ANTONELLA CAPPUCCIO Il Gioco dell’Arte Galleria Accademie Roma
COMUNICATO STAMPA → A cura di Marco Bussagli e Francesco Ruggiero si inaugura a Roma, dopo un decennio di assenza, la Mostra personale dedicata all’Artista Antonella Cappuccio. In Mostra trenta Opere tratte da la Pittura di Carta, La Tempesta di Shakespeare e i Teatrini. L’Esposizione, articolato in due sezioni, si inaugura Venerdì 11 Marzo alle ore 18 nelle Sale Espositive della Galleria Accademie. Patrocinato dalla Regione Lazio l’evento, coordinato da Javier Stacchiotti, è presentato da Federazione Artisti. … L’articolata esposizione del percorso creativo di Antonella Cappuccio, testimonia Marco Bussagli, non sarebbe completa se non avessimo l’accortezza di richiamare l’attenzione su un altro aspetto della poetica dell’Artista. Mi riferisco all’impiego di quelle che mi diverto a chiamare tecniche non convenzionali, le quali sono una costante nel modus operandi nella sua produzione decennale … La voglia di sperimentare non ha mai abbandonato Antonella, come dimostra la scelta di utilizzare carte colorate per realizzare le sue Opere. Opere che abbiamo la possibilità di apprezzare in occasione di questa Mostra, mentre la prima produzione di queste ebbe la sua vetrina in una bella Mostra tenuta a Parigi nel Dicembre del 2016 e presentata da Cesare Biasini Selvaggi … Non si tratta di collage in senso stretto, quello che facevamo da ragazzini con il quadernino di fogli colorati. L’Artista d’Ischia possiede a studio cesti stipati da rotoli di sottili carte colorate che taglia con le mani e incolla con il vinavil sul supporto opportunamente preparato. Il risultato è di grande suggestione. Sulle Opere realizzate con questa tecnica, poi, la Pittrice opera col colore, a segnare ombre di personaggi che sono al di fuori del supporto dipinto, come se qualcuno fosse passato per sbaglio lì davanti e avesse lasciato traccia della sua presenza con l’ombra portata che si proietta lì sopra. Allora, Antonella con questo ulteriore intervento innesca un dialogo fra lo spazio interno del quadro e quello esterno ad esso, per cui lo spettatore, o il fruitore come si potrebbe dire con linguaggio forbito, si sente coinvolto in prima persona. In altri termini, chi guarda l’Opera viene, in certo senso, preso fra due fuochi narrativi, quello interno al quadro e quello esterno di cui l’Opera stessa porta traccia, in un percorso dinamico di grande intensità. Infatti, la suggestiva soluzione adottata dall’Artista, quando compare, finisce per rendere attuale il soggetto del quadro e virarne il senso in virtù di un’interpretazione secondo quell’ottica del quotidiano che sdrammatizza il tema rappresentato, talora, con un filo di bonaria ironia. Nella Pittura di Antonella, le scene si apparecchiano come il palcoscenico del teatro; solo che sulla tela restano ferme in attesa che lo sguardo dell’ammiratore di turno, complice e felice, vi si posi sopra per portarle a nuova vita, nella Anima di ciascuno. È questo il gioco della Pittura e quando la Pittura non basta più, allora, i personaggi possono uscire dalla cornice e conquistare lo spazio circostante. La virata della Pittura di Antonella verso il citazionismo, che, come abbiamo visto, si dipanò lungo varie e diversificate esperienze, ebbe il suo punto di snodo nell’adesione a quel movimento artistico noto con il nome di Nuova Maniera Italiana che si declinò anche secondo altre definizioni quali Citazionismo, appunto, o Ipermanierismo, Anacronismo e Pittura Colta. La locuzione, infatti, conteneva in sé tutti gli ismi che abbiamo appena citato, ma privi di quella sottile componente deteriore che, inevitabilmente, appartiene a simili termini e che, adesso, invece, venivano del tutto sopravanzati dall’idea rotonda e piena di Pittura fiorita alla luce dell’indicazione vasariana di maniera. Questa nuova corrente artistica gravitava intorno ai nomi di critici importanti come Italo Tomassoni, Maurizio Calvesi e perfino Giulio Carlo Argan che aveva, in parte, abbandonato i percorsi astrattisti degli anni Sessanta e Settanta. Tuttavia, la figura di spicco del movimento, colui che la forgiò nella sua completezza e ne curò la diffusione in Italia e anche in America, fu Giuseppe Gatt. Antonella declina i