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TEXTS - Art in Calabria

The past as a building material

for this

In Piedmont a few years ago, two entrepreneurs have restored a small chapel desecrated and to decorate it, they called two artists, the American and English Sol LeWitt David Tremlett. Like other secular chapels restored for use, such as that of Rothko in Texas and those of Cocteau - Picasso and Matisse in the Riviera, the Madonna delle Grazie Brunate is a model for those who want to recover abandoned buildings. We are not interested the technical details and artistic restoration. We are attracted rather by the motivations that led the brothers to choose Ceretto contemporary art to honor the land that gave them the wealth. We hypothesize a similar story in the South and caliamola, paradigmatically, in fact thrived. Assuming that there are no external obstacles, we must conclude that there are internal problems, whose nature is as complex as obscure to decipher. Frankly do not understand why entrepreneurs who were able to put on so efficient businesses, proving to be in line with most competitive models, when they should leave a sign of their presence, which is not only power el'esibizione of their economic success, well, show absences and omissions. In their own, absolute unselfishness and masochistic. Because if it is true that the past is a set of events, stories and material - which contains everything we need to imagine and develop our future - just in that area must take action to recover the intangible assets on which to build the fortunes of the third millennium: the owner of the family palace in Vibo, Caulonia or a. .. be warned! The stop to build a skeleton of 4 floors. Restoration the palace, honors his homeland and his past!

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TEXTS - Horizons aesthetic

Faces of Beauty
Bruno Forte, the introduction of his paper The door of Beauty - For theological aesthetics (Brescia, Morcelliana Editrice, 1999. Citations p. 8, 12, 27, 47, 53, 76, 142) says: "Approaching this unique contribution to the meditation on beauty, without being exhaustive, due to partial approaches distributed in time and relationships between time, is the purpose of this book. It does not repeat the history of aesthetics or a theory general it could be said from this modern form of discipline, but explores other paths, the contribution those deep, though often not clear, the concept of theological reflection and the experience of beauty.

Augustine, Thomas , Kierkegaard, Dostoevsky, Evdokimov, von Balthasar as many voices will be summoned to testify that contribution, to be able to - that will emerge into the light - Groped interpretations of the events of the beauty that can offer in music, film, poetry, to show - 'in limine' - the mysterious bond that unites the latest beauty, quiet threshold, where there more than ever the boundary question to be crossed from one side and they open the swing doors of Beauty ...". Based on this assumption, strong traces of an X-ray varied faces of beauty, in part because it bears a theological vision but also really intriguing. Unfortunately, we are in trouble - harassed by a drastic shortage of space - and we just have to list this time, not being able to draw on the themes introduced by the authors cited.

Augustine: "Ask yourself what attracts you in the physical pleasure and you will find that it is not nothing but harmony: while that which is in contrast produces pain that is in harmony produces pleasure and watched ... I saw that in human body and therefore everything else is the beautiful, what else should because it is well suited to something else, like a body part to his universe, or a shoe to the foot. "

Thomas meditates on the beauty and "therefore combined the Greek soul, with his anxiety to combine multiple depths of the bulkhead by analogy shape, Jewish-Christian soul, with its faith in the living God, who breaks down in history as light in darkness, and devouring fire. "

Kierkegaard overcomes the aesthetic ethics ( aut - aut with liberating decision) until leap of faith: "Only the truth is the truth that builds for you. That is, the truth is inwardness, inwardness of existence ... Ethics in the determination. "

Dostoevsky reveals the ambiguous nature of her conception:" Beauty should be reserved only for what is true, good and true, and in a sense is just that - but undeniably disturbing is the other aspect of beauty, according to which it is not so, and it can shine even in evil, in chaos, indifference or even stupidity. "

Von Balthasar insists that beauty now lost: "In a world without beauty ... even the good has lost its appeal, the evidence of his having to be fulfilled ... In a world that does not believe in its capacity to express beauty, the arguments in favor of truth have exhausted their power of logical conclusion. "Evdokimov, metaphysical divine light, outlines the categories of aesthetics:" The power of love God contains the Universe and Chaos is the Cosmos, Beauty. Normally, every living thing has tended towards the Sun of Divine Beauty ... In essence, man is created with the thirst for beauty, he is thirsty because this 'image of God'. "Forte for music and cinema are two languages \u200b\u200bthat can be mediation for transcendence, vehicle coded aesthetic forms. In Luzi's poetry is the beauty of the coexistence of life and death, rupture and peace. Strong final chapter approaches the limit and ends his essay by writing "The beauty of this is passing the threshold towards opening up the horizons of beauty that does not passes. The All is offered in the fragment, the fragment is open to the whole through the door Beauty of ...".

