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31/10 2011

Mediterranean Spirituality in Giulio De Mitri’s work.

Mediterranean Spirituality in Giulio De Mitri’s work.



Percorso di Origène, 2011.
Legno, smalto metalizzato, plexiglas, corpi illuminanti, proiezione meccanica.
Installazione ambientale mc 144

Entering Giulio De Mitri’s work – environmental installation, techno-light-box and video – «you are involved – Rosalba Branà wrote – in a sensory and perceptive journey, processed by a personal semantics ridefinitions of linguistic-expressive practices, linked to Mediterranean». His works preserve a “classic” flavor and, at the same time, they fit into the debate about more advanced technology application in art.
Undoubtedly linked to symbols, to myths and to mediterranean geo-politic elements, in De Mitri’s work there is, most of all, the exemplification of spiritual energy, which takes form from the combination of Material and Immaterial. De Mitri’s environments are surrounded by an aura of spirituality as hypnotic confusing. Seeking a dialogue with the Absolute, the artist reaches a new perception of the space, the complex definition: no longer the art as likeness, but as the will – or attempt – to catch and fix the image of “unrepresentable”. Away from the “mimetic” categories of reality – away from platonic or aristotelic interpretation – De Mitri introduces the simulation of “no-defined”, which expresses a visionary in both areas of life and art.
Its projects, in the recent production, exemplifie the artistic-cultural value of his research.
Percorso di Origène (2011), enviromental installation presented at the 54° Biennale of Venezia (Italy-Calabria Hall), is a plastic and poetic work that collects existential instances. Origène, theologian and philosopher of the third century BC, questioned the location of the Star, its destination and its spirtual values; Giulio De Mitri also gives the introspective bending to the phenomenon-star: it leads to a deep reflection about the human being, about what man is in his inscrutable individuality, about his subconscious mind. The star is phenomenon of cosmic energy, conveyed by the blue light, that is reflected in a mirrored and trianglular surface (that is the symbol of the perfect Trinity). The refraction of light – caused by two hundred and forty leds and the “mechanics” projection of the sea, overlooking the installation itself – on the blue star and on the same mirror evoke fleeting appearances; they lead to the threshold of the Path (Percorso di Origène). This reflection has a double meaning: both existential and sensitive also in La Porta del Paradiso (2010), environment installation, which points out, through a long path, an inner process about “being-in-world”, it’s a look inside which takes place in the dimension where the consciousness discovers itself, where it approaches to the original knowledge of Being. In this metaphysical dimension, everyone can see signs telling the archetypal History of Man: the Bowl, the Book and Shell are indelible traces of the past. Besides these human signs, there is the infinite Heaven’s door, exemplified by a tripartite altarpiece. The energy of the cvosmos is given off: that is the blue light of the constellations.



Percorso di Origène, 2011.
Legno, smalto metalizzato, plexiglas, corpi illuminanti, proiezione meccanica.
Installazione ambientale mc 144

Hic et Nunc (2006), environmental installation presented in Venice, (54 ° Biennale, Palazzo Bianchi Michiel del Brusà, collateral event) is the Mediterranean vision, a place which geo-political differences and culutural are contained in. Indeed, Mediterranean see is the universe of icy forms, whose plasticity recreate the unique cradle of civilizations, inspired by situations of conflict or marginalized – if not exclusion – between East and West. But the differences enrich: you can not suppress the identity of an approval under globalization, otherwise the cultural impoverishment. The only solution seems to be the recovery of historical memory and the positive acceptance of relativity, whic means not as a landing to nihilism, but as awareness of plurality. De Mitri carries out this recovery through an optimistic projection: he makes the best components of human civilizations came out in his serch. Ethics and Aesthetics are so intimately welded in the artist’s works, who never leaves a visual reference code, always processed by his personnel “visionary”.
Simona Caramia

 

USER COMMENTS

  1. 03/11/2011

    Non ha mai realizzato delle scenografie?