Vanni Cuoghi nasce a Genova e si avvicina molto presto all’arte figurativa. Il suo interesse per la pittura passa attraverso fonti estremamente variegate, dal fumetto all’arte quattrocentesca, e ad oggi si dedica a pittura, ceramica, scultura, installazioni. Nelle opere su carta ha rinverdito l’antica arte della psaligrafia, che consiste nel praticare dei tagli sulla carta per realizzare immagini tridimensionali.
Ha esposto in numerosi contesti, sia da solo che insieme ad altri artisti del cosiddetto Italian Newbrow, gruppo così denominato dal critico Ivan Quaroni, che ha rintracciato in autori pur molto diversi tra loro una sensibilità comune, un particolare modo di esprimere lo spirito dei tempi, per così dire.
Una raffinatissima ironia è quello che si coglie immediatamente guardando le opere di Vanni Cuoghi, o meglio guardando all’abbinamento delle opere con i rispettivi titoli. Un esempio a caso (se ne potrebbero trovare molti altri): la stampa intitolata “Rottura di fidanzamento a Capodimonte”. Una statuina di porcellana, dall’aspetto di damina in abito settecentesco, “rompe” letteralmente con un martello il fidanzato-statuina, con tanto di cocci sparsi a terra. Il titolo allude alla storica scuola napoletana di porcellana di Capodimonte, appunto.
Nella sua opera sono presenti molteplici influssi, in particolare il mondo delle fiabe con tutto il suo immaginario, i miti di ieri e quelli di oggi, i fumetti, i simboli della cultura di massa. Tutto mescolato insieme. Molto importante è poi, nella sua opera, anche il ruolo della parola: il titolo è elemento essenziale per innescare il gioco del capovolgimento, per avviare la produzione di senso nell’interferenza con le immagini.
Evidente è l’interesse per il passato, soprattutto per il periodo rinascimentale, che compare non soltanto nelle forme ma anche nello spirito: l’occulto, la stregoneria, la magia sono spesso presenti nelle sue opere. Però lo sono in modo assolutamente dissacratorio, come un passato che ci appartiene ancora in tutto e per tutto, che vive nel nostro subconscio ma che non possiamo più vivere in modo pieno, bensì solo in forma rovesciata.
Alcune delle opere di Vanni Cuoghi sono visibili qui.
A Limited Edition Print is derived from an image produced from a block, a plate, a stone, on zinc, copper or some similar surface on which the artist has worked closely with a print maker or master printer. Unlike paintings or drawings, prints exist in multiples. The total number of impressions an artist decides to make for any one image is called an edition.
Each impression in an edition is numbered and personally signed by the artist.
An image may be based on an original painting, ‘after an oil’, or the artist (as in the case of Arthur Boyd) may paint “maquettes” specifically for prints. The artist may also create an image directly onto the plates, depending upon the chosen medium.
Each of the various methods of printmaking yields a distinct appearance. Artists choose a specific technique in order to achieve a desired result. The choice made by the artist to produce an image “in print” is the same as choosing to work in oil or any other medium. The only difference in print lies in the possibility of producing a number of near identical images.
“Juxtaposing cartoon characters against backdrops of war and destruction is
Italian artist Max Papeschi’s idea of honest advertising. His work is provocative,
polarizing, and an interesting insight into how foreigners view American ideals.
He would suggest that he’s not anti-American, though. Rather anti-consumerist—his
portraits a social commentary on the globalization and pervasiveness of media.
Jailbreak (JB): Hey Max. How’s it going?
Max Papeschi (MP): Very good, thanks!
JB: Our readers might not know it but you’re Italian, right? Where do you live in Italy,
and one is the single thing that makes your country superior to ours?
MP: Yeah, I’m Italian. I live between Milan and Rome. I don’t believe that Italy is
a better country than America, but if I have to find something, I’d say the food.
The food here is the greatest.
JB: No questioning that. So, Max. How would you describe your work to someone who is blind?