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TEXTS - Fluctuating Ideas of Taste

Analysis of Beauty
In 1745 the English painter William Hogarth public on the title of a collection of engravings and a portrait at the bottom asks you a palette with a line drawn above, determined in vivid The Line of Beauty and Grace . It 's a provocation that raises much debate in the art of the time. To crush the opposition and convince the doubters Hogarth in 1753 public L 'Analysis of Beauty - Written with the intention of fixing the fluctuating ideas of taste (The issue is examined the Italian by C. Maria Laudando, showcasing Laura Di Michele, Palermo, Aesthetica Edizioni, 1999. Citations p. 45, 51). The Line of Beauty is inserted into a pyramid, where the main element of a system based on an idea very special: the static symmetric conformers, imitators and copyists of ancient art, is contrasted with the dialectical tensions of movement and 'elegantly curved. After a preface explaining the matter in question, Hogarth in the introduction states, "now presents to the public a short essay, accompanied by two illustrative plates, in which I will endeavor to show what are the principles in nature that we tend to call the forms of some bodies beautiful, others ugly ones ... And I have no doubt that the tables will be examined with equal care, when you realize that this essay discusses one by one almost all the figures (however eccentric they may seem their provisions) "and concludes" I shall proceed to consider the principles fundamental, which, as it is generally agreed, give elegance and beauty, if properly combined, any type of composition, and to explain to my readers the specific strengths of each, those in the natural and artistic compositions that seem to succeed more highly attractive and intriguing to the eye and give the grace and beauty that are the subject of this research. These principles are the convenience, the variety , the 'uniformity the simplicity, the' tangle and size, all of which contribute to the production of beauty, correcting and moderating each other depending of cases. "

Hogarth Squaderno diligently these basic principles in the first part of its analysis and, in the second, discussing the lines ; of which parts and how it shapes up pretty ; of composition with The undulating line ; composition of the serpentine line ; Proportion of ; of light and of ' shadow and how they reveal the objects to the eye ; composition of relatively light, shadow and color ; give the color ; the face ; of poses ; 's action. We will not go much into the details of this amazing book. A handbook - shaped maze - to learn to see beauty wherever it occurs. A wealth of intelligent and curious found to guide the reader through an almost phenomenological research on perception and vision of reality. Back in reference to the two illustrative tables, William Hogarth, with rules simple and clear in the first instance, it outlines all aspects of his theoretical analysis on the beauty shakes the dusty academic certainties and established his aesthetic do messy and vital to the flow of London life of its time, expanding its rules to the new demands of the bourgeoisie.

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TEXTS - The price of a work of art is its value

artists, money and honor
Picasso seems to have been the most prolific and richest artist of all time, and its assets - when he died in 1973 at the age of ninety-one years - included an extraordinary body of work: 1885 paintings 1,228 sculptures, 7,089 drawings, 30,000 prints, 150 sketchbooks, 3222 works in ceramics, along with two castles, three houses, 4 and a half million dollars in cash, one million 400 thousand U.S. dollars in gold, stocks and bonds for 24 million dollars. It also seems that Picasso, having achieved economic prosperity, had made a particular habit to always carry large sums of cash: it gave him great confidence. Discussing art with a collector - and now collectors are the real critics in the deepest sense of the word - I happened to mention Picasso and his artistic and human history. Money is at the heart of discriminating criticism. The collector is true that when a says "like" is followed immediately by a direct action, that is ready to pay the price of his trial. It 's like playing poker, when you say "see" you have to put money on the table. Money is very important for artists, because artists are not particularly greedy, but because the money has meaning internal alchemy. If you read the letters of artists, Michelangelo, Raphael, Titian, De Chirico, often talk about money. We think the American Andy Warhol. His philosophy was based on the assumption: "I started as a commercial artist and I want to end up as an artist manager." Which is what he did, but not without having slipped, between his career a commercial artist in the fifties and in the intermediary of the cultural industry in the seventies, a profitable and viable career as an artist. Warhol had a dream about his personal wealth: he wanted to walk down the street and hear someone whisper: "Here is the richest person in the world." The equation of Joseph Beuys creativity = capital was interpreted by Warhol on the contrary, as Marx did when on the other hand, taking the capitalist point of view, he wrote in his manuscripts of 1844: "Through its role in mediating the money is 'unique creative force. " And again: "This means that money is available to me, what I can pay, what that money can buy, that is myself. The characteristics of money are my own and my strength essential characteristics, that are the essential characteristics and strengths of its owner. What I am and I can not therefore in no way determined by my individuality ... I am a fool, but money is the true understanding of all things, and then as its owner might be stupid "?

Marx is definitely out of fashion, but his remarks are still useful to give an explanation to the that once the art had a value and a price, but now the price of a work of art has become his value. In fact, this planning of the market so that works of art are treated as money is what is old. Rembrandt began to do so, but rather than greed or need, this was a clear strategy to get more freedom with their market value with the honor and the favor of the powerful. He sought the honor of honors not in the sense that others could give, but in the sense of what art could give, the value that his own art was created, and this was quantified in money. Rembrandt had no money and always willing to promise paintings or engravings in payment of its debts. It appears that some clients come to the conclusion that one way to ensure the delivery of work was put between Rembrandt their debtors. A value of its artistic merits, so as to bring together paintings and money with an abstract quality: as in itself was nothing, the money - then as now - was accepted as a representation of the value. And this nearly aestheticized it, then as always.

