Luca Gastaldo Milan Review on Artsy

From September 28 – November 30, 2022 Opus in Artem presents a Milan Review solo show by Luca Gastaldo on Artsy.

This online solo show with landscape paintings by Italian artist Luca Gastaldo is a review to two exhibitions that the artist had in 2012 and 2014 at the Galleria Bianca Maria Rizzi & Matthias Ritter in Milan, Italy.

In the exhibition entitled 'Timeless' in 2012, a site-specific installation was created that involved the public in a multi-sensory experience: in addition to sight, touch, smell and hearing were stimulated through the reproduction of fragrances and sounds of the countryside, transporting the visitor to another place where it is easier to find lost memories and sensations.

As the curator, Alberto Mattia Martini, wrote, only apparently do Gastaldo's canvases depict landscapes: in reality they portray man, and the emotions that those panoramas arouse in him.
Only man is in fact able to be moved by the immense spectacle of nature, only man can intensely and consciously experience and feel its drama. For this reason, it is the human being who is the real protagonist of Luca Gastaldo's canvases, although he is only rarely physically present in the paintings.

"I am not interested," the artist explains, "in the work being traceable to a viewable place, I am not interested in the actual hues of the skies, in realizing precise perspectives or perfect views, I am only looking for emotions, desires, memories, interiorities".

Luca Gastado explains:
"I am not interested in the work being traceable to a viewable place, I am not interested in the actual hues of the skies, in realizing precise perspectives or perfect views, I am only looking for emotions, desires, memories, interiorities".

The exhibition in 2014, entitled 'Sky and earth say something
to each other in the sweet evening' was curated by Cecilia Maria Di Bona, who described Luca Gastaldo's painting in the following words:

... Auroras and sunsets, boundless and immense skies, opening onto the boundless, mysterious cosmos; airy as the unstoppable wind of passions and desire, of the unquenchable desire for happiness. ...

... This is what artist Luca Gastaldo grasps, looking out of the window of the boundless universe, with the curiosity and amazement of an eternal child who wants to play with the elements, with their shapes and colors, but also with the temperament of an eternal dreamer, of a sailor with a fearless heart ...

... The inspiration of his conscience, animated by the intimate desire to discover the mystery that life conceals in its unstoppable, multiple metamorphoses, ...

... Life is a storm, as transpires in the ineffable, mysterious allegory of Giorgione's canvas, or in Turner's vital and airy sea storms. ...

... Life is a storm and a search for shelter, for a refuge in which to find, at last, peace. ...

... Life is born from the encounter, the collision of the elements. The young artist, on canvas, traces their whirling path, the unstoppable race, the symphony of the four elements, in their breaking up and recomposing, to give life, for a moment, to forms. ...

... But life is also the search for harmony, and for stillness: and there appear, in the sky and on the canvas of the cosmos and of life, auroras and sunsets, like an omen of happiness. ...

... Skies open to the adventure of the passing of time and life, like clouds 'of the same substance as dreams', there where everything ends, there where everything is about to begin again and where everything can still, finally, transmute: this is the kairòs that Luca Gastaldo's brushstrokes manage to congeal on the canvas for a moment, subtracting it from the panta rei, which involves everything in itself, which overwhelms everything. ...

... At times, a glimmer pierces the blue darkness, like a revelation, like a glimmer that nourishes man's hope. One then grasps the dreaming and searching soul of the artist who projects himself outside himself, to the ends of the earth, towards the mysterious celestial realms. ...

... Gastaldo's work contains at the same time the intimate and profound heart of family intimacy, of the small human gatherings that joyfully spend the last hours of the evening in the distension animi, and the aimless wandering of the wayfarer, the gaze on the world of those who look far away. ...

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Schwarze Sonnen by Matthias Langer on Artsy

From 24 September to 28 October 2022,
Opus in Artem presents the exhibition
'Schwarze Sonnen (Black Suns)'
by Matthias Langer on Artsy.

Matthias Langer:
“The sun is actually always the brightest point in the picture because of its radiance. The brightest point will appear in the image as a white area. In analog photography, this does not always have to be the case, because the exposure curve (more light leads to greater brightness in the picture) is not always linear. At a certain moment, at the so-called solarization point, the curve tilts into negative. So, the sun becomes the darkest spot from the brightest point. If one imagines the analog photo material as a sensor, then the solarized places would be a misinterpretation of the incoming information.”

If you would like to follow the artist on ARTSY, click on this link!

Private Viewing in North Italy!

Opus in Artem brings international contemporary art exhibitions in art collector’s homes.

From the 6 to 24 September 2022 Opus in Artem presents a group of international contemporary artists at a collectors home in Nort Italy.
During this time, a number of private viewings will be held with guests from the private and business network of the host.

This private viewing is showing artworks by Carola Allemandi, Dea Belusco, Giovanni Buzzi, Andrea Gallo, Luca Gastaldo, Dina Goldstein, Mirsad Herenda, Matthias Langer, Mikos Meininger, Marco Minotti, Francesco Orrù, Enzo Rovella and Raymundo Sesma.

Interested in an art event in your home or in your business location?
Contact us for further information.
Be curious!

The 10 Commandments by Dina Goldstein on Artsy

OPUS IN ARTEM presents

The 10 Commandments by Dina Goldstein on Artsy

The show is online from September, 1 to October, 15, 2022
and it accompanied by a Viewing Room during the same period.

In her series “The 10 Commandments” from 2019, Dina Goldstein has created artworks that match a different American president to one of the Ten Commandments. The series wants to provoke visual shock, incongruity and irony and metaphor to inspire a discourse into how American society has gone so astray.

As art critic Sonja Baksa writes, “The 10 Commandments” can be seen as Goldstein´s most controversial series yet.
Its grounding piece, Lincoln, depicts the 16th and most popular President in the aftermath of the Sandy Hook Elementary School shooting. His towering figure barely fits in the otherwise empty school corridor littered with children's clothes, glass shards, bullet shells and blood stains. Yet the sense of mourning and loss emanating from the scene renders him small and defeated.

By extension, the imagery renders small the constitutional principles on which The United States were founded. Coupled with the 6th Commandment "Thou shall not kill", the piece evokes the President's own public assassination and further underlines the country's ongoing issues of gun violence and gun policy. Using her established cinematic methodology, Goldstein blocks the Lincoln scene meticulously, each segment, each prop strategic and symbolic, coming together after a months-long pre-production process. All the while capturing in the singular still image a hint of the storyline that forms the greater narrative sequence of the series. That narrative seeks to examine the socio-political makeup of America through its political icons - the presidential figures that mark the most notable and controversial chapters in American history.

Each tableau features a President portrayed through the prism of their politics, popularity and/or notoriety, further contextualized by a contemporary backdrop, and assigned one of the moral and ethical postulates of the Ten Commandments. These, often humorous, narrative juxtapositions deconstruct the layers of political deceit, exposing latent hypocrisies and challenging the integrity of a system that is supposed to be a model of democracy and social progress. In the context of the series, Lincoln reaffirms the gravitas that lightness and humour in other pieces may inadvertently obscure.