Orazio Cannistraci - Artist - Works


ART AND ENVIRONMENT

Orazio Cannistraci, the works


Omu is a nature


Tri llati


U piscispatu


U ficurinnia giallu


Sbriu


Red prickly pear shovel


A ranciara


Alliria


Armunia


Yellow prickly pear shovel


Giuiellu


A ficarazzara


U sunflowers


U murittu


U ficurinnia russu


In Trinacria


To dumanna


A break


A prumissa


A supprisa

WATCH ORAZIO CANNISTRACI'S CURRICULUM

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Orazio Cannistraci - Artist - Works

GAM - Civic Gallery of Modern and Contemporary Art, Turin

GAM - Civic Gallery of Modern and Contemporary Art, Turin

Silent thwarted ascents

Horizontal development of a very sweet bagpipe

Lonely caressed by his barber

mumok - Museum moderner Kunst Stiftung Ludwig Wien

mumok - Museum moderner Kunst Stiftung Ludwig Wien

Intesa Sanpaolo collection

Intesa Sanpaolo collection

GAM - Civic Gallery of Modern and Contemporary Art, Turin

La rebambelle des Gobelins

GAM - Civic Gallery of Modern and Contemporary Art, Turin

Beatrice Monti della Corte collection

Endless Federico I (for Federico Kiesler)

Beatrice Monti della Corte collection

Theodoric looks quickly

Stedelijk Museum, Amsterdam

Stedelijk Museum, Amsterdam

oil on canvas cut and glued

oil on canvas cut and glued

Albright-Knox Art Gallery, Buffalo, New York

Albright-Knox Art Gallery, Buffalo, New York

GNAM Collection - National Gallery of Modern and Contemporary Art of Rome on deposit at the Central State Archives, Rome

GNAM Collection - National Gallery of Modern and Contemporary Art of Rome on deposit at the Central State Archives, Rome


Nino Cannistraci Tricomi: Rouge, 2007.

The work belongs to the last period of activity of the Roccavaldina artist. Presented at the exhibition in March 2009 at the Fortunarte gallery in Messina, it documents the further evolution of Nino Cannistraci Tricomi's painting in the wake of a formal research based on purity and great rigor. Rouge it is a silent and abstract "pictorial object", whose intellectual and emotional tension is difficult to put into words.

The work belongs to the last period of activity of the Roccavaldina artist. Presented at the exhibition in March 2009 at the Fortunarte gallery in Messina, it documents the further evolution of Nino Cannistraci Tricomi's painting in the wake of a formal research based on purity and great rigor. Rouge is a silent and abstract "pictorial object", whose intellectual and emotional tension is difficult to put into words. The abstract minimalism of this work follows the path already marked by his spray monochromes, of which Ou topos (1990) at the Provincial Gallery of Modern and Contemporary Art is an acute and brilliant test. Although the spray application, in some way, tended to further abstract the manual characters of the painting, in reality, it was confirmed by the extreme care required of the chromatic gradation. In Rouge, on the other hand, the drafting is almost invisible, the color is a pure monochrome that dialogues with the materiality of the insert. The square interrupts the continuity of perception by creating possible shadows determined by the external light, transforming this work, as clearly highlighted by Lucio Barbera in the exhibition catalog, into a sort of "colored project" of a "pictorial object", a tautological representation of a idea of ​​color and shapes. The work seems more designed than painted, it is presented with the exactness of a reasoning around the geometric balance and the chromatic relationship between the parts. There seems to be nothing human, nothing emotional, or ethical about it. However, the impression is likely to be wrong, because the work requires further reflection, which goes to the root of the creative process. In fact, Cannistraci Tricomi, rather than abstracting itself from the subject, from the "thing represented", seems to want to reach the absolute root of shapes and colors, discarding all the processes of realization and proposing, instead, a new absolute nature.