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TEXTS - direct relationship with artists

Neocollezionisti and Art Market

In Italy everyone involved in art, no rules. Just a brokerage license or any cultural association. Besides the 400 galleries of modern art, with all the necessary requirements, there are at least three times that they are outlaws. And beyond the 3000 actors, who will be the improvised gallery? Many, and too many for a market that is increasingly fragmented and polluted. There are many auction houses, but the players in this market are the public museums and major collectors: these, having gained the know how to move in the environment, constitute a separate category.
What can be done then an amateur to buy a work of contemporary art, such as wanting to invest $ 20,000? Ignoring that "painful" and "unsafe" some solutions, such as teleshopping and mail order, the aspiring collector can enjoy two more chances. The first: go to a gallery and buy any there the work. But what gallery? Certainly not one that stretches the Masters, because they cost millions, nor one that deals with cutting-edge artists, because for this kind of art requires a specific skill. But soon after there is another thorny issue: the reliability of the tunnel located. And if the warranty work is false and $ 20,000 were turned into a scab? And if the market value of the artist was artificially inflated by the dealer? These are some of the risks that the amateur racing, but all at your own detriment. The second possibility: starting to attend the artist's studio is chosen, both the critic and galleries in which the artist himself refers. The lover thus eliminates some of the stages of intermediation and also prevents speculators and counterfeiters. And, by paying directly the price of the work that he has fulfilled his desire to neocollezionista, recognizing also the transparency with fair market value.

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LAW - Law 717 (with additions) of 29/7/1949

Art will adorn buildings still
public interest?
Law n.717 (+ supplements) of 29 July 1949 provides that the various government departments (and hence also the municipalities) that shall undertake the construction of new public buildings must be allocated to landscaping by means of them works of art there at least 2% of the total expenditure envisaged in the project. The legislature's intention was to improve the aesthetic quality of new public buildings, while enhancing the local arts and crafts related to the creation of works of art. This is a state law - still in force - and almost always rejected. The reasons for this refusal are to be found in the bureaucratic complexities and elaborate composition of the jury, surreptitiously buried in the depths of the "Palace" for the benefit of professional inertia relaying. A few years ago in the national opened a lively debate to rewrite the law in question, even to align with similar laws in Europe. 2% of the total expenditure is no small matter, such as enumerating all public buildings built in Calabria since 1949. Perhaps - from a certain point of view - it was better not to "ab-belle" certain buildings: the gap between the ugliness of the construction and decoration (more or less artistic) would have better highlighted the responsibilities of government that have made foolish the territory Regional.

Law 717 of 29 July 1949 + additions

(1) I. The government of the State, with autonomous status, as well as Regions, provinces, municipalities and other public bodies, which shall undertake the construction of new public buildings and reconstruction of public buildings destroyed as a result of war, they must devote to landscaping by means of works of art a share not less than 2% of the total expenditure envisaged in the project. (2) The designs of buildings under this Act must contain an estimate of such works of art and the computation of the amount. (3) Where buildings are carried out for separate lots and even at different times, for the purposes of this Act shall have regard to the total expenditure envisaged in the project. (3) Are excluded from this requirement as construction and reconstruction of buildings for industrial or housing, and buildings for any use, it imports a charge no more than 50 million (currently the figure is €). to form the share of 2% does not contribute the sums which may have been provided for general decorative work. If the project does not include architectural site in the execution of works of art of painting and sculpture, 2% will go above and authorizes the purchase of works of art furniture, painting and sculpture, incorporating interior decoration. (3 / a)

II. The choice of artists to perform works of art in the article above, will be made by the Directors in whose budget the expenditure burden, in competition with the designer of the building and the superintendent of the Galleries, responsible for the area, or designated by an artist. If the total value of works of art to be performed more than 2 million pounds, the Directors shall award through a national competition. It must in that case shall be constituted a Selection Committee composed of: 1) four representatives of the authorities concerned, including at least one must be an artist or critic of art, among which will elect the President of the Commission, 2) the superintendent of galleries and designer responsible for the area of \u200b\u200bconstruction, 3) three representatives of the painters and sculptors, who are appointed by the Ministry of Education appointed by the trade unions category of a national and more representative. (4)

IIa. In testing operations of buildings covered by this law, the inspector will check, on his personal responsibility to fulfill their obligations under art. 1. In the construction defect should be ruled out of the proven until the above obligations have been fulfilled or the Directors in default has paid the sum for the missing works increased by 5% to the galleries to the Department responsible for the area, which replaces the Directors concerned to fulfill their legal obligations . (5)

III. On amounts for the works of figurative art, in the first paragraph of art. And after an outstanding regular testing and clearance by the competent Superintendent galleries, performing artists will be held 2% in favor of the National Fund for assistance Fine Arts established by the Law of 25 May 1936, No 1216. This deduction is also applied on the monies used to buy and order in the last paragraph of Article. 1. The payment to the National Fund for assistance will be made directly by the fine arts on a budget bears the expense of building or rebuilding.

IV. E 'repealed the law 11 May 1942, No 839. NOTE: (1) Published in the Official Gazette of October 14, 1949, No 237. (2) Paragraph replaced by art. 1, Act March 3, 1960, No 237. (3) Paragraph added by Article. 2, Act March 3, 1960, No 237. (3 / a) for the partial repeal of the provisions contained in this art. 1, see art. 9, leg-ge 5 August 1975, No 412, found under Public Education: General Provisions and the Legislative Decree of 23 December 1978 No 817, heading back to public education: staff. (4) Article replaced by art. 3, Act March 3, 1960, No 237. (5) Article added by art. 4, Act March 3, 1960, No 237.

