Emanuele Dascanio was born in Garbagnate Milanese in 1983.
After graduating from art school Lucio Fontana di Arese, in 2003 he enrolled at the Academy of Brera painting section: having learned to live in an environment decadent for the same painting, leave after six months.
Continuing, however, to have the desire and the need for artistic growth, in 2007 I began the study of Gianluca Corona, finding in him a good teacher and learning the technique of oil painting.
He has participated in various competitions and exhibitions nationally and internationally, ranking near the top.
Emanuele Dascanio is a perfectionist, he has devoted much time to the study of artistic techniques and the search for continuous improvement in his skills as a painter, before embarking on the exhibition schedule.
That’s digital Art of Federico Bebber
et c’est macabrement beau !
Federico Bebber – restlessness – Digital art
The audience is universal. Tones are colourless, from pure white to dark black, through the whole range of greys. The contents are literally ripped out of everyday life, combined and merged with agonising shapes, exposed to a fantastic metamorphosis, within a dream-like and surreal environment. Viewers will stop to listen, as if waiting for some noise, without knowing whether it will be music, words or screaming. Will the viewers be able to the detect the humour hidden behind that unrest?
Federico Bebber was born in 1974 in Udine, Italy. Since 1998 he deals with digital art. He uses digital tools based on photography. His creative process usually takes place slowly and at night.
Uniquement pour la performance hyper-realiste de la sculpture créée par 2 artistes italiens Antonio Garullo et Mario Ottocento… « Le rêve des italiens »… :) et le sourire niais de Berlusconi… (exposé à Rome en 2012)
« Dans un cercueil de verre repose une statue de Silvio Berlusconi, sourire en coin, cravate en bataille et pantoufles Mickey aux pieds : c’est la dernière provocation de deux artistes plasticiens qui exposent pour trois jours seulement leur oeuvre à Rome.
Faite de résine et de silicone, la statue grandeur nature de l’ex-chef du gouvernement italien est exposée au deuxième étage du Palais Ferrajoli, situé juste en face du Palais Chigi, siège du gouvernement. Les auteurs de cette installation, Antonio Garullo et Mario Ottocento, ont choisi de l’intituler : « le rêve des Italiens ».
Connu pour ses frasques sexuelles, le Cavaliere, qui a marqué la vie politique italienne pendant près de 20 ans, y gît en parfait costume bleu nuit et chemise bleu ciel, mais tout débraillé : la cravate en bataille, une main sur un exemplaire de « L’histoire italienne », opuscule qu’il envoya à des millions d’Italiens pendant la campagne électorale, et l’autre dans son pantalon déboutonné. Son sourire est béat.
« Culte de la personnalité »
Les pantoufles Mickey visent à souligner « le côté histrion de l’homme politique », ont expliqué à la presse les artistes connus dans la péninsule pour avoir été le premier couple gay italien à se marier, en 2002 aux Pays-Bas. « Nous avons pensé à Berlusconi, son corps, l’idée que nous tous spectateurs nous sommes faite ces derniers années du dirigeant italien… enfermé dans un cercueil réservé dans la tradition chrétienne à la conservation des corps des saints, mais aussi, dans une perspective laïque, aux corps des puissants et des héros, comme Mao ou Lénine », ont-ils expliqué. Pour eux, il s’agit de souligner « le culte de la personnalité dont a été et dont Berlusconi sera peut-être encore l’objet dans les années à venir ». »
(Source : http://tempsreel.nouvelobs.com/l-histoire-du-soir/20120530.OBS7107/berlusconi-dans-un-cercueil-pantoufles-mickey-aux-pieds.html)
Wood Art sculptures by Aron Demetz. Italian artist, born 1972. Europe exhibition Rome, Vienna, Milan or London.
Aron Demetz est un artiste italien né en 1972. Il créé des sculptures (bois d’érable et silicone) dans des poses tantôt sombres, tantôt mélancoliques, jouant sur des figures adolescentes ou enfantines.
Elles sentent l’odeur de résine ou de vernis, tente de symboliser les énergies biologiques et cosmiques qui animent tout être humain. A découvrir ses dernieres sculptures carbonisées.
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For years, Aron Demetz (1972) has been focusing on the human figure, on contemporary characters which appear to be frozen in poses of the antique portraiture or paralysed in bizarre postures. This realistic gallery, which very often displays children or adolescents, is highly distinguished because of its formal composure while, at the same time, an atmosphere of melancholic meditation enshrouds the sculptures and makes them somehow classic and somehow stringently modern. In the last two years the artist has dedicated himself to a different projection of the human figure moving from the reflection and the research on emotions to a form of expression which wants to return to its origins, to the most profound human roots. Next to wood (which, however, always remains the soul of all the works) Demetz started to experiment with different materials such as silver and aluminium foils which bestow an aura of original uniqueness on the works, a condition of ethereal pureness. To the spectator, they suggest a metamorphosis, the feeling of observing a being which is changing, which is ready to start a new life, to exploit new possibilities. Through associations, images and symbols these sculptures speak to collective conscience. Fully aware of their own physicality and their physical and spiritual changes, the sculptures most often evoke the constant and meticulous research of the human “position”. A position which, on the one hand, has to be understood in a symbolic way (‘man’ understood as a symbol of power and at the same time of humility), but on the other, it has to be seen in a real, physical way – a position in a space with whom mankind has to interact daily. Recently, Aron Demetz presents a series of works which centres around the topic of cujidures – “seams”. In order to approach this new challenge, the artist chose resin as material to create his figures. The needed resin was collected with great patience from the wounds of the trees in the forests in Val Gardena. This instable material which is in constant change has intrinsic characteristics which are highly evocative. It has a strong scent, it can crystallise, melt, change colour (from an intense yellow to red or black), it can be very sticky or even conserve organic traces and small animals inside itself. By putting resin on his faces and busts, Demetz lays a new skin which saturates, welds or stitches their wounds (which have to be understood as wounds of the soul, as thoughts and important feelings). It is a living skin which not only covers, but even enters the works of art. Once again these sculptures display a range of different, even opposite meanings. Next to stirring life, hope and renewal the sculptures also express something archaic and primitive, a being which visibly evokes a mummified figure and which immediately makes the spectator think of rot and death. Therefore, these works trigger off a reflection on the body as a biological and vital structure with its moods, its smells, its heat and its limits. The works spread a twine of visceral energies which enshrouds everyone who enters the meanders of this primitive cosmos.