The work belongs to the last period of activity of the Roccavaldina artist. Presented at the exhibition in March 2009 at the Fortunarte gallery in Messina, it documents the further evolution of Nino Cannistraci Tricomi's painting in the wake of a formal research based on purity and great rigor. Rouge is a silent and abstract "pictorial object", whose intellectual and emotional tension is difficult to put into words. The abstract minimalism of this work follows the path already marked by his spray monochromes, of which Ou topos (1990) at the Provincial Gallery of Modern and Contemporary Art is an acute and brilliant test. Although the spray application, in some way, tended to further abstract the manual characters of the painting, in reality, it was confirmed by the extreme care required of the chromatic gradation. In Rouge, on the other hand, the drafting is almost invisible, the color is a pure monochrome that dialogues with the materiality of the insert. The square interrupts the continuity of perception by creating possible shadows determined by the external light, transforming this work, as clearly highlighted by Lucio Barbera in the exhibition catalog, into a sort of "colored project" of a "pictorial object", a tautological representation of a idea of ​​color and shapes. The work seems more designed than painted, it is presented with the exactness of a reasoning around the geometric balance and the chromatic relationship between the parts. There seems to be nothing human, nothing emotional, or ethical about it. However, the impression is likely to be wrong, because the work requires further reflection, which goes to the root of the creative process. In fact, Cannistraci Tricomi, rather than abstracting itself from the subject, from the "represented thing", seems to want to reach the absolute root of shapes and colors, discarding all the processes of realization and proposing, instead, a new absolute nature. "The image is profoundly different from the simulacrum with which it is usually confused. While the simulacrum does not represent, but actually replaces reality, the image is instead always characterized by the principle of absence, distance and, we could say in Antonioni's words, mystery "[1]. As a pure image, Rouge it is a work steeped in mystery and possible multiple openings. However, the enchantment leads to not proposing any, the artist's intention is precisely to give, present, offer a perfectly developed, complete, given idea, in which any other added meaning can result as a forcing and a ' interference. Cannistraci Tricomi's analytical painting must therefore be historically read within the cultural identity of modernity. It is sight, the eye, in fact, that has established itself as an organ of our age, as cleverly proposed by McLuhan in Galaxy Gutenberg (1961). If a Canadian sociologist sees in the transition from the "acoustic" to the "optical" age, the fatal presuppositions for an impoverishment and a narrowing of the perceptive - gnoseological field of the human being, Cannistraci Tricomi's painting seems to deny this intrinsic result of visuality, instead, it reinforces the possibilities of a language equally rich in openings and conceptual stimuli deriving from the balance of forms and matter, which in turn is nothing more than a miniaturized and synthetic re-proposition of nature. With an abstract, cold, at times harsh language, the work speaks with the syntax of the eye, suggesting intimate trajectories towards absolutes of inextricable emotional tensions and ideals yet vivid in the soul of the viewer. "Rather, looking at what he has done, we are called to knowledge, emotion and imagination. With the awareness, demonstrated rather than shown that, like its pictorial surface, it has other worlds, other atmospheres and a soul within it "[2].

N. B. The number in the reproduction of Rouge attached here does not belong to the work but to the catalog that reproduces it.

[1] Sandro Bernardi, The landscape in Italian cinema, Marsilio, Venice, 2002, p.14.

[2] Nino Cannistraci Tricomi, exhibition catalog edited by Lucio Barbera, Fortunarte, Messina, p. 8.


Index

This is the list of the eleven works of contemporary art that make up the "Fiumara d'Arte", located in the territory of the metropolitan city of Messina in the municipalities of Castel di Lucio, Mistretta, Motta d'Affermo, Pettineo, Reitano and Tusa.

N. Year Title Artist Location
1 1986 Matter might not be there [2] Pietro Consagra Tusa [3]
2 1988 A curve thrown behind time [4] Paolo Schiavocampo Castel di Lucio [5]
3 1989 Monument for a dead poet [6] Tano Festa Reitano [7]
4 1989 Gold boat room [8] Hidetoshi Nagasawa Mistretta [9]
5 1990 Mediterranean energy [10] Antonio Di Palma Motta d'Affermo [11]
6 1990 Ariadne's labyrinth [12] Italo Lanfredini Castel di Lucio [13]
7 1990 Arethusa [14] Piero Dorazio and Graziano Marini Castel di Lucio [15]
8 1991 Atelier on the sea [16] AA. VV. Tusa [17]
9 1991 Home museum [18] AA. VV. Pettineo
10 1993 The wall of life [19] AA. VV. Mistretta [20]
11 2010 38th parallel - Pyramid [21] Mauro Staccioli Motta d'Affermo [22]

The fiumara was born when in 1982 Antonio Presti commissioned the sculpture to Pietro Consagra Matter could not be there (1), built in 1986 in reinforced concrete and eighteen meters high, in memory of his father [23] [24].