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TEXTS - Integrating art collective

The role of the artist in the city
In recent decades the city has gradually lost its place of peaceful co-existence for almost become an uncontrolled landfill waste selfish. The squares and streets are the scene of violent aesthetic assemblages, irreconcilable: the facades of the houses show the selfishness of those who have them, built them and they were designed, public gardens express the selfishness of the gardeners, paving the municipal clerk of the technical, the tapes of the official of the gas company for assistance, and so on. So what can the artist? Certainly, do not add to his many self-interests, which would be well qualified professionally, and even perform in arbitrary locations of sculptures, pseudofontane or piles of junk art. The city has always been a collective work with a rule precise integration. The role of the artist is a defined role, should not be reinvented, and only resumed full political acceptance. The artist must not add, to remove, to discern and cull. The city is full of useless things and the artist must strive to eliminate them. Must plan carefully, more to refrain from that act in first person and, if he decides to do so, must use lightweight, caution and respect for the fundamental values \u200b\u200bof human life and for the exclusive benefit of the city. Art in public places takes charge of its greatest responsibility as well to remember, it is proper to its old nature. For age-old tradition the artist has contributed to the construction of the city, has shaped, it has established artistic values, thus consolidating instances of individuals. But it will be possible for geometrasti, and the ragionieranti architettucci - once and for all - renounce the selfishness of which are impregnated and spill over into what they consider to be art but instead is nothing but vulgar, wretched vanity?

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BRIEF BIOGRAPHY AND EXTENDED

short biography
1945 - Filippo Maria Patella was born in Gioia del Colle.
1959-62 - began to draw and paint, in
influences and informal area which will be
theoretically the starting-point of his research.
- Classical High School, a focus on Greek culture and art.
1963-72 - began his university studies and humanities
artistic activity is a pattern.
- Participate in the activities of the student movement.
- began to study Sanskrit, Indian Philosophy
and psychological problems of the mandala.
- approach to photography, he began painting in research on the mandala.
1973 - Graduated in Modern Literature with a thesis on experimental
ancient Indian philosophy ( Prana and Pranayama:
Theoretical and practical aspects of breathing in yoga, Indian ).
1974 - began making monotypes charts
Indian ink on paper, representing a synthesis of informal tachisme
and action painting: Enjoy long-techniques and materials.
- He goes to the intaglio printing.
1975-76 - Start to make a mandala annual chart.
created with the techniques chalcographic different.
- Participation in group shows in graphics and painting.
- Tools his photo lab.
1977 - The second edition of Graphic Design + Travelling Seminars
intaglio techniques and Gioia del Colle, Bari,
with operational measures.
- Presence Expo Arte Bari, operational measures.
- "Homage to Rauschenberg " Pinacoteca Provinciale di Bari,
operational actions.
- Stay in Ravenna and began studying modern mosaic.
- Presentation of the graphics folder "Time Operating ...
Rauschenberg who? "At the headquarters of the publishing house
New Italy in Bari
- multimedia performance entitled" Mandala "
at the studio of photographer Bruno del Monaco in Bari
1978 - Participation in collective (Expo Arte Bari).
- Narrow the study of modern mosaic in Ravenna.
- Build a wall mosaic on the life of Simone Weil .
1979 - began making the mandala mosaic.
- Opening Graphics Workshop The Square at Gioia del Colle.
- Participation in group 2 graphics.
- ITALY OUR He joined the Association and begins
commitment to the protection and preservation of cultural heritage.
1980-84 - is devoted almost exclusively to experiment
techniques and materials for the mosaic.
- Make a sundial large mosaic.
- Work in workshops to design and build
handmade wooden and wrought iron.
1985-87 - Opens in Gioia del Colle, the Patella Philip Studio, which includes
the Graphics Workshop THE SQUARE,
a Technology Laboratory of the mosaic
and a design studio environment .
- It is the consulting firm Decorative DELFI.
- Stages on the screen and on stained glass.
1988-89 - Design and construction of mandala mosaic .
- Staff anthology " Works 1975-1989 study.
- founded and chaired the Section of Our Italy Gioia del Colle.
1990-1992 - Experience audiovisual materials and computer.
- founded and directed Joha (Journal of Environment and Territory Arts)
with additional inner section of our Italy.
1993-1994 - Design architectural structures.
1995-96 - 2 Personal anthologies.
1997 - Moved in Calabria.
1998 - founded and directed ART GM (magazine Graphic Art Mosaic)
with inserts of the Regional Council of Calabria Italy Nostra.
- It is the firm MOSAITEC (Mosaic Technologies).
- Participate in the Group FEE.
- Murex Art - Biennial Murgia, Castellaneta.
1999 - Participation with Mandala mosaic wall
the exhibition "Walking valuable for the Third Millennium"
in Crotone, organized by the goldsmith Gerardo Sacco
to promote all the excellent craft Calabrian
and encourage the 'attention to the decorative arts.
2000 - Directs the publisher MEDIARTGM ,
specializes in limited editions on topics related to Calabria,
art environment. Together with the Graphic Workshop SQUARE
organizes the publication of typographic printing limited edition
concerning the architectural heritage of Locri.
- is the study MEDIARTS (Decorative Arts).
2001 - Together with the publisher Rosalba Romeo is Avamar
MEDIARTGM Anthropological Archive Video, for the purpose
priority cataloging audiovisual materials relating to the Heritage
Etnodemologico Italian and European
in particularly in Calabria and the district of Locri.
2002-2005 - dedicate themselves fully to the acquisition of materials
for Audiovisual Heritage Etnodemologici of Calabria,
viewing field events and directing the shoot.
- Participates in the establishment of the 'Ritual Observatory
Devotional and penitential .
- collaborate in the formation of Catalogs and Collections
Visual on St. Roch of Montpellier.
2006-2008 - With audio-visual material present in Avamar
works directly to the establishment of AVAdeC
Video Anthropological Archives of Calabria (divided
itself in provincial archives and / or area).
- Directs IRAMIC - Regional Institute
Archives Memory and Identity of Calabria, set up with independent financial resources from
MEDIARTGM with the primary goal of preserving and safeguarding
in Audiovisual Archives - PHOTOGRAPHY -
SOUND - PAPER Cultural Heritage, the historical memory
anthropological identity of Calabria.
2009 - contributing to the formation of the Archives AREICAL
- Religious Iconographic Archive Calabrese - in order to collect and store
printed materials relating to religious iconography of Calabria.

