BROME by Guido Iannuzzi
Work in resin and acrylic
Special series of 15 numbered pieces “BROME @ Rome”
BROME is a new artwork by Guido Iannuzzi who after having exhibited his
works in institutional and prestigious places such as, among others, the
MAXXI contemporary art museums in Rome and MART in Rovereto, the
Temple of Diana in Villa Borghese and the EUR lake in Rome, decided to
create a serial work to be distributed also through channels other than
traditional art galleries.
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.
Broccolo Romano – Broccolo of Rome = Brome
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
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 purpose that of contrasting the elitist, anti-pop and
speculative drift of the art world: it is in fact an artistic work 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.
“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.
April 2019: Art & work dedicated to 100 years of Bauhaus was opened in London.
TIMELINE for this Art & Work 2019-2021:
June 2019: recreated in in Forte Prenestino (Rome) for CRACK Festival (burnt)
October 2019: built again for SPAM Roma 2019 (www.spamroma.com) Festival, at Casa dell’Architettura, Acquario Romano
October 2019: presented at MAXXI National Museum of 21st Century Arts
October 2020 – June 2021: presented at MART (Museo di Arte Moderno e Contemporanea) di Trento e Rovereto
September 2021: presented at EUR , Laghetto Dell’Eur (burnt)
The goal of this art project was to attract the attention of the audience to start a debate/think-tank on Bauhaus and on different topics that impact our lives.
The Bauhaus Think-Tank project is a sort of “onion” composed of different layers, the outer one has the function of attracting the attention of the broadest and most varied audience (from intellectuals to youngsters), while the other layers have complexity and density of meanings that for percepting require a greater attention and/or knowledge.
Therefore the goal is not not only to talk about Bauhaus, its philosophy and principles but also about topics such as theoretical thinking and concrete action, freedom and oppression, war and peace, etc., which have affected the life of the Bauhaus as they keep affecting the lives of all of us.
In conclusion we want to emphasize that to be 100% Bauhaus is not enough to apply some of the well-known principles theorized by this “school” (projecting/designing an object taking into account its functionality, efficiency, and easy industrialization on a large scale) but it’s also necessary to apply these principles with the aim of reaching good goals.