Our ancestors lived, in the same way as newborns, in the need to leave signs and create visual symbols, in a primordial attempt to control the chaos that permeates every aspect of the existence.
We see our children drawing even before they can speak, absorbed and solitary. But we can not know if the prehistoric graffiti, elaborate expression of creative work, is the outcome of an individual work or a collective rite.
Hyperexpressionism has always wondered if Art was born as a singular or plural phenomenon, existential or social, psychological or physical. Is the author of the graffiti in the caves of Chauvet, Lascaux or Altamira, a prehistoric Michelangelo or the production of an artistic collective? And again: was the first artistic phenomenon visual or acoustic? Perhaps the first concert of humanity can be considered as a man beating a stone against a surface in an attempt to simulate the sound of thunder. And the first artistic creation may be considered as that sign traced on the sand that the wind immediately took away.
Hyperexpressionists are convinced that the union of the Man with Nature originated Art. The mission is to recover the originality of that feeling.
When the gaze of the first Man met Nature, the first Landscape of the prehistory of art originated. It does not matter if it was a visual or an acoustic one. It is indeed more interesting to understand what caused that union. We, the hyperexpressionists, are convinced that Art was born at that precise moment and with all our strength we want to recover the originality of that feeling.
We’re presenting today MI_MarcheIperespressioniste, the traveling exhibition result of artistic research conceived by David Miliozzi and produced by the musical association Appassionata, directed by Andrea Trettaccone. It will be presented through 6 events, starting on August 18th in Loro Piceno (Marche, Italy), and moving to Serra de’ Conti (Saturday 25th August), Belforte del Chienti (Saturday 1st September), Serrapetrona (Friday 7th September), Ascoli Piceno (Sunday, September 16th) to finalize in Ripe San Ginesio (Saturday 29 September).
The common denominator of MI is Enolo, one of the gigantic statues (3.5 meter high plus the basement) that Dante Ferretti created for the Expo in Milan (2015): after having traveled the world from the MoMA in New York at the MoMAT in Tokyo, for the first time ever, Enolo is exhibited in the Marche region.
Purchased by Giancarlo Cossiri, owner of IFI srl and kindly lent to make this initiative possible, this monumental work is offered to the public as a synthesis of a multitude of artistic languages whose interpreters are Luca Agnani, Teatro Rebis, Maicol & Mirco, Silvio and Rodolfo Craia, Discodella, Paolo Marzocchi and Eugenio della Chiara. In the MI show there are classical concerts and artistic performances, installations, videomapping and dj set, free events and open to the public.
“This is the time of Hyperexpressionism”, explains David Miliozzi, “we live in a hyper-communicative society in which man feels more and more alone, a hypertextual society where it becomes impossible to decode messages, a hyper-technological society where information exceeds the capacity of interpretation. Nothing like art can help us to orient ourselves and give authentic form to life. Artistic expression, in all its forms, is the only engine that leads life towards the new”.
These exhibits are intended to bring the importance of the context, the landscape, back to the center of the artistic discourse.
Art is necessarily body art, in the digital age everything collapses and vanishes and the picture becomes the ring of memory in which Fosco Sileoni punches his own pain until it turns into knowledge and transfigures the existence, tears it apart, leaves traces, breathes the dust of the road and returns it through a skinny, explosive, polymatic, poor and dazzling painting.
Sign, color, gesture, word, are the epicenter of a perceptive earthquake in the era of hypermedias.
Fiorani wants to reconcile the irreconcilable: the instinct, always original, bestial and indomitable, with the form, necessarily defined. From this attempt to dominate Chaos the process develops towards the completion his work.
Exceptional response from the public and critics for Hyperexpressionism in Prague, at the Galerie Topičův salon, one of the most prestigious exhibition spaces in the Czech capital, which overlooks the National Theater.
After the great exhibition in Rome (2016) at Tevere Art Gallery, and after the presentation of “Manifesto Iperespressionista” in Macerata at Laboratorio 41 Art Gallery, the hyperexpressionist movement continues its international tour. The exhibition “Hyperexpressionism in Prague” concluded on October 13th at the Galerie Topičův Salon, and comes after the success of “Die Zeit der Hyperexpressionismus” in Berlin (see article), arousing a formidable
interest in one of the most important European capitals of contemporary art.
The exhibition, curated by the founder of Hyperexpressionism, the art critic and writer from Macerata, David Miliozzi, shows the last productions of the two Italian artists of the movement, roman Iacopo Maria Fiorani and Fosco Sileoni, from Tolentino, with the contribution of the documentary by the videomaker Roberto Nigi. The setting presents central points of the Manifesto, counts on 40 multi-material works, from mixed media on canvas to a painted wooden room divider.
Director of the Italian Institute of Culture in Prague, Giovanni Sciola, intervened and brought his greetings to the large audience present in the Gallery.