MP: Great question. I think that many of my works can be described as an advertising
campaign coming from possible parallel realities. They’re conceived as actual
advertisements, just without the claim of a product, slogans, and of course the pay
I would receive upon completion. What they sell is rather the real value upon which
our society is based, without any sort of lie or hypocrisy hidden within them.
JB: Interesting. So when Jason, the owner of Jailbreak, first saw your work he said,
“this is the most profoundly American art I’ve seen all year.” Little did he know
that you’re not American! How do you respond to that?
MP: Well I was born and I live in a civilized country, which is part of a globalized
system. Music, books, movies, etc., are the same. The images and symbols and encouragement
that I’ve absorbed since I was a child are really similar to those attained by
any guy born in the U.S.A. or any other Anglo-Saxon or European country.
JB: Ok, so let’s talk about your work a little bit more. In some images
you have Auschwitz and Ronald McDonald; the Atomic Bomb and Mickey and
Minnie Mouse; Sylvester the Cat blowing up Disneyland, and “Nazi Fucking Mouse”
(above)—where perhaps one of the most pervasive American symbols is dressed
up like a Nazi. I guess my question here would be why?
MP: Actually, my art is not a criticism against American culture, but
rather towards the globalized occidental communications system. It is
simply a coincidence that most of the icons used are American ones.
JB: That being said, it is quite provocative work, so I wonder if anyone
has physically or verbally attacked you because of something you made?
MP: Verbally yes, physically no. But I think it could happen. Maybe some
pacifist will hit me. Who knows? People are strange.
JB: (Laughing) Well let’s hope not! Another recurring theme in your work is hyper-violence.
What is it that draws to such a morbid subject matter?
MP: I think it’s because of the images of violence that I’ve absorbed since I was a
child by way of television, movies and comic books. Also, as you know, we live in
a really rude society so that comes through in my work.
JB: No disputing that. What are you current projects, and will we see a show in the U.S.
MP: I have many personal exhibits in Italy in 2010, but I would like very much to show
my work in the U.S. I hope that’s possible soon. I would like to do a little tour from
coast to coast—New York to Los Angeles and pass through other places in your country.
We’ll see if it will be possible to organize something.
JB: Let us know if we can be of any help, we’d love to see a show on our soil. So are you
blessed to have art as your full-time job or is it simply a side gig?
MP: I have the lucky and unlucky opportunity to do it full time.
JB: Alright, Max. Last question. Assuming you’re listening to music while responding to
this interview, what is it?
MP: In general I listen to classical music when I work because it pumps my creative juices.
At the moment I’m listening to Mozart’s Requiem.
JB: Not at all what I would’ve expected. Thanks for your time, Max!
It has been a pleasure. Take care.
MP: Thanks, you too. I hope to see you one day!”
La Cultura Custom si basa sulle modifiche effettuate individualmente alla propria moto: è nata quando un ragazzone americano ha pensato di rendere la sua “amata” più leggera e di renderla ancora più maestosa creando dei disegni aerografati sulla carrozzeria. E’ nato così il fenomeno del “pinstriping”. Da lì tutto ebbe inizio e nulla voleva più fermarsi: la creazione della magica Route 66 per viaggiare dalla West Coast alla East Coast, chiaramente in sella alla propria moto, American Graffiti e le opere d’arte e di rivendicazione sui muri e la vita On the road.
Questo è lo spirito che contraddistingue quell’epoca, ma che cosa ha in comune questo fenomeno con le pin-up? Chiaramente queste ragazze stupende, formose e sorridenti abbellivano i calendari delle officine di aerografie, i negozi di ricambi per gli appassionati, partecipavano ai raduni cavalcando maestosamente questi bolidi e soprattutto, da non dimenticare, viaggiavano con i centauri in queste lunghe avventure. Una vita tra motel, bevute con gli amici, visite alle città e rock and roll. I ragazzi americani trasformarono le auto, elaborandole e rendendole quasi psichedeliche nei colori e nei ricambi che sfoggiavano per le strade delle città. Ottenevano così migliori prestazioni e mostravano agli altri ciò che erano dentro, a costo di essere additati come arroganti o troppo esibizionisti.