extended biography
1945 - Filippo Maria Patella was born in Gioia del Colle.
1959-62 - began to draw and paint.
Narrow painting activity in the informal influences and the material, which will theoretically point-base of its research.
- Classical High School, a focus on Greek culture and art.
1963-67 - began his university studies and humanities
artistic activity is a pattern.
- Participate in the activities of the student movement.
1968 - Group exhibition of paintings at the Pro Loco
Acquaviva delle Fonti. (CATALOGUE BY ... "An alternate
of colors and optical vision and a personal way of interpreting
reality using colors that have a precise meaning.
Us a new form of color symbolism " ...).
-72 1969 - Began studying Sanskrit, Indian Philosophy
and psychological problems of the mandala .
- approach to photography, he began painting in research on mandala.
1973 - Graduated in Modern Literature
with a thesis on ancient Indian philosophy
( Prana and Pranayama theoretical and practical aspects of breathing
Indian yoga).
1974 - began making monotypes charts
Indian ink on paper, representing a synthesis of informal tachisme
and action painting : Enjoy long-techniques and materials.
- He goes to the intaglio printing.
1975 - The second edition of International Art Expo East
(in painting) to Bari
- Collective Graphic at the Gallery N. Piccinni of Bari
1976 - It starts to make a mandala graph Annual
chalcographic created with different techniques.
- Collective painting at the Gallery of Aetolia Castellaneta.
- to help in the Printer's Column Bari
stages experimental intaglio.
- Participation in the painting prize "Walnut Golden Walnut .
(from Factsheets ... "His landscapes by creating the world, its storms are a new dimension in patches of color splashed on an idea, where the use of color becomes a means for research of matter. " ..).
- Staff of graphics at the Art Center of Bari
Demeter - Collective Graphic at the Gallery N. Piccinni of Bari
- First Staff paintings and graphics at the Pro Loco
of Gioia del Colle.
- Make a folder of graphics "A Naples as well."
(PRESENTATION Mimmo Avellis ... "Patella re-read" Old Napoli "in this perspective, sociological and set aside for a bit of matter and informal aesthetic experiences to extrapolate from a pictorial summary is representative of a collapse, the Naples today, the same symbol of the collapse of all the South I think this is the key to the six etchings in this folder. In Patella acted desire to analyze a company with intent not endangered by moralistic nostalgia of the good weather old, but with the certainty that failures, the destruction of Naples, the architecture of a lot of the most beautiful landscapes in the world has been made by an inept ruling class greed, nepotism, ignorance and stupidity, especially " ...).
- equip its own photo lab.
1977 - The second edition of itinerant Graphics + I ° Seminario
intaglio techniques Gioia del Colle, operational measures.
- Expo Arte Bari, operational measures.
- Expo Arts of Bari, presentation folder
"Hypothesis of pranayama
(Critical text of BRUNO MONACO ... " Overcoming themselves. Search for the truth of ambiguity. Ambiguity as a dialectic. The truth is dialectical. Creativity is dialectic. Creativity is ambiguity. The ambiguity is truth. The truth is creativity. The creativity and vitality ").
- II Seminar
chalcographic techniques at the Art Institute of Bari, operational measures.
-" Homage to Rauschenberg "Pinacoteca Provinciale di Bari,
operational actions.
- participating in the folder "Time Operating ... Rauschenberg who? " the mandala graphic No 4. (PRESENTAZIONE. .. "The mandala created graphics for the exhibition of Rauschenberg is not based on already-given, the flow of information in society of the media, but is an analysis of both project-level language is as existential model alternative, I made up Wilhelm Reich for the definition of the poles to be analyzed, they are: love, work, knowledge. In contrast to that Rauschenberg uses the frottage for travel in the no man's land that connects to the desert world 'civilized', and storing images chronicle the history of ghosts, I have populated the desert of my experiences, my record, my drawing a portrait and biography in an effort to unify through the personnel data of human consciousness: the desert is, in my opinion, the size of existing creative work and then ").
- stay long in Ravenna and began studying modern mosaic.
- Official presentation of the graphics folder
"Time Operating ... Rauschenberg who? "
at the headquarters of the publishing house The New Italy in Bari extended biography