“We continue our journey towards originality” says Miliozzi. “We want to go back to the roots of art, to the questions that art has always placed on the human being. Art is an expression, and today it is overexpression, we want to get into the hyperexpressive cavern, recover the authenticity of artistic feeling to question the contemporaneity and its contradictions.
The semantic flow has exceeded our interpretative capacity, increasing neuroses and fears
We live in a hyper-communicative world, yet the human being feels alone, abandoned behind a keyboard; the text has become hypertext but we become more and more ignorant, emotional and linguistic illiterate, we are no longer able to decipher the messages of daily life, our inner voice is dominated by the buzz of irrelevance. Technology, hypertechnology have made us slaves, the semantic flow has exceeded our interpretative capacity, increasing neuroses and fears. The time has come to stop and reflect on the deep meaning of our being in the world: let’s take back our life through art, as our ancestors did, art has always been the instrument for understanding and questioning the world, our salvation. ”
We chose Prague because it is a magical and enchanting city, the symbol of the eternal regenerating prehistory of our civilization. Hyperexpressionism is rooted in prefigurative art, in the cave of sentiment, a metaphor of the painful contradictions that have marked the flesh of western mankind. Nothing like Franz Kafka’s luminous, painful, vital and tragic writing has expressed the paradoxes of our time. The Prague cemetery represents the stratification of history and memory, it is a monument to our consciousness. Prague is the city of Mozart, Einstein, Arcimbold, Klimt.
Let’s get rid of corrupt art systems and shut the door to commodification and let’s open to authenticity, to the expressive power, and the original feeling that must be the basis of every artistic gesture. This exhibition is the third European appointment with Hyperexpressionism. Topičův salon, the largest gallery in the center of Prague, will host us. Hyperexpressionism in Prague will open on September 20 at 6pm, citizenship is all invited to participate and share with us our sincere enthusiasm for this event. The exhibition curator, the artists, and the whole staff will be present.
Hyperexpressionists move past their own fears by throwing them on the canvas, convinced that understanding is not enough anymore, it is necessary to come back and feel. They contemplate the immensity contained in the impossibility of the accomplished work. Artists stare at the void (the canvas) and the void runs through the artists. They never reach the full artwork completion: void lives in between the process of creation, and the artist transfigures it in the artwork.
Looking back at the last century, body art has marked a moment of deep break with previous forms of expression. Body art succeeded in the attempt of being the language itself, not just the mean to convey the message. The body has come out of the painting and has turned into the vehicle to transmit the signs of expression. Even today, in the second decade of the third millennium, despite numerous attempts to mask and dematerialize the body, it remains our main mean of expression.
The body is increasingly hidden, anesthetized, virtualized, overwhelmed by an immense multitude of signs and messages scattered throughout digital devices retransmitting the always mutable flows of the Internet. It no longer makes sense to work directly on a body that is disappearing.
One of the challenges of contemporaneity is the recovery of the support, as a tangible sign of memory and time, as everything is quickly progressing towards the dissolution of matter
The expressive aspect remains central to the condition of contemporary man. In an attempt to paraphrase Cartesian: I express myself, so I am. Hyperpressionism is nothing more than a new perceptive approach to expression through the body. The hyperexpressionists claim the need to leave a mark on the traditional artistic support, the canvas, the metaphor of the lost physical daily life.
Digital culture compresses and dematerialises the products of expression, the painting on the canvas is back to be an essential testimony of the history of humanity. One of the challenges of contemporaneity is the recovery of the support, as a tangible sign of memory and time, as everything is quickly progressing towards the dissolution of matter. Hyperexpressionists are standing firmly and resisting to vanish into virtual worlds and software, which constitute the extinction of physical reality.
From vinyl to Spotify, the sound no longer leaves analog tracks on the support. From book to Kindle, the paper and the soft noise of the flipped page are disappearing. Art will no longer occupy a physical space, the life of every human being will be contained into usb sticks, the whole memory of the world compressed into a file. To this volatile and evanescent perspective, hyperexpressionist artists react by bringing the body at the center of the artistic question. The body leaves its fingerprints, persecutes us with its presence. With Hyperexpressionism, the body has come back into the painting, it has become a framework, or rather the painting has become a prosthesis of the artist’s body.
More than a group and beyond style and taste, Hyperexpressionism seems an open tendency to interrogate deep and lacerating contradictions of a contemporary world that hyper-expresses but leaves no trace.
The art of Fosco Sileoni was born in the cave of eternal prehistory, coming from the depths of the earth like the great earthquakes in 2016 that destroyed his house and laboratory; every gesture in his paintings is a telluric movement, the body of the artist lives in a daily and painful vital epicenter that destabilizes the faults of contemporaneity.
Artworks created by Iacopo Fiorani resemble wounded bodies on an operating theatre. The pain has become anxiety, life, existence. The artist wants to reconcile the irreconcilable: the instinct, always original, bestial and indomitable, with the form, necessarily defined. From this attempt to dominate Chaos the process develops towards the completion of the creation.