Nasce proprio da qui il termine “Kustom”, vale a dire il fai-da-te americano e il fare le cose a proprio modo, a propria misura. I principali disegni utilizzati erano le fiamme (tecnica del flaming), il pinstriping (righe molto sottili e ravvicinate), velieri e imbarcazioni della marina, dadi, palle numero 8 da biliardo, cuori, pugnali e chiaramente le nostre pin-up. Maestri come Von Dutch, Ed Roth e Karl Smith hanno dato inizio a quest’epoca donando per sempre un’impronta indelebile a questo fenomeno e facendolo diventare un’istituzione a livello mondiale. Un bel portfolio che rappresenta qusto fenomeno in Italia? “Kustom People” di Simone Romeo, ricco dei personaggi che vivono fedeli a questo stile di vita.
Images have a really strong impact on us, especially those coming from fashion or advertising; images have the same formal worthiness and the same substance of illustrations. Colors are sharp and bright – black, red, white or the smooth color of the skin –, light has the typical brightness of the most classical professional pictures.
Poses are highly controlled, expressions are studied; dresses, hairstyles and objects exactly repeat that 40’s and 50’s the golden age of pin-ups, the girls that have to be pinned up.
Here there are the girls, they look at us in frame and they offer themselves to our eyes as if they were images, not people. Simone Romeo works on popular taste, on the excess of mass society. He re-presents and re-launches past figures towards the state of being contemporary in an ironic and amused way. What he realizes is a revival coming from a post-modern nature, a thought dedicated to a mass imaginative world that has turns women into dolls; a visual play among theater, cinema, cabaret, popular invention, television and comics. This means to highlight how digital presence could be skilful and powerful to the millimeter; this digital power makes real those figures that don’t exist in today reality, thanks to colors perfection, to the mellow absoluteness of cloned skin, to those sparkling shapes that are completely defined and controlled. This operation gives life to what is virtual in our reality. This is a dream that becomes concrete by using real live figures that are made as perfect as absurdly abstract from technology.
Have a look to hi Pin Up collection and more LINK !
Let’s start with the formal source and see what the Wikipedia has to say about the topic of Limited Editions. Here’s an excerpt from the topic of the Special Edition as it relates to the artistic medium.
Limited editions have been standard in printmaking from the nineteenth century onwards. There is a genuine need for the concept here, as many traditional printmaking techniques can only produce a limited number of top-quality impressions, as copies of prints are known. This can be as few as ten or twenty for a technique like drypoint, but more commonly would be in the hundreds or thousands. But here as in other fields, the use of the concept has become largely driven by marketing imperatives, and has been misused in parts of the market. In particular, lithographic, photogravure, rotogravure, and computer reproductions of prints, derived from photographs of an original print, which are most unlikely to have any investment value, are often issued in limited editions implying that they will have such value. These need to be distinguished from the original artist’s print, carefully produced directly from his work in whatever the printmaking medium is, and printed under his supervision.
At NewArtCompany.Com the LIMITED EDITION Category provides art created exclusively by our Artists and the pieces are only available on our web site. We offer this as a LIMITED EDITION. Purchasing a limited edition print, you have acquired a unique value, which will grow in the future: you are investing in the art of the future!Each piece is accompanied by a Certificate of Authenticity with its unique number and length of the edition (eg 5 of 15 etc). The certificate of authenticity will also be signed and dated by both the artist/professional and by us. Each Limited Edition piece is printed to order until the full length of the edition is reached.The numbers on the print denote the individual piece number in the edition over the total edition size. For example, 50 prints / 50×70 cm / 19.7×27.58 inches? means that a maximum of 50 prints are available for that size (cm or inches).
Visit our collection: LINK !