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giorgiodallacosta
Giuliano Rancan
TESTO CRITICO
TEXT BY
GIORGIO SEGATO
Nei propri limiti le difficolt altrui _ Lying within limits are the difficulties of others
13_12 _2005 IT.GB,
UNKNOWABLE
TITOLO_TITLE
INCONOSCIBILE
Incono
oscibile
Unknowable
03
Mi pongo spesso una domanda; alla quale ho deciso di non dare risposta. Non spetta a me. Ascolto ci che nemmeno il silenzio ha da dire, dove tutto insegna e nulla si ha mai imparato.
I often ask myself the question, though I shall not provide the answer. Is it up to me? No. I listen to a reality that even silence will not describe, where everything brings a lesson of its own, but nothing is ever learnt. Giorgio Dalla Costa
05
TESTO CRITICO
TEXT BY
GIORGIO SEGATO
07
delle utopie che liberamente germogliano ed abitano la psiche, disponendosi in sedimenti quieti che il gesto scompiglia, irrita nel fondo e fa emergere fugacemente alla percezione: autentico vaso di Pandora che Dalla Costa ri-di-segna, rigenera, e riveste adeguandolo alle proprie emozioni esistenziali, allintensit, frequenza e densit del sentimento di vita e della percezione di s in rapporto al tempo, allo spazio, alle relazioni ed azioni dellessere. In questa pi recente ricerca formale e tecnica esprime i livelli pi alti di originalit, senza lasciarsi irretire dalle lusinghe di pi facile commercializzazione dellartigianato artistico: i suoi vasi, le sue anfore, voglio dire, non sono anfore decorate per quanto questo termine non spaventi Dalla Costa ma modi diversi di coniugare segno e spazio, di sentire e di tradurre i ritmi energetici che creano una forma altamente simbolica, caratterizzano il volume attorno a uno spazio che diventa segreto, intimo, e consentono un pi stretto e pi suggestivo dialogo tra esterno ed interno, tra il mondo della realt sensibile e razionale e il mondo dellimmaginario, della fantasia liberata, del sogno, delle elaborazioni oniriche e inconsce, del mistero. Non tutto nei sensi e nellintelletto, ci vuol significare Dalla Costa, non tutto ci che elaborano la nostra sensibilit e la nostra intelligenza viene dai sensi esterni ed interni secondo la visione aristotelica: in ciascuno di noi c di pi, molto di pi, anche se la precostituita grammatica e la sintassi dei sensi seleziona, trascura o trattiene, comprime, riduce. Bisogna riapprendere lascolto di s, reimparare a sollecitare, accogliere e a inseguire le emergenze dallinconscio, dallinconoscibile in noi, arricchendo i gesti di liberi automatismi espressivi, di intenzionali e sempre pi abili incisioni nei tessuti elastici dellanima e della memoria, personale e genetica, per ritrovare spazi e tempi, luoghi e figure che rinnovino gli impulsi della capacit creativa. In questo senso Dalla Costa non teme di apparire o di essere decorativo nel vero senso del termine, che riconduce al cuore e dunque al sentimento, alla forte emozione esistenziale, anche ogni apparato di superficie, di miglioramento della comunicazione diretta. Cos il suo gesto si fa scavo personale e sofferto, ma anche di-svelamento, proposta comunicativa senza maschera, o tra le tante che si assumono, quella pi riposta e pi vera, meno mobile e meno labile.
GIORGIO SEGATO
GIUGNO, 2005
09
RESONANCES OF GESTURES
Giorgio Dalla Costas ongoing journey of introspection.