(PRESENTATION PETER MARINO ..." Our hand, using techniques' craft "engraving, implicitly declare the sense of a challenge: attempt to encourage the tradition of manual sign to give new potential in the directions from the debate stimulated by Rauschenberg-reflection ... Another group has prioritized the development within the language-analysis, because of similarities dissonance, synthesis with the communication techniques used by Rauschenberg and aggregation ... In this folder - or better dossier - the art is about art, but not be imprisoned in the barren pride tautological, but rather of accepting dirty, to compromise, the risk of falls in the level and consistency, and branch to innervate practice in civil and Social ...).
- Performance Multimedia entitled "Mandala"
at the studio of photographer Bruno del Monaco in Bari
(PRESENTATION - Jung - ... "The mandala is a symbolic representation of the process of disintegration and reintegration of consciousness, revealing the universe in cosmogram its essential outline. internalized, the mandala becomes a psicocosmogramma, emanation and reabsorption from one to many and many to one, reflux of psychic experiences to regain the lost unity of consciousness by rhythm samsaric. My, my mandala are continuing the search for a liberating self-knowledge " ...).
1978 - The second edition of Graphic traveling at Gallery
Club Italsider of Taranto.
- Expo Arte Bari, operational measures.
- Collective performances at the Pro Loco of Conversano.
- Narrow the study of modern mosaic in Ravenna.
- Participation at the 6th Biennial of contemporary art at the Gallery
Cassano of Taranto.
- Inauguration of a large wall mosaic on the life of
Simone Weil, at the Center for Culture Simone Weil "
of Gioia del Colle.
1979 - began making the mandala with the mosaic technique.
- The Quad Graphics Workshop Opening at Gioia del Colle.
- Group exhibition in Bari at the Civic Center Graphics
Niccolò Piccinni.

(THE VOICE OF THE SOUTH, BUT ... Miccolis "Pugliese Engravers Association (AIP) performs an action with bodies in various characteristics and intentions and set so as to create a stimulating artistic activity in which the" private "the aesthetic experience is never that, but always confuses his breath with" political "of collective life and the daily" ...).
- Collective Graphic at the Gallery Tuttagrafica in Turin.
(PRINTING, Angelo Dragone ... "A review Pugliesi Engravers Association, held in the hall of 'Tuttagrafica" Valente wants to witness the commitment of a group of people who feel connected not only by a custom job. "Producing graphics, can not display it or buy it enough ', say its leaders, and first of all say they feel' for knowledge, research and experimentation "" ...).
(Gazzetta del Popolo, Luigi Carluccio ... "The room that opens to the graphics Valente, welcomes a group of more than twenty artists who make the 'Apulian Engravers Association," active in Bari and is directed to seek the true identity common group both share the passion and practice the art of engraving ... They are professionals, even in the morality of their work, which is led by all social centers, in schools, factories, neighborhoods. We should mention them all, if we mention only a few ... Philip Patella ... we do to show some striking changes in technology and the extraordinary freedom of the formal choices ").
- By subscribing to the Association ITALY OUR starts
commitment to the protection and preservation of cultural heritage.
1980 - It is dedicated almost exclusively to experiment
techniques and materials for the mosaic.
- Join the graphic design of the poster
for the International Conference "The Bourbons of Naples in Naples .
- Make a sundial large mosaic.
1981-83 - Work in workshops to design and implement
handmade wooden and wrought iron.

1984 - Staff of mosaics at the Gallery Grill in Cassino.
(Critical text by A. Panaccione ... "The colors and dense net of its mosaics, which are struggling to place the shadows that arise rather than as a negative to emphasize the elements of his compositions. How happens in his country, often drawn by a sun that is the absolute master, and so strong that they act as the radius of a laser ").
1985-86 - Opens in Gioia del Colle, the Patella Studio Filippo,
which includes the Graphics Workshop THE SQUARE,
a mosaic of technologies Laboratory
and an environmental study designs .
- It is the consulting firm Decorative DELFI ,
with offices in Naples and Gioia del Colle.
1987 - Participate in an internship on screen printing Art in Venice.
- Participate in an internship on stained glass in Iesa.

1988 - Year dedicated to the design and implementation of
mandala mosaic .
1989 - Staff anthology "Works in 1975-1989 study"
in Gioia del Colle (critical presentation of HOLY Fizzarotti ... "The artist, like the archaeologist, slowly found his face Time using the signs and signals that tell the story of civilization: the material becomes, therefore, an element of thought able to compose the 'drawing' fascinating the 'truth' ... The sign reminds decided etching the 'power' of dry point and its depth always mysterious, aquatints replace the shadows of the painting ... form mandalic offers the feeling of 'emptiness' as a place of dazzling appearances. Patella investigates, in fact, not only within the thought processes and the secrets of matter, but goes beyond the stuff trying to find scary and unknown universes. The 'writing' is at the heart of his investigation painful and difficult for him because communication is the node around which to play the balance of all human societies. The unification interplay of different cultures, such as Eastern and Western calls for the tensions in the artist's utopian provide support for the anguish of existence. The desire for 'erotic' life seems to manifest itself fully in the production of 'mosaic': the works sparkle of 'happiness' aesthetics and artistry. The contents do not betray the artist who seeks to dominate the gaze of the Other through the splendor of light, the prisoner issue. Between relief and sculpture, the Mosaic has always exalted the 'Techne', as an essential condition of 'doing' art. The 'weight' of the Mosaic is not only given the material reality of which is composed, but the complex process from which it springs. Together, the invention is, in fact, need the 'project': it is essential, therefore, the perfect coordination between the 'doing' and 'think'..." ).
- founded and chaired the Section of Italy Our Joy del Colle.
1990-1991 - began technical testing of materials
audiovisual and computer.
1992 - founded and directed Joha (revised nonprofit Arts
Environment and Territory ), with additional inner section of our Italy.
1993-1994 - Design architectural structures.
1995 - Staff anthology "Works in the studio"
MANDALA 1976-1994: Paintings, Etchings, Mosaics.

