Genny Di Bert

Performance Art

Reading Contemporary Works in Two Examples

/ Contemporary, Volume 20. Number VI. 2011 / /

by Genny DI BERT

Quella che osserviamo è la fotografa di una scena, di un momento d’espressione artistica in cui l’ambiente e l’uomo interagiscono, che viene, durante la realizzazione, con uno “scatto” resa opera d’arte apparentemente bidimensionale. L’immagine riprodotta valorizza l’irripetibilità dell’azione ed ogni scena diventa opera d’arte unica. La rappresentazione, come la realtà osservata e dipinta, viene studiata, immaginata, riprodotta attraverso l’occhio fotografico attento a cogliere l’istante creativo.

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Reverberations of Realism: “Caravaggismo” in 17th-,18th- and 19th-century art

/ The Caravaggio Moment, Volume 20. Number III. 2010 / /

by Genny DI BERT

From 1600 until the present, Caravaggio’s work has influenced many trends in art, including that of Cezanne. Caravaggio’s breakthrough was his sharp realism: Saints shown as average people and religious experiences as ordinary human drama – expressed through emotions, theatre and allegory. He depicted idealized concepts as manifested in the visible world. Though an extraordinary colorist, he was selective in his compositions – each detail of his paintings corresponds to reality and the models he used.

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Speaking of Realism: A show of Czechoslovakian Realism 1948-1989 looks to debut in New York. An interview with director Francesco Augusto Razetto

/ The Caravaggio Moment, Volume 20. Number III. 2010 / /

by Genny DI BERT

Realism in Socialist Czechoslovakia was shown at the Gallery Mánes, the museumm of modern art in Prague in December 2009. The exhibition comprised over 70 works revisting the period of Czech realism through a selection of paintings, sculpture, graphics and photography, many previously unpublished or unseen. The curator of architecture of the Prague Foundation Eluetheria, Francesco Augusto Razetto, along with the show’s other curators, including his brother Ottaviano Maria Razetto, are working on bringing the exhibition to Italy and New York.

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Sculptural Chemistry: Spatial intersections in steel works of sculptor Alfio Mongelli

/ The Art of Science, Volume 20. Number II. 2009 / /

by Genny DI BERT

“The field of physics/mathematics that characterizes the imposing works of Algio Mongelli is transformed by an expressive freedom that confounds any scientific pattern. The unity and syth­nesis achieved in his creations, whether large sculptural manifestations in stain­less steel or geometric graphic forms, re­veal the exceptional quality of this artist among the most successful contempo­rary artists.”

Thus wrote Nobel prize winner Rita Levi Montalcini in 1994 referring to the Roman artist Algio Mongelli (born 1939). An astute observation on the part of a perceptive scientist who, oblivious to the writings of the most renowned and profound art critics (Mussa, Masi, Strina­ti, Benincasa, Crispolti, Restany, Berger) arrived at the most defining aspect of the artist’s work: sythesis. It is from this core that his works originate––seemingly simplistic, oddly logical in content, their structure a relationship between space and substance.