{"id":37462,"date":"2025-03-24T17:51:42","date_gmt":"2025-03-24T16:51:42","guid":{"rendered":"https:\/\/www.studiochiesa.it\/?page_id=37462"},"modified":"2025-03-24T17:51:42","modified_gmt":"2025-03-24T16:51:42","slug":"nutrimentum-gallery-ludus","status":"publish","type":"page","link":"https:\/\/www.studiochiesa.it\/en\/nutrimentum-gallery-ludus\/","title":{"rendered":"Ludus"},"content":{"rendered":"
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Ludus<\/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 terza sezione, denominata Corpus<\/em>, rivendica nella fisicit\u00e0 e nella matericit\u00e0 l\u2019imperativo all\u2019esistenza, intende la plasticit\u00e0 non solo come esigenza estetica e formale ma come evidenza imprescindibile della contemporaneit\u00e0. A partire da Fabbriano<\/strong> (1936-2019), che contrappone una sagoma buia, impastata nella pece, alla luminosit\u00e0 lieve e sognante di una fanciulla, il cui profilo \u00e8 rimodellato dal gesto veloce e censore del carboncino. La stessa grafite in una dinamicit\u00e0 centrifuga approda nell\u2019operato di Armando Marrocco<\/strong> (1939), che si muove con disinvoltura dall\u2019astrazione lirica in cui il colore sfuma e cangia alla scultura, creando nella casa dei collezionisti una vera e propria installazione ambientale. In Stampa a bocca<\/em> (1979), su una superficie accartocciata e risentita, sembra portare al limitare la deriva del mare. Massimo Levati<\/strong> (1977) utilizza invece il corpo della carta che diviene strumento espressivo, strategia chiaroscurale di luci e ombre. In Sprouting out of nothing<\/em> (2019), la carta viene tagliata e intessuta sul foglio di grammatura superiore a generare una forma dall\u2019apparenza organica, pronta a interagire col divenire atmosferico. Dai profili invece netti e geometrici \u00e8 il mondo di Renzo Schirolli<\/strong> (1935-2000), dove la campitura piatta si alterna a texture pop, dove il Paesaggio<\/em> (1972) reale si fa razionale e sintetica riproduzione di un mondo votato alla precisione e all\u2019ordine, in cui solo il colore pu\u00f2 anelare alla piena libert\u00e0. Barbara Rae<\/strong> (1943), in Pueblo<\/em>, trasforma il paesaggio in una festa di forme e colori caldi, strafottenti nell\u2019invadere il margine e sconfinare reciprocamente, lei scozzese eppure cos\u00ec latina nel sentire e nel narrare in arte. Giovanni<\/strong> Gastel<\/strong> (1955-2021) usa la fotografia come strumento di indagine formale, in essa non vi \u00e8 nulla di casuale, nulla di estemporaneo, ma tutto ha una fisicit\u00e0 mediata, controllata, esaltata. La perfezione non lascia che i moti dell\u2019animo del soggetto immortalato trapelino a turbarla. Infine il lavoro fisico ed etereo di Michele Spanghero<\/strong> (1979) si esprime a pieno in Voice of space<\/em> (2012), una sfera enigmatica e perfetta, futuribile e al contempo cos\u00ec eterna, dalla quale emana il suono dello spazio, la campionatura di tutta quella gamma acustica cos\u00ec presente e pure impercettibile. Vi \u00e8 anche il video della performance Audible forms<\/em> realizzata nel 2013 al Mart di Rovereto (Trento): a essere protagoniste e ad aver voce sono le sculture della gipsoteca di Andrea Malfatti. In Chiara Lecca<\/strong> (1977), uno spiazzante cerchietto per capelli ci ricorda che viviamo nell\u2019era del consumismo, del feticismo, dell\u2019ambiguit\u00e0 fisica e dell\u2019edonismo. Che c\u2019\u00e8 allora di pi\u00f9 glamour di un decoro per capelli con magnifiche reali orecchie suine?<\/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\tJulia Bornefeld,<\/b> 1963
\nDin A4 War Games P.A.<\/b>
\nAcciaio inox<\/b>
\n90 x 140 x 40 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
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tSimone Racheli,<\/b> 1966
\nUmore nero<\/b>
\nTecnica mista<\/b>
\n40 x 24 x 58 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
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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\tGiovanni Motta,<\/b> 1971
\nRosary<\/b>
\nTecnica mista<\/b>
\n10 x 12 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
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tGiovanni Motta,<\/b> 1971
\nOctober sky<\/b>
\nTecnica mista<\/b>
\n14 x 12 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\tAndrea Francolino,<\/b> 1979
\nWoody Aulin (compresse)<\/b>
\nTecnica mista<\/b>
\n100 x 70 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