Over the years the project has developed and has transformed the area along the Tusa river into a sculpture park by internationally renowned artists [24] [25].

The second sculpture entitled A curve thrown behind time (2) of 1988, it was the work of the sculptor Paolo Schiavocampo and was placed near Castel di Lucio where it was inaugurated on January 30, 1988 [24].

The third work, entitled Monument for a Dead Poet (3) [26], dates back to 1989 and was created by the sculptor Tano Festa. The sculpture, 18 meters high, is located on the seafront of Villa Margi, part of the municipality of Reitano, and was renamed by the locals Window to the sea [23] [24], name by which the work is best known.

Four other works were placed between 1989 and 1990:

  • Golden Boat Room (4) by the Japanese artist Hidetoshi Nagasawa [23] located on the bed of the Romei stream, in the territory of Mistretta [24]
  • Mediterranean Energy (5) by Antonio Di Palma located near Motta d'Affermo [24]
  • Ariadne's Labyrinth (6) by Italo Lanfredini located near Castel di Lucio on a low hill [24]
  • Arethusa (7), a ceramic work located in the Carabinieri barracks in Castel di Lucio, the work of the artists Piero Dorazio and Graziano Marini [24].

The creation of the Fiumara d'Arte art park has been studded with a long judicial history, since for the Gold boat room and the Window to the sea the crime of illegal building was challenged [24] [27].

The legal action blocked the development of the project which included the inclusion of other works by artists such as Edoardo Chillida, Fausto Melotti and Arnaldo Pomodoro [24] [27].

The judicial case of La Fiumara d'Arte also determined a parliamentary question proposed by Bruno Zevi, Giuseppe Calderini, Massimo Teodori and Francesco Rutelli with which the Ministry of Cultural and Environmental Heritage was asked to "intervene with the utmost urgency to stop the havoc and persecution of the local authorities against the initiative of Antonio Presti who created a new and exceptional artistic, cultural and landscape area of ​​international importance around the Fiumara di Tusa ». [24] [27].

On July 2, 1990, a sentence by the praetor Giuseppe Costa, of the court of Santo Stefano di Camastra, ordered the demolition of the work of Pietro Consagra for "alteration of the territory, illegal building and violation of the Galasso law" [27]. Following an appeal made at the Messina Court of Appeal, the offense lapsed and the sculpture was not demolished [24].

On 10 October 1990 the praetor of Mistretta acquitted Presti for the sculpture Gold boat room "since the fact does not constitute a crime, citing three reasons: the room hidden in the embankment does not alter the state of the places understood as identity and damage to the beauty of the landscape is excluded as the concept of beauty is a metaphysical datum that is difficult to define" [27] therefore the Galasso law is not applicable as the Fiumara d'Arte "proposes the artistic qualification and not the urban-building transformation of the rough district of the Nebrodi" the Public Prosecutor of Messina appealed [24].

Antonio Presti, following the difficulties encountered in the project of the open-air park, in 1991 decided to build, in Castel di Tusa, a hotel called Atelier by the sea (8) [24] [28] in which each room is decorated by one or more contemporary artists [29].

In 1991 the first edition of One kilometer of canvas, during which dozens of artists created paintings that were then cut and given to the citizens of Pettineo, creating the Home Museum (9) [30] [31], among the destinations of the Fiumara circuit [24]. The event was repeated for six years, with the participation of dozens of artists [32].

Over the years the Fiumara d'Arte has been the set of several films among them Illegal journey - Lives of saints and sinners by Raúl Ruiz. In October 1993 forty ceramic artists from all over Europe created a collective work on the retaining wall of one of the Fiumara streets in the territory of Mistretta, which thus becomes The wall of life (10) [33] [34] .