(Critical text by MARIA VINELLA "The Experience of Art as a place, a place of mind and place of the visible, place the form and gesture, speech and thought, pervades the work of Philip Patella . Never place of emptiness or absence, the art is not for him mere abstract idea or a mere representation of reality, but rather practical life. A practice related to a complex and detailed research more than twenty years on the mandala. Mandalas are symbolic representations that have complicated an infinite variety of shapes. Mandala means circle in Sanskrit, but not only forms the mandala, in the recruitment of many symbolic meanings, are geometric projections of the life process of the universe, representations dell'ininterrotto flow of cosmic time, paradigms of evolution and involution of the world . In certain religious practices or in psychology, the circular mandala images are drawn, painted, shaped, variously drawn (Figures dance mandala dervishes perform in monasteries), helps meditation and concentration. The Jungian interpretation considers them figures of thought, images reached equilibrium. Marked on the ground and used as a plant for the construction of buildings, the mandala is a sign of perfection, a source of energy, where the union of circle and square is used to enclose sacred spaces and views of reality. For Philip
Patella, the mandala is the sensible place and place of reality, new dimensions of Being in search of itself, producing forms as well. Built in the process of aesthetic education, it is grown as a discipline of design and expression together, place in the mind, heart, body artist. "Make a mandala is a ritual," says the artist, expressing the next ritual of doing the will of ricomporne creative unity of theory and practice in the name of a correspondence between making and designing, acting and design, which becomes a stylistic connoting all his work.
The mandala of Patella, exploiting all the possible figures suggest that the circle and square, offering a large diversity of tracks and often arrived at the circle center through regular polygons, shapes, cross, star, radial symmetry, etc.. Sometimes the compositional schemes assume rhythms rotators complementarity ed'alternanza up to create optical illusions and perceptual effects ambiguous. Complex is also the techniques characterized by a highly variable material testing. In fact, with great aplomb, the artist moves from one material to another, diversifying the use of strategies that add to the paint pigment refined technique of mosaic and involving - without exceptions - remains natural (raw or treated), fragments of glass milled powders and bonded with epoxy resins, pieces of Murano, local marbles, stones and multicolored chips ... Read transparencies mixtures mysterious protruding roughness of irregular cubes, fleeting reflections of multicolored tiles: the careful work that makes the surface rough and porous current plans, now shiny and smooth, now sharp, incised, carved or softly gold, creates exciting effects tactile. Added to the perceptual effects produced by doses of calibrated color contrasts of timbre or tonal wide agreements, which explode and implode the diagrams of an accurate visual layout.
The overview of these tracks mandalic shows, therefore, all the rigor of the serene visual matching of forces between the suspended vital concern of material research and thought-space of formal paths ").
1996 - Staff II (after twenty years) of mosaics and etchings
at the Pro Loco of Gioia del Colle.
(Critical text SERGIO CICOGNANI ... "In your materials MANDALA Mosaic (vitreous enamel, stones, marbles, etc..) are used with great skill, used in their absolute specificity, taking all the real possibilities that they, along with the cutting of the card, offering a modern concept of the mosaic. From your contacts with the Byzantine-Ravenna mosaic tradition have captured the spirit of the school that the mosaics of Ravenna mosaics are preserved in the experiences of contemporary experiences that have kept in mind the great complexity of form and color of the ancient technique. Here, the combination of natural materials (marble, stone, stones) in glassy materials of great richness of color, was consolidated with the technique of direct application of mosaic tiles, where the gesture manual retains his position as expressive immediacy and conceptual abstraction. In MANDALA, where it seems to me that the bottom of your research is the identification of form and content, the mosaic, its material nature, gives reality and absoluteness to your work. Also in the absoluteness of the ancient mosaic materials are the basis of the specific identity of this technique: each card is not a splash of color, although you may look like, but it is a stone, even fabricated. The brush can also be uncertain or false, the card is always an absolute ").
1997 - He moved to Calabria.