Developing an acute awareness, he ventures to travel on, delving deeper and deeper. Again, he approaches and tauntingly lingers close to the unknowable. In his works we find the constant effectiveness and extreme sharpness of a scalpel blade. His incisions through space reveal, also at different levels, intertwining beams of streaming light reminiscent perhaps of bared nerves and deep-seated or superficial dynamic rhythms. He seems to reveal living tissues that resemble a variety of figures offering iconic detail and highly expressive, anatomic and somatic suggestions. Through his signs and gestures, the exploration deeply penetrates the limits of awareness, moves below the surface of existence, penetrates below the skin, beyond superficial defences to reach the ganglia, nodes and knots of sentiment and existential turmoil. Dalla Costas typical and now almost completely automatic style is freed from any former cultivated, compositional instinct. Here, there is an opening up of channels of communication between an inner psychic dimension and the outer physical world. The communication occurs between conceptual meditation and bodily sensations. He simply listens, and perceives what lies beyond the visible world normally recognised by our senses. He investigates and portrays what he hears and receives, using a variety of signs to represent his visions, while the impulsive expression of his discoveries gradually assume an automatic character. We find in Dalla Costas works an incision of tense emotional nodes and a saturated field surrounding psychic content in his pyrographic work in wood or leather-covered wooden objects and on the surfaces of large terracotta vases. As his work progresses from the use of simple sheets to the decoration of amphorae - objects easily associated with the idea of a hidden inner dimensions, or perhaps even Pandoras gift from Zeus - Dalla Costa places even greater emphasis, through his signs and images, on a perennial interaction between the outer physical world and inner psychic dimensions, between the substantial material world and that of emotional states and human sensibility. However, his spontaneous gestures, which can be seen as quite necessary if he has to translate in an immediate fashion the inner impulses that he describes, appear to become increasingly architectural. The structure of his gestures allow for a recognition rather than a definition of the various iconographic elements that emerge as highlighted facets of inner sedimentation, of a flowing, lost consciousness and subconscious material. This can occur moreover thanks to the dynamics of these free, graphic gestures that always convey a sense that something has been written and captured; they are a modulation, a confession, and an uncovering of nerves and a personal tension. It should be noted too, that in these elaborations and the actual process of artistic revelation of the inner self sometimes rapidly completed and sometimes drawn out and lengthy on account of their complexity we rarely find a feeling of rigidity or geometrical neatness. His work is characterised by undulating movements and softly curving strokes and signs, reminiscent of the elasticity of organic tissue or intertwining sinews and muscles. Dalla Costa has a strong desire to see behind the gestures he depicts. He ventures down below the surface of reality. His quest is to detect what lies behind an outer countenance or facial expressions so as to be able to capture the mobile quality of human feeling, reactions and the ever fleeting awareness of the world. Is it possible to sense a sort of haunting in this intimate art? In certain works, kaleidoscopic compositions of projected consciousness reveal memories of images, figures and expressive details that somehow reveal the artists inner self. The works project personal sensations of relationships and states of being as the artist strives to know that which cannot or should not be known. And this unknowable content transpires in reflections, hints, associations, retro-consciousness, psychic backgrounds and halo effects difficult to grasp at a purely conscious level. What emerges, in all its variety and quantity and simultaneous effect, cannot be easily immediately recognized. And thus, the artists construction of images and icons is like a daemons game. Are these masterfully oriented concave and convex mirrors, which easily trick the perceptions? The mirrors impede a direct, clear focus and yet let us deeply penetrate the rhythm of refraction, offering casual glimpses of a subtle pseudo reality, and let us unexpectedly and suddenly come face to face with emotional upheavals, shadows of sentiment and the awe of illumination. What does he see then in these compositions of different facets of reality? And what can we see? Giorgio Dalla Costa translates his visions into thoughts and words. In the title of a work we find clues. The artist adds in this way a mental and sentimental reflection (rather than offering simple descriptive captions). And the reflections reveal his journey, the sense and direction of his graphic gestures and a recognition of the effects of his revelations, reflections and projections. The small (30 x 20.5 cm) pyrographic work entitled The Refusal depicts a rejection of ones existence. Here, there is a sense of repulsion. Not so much in relation to ones identity but rather in relation to lifes experiences. The work conveys a feeling of disgust, of saturation and the excessive pressures of the oppressive fabric of day-to-day reality. In the pyrographic work called Limit, feelings reach the limits of life: the limits of our natural, biological, animal, vegetable or existence in the flow of time and through the generations that follow one after the other. A pyrographed bowl called Incapacity (in Iroko wood) subtly conveys its own warning: the work suggests to the observer that arrogance and misdirected energy will be dissipated within their natural boundaries. Poorly spent energy will be lost; it will never have the impetus to extend beyond its source. In The Hunchback (ink and pastel clay on cardboard), Dalla Costa relates his perception of a life of sacrifice, of life enclosed within a deformed body, the impossibility of curing such a deformity and the weight of existence. The work entitled Emotion (ink and pastel clay on cardboard), feelings have no roots; they fluctuate at the surface and live for but a few moments. In Rebirth (mixed technique on a terracotta amphora), he experiences a rekindling of desire, and yet is guarded and aware. In the work called Bond, he depicts the rising of an energy that can create a union. In Floral Growth, he dwells on natures capacity to stimulate life and create a vortex of change, in phenomena and materializations that are similar and yet never the same. The Filter of Beauty shows us a universal desire to manifest ones existence. Thus Dalla Costa expands the scope of his art, and in the more or less automatic results of his gestures we discover these
intimate resonances and reflections of the deepest secrets of the heart and mind, which lie hidden behind the masks of consciousness and awareness in outer action.