suoi amori, nel senso che recupera quelle Opere che la solleticano e le reinterpreta con i nuovi mezzi e modi linguistici che si è appena inventata. A seguire la seconda edizione della Mostra dedicata ai Teatrini e ai Disegni del ciclo La Tempesta di Shakespeare … È ciò che accade, ad esempio, con l’Annunciazione di Botticelli conservata agli Uffizi, quella che aveva già impiegato per il suo Primogenito con la tecnica delle pennellate di carta, adesso è diventata un teatrino con tanto di cornice da cui fuoriescono le ali dell’Arcangelo Gabriele che, felice, esibisce il velluto di quella veste botticelliana che Alessandro Filipepi mai avrebbe potuto immaginare nei termini con cui Antonella l’ha restituita. Di certo ne sarebbe stato felice e di certo avrebbe notato le sottili trame che la Pittrice di Ischia tesse con le sue citazioni-reinvenzioni. In questo modo, i rimandi e gli intrecci si moltiplicano e se il Candido di Voltaire, come si è visto, richiama Italo Calvino, si capisce perché un altro di questi sogni di gommapiuma, sia dedicato al Barone rampante, dove il giovane protagonista del romanzo, Cosimo Piovasco di Rondò, inizia alla lettura il bandito Gian de Brughi, con cui stringe amicizia, e lo indirizza, ovviamente, sulle pagine di Voltaire. In altri termini, Antonella dice più di quel che dipinge e una tecnica, se si vuole povera, come quella di fil di ferro e gommapiuma, finisce per amplificare l’argomento, tanto che i sogni si rincorrono in un gioco di sponda. Il che, però, non vuol dire che Antonella non possa, in certi casi, quando vuole, graffiare e criticare inserendo una riflessione polemica fra i suoi sogni, come con Operetta, ispirata al testo celebre di Bertolt Brecht intitolato L’Opera da tre soldi, ma resa attuale dalla presenza di alcune caricature di parlamentari italiani. Del resto, il risvolto politico dell’Arte è una costante di tutte le epoche, come sa bene Antonella che non ha potuto fare a meno d’inserire nella sua Galleria dei sogni Il bacio di Hayez ridotto a teatrino. Non è un segreto per nessuno che nelle tre versioni dal 1859 al 1861, al 1867, alludeva all’innamoramento fra Italia e il suo Popolo. Come si vede, le tecniche non convenzionali risultano particolarmente efficaci per reinventare l’Arte e aprire nuove strade alla Creatività. La Prima Edizione della Mostra si inaugura Venerdì 11 Marzo 2022 alle ore 18 nelle Sale Espositive della Galleria Accademie con l’esecuzione di Arie d’Opera interpretate da Salvina Maesano. L’Esposizione, modulata in due sezioni, rimarrà aperta tutti i giorni, esclusi i festivi, fino a Venerdì 8 Aprile 2022. Successivamente Giovedì 17 Marzo dalle ore 18.30, nella Sala Cinema di S.C.E.N.A. di Via degli Orti d’Alibert 1, verrà proiettato il Film sulla vita dell’Artista dal titolo Antonella Cappuccio Il Gioco dell’Arte, preceduto dalla presentazione di Marco Bussagli, Francesco Ruggiero, Laura Muccino e Margot Ruggiero che ne ha curato la regia. Sarà presente l’Artista. L’ingresso è libero nel rispetto delle condizioni di sicurezza indicate dalle vigenti Norme antiCovid. Disponibile in Mostra il Catalogo generale e la Monografilm DVD di Antonella Cappuccio
ANTONELLA CAPPUCCIO Il Gioco dell’Arte monografilm
ANTONELLA CAPPUCCIO Il Gioco dell’Arte comunicazione opere in mostra
ANTONELLA CAPPUCCIO Biografia narrata da sé medesima
Sono nata due volte: la prima, nell’isola di Ischia, governata dalla sempre mutevole, tenace costellazione dei Pesci, almeno per quelli che credono in queste cose. Quello che è certo, comunque, è che sono sempre stata pronta a cadere in tentazione, nel bene e nel male. Alla fine ho scelto il bene. La seconda volta sono nata diciassette anni più tardi, a Roma, nella casa Cecchi. Per un lungo periodo ho studiato con Maria Baroni e Dario Cecchi, entrambi costumisti designers, ed è a loro che devo la mia formazione artistica e culturale. Dario era anche Scenografo, Pittore e Scrittore. Loro sono stati i miei primi Maestri d’Arte e con loro ho iniziato a lavorare per il cinema e il teatro. Inizialmente come assistente, in seguito, all’età di ventitrè anni, come costumista designer. Ho avuto la fortuna di lavorare con la creme del Teatro italiano, da Pierluigi Pizzi a Danilo Donati, da Maria