scale 1 / 10 in 2003, is to "Blue events" of the Cultural Arc and the source of Syracuse and Cadoneghe (PD) to " art built ", the Museum of San Martino di Umbro Apollonio Lupari by Malek and George Pansera Segato. In 2004 he his solo exhibitions at the Art Gallery of Milan Vismara" The painting and the object kinetic "and the Library of the Academy of Fine Arts of Brera "Utopias of the city" curated by Claudio Cerritelli. In the same year he participated in Fabriano in the event "In a sign of solidarity" by Domitius Durini and designs of the setting in the city of Syracuse two sculptures in steel mirror , whose sketches had been made since 1987, one is "The burning glass" Mobile Operator dedicated to Archimedes, the other "Starlight" dedicated to Saint Lucia, is present in 2005 in Pennsylvania (USA) at the VI Biennial Sacred Art of Traveling "Jacob's Ladder", in 2006 the exhibition "For one hundred years of the CGIL" in Syracuse and in Mantua and is invited to the Award Suzzara 45 ° "The future of tradition" by Claudio Cerritelli and exhibition "Sicily" at the Galleria del Credito Siciliano Acireale by Marco Meneguzzo in Milan to "more than twenty percent," the years of permanent, to Verona "Verona Art '06", Stand Art Studio Valmore Vicenza in 2007, presents him with a solo retrospective exhibition in Vicenza and at the same time MiArt 07 in Milan. Scirpo Paul has also produced works for public spaces and churches and is present in numerous public and private collections. He recently made with neon light ludoscopi , permanent installations in the Church of Our Lady of Divine Tears in Cernusco, Milan, designed by the architect. Razzini Charles. In the same church for several years she has had temporary installations the "pastoral guidelines" by Cardinal Martini. In a period as eclectic as Our review of the phenomena which also allows self or past experiences, Scirpo now offers its prospective space-light paths, recovering the language of his first complaints of consumerism and the experimental electronic means, thus putting the viewer in front of new experiences to think about. His research also tends to a pictorial materiality and space no longer represented, but simulated.

He lives and works in Milan where he studied at Via Federico Chopin, 99, cp 20141,

tel. and fax 02-57404737

E-mail: paoloscirpa@virgilio.it

Visit: http://www.paoloscirpa.it/

" All Material is protected by copyright "

All rights are reserved, therefore, any need to contact the artist in question explicitly  to have the express permission of Publication.