WIND OF BULLSHIT

SELF-PORTRAIT

© Ivan Cangelosi, 2011- 2017

50X75 cm

Ink on paper

Technique – Handwriting of chapters 13-16 of the book “Individual Psychology” by Alfred Adler. German language

 

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SELF-PORTRAIT WITH PENS

© Ivan Cangelosi, 2011- 2017

50X80 cm

Ink on paper

Technique – Handwriting of chapters 9-12 of the book “Individual Psychology” by Alfred Adler. German language

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PORTRAIT OF ADRIANA FRANZA

© Ivan Cangelosi, 2017

35X70 cm

Ink on paper

Technique – Handwriting of the book “Pictor’s metamorphoses” by Hermann Hesse. German language

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ONCE UPON A TIME IN SICILY

(The story of a Songbird)

© Ivan Cangelosi, 2017

80X80 cm

Ink on paper

Technique – Handwriting of the book “The story of a Songbird” (original title “Storia di una capinera”) of Giovanni Verga.

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Selfportrait with passion flower

© Ivan Cangelosi, 2017

70X50 cm

Ink on paper

Technique – Handwriting of chapt. 5-9 of the book “Knowledge of Human Nature (Menschenkenntnis) by Alfred Adler. German language.

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Selfportrait with silver jacket

© Ivan Cangelosi, 2017

70X50 cm

Ink on paper

Technique – Handwriting of chapt. 1-4 of the book “Knowledge of Human Nature (Menschenkenntnis) by Alfred Adler. German language.

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Ecce Homo (Selfportrait)

© Ivan Cangelosi, 2017

73X50 cm

Ink on paper

Technique – Handwriting of pages 1-69 of the book “Ecce Homo” of Friedrich Nietzsche. German language.

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In the middle of the night

© Ivan Cangelosi, 2017

80X80 cm

Ink on paper

Technique – Handwriting of the whole book “Ecce Homo” of Friedrich Nietzsche. German language.

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One hundred years of solitude

© Ivan Cangelosi, 2017

170X120 cm

Ink on paper

Technique – Handwriting of the whole novel “One hundred years of solitude” of Gabriel Garcia Marquez (Spanish).

 

About the novel – “One hundred years of solitude” is a novel of the Colombian writer Gabriel Garcia Marquez (Nobel Prize for Literature in 1982). The book, written in 1967, tells the story of several generations of the Buendia family whose founder, José Arcadio Buendia, founds in the late nineteenth century, the town of Macondo. The novel is considered the most important work of Marquez; it has been translated into 37 languages and has sold, up to now, more than 20 million copies.

Description of the painting – This work is entitled “MAVILLE – The Moka Bar“. The word “MAVILLE” is actually a play on words, being obtained by the union of the French words “Ma” (my) and “Ville” (town). The subtitle “The Moka Bar” refers to a detail of the painting depicting a building (a bar) in the shape of an Italian coffee machine. I’ve decided to use this painting, or rather its preparatory drawing, depicting one of my imaginary town, to represent the village of Macondo which is also aprotagonist, in a certain sense, of the novel “One hundred years of solitude” of Gabriel Garcia Marquez.

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L’adresse contre van Gogh (The petition against van Gogh)

© Ivan Cangelosi, 2017

120X93 cm

Ink on paper

Technique – Handwriting of part of the correspondence between Vincent and Theo van Gogh (Arles). French language.

This work has been made through the handwriting of most of the correspondence between Vincent and Theo van Gogh during the Arles period. The subject of the painting refers to an event that happened to Vincent van Gogh after the famous episode of the cutting of his left ear. The inhabitants of Arles, in fact, decided to sign a petition to send Vincent away from his “Yellow House” and from the town.

Description of the painting – This painting shows the famous van Gogh painting “The Yellow House”. Here the yellow house is depicted in a frontal view. In front of the house there are people (the petitioners), a policeman and, in the corner, leaning against the wall, Vincent Van Gogh.

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Truth and Falsehood: the distortion of the meaning of the words in the written and spoken language

(The abuse of religious texts)

© Ivan Cangelosi, 2017

80X80 cm

Ink on paper

Technique – Handwriting of the Gospel According to Matthew (Italian).

 

The issue of the affirmation of the truth and the use of lies, in Policy as well as in the relationships between people, is the subject of philosophical investigation since the ancient Greeks. If, for example, for the German Jewish philosopher Hanna Arendt (1906-1975) “the truth has never been counted among the political virtues, and lies have always been regarded as justifiable tools in political affairs” (H. Arendt, Lying in Politics: Reflections on The Pentagon Papers), two centuries before, Immanuel Kant stated that “the truth is an unconditional obligation in front of the whole humanity, while the lie is a ruination for the whole society and its own foundation: those who lie abolish the society “

The decision of telling the truth or of lying, is always a moral choice. Those who lie manipulate reality, abuse language, making an improper and instrumental use of words; in other terms, and in the words of Immanuel Kant, who lies undermines society at its foundations, threatening peaceful coexistence between people.

About the painting– This work has only a symbolic meaning. It has been realized through a combination of semantic and asemantic (a writing that hasn’t a meaning). The semantic part of the work regards the text of the Gospel According to Matthew and constitutes the background in black of the work. The asemantic part instead, is represented by a creative writing, a convoluted and instinctive  “movement” of the silver color, which gives birth to a subject which depicts Christ on the cross.

In the context of the above-mentioned issue (Truth / Lie), the semantic writing, in this case the text of the Gospel According to Matthew, is “the truth”. The result of its manipulation and exploitation is the deformation of the semantic text into a writing, if you want an attractive one, but which has no meaning and, ultimately, which propagates a false message.

 

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