LATEST ART PROJECTS
L’opera, presentata alla Nuvola dell’Eur, è incentrata sull’ingrandimento di un granello di silicio (sabbia), elemento base per produrre sia la fibra ottica con cui sono realizzate le reti di comunicazione sia i server che contengono i nostri dati: granello di sabbia che è quindi contenitore della nostra vita e intimità e che, se controllato da entità sbagliate (data vampires), può essere un pericolo per la nostra libertà. Una libertà labile ed effimera in quanto legata, appunto, ad un granello di sabbia.
L’opera è inoltre diretta a materializzare il concetto che in ogni momento diverse “entità” ci trafiggono entrando violentemente, profondamente e costantemente nella nostra vita, estraendo informazioni al fine di trasformarle in denaro.
L’opera rappresenta plasticamente il network di reti di comunicazione a cui noi tutti, volenti o nolenti, siamo connessi.
Le facce interne sono una in oro e una in piombo, a rappresentare come i contenuti/vibrazioni veicolati dalle reti possano essere un valore positivo o un “rumore” inutile.
L’opera B-LOOP, acquistata da un collezionista privato, ha come obiettivo di rappresentare plasticamente due differenti approcci e stili di vita:
– da una parte quello di chi vive tutta la sua esistenza seguendo un percorso sempre uguale a se stesso all’interno di un circolo chiuso lavorativo, familiare o culturale che lo imprigiona.
– dall’altra quello di chi vuole sfuggire da questo anello che lo comprime e cerca di bucarlo per incontrare altri mondi ed esperienze.
La valenza negativa del primo tipo di approccio è rappresentata dalla sfera nera opaca che ne mostra la totale assenza di illuminazione e di tensione vitale verso l’esterno.
Mentre invece il giudizio positivo sul secondo tipo di approccio e rappresentato dalla sfera di luce, fermata nel momento in cui riesce a rompere, con enorme sforzo, come in una sorta di rinascita, la gabbia che la imprigiona.
BROME is a new term, a sort of acronym invented by the artist, which comes from the English translation of the name of the typical and absolutely unique plant grown in the Roman countryside from which the work originates.
BROME = Broccolo Romano – Broccolo di Roma – Broccolo of Rome
The work wants to be attractive in its aesthetics and in its colours (Pop / Exoteric) and at the same time bearer of conceptual and philosophical contents that are not always immediately legible and understandable by all (Esoteric).
BROME is in fact a fractal, a sort of conceptual matryoshka that contains the rules of the universe (golden section) and is at the same time representative of approaches and visions considered opposite such as the Borrominian baroque and Itten’s Bauhaus rationalism.
BROME also has as its main purpose that of contrasting the elitist, anti-pop and speculative drift of a part of the art world: it is in fact a artistic work made in different colours, sold at an affordable price to many and deliberately distributed also in channels other than art galleries and specialised trade fairs.
In fact, the work wants to break the corporate and caste walls and logic of the world of art and culture: it is a work of cultural antitrust.
In order to accentuate its culturally antagonistic nature, the artist has decided to present and sell the first lot of Brome in Voghera, also in order to break the stale cliché that represents it as a symbolic city of a cultural provincialism which actually houses and proliferates more precisely in the self-referential Italian cultural and social elites of the so-called cultural capitals of the nation.
200 X100 tecnica mista su lastra di metallo
Opera diretta a rappresentare di come le norme anziché essere interpretate ed applicate in maniera lineare e cristallina siano costantemente piegate, deformate, sporcate, violentate.
Work aimed at representing how the rules, instead of being interpreted and applied in a linear and crystalline manner, are constantly bent, deformed, dirtied, violated.
“DAPHNE IS BACK” Art Installation by GUIDO IANNUZZI at Temple of Diana, Rome
25th November 2021 – 27th March 2022
The artwork is a sort of conceptual sequel to the traditional myth of Daphne and Apollo that is being reimagined and updated.
In it is captured the moment in which Daphne returns to being free and no longer imprisoned in the laurel plant in which she had transformed herself to escape violence.
The goal of the artwork is to affirm that mimesis, hiding or fleeing can only be temporary, emergency solutions against violence, while it is absolutely necessary to free Daphne and allow her to be herself by showing her own corporeality and thought without risk of suffering physical or psychological violence.
This applies not only to Daphne and women, but to anyone forced to hide their nature and their ideas in order to escape violence or marginalisation.
The artwork captures exactly the moment where the two lead and gold arrows, which had initiated the classical myth, meet, making the laurel plant that had protected, by imprisoning her, the essence of Daphne, dematerialise. The nymph disappears from the sight of the bystanders, having returned to her full freedom, only the bay leaves remain for a few moments, floating in the air as the only reverberation and echo of the previous state assumed by Daphne.
Daphne is back, back to being free.
The installation is located inside the Tempietto di Diana of Villa Borghese which is located a few hundred metres from the Bernini statue, kept inside the Borghese Gallery, which represents the classical myth from which “Daphne is back” takes its origin.
On the evening of January 2/2022, Guido Iannuzzi’s artwork “Bauhaus Think-Tank”, exhibited in the center of the EUR lake of Rome, suffered an attack with incendiary bottles and has been completely destroyed.
The act of vandalism hit an artistic work that was met with great success among the inhabitants of EUR district of Rome, as well as previously among prestigious exponents of the world of art, architecture and independent critical thought.
It is particularly striking that an installation, which had among its various objectives precisely that idea of remembering how violence and the abuse of force have produced pain and destruction in human history, by itself became the victim of an act of violence.
It is also regrettable that an extraordinary exhibition path taken by Bauhaus Think-Tank art-installation, which with great success has made a stop both in prestigious museums such as MAXXI
in Rome and MART in Rovereto, and in alternative spaces such as Forte Prenestino and the Stompie Garden in London, and which in fact united the most diverse worlds, has been interrupted by a gesture as violent as it’s irrational.
In the hope that the work can be reborn from the ashes, the author thanks all those who have expressed their enthusiastic appreciation for it and confirmed the validity of the choice to bring Art to the places where citizens live, even at the risk of undergoing the destruction of the work
BAUHAUS Think-Tank of Guido Iannuzzi from MART Museum of Contemporary Art of Rovereto arrives to this unusual and incredible location for:
– celebrating the principles of Bauhaus, especially those connected to sharing the skills and knowledge and implementing them for community in our century
– remembering, at the same time, man’s atrocities, when he uses the strength and ingenuity against the humanity
Guido Iannuzzi wrote about the genius of Daniel Libeskind for IQD magazine
From La Stampa
3rd Bauhaus Think-Tank stroke again at SPAM Roma 2019 (www.spamroma.com) Festival, at Casa dell’Architettura, Acquario Romano (10 October 2019)
1st Bauhaus Think-Tank – art & work dedicated to 100 years of Bauhaus: opened in April 2019 in London
We are happy to win the photo competition organised by Mercedes-Benz Italia.