The symbolism becomes more complex in the skins and amphorae, offering explicit references to our protective outer skin and the body itself as a sensual and sensitive container, and it is interesting to observe how in the amphorae Dalla Costa never covers the entire surface, but generally stops at a certain point on the entasis curve, leaving the upper part free as if it were a representation of an outer fruit that has grown out of a lower humus or an original nucleus of a psychic nature. The outer flourishing appears along lines of force that originate in deep lower strata; and the psychic element is seen as having obvious associations with the dynamics of nature, with plants, flowers and even animal life. Here, the scope of the natural senses are freed from obligations and limitations of a more rational syntax. The amphorae are containers of suggestions, memories and a kind of magic, of evocations, dreams, and utopias that freely germinate and dwell within the psyche, arranging themselves in a quiet order that gestures disturb and confound at a profound level and fleetingly lay before the threshold of perception. Its like Pandoras magic vase, and Dalla Costa proposes once again the metaphor of the fateful pithos, adapting the idea to his own existential turmoil and his personal perceptions of the self in relation to time, space and being itself. In his recent research and progress made in terms of form and technique, the artist reveals a high level of originality. However, he does not succumb to the temptation of easy rewards through a commercial promotion of his works. His vases and amphorae are not simply decorated containers: they represent different ways of combining signs, space and feelings and seem to transform energies into a highly symbolic form. They are forms that enclose a secret, intimate internal space and these forms allow for a more suggestive dialogue between an inner world of sensibility and an outer, rational reality. In this art, we catch a glimpse of a world where the imagination and our dreams are liberated and can witness the emergence of oneirical, subconscious content and mysterious dimensions. Dalla Costa moreover appears to suggest that the senses and the intellect cannot retrieve everything. What is elaborated by our sensibility and intelligence does not actually all come from the outer and inner senses as in the Aristotelean vision. In each of us there is much more, even though the pre-constituted grammar and syntax of the senses selects, ignores or retains, compresses and reduces the stimuli they perceive.
The suggestion then is that we should learn to listen to our inner voices. We should once again learn to solicit, collect and follow the content that emerges from the subconscious or from beyond the bourn of the undiscovered country within. It is indeed possible to constantly enrich these expressive, automatic and intentional gestures and increasingly able incisions in the supple tissues of the soul and personal or genetic memories. It is possible to rediscover old spaces and times, and places and figures that can renew the impulse of a creative skill. Dalla Costa is not afraid of appearing decorative (in the true sense of the word). His decoration creates a path that leads us back to the very heart of life, to the pith and puissance of sentiment and existential emotion. In each surface and apparatus his aim is to improve direct communication. His gesture becomes a personal inner journey of discovery and revelation in which there remains an element of lingering sufferance. His proposal is that of a communication without masks. He is suggesting that, amongst the many one may assume, let it be deep and true, less mobile and uncertain.
