"Choses d'Après Nature
Personal Exhibition by / Personal exposure to
David Dalla Venezia
Catalogue texts by / text catalog by of
Andrea Pagnes
Opening 26 August 2010 at 6:00 pm
Exhibition from 27 August to 30 September 2010
Opening hours 4:30 to 11:00 pm
Opening Thursday, August 26, 2010, 18:30
From August 27 to September 30, 2010 from 16:30 hours
to 23.00
MANNI ART GALLERY sas di Claudio Manni
97/AB Via Sandro Gallo, 30126 Venice Lido - The
tel. +39 335 8035840, email claudio-manni@virgilio.it
"Seeing That I can find no subject Specially useful or pleasing, since the men who haves as before me have taken for their own every useful or necessary theme— I must do like one who, being poor, comes last to the fair, and can find no other way of providing himself than by taking all the things already seen by other buyers, and not taken but refused by reason of their lesser value. I, then, will load my humble pack with this despised and rejected merchandise, the refuse of so many buyers; and will go about to distribute it, not indeed in great cities, but in the poorer towns, taking such a price as the wares I offer may be worth.”
Leonardo da Vinci
The Manni Art Gallery opens its exhibition venue in Venice Lido, Via Sandro Gallo 97/A-B, August 26 at 6.30 pm, dedicating a personal show titled “Choses d’après nature” to master painter David Dalla Venezia. Born in 1965 in Cannes, France, David Dalla Venezia has developed a unique pictorial language technically and poetically, where the study and deepening of the figure represent the expressive backbone and communicative code key. Moving between tradition and modernity, there are two opposing and more specific cultural references from which David Dalla Venezia’s painting was inspired by, and from where they have emancipated: the first is the so-called Lowbrow or Pop Surrealism, a popular movement, of lower level, conceived in the late seventies underground environments of the West Coast (to which certain works of David must be brought back, such as the illustrations for album covers of Avion Travel and 12 paintings, made on the palisades of Venice in duet with Hiroshi Daikoku between 1987 and 1989). The second, highest in profile, draws its archetypes from classical mythology, the subsequent psychoanalysis investigations of Freud and Jung, and the philosophical speculations of Schopenhauer, Nietszche even Severino. To investigate the unconscious and then emerge through the pictorial representation with some possible answers, at the same time offering a vision of things and the world where the dream is entangled with reality, and fiction is repeated, make David Dalla Venezia’s painting to operate on two doubled levels: aesthetic-narrative and philosophical-metaphysical. The spectacular facility, the multiplication of characters which seem always (apparently) equal to themselves, the symbols themselves that act as agents, using the "proper life" of the object depicted, the continuous interweaving of quotations, iconographic motifs of classical, baroque and figurative modern in a timeless space constantly evolving, appear today so balanced each other (because the result of hard work and complex) to make this specific type of painting a unique but recognizable event, certainly not episodic. In his paintings, dialogue and confrontation that arouse from conflict and serene acceptance, thereof swinging between past and modernity, conformism and self-assertion, recall partly the dogmatic imperatives of Kitch (the exceptional movement of international figurative painting theorized by Norwegian master Odd Nedrum), which Biennale exhibition will take place this year at Venice in Palazzo Cini at San Vio, from September 17, thanks David Dalla Venezia curatorialships: rejecting irony, always relate the old masters «not because old but because masters», shun originality by opposing it the intensity of the subject. From this, one can deduce that the artist's works are a dynamic compendium of heterogeneous suggestions; in fact what is striking at first glance it is a strength that is not just about structure, but rather gives the log of colours and the precise formal wording, whatever it is, the supporting function, as was for Titian, Dali, Magritte, De Chirico, crucial figures to the artistic education of David Dalla Venezia.
"Seeing I did not seize power utility or a matter of great pleasure, because them men, innanti born to me, have taken for them all the useful and necessary topics, such as the one who will, because of poverty, comes last to the fair, and not being able to provide, on the other, takes all things already seen by others and not accepted, but refused because of their valetitudine little. That I despised and rejected merchandise, the remaining de 'many buyers, I will soma over my weak, and with that, not for the big city, but poor by distributing villas go, and take up this award, which is worth it to me on. "
Leonardo da Vinci
The Mann Art Gallery opens its exhibition venue in Venice Lido, Via Sandro Gallo 97/AB, August 26 at 18.30, dedicating a solo exhibition entitled "Choses d'Après Nature" in David Dalla Venezia.
Born in 1965 in Cannes, France, David Dalla Venezia has developed - technically and poetically - a unique pictorial language, moving between tradition and modernity, where the study and the figure represents the expressive and communicative code key fundamentals.
Since its inception, and are two opposing cultural references from which the painting was inspired by David Dalla Venezia and emancipation: the first is the Lowbrow and Pop Surrealism, popular movement, lower level, built in the late seventies West Coast underground scene of the U.S. (to which certain actions must be brought back to David as illustrations for album covers of Avion Travel and 12 paintings, made on the palisades of Venice "to duet with Hiroshi Daikoku between 1987 and 1989. The second higher that draws its archetypes from classical mythology, by further elaboration of psychoanalytic Freud and Jung, and speculations Schopenhauer, Nietzsche, even Severino. Investigation of the unconscious, and then emerge through the pictorial representation with some possible answers, offering a view of things and the world where the dream is confused with reality and fiction is repeated, causes the paint to operate on David Dalla Venezia two levels: aesthetic and narrative on the one hand and philosophical and metaphysical other. The plant
spectacular, the multiplication of characters equal to themselves, the symbols that act as agents themselves using the "proper life" of the object depicted, the continuous interweaving of quotations, iconographic motifs of classical, baroque and culture Figurative modern in a timeless space and in progress, appear today so balanced each other (because the result of hard work and complex) to make this specific type of painting is a unique event, unique but recognizable, certainly ' no more episodic.