De Matteis a Ezio Frigerio, Luigi Squarzina, Daniele D’Anza fino a Orazio Costa, Edmo Fenoglio, Silverio Blasi, Giulio Majano, Lina Wertmuller, Paolo Poli. Poli venne, in incognito, alla mia prima Mostra, solamente per discutere, nel suo solito modo gentile, con Goffredo Parise sulla mia Opera ispirata a Botticelli. Questo dipinto, in omaggio all’antico adagio, fu incidentalmente venduto ad una terza persona: Idalberto Fei. Contemporaneamente, insieme alla mia passione per il costume teatrale, a poco a poco, nasceva il mio amore per la Pittura. In questo settore, Dario Cecchi si rivelò un inestimabile e indimenticabile insegnante, guidandomi in un attento e profondo studio di Mantegna, Botticelli, Raffaello, Bellini, da cui ho sviluppato la tecnica del tratteggio e fui iniziata ai segreti della sezione aurea. Ho iniziato a esporre nel 1976. Dopo sei anni di bigamia artistica ho detto addio ai costumi. Dal 1985 al 1994 ho fatto parte del movimento chiamato Nuova Maniera Italiana. Solo nel 1994, quando il desiderio di solitudine e di una ricerca più personale prevalsero sullo spirito di gruppo, ho continuato la mia strada, da sola. Due anni più tardi ho iniziato a lavorare su un tema, una serie di Opere basate sui costumi teatrali. E così, passando di scena in scena, di incanto in incanto, seguendo gli inevitabili sentieri che sono la ricchezza, e anche la seduzione di coloro che lavorano creativamente, ho trovato me stessa al centro del Labirinto. La Pittura sacra: una difficile e delicata prova, una circostanza che, in ogni mito, richiede un Grande Aiuto, una mano guida. E questo mi arrivò nelle sembianze raffinate, per spirito e arte, di Monsignor Paolo De Nicolò. Se mai ho ricevuto un talento, e di quale portata non sta a me dirlo, io non posso far altro che ringraziare. Ciò che posso dire riguardo questo dono è che l’ho coltivato, minuto per minuto, con una tenacia e una passione paragonabile ad una eterna ossessione.
ANTONELLA CAPPUCCIO principali mostre personali
1976
Galleria Sirio Roma Un’assenza quotidiana testo di Dacia Maraini
1978
Galleria Sirio Roma Disegni testo Dario Cecchi
1979
Libreria Remo Croce Roma Da un nome ad un altro nome omaggio ad Andrea Mantenga presentazione cartella 5 incisioni testi di Mario Lunetta, Antonio Natale Rossi
1980
Galleria Arte Club Catania Da un nome ad un altro nome omaggio ad Andrea Mantenga testi Dario Cecchi, Mino Rosi
1981
Casa del Mantenga Mantova Da un nome ad un altro nome omaggio ad Andrea Mantenga testi Dario Cecchi, Mino Rosi
1982
Chiostro delle Oblate Firenze Dopo la Primavera omaggio a Sandro Botticelli testi Vanni Roncisvalle, Dario Cecchi
1982
Galleria Artenciel Roma Dopo la Primavera omaggio a Sandro Botticelli testi di Vanni Roncisvalle, Dario Cecchi
1985
Studio d’Arte Fraticelli Roma Nuova Maniera Italiana testi di Giuseppe Gatt e Sergio Guarino
1986
Mostra Antologica al Museè d’Art Contemporain a Chamalieres, a Prierè de Montverdun e a Saint Eienne Francia
1987
Sagrato del Duomo Milano Orpheus testo di Lorenzo Ostuni
1988
Consolato Generale d’Italia Lyon France Orpheus testo di Lorenzo Ostuni
1990
Galleria Agorà Palermo De Bello Italico testi di Giuseppe Gatt, Ivana D’Agostino, Sergio Guarino, Domenico Guzzi, Fabrizio Lemme, Katriona Munte, Lorenzo Ostuni, Claudio Strinati
1991
Castello Aragonese Ischia NA Dipinti Neo manieristi testi di Giuseppe Gatt e Sergio Guarino
1994
Complesso Monumentale Santa Maria della Pace Napoli Dipinti ad olio Neo manieristi testi di Giuseppe Gatt, Sergio Guarino, Giorgio Tempesti, Italo Tommasoni
1995
Museo Italo Americano San Francisco Le Chimere testi di Katriona Munte, Lorenzo Ostuni, Vito Apuleio
1998
Palazzo Ducale di Mantova Amor del Sacro e Amor del Profano testi di Rossana Boscaglia, Duccio Trombadori, Mario Carlini, Ginluigi Mattia, Monsignore Paolo de Nicolò, Idalberto Fei
1999
Accademia Nazionale di Costume Roma Amor del Sacro e Amor del Profano testi di Rossana Boscaglia, Duccio Trombadori, Mario Carlini, Gianluigi Mattia, Monsignore Paolo de Nicolò, Idalberto Fei
2002
Museo Nazionale di Castel Sant’Angelo Roma Mostra Antologica 1995-2002 Se una mattina camminando testi di Claudio Strinati, Giorgio di Genova, Duccio Trombadori, Maria Paola Langerano, Idalberto Fei.
