{"id":103984,"date":"2022-03-22T10:27:31","date_gmt":"2022-03-22T10:27:31","guid":{"rendered":"https:\/\/www.romeing.it\/london-calling-palazzo-cipolla-roma\/"},"modified":"2025-12-03T18:17:42","modified_gmt":"2025-12-03T18:17:42","slug":"london-calling-palazzo-cipolla-roma","status":"publish","type":"post","link":"https:\/\/www.romeing.it\/it\/london-calling-palazzo-cipolla-roma\/","title":{"rendered":"London Calling: Palazzo Cipolla celebra l’arte contemporanea britannica"},"content":{"rendered":"\n

La mostra degli artisti per cui la citt\u00e0 di Londra \u00e8 stata madre, musa e fonte d’ispirazione<\/h2>\n\n\n\n

Londra sta chiamando. Parafrasando il titolo della famosa canzone dei The Clash<\/strong>, Palazzo Cipolla dedica una mostra a 13 artisti di grande fama<\/strong>, tutti “debitori” in qualche modo verso la capitale inglese. Ci\u00f2 che accomuna il loro lavoro infatti, \u00e8 l’essere nati, aver vissuto o comunque aver tratto ispirazione da questa citt\u00e0, piena di storia e contraddizioni, antica e attualissima. In mostra 30 opere<\/strong> di artisti che non hanno bisogno di presentazioni, come Damien Hirst, David Hockney e Idris Khan.<\/strong><\/p>\n\n\n\n

\"London
Anish Kapoor Magenta Apple mix 2, 2018, Acciao inossidabile e vernice (dittico) 172x344x27 cm, Courtesy the Artist Photo Dave Morgan \u00a9Anish Kapoor. All Rights Reserved, DACS SIAE by Siae 2022<\/figcaption><\/figure>\n\n\n\n

All’entrata lo spettatore si confronta subito con Magenta Apple mix 2<\/em>, la coppia di dischi specchianti di Anish Kapoor<\/strong>, pupille infuocate convesse e fluide, che riflettono ci\u00f2 che \u00e8 e ci\u00f2 che sta attorno. Se lo spettatore pu\u00f2 riconoscersi al loro interno, c’\u00e8 da dire che il dubbio circa la reale tangibilit\u00e0 di ci\u00f2 che si duplica rimane: siamo noi o \u00e8 altro da noi? Questo \u00e8 il dilemma.<\/p>\n\n\n\n

Il tema della deformazione della materia torna nelle sculture vorticose di Tony Cragg<\/strong>, immortalate in fieri, mentre si avvolgono ed evolvono in un passaggio magmatico di stati. Nell’opera Skull<\/em>, ci\u00f2 che sarebbe letteralmente chiamato teschio, e quindi associato in modo filosofico a un sempre valido memento mori (ossia a una profonda e tragica riflessione sulla caducit\u00e0 dell’esistenza), viene qui trasformato dal guizzo dinamico di Cragg in un volto mutante, o forse mutevole, che si trasforma in altro, restando comunque fedele a se stesso. <\/p>\n\n\n\n

\"London
Tony Cragg, Skull, 2016, bronzo 150x104x68 cm, Courtesy the Artist and Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice, Torino – Foto Jack Hems \u00a9Tony Cragg by Siae 2022<\/figcaption><\/figure>\n\n\n\n

Mattatore della mostra non poteva non essere Damien Hirst<\/strong>. La sala riservata ai suoi lavori \u00e8 incentrata su un ossimoro percepibile attraverso una reazione quasi epidermica: si passa dai brividi gelidi ed asettici dati da Glen Matlock<\/em>, il famoso armadietto dei medicinali zeppo di pile ordinate di farmaci, allo squilibrio a tratti allergico dato dal vortice cromatico di Beautiful totally out of this world painting, <\/em>disco fluo appeso a parete, che risucchia lo sguardo fino a farne centrifuga di pensieri, che vengono poi restituiti addensati di una pesantezza che gronda vernice e caos.<\/p>\n\n\n\n

\"Palazzo
Beautiful totally out of this world painting, 2005, smalto lucido con farfalle su tela,
\u00d8 213 cm, Private Collection- \u00a9Damien Hirst and Science Ltd., All rights reserved by Siae 2022t of this world painting, 2005<\/figcaption><\/figure>\n\n\n\n

La mostra si scopre essere particolarmente interessante anche grazie agli stili eterogenei degli artisti presenti, nonch\u00e8 alla variet\u00e0 dei temi trattati. Se ad esempio le geometrie di Sean Scully<\/strong> sono un mare calmo sul quale galleggiano memorie di Malevic ed echi astratti, la ritrattistica colorata e patinata di David Hockney<\/strong> spezza la noia, condensando ricerca psicologica a un realismo quasi magico che vede la fisiognomica diventare indagine sociale e introspettiva.<\/p>\n\n\n\n

\"London
Sean Scully, Black Square Night, 2020, Olio su alluminio, 215,9×190,5 cm, Collezione privata<\/figcaption><\/figure>\n\n\n\n

E se, ancora, Grayson Perry <\/strong>ironizza sulla miseria etica del guadagno fatto sul fare artistico, che rende la creazione commercio e moda, Jake and Dinos Chapman <\/strong>puntano il dito, ironico e sempre sornione, sul rendere accettabile tramite i media e il cinema anche oggetti e dinamiche portatrici di morte. La stessa morte, tragica ed ingiustificata, che diventa protagonista delle opere di Annie Morris<\/strong>, che attraverso il suo lavoro elabora e rende immagine comprensibile, seppur lacerata, la gestazione di un figlio e il suo terribile terminare, non annunciato, anzitempo. <\/p>\n\n\n\n

\"London
Grayson Perry\nEdizione limitata di borsetta con manico creata\nda Grayson Perry in collaborazione con Osprey\nLondon (rosa), 2019\n18x22x9 cm\nEdizione di 10\nCourtesy the Artist and Victoria Miro Gallery,\nLondon\n\u00a9 Grayson Perry<\/figcaption><\/figure>\n\n\n\n
\n
LE MIGLIORI MOSTRE A ROMA<\/a><\/div>\n\n\n\n
GUIDA AI MUSEI DI ROMA<\/a><\/div>\n<\/div>\n\n\n\n
\n\n\n\n

London Calling. British Contemporary Art Now.<\/strong><\/p>\n\n\n\n

Fino al 17 luglio 2022<\/strong><\/p>\n\n\n\n

Palazzo Cipolla<\/strong>
Via del Corso, 320<\/p>\n\n\n\n

Orari di apertura<\/strong><\/p>\n\n\n\n

10.00 \u2013 20.00 (ultimo ingresso ore 19.00)<\/p>\n\n\n\n

Biglietti<\/strong>
\u20ac4-6<\/p>\n\n\n\n

fondazioneterzopilastrointernazionale.it<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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