Everything begins from two canvas, the mother and the virgin one. The artist starts from an open sea idea, a scratch, and work is done by stripping, reworking and remixing it. The mother canvas is laid down as a dead body on the operating theatre. The other canvas is waiting in another room, waiting until the ritual is accomplished.
The artist remains standing, staring at the horizontal dead body, he feels the need to save it and to save himself. The artist chooses the materials for the operation: tubes of paint, alcohol, water, bandages. Then, he transfers his emotions on the canvas sprinkling it with signs and raw materials.
Chaos is the lifeblood of every hyperexpressionist work
The canvas, as a loving mother with children, absorbs everything. It welcomes pieces of paper that are laid over the color to leave new, other signs. A special paper, found after a long research, is laid down on the ground to be soaked with life. These sheets are accumulated, they fill the artist’s studio, following him in the process. They give him the breath to create possibilities into his mind. But also suffocate them too, because every choice excludes and removes. These sheets need time to dry out, to capture in an instant signs and flows that have been applied by the artist and by Chaos. Chaos is the lifeblood of every hyperexpressionist work.
Everything begins with it, a chromatic chaos of colors laid on the mother canvas, but also an inner emotional chaos, existential, that proceeds through the artistic creation to drive to the survival. The artist chooses colors, but has only a vague idea of the effect that will have on paper. Step by step there is a better awareness of the final accomplishment, everything now is clear: dried paper which has been assembled, glued and colored again with oil pastels. This is the most beautiful stage of the work, in which the artwork takes shape from the darkness and everything becomes clear.
The artist starts now to cut the various pieces of paper favoring his instinct. All these elements will be later glued on the other canvas, the virgin canvas, the canvas that finally comes out to become the final work.
Reconcile the instinct, always original, brutal and untamed, with the form, necessarily defined
There is something mysterious and magical at this stage. The two paintings, the mother and the virgin are a “Unicum”, they overlap without direct contact. The work becomes a stratification of psycho-emotional states.
Reconcile the instinct, always original, brutal and untamed, with the form, necessarily defined. Every object of the world is manifested through a form, each gesture is in search of its shape and, paradoxically, at the moment when it is found, in some way it dies. The artist try to combine the animal instinct with its own technical rules of shape.
From this contradictory sensation of domain of Chaos, the Work is developed. Throwing themselves on the canvas is equivalent to a continuous rebirth, is like “being thrown” back to the world for the first time.
Art of any time and space, is necessarily expressionist: the prehistoric graffiti as well as historical ones, Apollodorus, Pisano, Giotto, Masaccio, Titian were distinguished examples of Expressionism. El Greco, Gericault, Munch, Van Gogh and Soutine, just to name a few. The German fathers had first realized the need to scrupulously investigate the roots of art. Kirchner engraved Expressionist manifesto in 1906. He and his mates reacted to frivolities of the belle epoque to bring the attention back to the forgotten and hidden roots of mankind. Times have changed since then. The third industrial revolution has opened the doors to the post-human.
Today we live in a society that is “hyper” in every aspect, a society that hides its contradictions with the excess. Hyperexpressionism, which is feeling, first, and only then it turns into the movement, descends into our eternal prehistoric cave at the speed of light to query the algorithms on which our existential impulses are based. After all Hyperexpressionism, through the originality of his research, is nothing but the impetuous child who comes out and scream it loud “Olly olly oxen free!”
Berlin is the European capital of contemporary art, and right here in Berlin exactly 110 years ago German Expressionism developed. The reunion with the fathers of Expressionism was a necessary moment in the evolution of Hyperexpressionist artists. Time to get back to basics. The Retramp Gallery showed immediately a great enthusiasm in embracing our project, so much so that since March has given us the availability to accommodate our major exhibition in its spaces. The exhibition “Die Zeit des Hyperexpressionismus” opened July 12, 2016, with a large participation of the public and critics. There were two critics of Staatlich Museen zu Berlin, who were impressed by the setting up and the strength of the exhibit.
This is time for Hyperexpressionism, of exaggerations and contradictions: the “post ergo sum”. We chose Berlin, symbolically the cradle of modernity and of all its paradoxes, to mark the passing of the baton to a possible future of art characterized by originality and authenticity. The Retramp Gallery is located in Neukolln, a central district full of sociological and cultural influences. The term gentrification was born here, the appearence of the neighborhood is completely altered compared to a few years ago. The Hyperexpressionism in Berlin, represented by Fosco Sileoni and Iacopo Maria Fiorani, took the road of internationalization, thanks to the participation and contribution of two artists, Daniel Nagengast from Dusseldorf, and Olga Raciborwska from Warsaw. Hyperexpressionist wave is unstoppable and inexorable as time is passing by, feeding itself from history and memory.