GIORGIO SEGATO
JUNE, 2005
11
unknowable
13
Il rifiuto _
THE REFUSAL
cm. 30 x 20,5
_ 2003
15
Intimit _
INTIMACY
Il tutto in un momento
cm. 30 x 20,5
_ 2003
17
Limite _
LIMIT
cm. 29 x 30
_ 2003
19
Ripetitivit _
REPETITIVENESS
Di continuo
CONTINUOUSLY
cm. 30 x 25,5
_ 2003
17
Incapacit _
INCAPABLE
cm. 35,5 h x 31
_ 2003
23
Il gobbo _
HUNCHBACK
Una vita di sacrificio racchiusa nellespressione del corpo umano _ A LIFE OF SACRIFICE ENCLOSED WITHIN EXPRESSIONS OF A HUMAN BODY
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 120 x 80
_ 2003
25
Consapevolezza _
La qualit del dire e del fare si esprime allinterno dellessere AWARENESS _ THE QUALITY OF SAYING AND DOING EXPRESSED IN BEING
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 120 x 80
_ 2003
27
Amare _
LOVING
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 40 x 30
_ 2003
29
Intimit _
INTIMACY
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 30 x 36
_ 2003
31
Il videogioco _
VIDEO GAMES
Spersi nellindefinito
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 36 x 30
_ 2003
33
Riflessione _
REFLECTION
Quando lanima riflette la vera identit _ WHEN THE SOUL REFLECTS ITS REAL IDENTITY
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 120 x 80
_ 2003
35
Sentimento fiorito _
FLOURISHING SENTIMENT
cm. 36 x 30
_ 2003
37
Timidezza _
SHYNESS
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 120 x 80
_ 2004
39
Contorsione _
CONTORTION
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 36 x 30
_ 2004
41
Istinti contrastanti _
CONTRASTING INSTINCTS
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 60 x 40
_ 2004
43
La solitudine _
SOLITUDE
cm. 40 x 60
_ 2004
45
Intreccio _
INTERTWINING
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 40 x 30
_ 2004
47
Fiducia _
cm. 80 x 60
_ 2004
49
La paura _
FEAR
cm. 20 x 40
_ 2004
51
Un fiore decadende
DECADENT FLOWER
cm. 30 x 25,5
_ 2004
53
La natura stimola la vita creando un vortice di cambiamenti. In apparenza simili, mai uguali
Crescita floreale
FLORAL GROWTH CREATING A VORTEX OF CHANGES. BUT NEVER EXACTLY THE SAME. APPARENTLY SIMILAR, NATURE STIMULATES LIFE,
cm. 66 x 50
_ 2004
55
La passione
Una forte trama _
PASSION A STRONG PLOT
cm. h 66
_ 2004
57
La fuga _
FLIGHT
cm. 10 x 10
_ 2004
59
Il fiore proibito
FORBIDDEN FLOWER
TECNICA MISTA SU VASO IN TERRACOTTA MIXED TECHNIQUE ON A TERRACOTTA VASE
cm. h 66
_ 2004
61
POPPIES IN A FIELD OF CORN RED AND YELLOW IN AN EXPLOSION CONTAINING BLUE AND THE DESIRE OF LIFE SLIPS SWEETLY BY IN HARMONY
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 10 x 40
_ 2004
63
Filtro di bellezza _
A FILTER OF BEAUTY
Nelluniversale desiderio di manifestare la propria essenza _ IN THE UNIVERSAL DESIRE TO MANIFEST ONES ESSENCE
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
_ 2004
65
Legame _
BOND
La nascita di unenergia che crea unione _ THE BIRTH OF AN ENERGY THAT CREATES UNITY
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
_ 2004
67
Il pettirosso _
ROBIN REDBREAST
Una forte emozione nata da un desiderio _ A STRONG EMOTION STEMMING FROM DESIRE
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
_ 2004
69
Inconoscibile _
UNKNOWABLE
cm. 60 x 60
_ 2004
Rinascita
REBIRTH
cm. 90 x 35
_ 2004
73
Al di l dei tempi
THE KEY
La chiave
_
BEYOND TIME
cm. 78 x 60
_ 2004
75
Emozione _
EMOTION HAS NO ROOTS, FLUCTUATES ON THE SURFACE AND LIVES BUT A BRIEF INSTANT
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
_ 2004
77
EMOTIONS OF LIFE
Ho dovuto guardare dentro lemozione per trovare la radice _ DELVING DEEP WITHIN A FEELING TO FIND ITS VERY ROOTS.