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tFrancesco Bocchini,<\/b> 1969
\nUn fannullone vestito di rosso<\/b>
\nTecnica mista<\/b>
\n20 x 28 x 10 cm<\/b>
\n2004<\/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\tFrancesco Bocchini,<\/b> 1969
\nPappagallo<\/b>
\nTecnica mista<\/b>
\n30 x 58 x 24 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\tFrancesco Bocchini,<\/b> 1969
\n Quando nell'imbarcazione si stava male<\/b>
\n Tecnica mista<\/b>
\n 164 x 67 x 10 cm<\/b>
\n 2003<\/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\tMagdalena Fern\u00e1ndez,<\/b> 1964
\n3em009 P.A.<\/b>
\nAcciaio inox<\/b>
\n180 x 180 x 180 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
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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\tTetsuya Nakamura,<\/b> 1968
\n Flash of Lightning<\/b>
\nVernici poliuretaniche su FRP<\/b>
\n53 x 105 x 25 cm<\/b>
\n2010<\/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\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nVia col vento<\/b>
\nAcrilico su compensato marino <\/b>
\n124 x 55 x 1,5 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
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nSenza titolo<\/b>
\nMatita, matite colorate e pennarelli<\/b>
\n11 x 16 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
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nSenza titolo<\/b>
\nMatita, matite colorate e pennarelli<\/b>
\n11 x 16 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\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nSenza titolo<\/b>
\nMatita, matite colorate e pennarelli<\/b>
\n11,4 x 16,4 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
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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\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nSenza titolo<\/b>
\nMatita, matite colorate e pennarelli<\/b>
\n11 x 17 cm<\/b>
\n2010<\/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\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nSenza titolo<\/b>
\nMatita, matite colorate e pennarelli<\/b>
\n11 x 17 cm<\/b>
\n2011<\/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\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nSenza titolo<\/b>
\nMatita, matite colorate e pennarelli<\/b>
\n12 x 16 cm<\/b>
\n2012<\/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\tCarlo Bonf\u00e0,<\/b> 1944 - 2022
\nSenza titolo<\/b>
\nMatita, matite colorate e pennarelli<\/b>
\n11 x 16 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\tFrancesco Levi,<\/b> 1976 - 2022
\nTu per me ciai ombra di piuma<\/b>
\nCeramica<\/b>
\n\u00d8 22 x 10 cm<\/b>
\n2022<\/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
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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
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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\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Ludus  Tracce, intrecci e tracciati. La terza sezione, denominata Corpus, rivendica nella fisicit\u00e0 e nella matericit\u00e0 l\u2019imperativo all\u2019esistenza, intende la plasticit\u00e0 non solo come esigenza estetica e formale ma come evidenza imprescindibile della contemporaneit\u00e0. A partire da Fabbriano (1936-2019), che contrappone una sagoma buia, impastata nella pece, alla luminosit\u00e0 lieve e sognante di una fanciulla, […]<\/p>","protected":false},"author":2,"featured_media":37489,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-37462","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nLudus | 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-ludus\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ludus\" \/>\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-ludus\/\" \/>\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=\"og:image\" content=\"https:\/\/www.studiochiesa.it\/wp-content\/uploads\/2023\/04\/LUDUS_Carlo-Bonfa2013_DSC2040.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"718\" \/>\n\t<meta property=\"og:image:height\" content=\"1080\" \/>\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=\"3 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-ludus\\\/\",\"url\":\"https:\\\/\\\/www.studiochiesa.it\\\/nutrimentum-gallery-ludus\\\/\",\"name\":\"Ludus | Tracce,intreccie tracciati. - 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