1998 - founded and directed ART GM
(non-profit magazine Mosaic Graphic Arts), with supplements
internal managed by the Regional Council of Calabria Italy Nostra.
- It is the firm MOSAITEC (Mosaic Technologies).
- Participate in the Group FEE.
- Murex Art - Biennial Murgia, Castellaneta.
(Critical text by MARIA VINELLA ... "The initiative has as its objectives the investigation of artistic production in the region of existing and the Murgia Ravines ... The art of poetry favored by the research is the "land" as a place of experiential physical but also mental and psychological roots to the origins of the metaphor, as an anthropological experience (meeting with the territory, its history, environmental, social, its folk) ... The experience of art as a place, a place of mind and place of the visible, place the form and gesture, speech and thought, pervades the work of Philip Patella.
Never place of emptiness or absence, the art is not for him mere abstract idea or representation of reality, but practical life. The artist leads a research complex and articulated more than twenty years on the mandala that, drawn, painted, molded, exploiting all the possible figures suggested by circle and square to offer great diversity of compositional paths. Complex is also the techniques characterized by a highly variable experimental material which adds pigment to paint the mosaic technique and use of natural objects (raw or processed). In the works, the constant search for a relationship between art and nature and environment, both visible in the collection of material is used in the transcription of signs and evidence of human altered over time, ").
(Review of GIUSY PETRUZZELLI ..." The preservation of cultural exception and the inclusion of geographical works in the world system art ... The human dimension of art, which was a forerunner in Puglia since the seventies in Anthony Paradiso, present in this exhibition with the signs of the Zodiac in Trani stone covered with verdigris ... Patella Philip has created an installation in which live the sacred and the profane in a dense hierophany esoteric, among the saints of the underground crypts in the Murgia is the guardian - in the hundreds of caves in the ravine is riddled - and Greek philosophers Magna " ).
(TEXT OF PRESENTATION INSTALLATION)
"
curtain wall on a towel that belonged to my ancestor, an agronomist in the country between Joy and Castellaneta, I realized a mandala: a square within five rings. The center circle, bigger, in turn, contains a square, the four corners of the square there are four primary greek letters d, r, a, r,. The mandala is signed on the support bar, MANDALA, Drar, F. Patella 1998.
Installation on earth
Five conceptually mirror mandala than those made on the cloth. The four mandala side are slices of almond wood thickness of about 8 cm. and with a diameter of about 50.
On each of these pieces I recorded - in addition to my secret words - transcribed by signs of graffiti in a cave of Petruscio. The central mandala is instead made up of an ancient hearth support: in the round central ravine and a rock collection in a small square with polychrome mosaic inlays, the whole thing was placed on a bed of sand.
Mandala
mandala means circle in Sanskrit. According to Jung "While the mandala of worship have always contained a particular style and a limited number of typical patterns, the individual using a mandala as it were unlimited amount of reasons and symbolic allusions, from which it is not difficult to see that they are trying to express totality of the individual in his inner experience or external world, or its point of reference, within ". My mandala - absolutely individual and totally devoid of specific references to worship - expressed through a structured testing of materials and techniques mosaic codification of rules for creation and layout.
Drar
The name assigned to the mandala made by Murex 1998 is an acronym that is formed from the initial letters of four words transcribed from the ancient greek. These four words whose initials give Drar fact, are a cornerstone of my artistic research methodology, are secret words, may not be disclosed because it will If they would lose the inherent strength of their nature. E 'possible to connect these words to the thought of a philosopher of Ancient Greece, but this is part of the complex of information and theories that must remain hidden, but also the necessary substrate actually irrelevant to the visibility and the resulting use of art objects .
Graffiti
Ivone Walter's friend gave me a guide in the caves of the settlement of Petruscio Middle Ages, in the territory of Mottola, looking for signs of significant rock civilization. Graffiti transcripts - graphic detail and symbolic - are surely part still poorly known for a system of numerical representation and represent elements of connection between research into the mandala and my membership in the Murgia ground. I think sheep tracks that branch off from farm Viglione, my cultural background, nature in the ravines, the materials found and used, the design intentions ".
1999 - Participation with Mandala mosaic wall
to Show "Walking valuable for the Third Millennium"
in Crotone, organized by the goldsmith Gerardo Sacco
to promote all the excellent craft Calabrian
and encourage attention to the arts decorative.
Demonstration of a mosaic by
Study MOSAITEC , FM operators and Rosalba Patella Romeo.
2000 - Directs the publisher MEDIARTGM ,
specializes in limited editions on topics related
Calabria, art and the environment.
Together with the Graphic Workshop SQUARE
organizes the publication of limited edition prints typographical
concerning the architectural heritage of Locri.
- is study MEDIARTS (Decorative Arts).
2001 - Together with the publisher Rosalba Romeo is Avamar
Video Archive Anthropological MEDIARTGM ,
with the primary goal of cataloging audiovisual materials relating to the Heritage
Etnodemologico Italian and European
particularly in Calabria and the district of Locri.
2002-2004 - dedicate themselves fully to the acquisition
of audiovisual materials relating to the Goods Etnodemologici
of Calabria, viewing the events on the ground
directing and shooting.
2005 - Participates in the establishment
Observatory of penitential Devotional and Ritual.
- collaborate in the formation of
Directories and Visual Collections at Saint Rocco di Montpellier.
2006-2008 - With audio-visual material present in Avamar
works directly to the establishment of AVAdeC
Video Anthropological Archives of Calabria
(divided in turn into provincial archives and / or territorial).
- Directs IRAMIC - Regional Institute Archives
Memory and Identity of Calabria , set up with independent financial resources from
MEDIARTGM with the primary goal of preserving and safeguarding
in Audiovisual Archives - PHOTOGRAPHY -
SOUND - PAPER Cultural Heritage, the historical memory
anthropological identity of Calabria.
2009 - contributing to the formation of the Archives AREICAL -
Religious Iconographic Archive Calabrese, in order to collect
and store printed materials relating to religious iconography
Calabria.