CHINA E SMALTO SU CARTONLEGNO MIXED TECHNIQUE ON CARDBOARD
cm. 35 x 54
_ 2004
79
Pulsazioni si generano dalla profondit del cuore. Emotivit pensante. Ci si nasconde poi dietro una falsa verit, creando maschera alla paura. MARGARITAS
ANTE PORCOS
Perle ai porci
THE BEATING GENERATED IN THE DEPTHS OF THE HEART. MINDFUL FEELINGS. ONE CAN HIDE ONESELF BEHIND FALSE TRUTHS, CREATING A MASK OF FEAR.
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm 80 x 80
_ 2004
81
Spaccatura _
Nel ricomporre una spaccatura, rimane evidente la linea di rottura. La mia forza, la mia energia, viene continuamente rotta dallincomprensione. Chi crede di capire, non immagina n sente ci che vive in me.
THE RIFT STRENGTH AND ENERGY IS CONTINUOUSLY HINDERED BY A LACK OF UNDERSTANDING.
WE HEAL THE RIFT AND SMOOTH OVER CRACKS, BUT THE FAULT REMAINS.
THOSE
WHO BELIEVE THEY REALLY UNDERSTAND NEITHER IMAGINE NOR FEEL WHAT GOES ON INSIDE OF ME.
CHINA E CRETE PASTELLO SU CARTONLEGNO INDIAN INK AND PASTEL CLAY ON CARDBOARD
cm. 60 x 80 / 40 x 77 _ 2005
83
Accavallarsi _
OVERLAPPING
cm. 45 x 35
_ 2005
85
Vita
LIFE
A HYMN TO LIFE.
cm. h 68 x 29
_ 2005
87
Karma _
Ci di cui abbiamo perso ogni ragione WHAT WE HAVE LOST ALL KNOWLEDGE OF.
TECNICA MISTA SU LEGNO MIXED TECHNIQUE ON WOOD
_ 2005
Conflitto dAmore
THE CONFLICTS OF LOVE
cm. h 40
_ 2005
Orizzonte
HORIZON
cm. h 51 _ 2005
93
cm. 40 x 35 _ 2005
95
Giuliano _
In S
WITHIN ONESELF
cm. 37 x 30 _ 2005
97
Volo libero _
FREE FLIGHT
cm. 40 x 30 _ 2005
99
Volo oppresso _
OPPRESSED FLIGHT
THE REBELLION OF A SUFFOCATED SOUL: A SOUL DEPRIVED OF THE CHANCE TO EXPRESS ITSELF AND FLY FREELY.
Una ribellione dellanimo soffocato: privato della possibilit di esprimere e volare libero.
cm. 40 x 30 _ 2005
101
Takayashioscijto
(Evocazione)
TAKAYASHIOSCIJTO (EVOKATION)
A SOUND THAT EVOKES THE ORIGIN OF ONES INSTINCT.
TECNICA MISTA SU VASO IN TERRACOTTA MIXED TECHNIQUE ON A TERRACOTTA VASE
cm. h 71 _ 2005
103
Nellanimo
WITHN THE SOUL
cm. h 51 _ 2005
105
2003
2004
Esemplare n.
............
su carta ......................... in
da 1/200 a 200/200.
2005
photo
Giuliano Rancan
www.dallacosta.it
DATI PERSONALI
PERSONAL DATA
Place of birth: Arzignano (VI), Italy Date of birth: 13th June, 1970 Name: Giorgio Dalla Costa Height: 177 cm Colour of eyes: blue Distinguishing features: one eye different from the other. Residence and place of work: Via Cappelletto, 63 - Lonigo (VI), Italy.
CONTACT:
2005 Giorgio Dalla Costa _ Tutti i diritti riservati. ALL RIGHTS RESERVED. Riproduzione anche parziale vietata
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