On 25 October 1993 the Messina Court of Appeal ordered the demolition of the Window to the sea for illegal building but a sentence of the Court of Cassation of 23 February 1994 resolved [that is ?!] definitively the long legal dispute [24].

After a quarter of a century of judicial disputes, Fiumara d'Arte is recognized as cultural tourist route [35] .

The Fiumara d'Arte is considered one of the largest sculpture parks in Europe [24] [31] [36].

On March 21, 2010, after two and a half years of work, the work was inaugurated 38th parallel - Pyramid (11) by the sculptor Mauro Staccioli [37]. The Pyramid, a hollow titanic tetrahedron, made of Corten steel, is built on a hill in the territory of Motta d'Affermo, overlooking the sea and as the crow flies in front of the excavations of the ancient city of Halaesa. At the point where it is built, the Pyramid is aligned with the 38th parallel [38].


Follow Style Passion

A song full of passion and immortal whose warm words draw inspiration from warm Sicily as well as the art of Orazio Cannistraci.


This article smells of creative ideas born in the shade of lemon trees on a hot summer day under the Sicilian sun.


This article is a riot of the warm colors of the Sicilian earth: lemon yellow, fiery red like the lava of Etna and blue like the white waters of the Sicilian sea.


Red is the color of my soul, because I am a determined, combative, strong and passionate woman. Chanel n ° 5 is the perfume I love because jasmine, rose, musk combine in a provocative bouquet for an eternal style. My music is Jazz, because the beauty of life lies in improvisation.


For our column Design Style Passion, today we talk about Orazio Cannistraci, of her art and his works.

Orazio Cannistraci is an artisan upholsterer from the province of Messina specializing in the creation of unique artifacts, made entirely by hand and only on commission, with guarantee and certification of the uniqueness of the work.

Combining creative momentum and practical application, the passion of the heart with the intelligence of the hands, this artist draws primary inspiration from his beloved land - the Sicily - , a melting pot of different ethnic groups and cultures, a triumph of warm colors and bold lines.

His work is well encapsulated in the Latin expression "manu facere"- doing with your hands, a continuous challenge characterized by resourcefulness, dedication and a touch of visionary that basically characterizes every true master of art.

Joining craftsmanship is design, tradition and experimentation, Orazio Cannistraci began to design and build "The unique pieces“: Sculpture-chairs, sculpture-armchairs. sculpture-benches, full of meanings and artistic-handcrafted values ​​that combine with the functionality of the object. Seats designed among prickly pear or sunflower plants, or in the midst of orange branches or leaning on a swordfish: these are some of the pieces that characterize his collection.

I "Unique pieces”Are made entirely by hand and branded. They are also accompanied by the warranty certificate which testifies how each piece is unique and unrepeatable. Each artifact, made with care and devotion, embodies a story: starting from inspiration, passing through the design and research phase of the materials to be used, to the difficulties encountered during processing up to personal joy contemplating the finished work.


Interview Horace

SEEN FROM OUTSIDE 39 by Igor Uboldi T radition, a sunny soul and the desire to do beautiful things. These are the words that describe the work of Orazio Cannistraci. Since he was a child Orazio has worked as an upholsterer in the shop that belonged to his grandfather and then to his father a. Показать больше

SEEN FROM OUTSIDE 39 by Igor Uboldi T radition, a sunny soul and the desire to do beautiful things. These are the words that describe the work of Orazio Cannistraci. Since childhood, Orazio has worked as an upholsterer in the workshop that belonged to his grandfather and then to his father in Barcellona Pozzo di Gotto, in the province of Messina. Today he carries on this family tradition with his brothers, Francesco and Salvatore, and his sister-in-law Graziella. «The work of the upholsterer - he explains - essentially consists in the restoration of the precious upholstery, in some cases new pieces are made to measure. For example, we are able to perform traditional padding, as was done in the nineteenth century, which requires knowing how to handle springs, belts, horsehair, etc. , we also perform the capitonnè, especially with small rhombuses that are rarely found around nowadays, except precisely on valuable antique pieces. To do this, in addition to a lot of patience, skill and knowledge of the trade, it is necessary to look for the quality of the mat Спрятать


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