2004
Galleria Nazionale d’Arte Moderna Roma Cruciverba testo di Idalberto Fei
2005
Museo d’Arte delle Generazioni Italiane del ‘900 Giulio Bargellini Pieve di Cento BO testi di Giorgio di Genova, Guglielmo Gigliotti
2006
Pubblicazione del libro Corpo incredulo disegni e gouaches su perspex testo di Maria Paola Langerano
2007
Enigma-mistica Galleria L’Archimede di Lucio Mucciaccia Roma
Palazzo Venezia Roma Giochi d’Arte testi di Carlo Fabrizio Carli, Ivana D’Agostino, Carla Vangelista, Luca di Fulvio, Lorenzo Ostuni, Claudio Strinati
2009
The Art of Antonella Cappuccio: contemporary italian paintings New Haven USA Knights of Columbus Museum
ANTONELLA CAPPUCCIO principali mostre collettive
1979
Disegni Galleria Charlton Roma testo di Dario Cecchi.
Palazzo dell’Arte Milano testo di Mario De Micheli
1980
Galleria Ferro di Cavallo Roma testo di Mario Lunetta
Assegnazione Premio Fiorino d’oro Abbazia San Zeno Pisa testo di Mino Rosi.
Chateau Sarriod de Latour Aosta Omaggio a Leonardo testo di Mario De Micheli
1982
Museo di Bilbao Spagna Arteder testo di Mario de Micheli
1983
XXVI Premio Michetti Francavilla a Mare testo di Marcello Venturoli
1984
Palazzo Barberini Roma Raffaello e la Sezione Aurea testo di Giorgio di Genova.
La macchina della memoria omaggio a Giordano Bruno Convento Occupato Palazzo Rivaldi Roma
Chiesa di San Paolo e Palazzo del Buon Gesù Macerata e Fabriano I Riflessivi testo Giorgio di Genova
1986
XI Quadriennale d’Arte di Roma Palazzo dell’Arte Eur
Triennale d’Arte Sacra Celano AQ
Cinque pittori, cinque tendenze Osimo AN
Galleria Apollodoro Roma Lo Studiolo di Francesco dei Medici
1987
Biennale d’Arte Sacra Venezia
Palazzo Oliva Sassoferato Ancona Omaggio a Bartolo di Sassoferrato
Premio Ibla Mediterraneo Modica RG
1988
Palazzo Strozzi Firenze Il Museo dei Musei testi di Federico Zeri, Umberto Eco e Aldo Rostagno
Galleria Mayer Schwarz Los Angeles Rodeo Drive Usa testi di Giuseppe Gatt, Sergio Guarino, Giorgio Tempesti, Italo Tommasoni.
1989
Museo Nacional de Belas Artes Rio de Janeiro
1990
Museo del Vettoriale Roma Battaglie di Maniera
1993
Koplin Gallery Los Angeles Usa testi di Ebria Feinblat, Giuseppe Gatt
1996
Rassegna nazionale di Pittura Colta Abbazia Olivetana Rodengo Saiano BR
XXIV Premio Aldo Roncaglia San Felice sul Panaro MO
2001
Museo d’Arte Contemporanea Ostenda Belgio Beetween Heart and Heaven testo di Edward Lucie Smith
Rassegna d’Arte Contemporanea Sulmona L’Aquila
XXVII Premio Aldo Roncaglia San Felice sul Panaro MO
2006
Museo Nazionale di Castel Sant’Angelo Roma Angeli e Angeli testo di Claudio Strinati.
2010
Isola del Gran Sasso Teramo Italia Biennale d’Arte Sacra Le Beatitudini
2022
Il Gioco dell’Arte Galleria Accademie Roma
Presentazione e proiezione del Film Antonella Cappuccio Il Gioco dell’Arte Sala Cinema S.C.E.N.A. di Roma realizzato e montato da Margot Ruggiero
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