{"id":37398,"date":"2023-04-03T12:06:41","date_gmt":"2023-04-03T10:06:41","guid":{"rendered":"https:\/\/www.studiochiesa.it\/?page_id=37398"},"modified":"2025-03-24T17:52:04","modified_gmt":"2025-03-24T16:52:04","slug":"nutrimentum-gallery-signum","status":"publish","type":"page","link":"https:\/\/www.studiochiesa.it\/en\/nutrimentum-gallery-signum\/","title":{"rendered":"Signum"},"content":{"rendered":"
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Signum<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t<\/i>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t Tracce,
intrecci
e tracciati.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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La sezione Signum <\/em>si caratterizza invece per la forza del segno, del tratto, che scava, delinea, incide, solca. In Ernesto Treccani<\/strong> (1920-2009) diviene vibrazione, sismografo delle emozioni e l\u2019acquerello sfuma, sfiorisce, dilava. Di una linea pura, precisa, che fissa volumi e chiaroscuri nello studiare forme e profili si serve Domenico Induno<\/strong> (1815-1878), eccelso interprete della scena milanese dell\u2019Ottocento. Il tratto si fa colato, sfinito e deformante nei nudi di Kalina Danailova<\/strong> (1985), che abitano stanze vuote, anonime e grondanti lacrime di colore a confondersi con la carne. Al contrario, \u00e8 chirurgico e censorio l\u2019intervento di Emilio Isgr\u00f2<\/strong> (1937), protagonista della poesia visiva e concettuale del Novecento, laddove nel negare sta l\u2019affermare, nel celare l\u2019evidenziare, nel gesto il tutto. La negazione della parola diviene linguaggio avulso, sovversivo, cifrato, non per tutti, solo per chi ci si addentra. Di un altro alfabeto, primitivo, ideografico, totemico si serve G.W.Bot <\/strong>(1954), che lascia sulla superficie le sagome ancestrali di un legame sacro col naturale, ideogrammi neri come il carbone e rossi come il sangue, tracce remote di un passato che \u00e8 presente e, forse, futuro. La simmetria e la classica proporzione sono il paradigma di Davide Balliano<\/strong> (1983), che in Dying Warriors<\/em> (2009) associa al citazionismo la reinterpretazione nei toni e nell\u2019amalgama della luce, che si fa morbida e avvolgente, a esaltare col fondo in penombra la vertiginosa bellezza icastica dei corpi e della loro speculare torsione. L\u2019opera invece senza autore \u00e8 una texture che pare pelle di serpente, astrazione disciplinata e ordinata per spicchi e nervature, a innestare un movimento sinuoso e avvolgente, sensuale e optical. A rimettere ordine e verticalit\u00e0 \u00e8 Ezio Vitale<\/strong> (1926-1991), che fotografa nel 1954 il surrealista Salvador Dal\u00ed a Palazzo Rospigliosi di Roma, all\u2019inaugurazione di una sua mostra. Lo scatto coglie l\u2019attimo in cui l\u2019artista spagnolo, issato come polena in cima a una scala, giganteggia in elegante gessato intento a raccogliere delle carte di numeri e lettere.<\/p>

E.P.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t<\/i>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t Tracce,
intrecci
e tracciati.<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCarol Rama,<\/b> 1918 - 2015
\nRitratto<\/b>
\nPennarelli su carta <\/b>
\n33 x 23 cm<\/b>
1994<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCarol Rama,<\/b> 1918 - 2015
\nLe malelingue<\/b>
\nIncisione ad acquaforte e acquarello<\/b>
\n10,7 x 12,4<\/b>
1999<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCarol Rama,<\/b> 1918 - 2015
\nComete<\/b>
\nRiproduzione <\/b>
11,5 x 17 cm<\/b>
\n2003<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tErnesto Treccani,<\/b> 1920 - 2009
\nSenza titolo<\/b>
\nSerigrafia 32\/99<\/b>
\n50 x 70 cm<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tErnesto Treccani,<\/b> 1920 - 2009
\nSenza titolo<\/b>
\nSerigrafia XII\/XXV<\/b>
\n50 x 70 cm<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDomenico Induno,<\/b> 1815 - 1878
\nSenza titolo<\/b>
\nMatita e biacca su carta<\/b>
\n32 x 22 cm<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tKalina Danailova,<\/b> 1985
\nSenza titolo<\/b>
\nAcrilico su tela<\/b>
\n60 x 60 cm<\/b>
\n2013<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tKalina Danailova,<\/b> 1985
\nSenza titolo<\/b>
\nAcrilico su tela<\/b>
\n60 x 60 cm<\/b>
\n2013<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tEmilio Isgr\u00f2,<\/b> 1937
\nAstratto<\/b>
\nSerigrafia P.A.<\/b>
\n80 x 58 cm<\/b>
\n2007<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tG. W. Bot,<\/b> 1954
\nPaddock Glyph Lost Path<\/b>
\nSerigrafia 7\/25<\/b>
\n100 x 70 cm<\/b>
\n2008<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tDavide Balliano,<\/b> 1983
\nDying Warriors<\/b>
\nStampa su carta alla gelatina ai sali d'argento<\/b>
\n72 x 87 cm<\/b>
\n2009<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tAutore Sconosciuto<\/b>
\nSenza titolo<\/b>
\nStampa fotografica<\/b>
\n67 x 100 cm<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tEzio Vitale,<\/b> 1926 - 1991
\nSalvador Dal\u00ed a Palazzo Rospigliosi di Roma<\/b>
\nStampa fotografica<\/b>
\n17 x 23 cm<\/b>
\n1954<\/b>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t<\/i>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\tFabula,<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
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\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t<\/i>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\tCorpus,<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Signum  Tracce, intrecci e tracciati. La sezione Signum si caratterizza invece per la forza del segno, del tratto, che scava, delinea, incide, solca. In Ernesto Treccani (1920-2009) diviene vibrazione, sismografo delle emozioni e l\u2019acquerello sfuma, sfiorisce, dilava. Di una linea pura, precisa, che fissa volumi e chiaroscuri nello studiare forme e profili si serve Domenico […]<\/p>","protected":false},"author":2,"featured_media":37382,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-37398","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nSignum | Tracce,intreccie tracciati. - Studio Chiesa<\/title>\n<meta name=\"description\" content=\"La sezione Signum si caratterizza invece per la forza del segno, del tratto, che scava, delinea, incide, solca.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.studiochiesa.it\/en\/nutrimentum-gallery-signum\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Signum\" \/>\n<meta property=\"og:description\" content=\"La sezione Signum si caratterizza invece per la forza del segno, del tratto, che scava, delinea, incide, solca.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.studiochiesa.it\/en\/nutrimentum-gallery-signum\/\" \/>\n<meta property=\"og:site_name\" content=\"Studio Chiesa\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/pages\/Studio-Chiesa\/407194632625821\" \/>\n<meta property=\"article:modified_time\" content=\"2025-03-24T16:52:04+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.studiochiesa.it\/wp-content\/uploads\/2023\/04\/SIGUM_Emilio-Isgro_DSC2057.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"780\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.studiochiesa.it\\\/nutrimentum-gallery-signum\\\/\",\"url\":\"https:\\\/\\\/www.studiochiesa.it\\\/nutrimentum-gallery-signum\\\/\",\"name\":\"Signum | Tracce,intreccie tracciati. - 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