In the pictures of David Dalla Venezia, dialogue and debate that can be seen between conflict and peaceful acceptance of the same, between past and modernity, conformism and self-assertion, recall also the dogmatic imperatives in the Kitch (the exceptional movement figurative painting by Norwegian international theorized Odd Nedrum), which will take place this year Biennale in Venice at Palazzo Cini San Vio, from September 17, thanks to the curatorship of David Dalla Venezia: rejecting irony, always relate to the ancient masters, "not because they are old but because teachers' shun originality and contrast it with the intensity of subject.
From this one can deduce that the artist's works are a compendium of suggestions dynamically heterogeneous, in fact what is striking at first glance it is a solid firm that is not just about plant structure, but rather gives the log color and clarity of the formal wording, whatever it is, the supporting feature, as it was for Titian, Dali, Magritte, De Chirico, figures crucial to the artistic education of young David Dalla Venezia.
The Manni Art Gallery opens its exhibition venue in Venice Lido, Via Sandro Gallo 97/A-B, August 26 at 6.30 pm, dedicating a personal show titled “Choses d’après nature” to master painter David Dalla Venezia. Born in 1965 in Cannes, France, David Dalla Venezia has developed a unique pictorial language technically and poetically, where the study and deepening of the figure represent the expressive backbone and communicative code key. Moving between tradition and modernity, there are two opposing and more specific cultural references from which David Dalla Venezia’s painting was inspired by, and from where they have emancipated: the first is the so-called Lowbrow or Pop Surrealism, a popular movement, of lower level, conceived in the late seventies underground environments of the West Coast (to which certain works of David must be brought back, such as the illustrations for album covers of Avion Travel and 12 paintings, made on the palisades of Venice in duet with Hiroshi Daikoku between 1987 and 1989). The second, highest in profile, draws its archetypes from classical mythology, the subsequent psychoanalysis investigations of Freud and Jung, and the philosophical speculations of Schopenhauer, Nietszche even Severino. To investigate the unconscious and then emerge through the pictorial representation with some possible answers, at the same time offering a vision of things and the world where the dream is entangled with reality, and fiction is repeated, make David Dalla Venezia’s painting to operate on two doubled levels: aesthetic-narrative and philosophical-metaphysical. The spectacular facility, the multiplication of characters which seem always (apparently) equal to themselves, the symbols themselves that act as agents, using the "proper life" of the object depicted, the continuous interweaving of quotations, iconographic motifs of classical, baroque and figurative modern in a timeless space constantly evolving, appear today so balanced each other (because the result of hard work and complex) to make this specific type of painting a unique but recognizable event, certainly not episodic. In his paintings, dialogue and confrontation that arouse from conflict and serene acceptance, thereof swinging between past and modernity, conformism and self-assertion, recall partly the dogmatic imperatives of Kitch (the exceptional movement of international figurative painting theorized by Norwegian master Odd Nedrum), which Biennale exhibition will take place this year at Venice in Palazzo Cini at San Vio, from September 17, thanks David Dalla Venezia curatorialships: rejecting irony, always relate the old masters «not because old but because masters», shun originality by opposing it the intensity of the subject. From this, one can deduce that the artist's works are a dynamic compendium of heterogeneous suggestions; in fact what is striking at first glance it is a strength that is not just about structure, but rather gives the log of colours and the precise formal wording, whatever it is, the supporting function, as was for Titian, Dali, Magritte, De Chirico, crucial figures to the artistic education of David Dalla Venezia.
"Seeing I did not seize power utility or a matter of great pleasure, because them men, innanti born to me, have taken for them all the useful and necessary topics, such as the one who will, because of poverty, comes last to the fair, and not being able to provide, on the other, takes all things already seen by others and not accepted, but refused because of their valetitudine little. That I despised and rejected merchandise, the remaining de 'many buyers, I will soma over my weak, and with that, not for the big city, but poor by distributing villas go, and take up this award, which is worth it to me on. "
Leonardo da Vinci
The Mann Art Gallery opens its exhibition venue in Venice Lido, Via Sandro Gallo 97/AB, August 26 at 18.30, dedicating a solo exhibition entitled "Choses d'Après Nature" in David Dalla Venezia.
Born in 1965 in Cannes, France, David Dalla Venezia has developed - technically and poetically - a unique pictorial language, moving between tradition and modernity, where the study and the figure represents the expressive and communicative code key fundamentals.
Since its inception, and are two opposing cultural references from which the painting was inspired by David Dalla Venezia and emancipation: the first is the Lowbrow and Pop Surrealism, popular movement, lower level, built in the late seventies West Coast underground scene of the U.S. (to which certain actions must be brought back to David as illustrations for album covers of Avion Travel and 12 paintings, made on the palisades of Venice "to duet with Hiroshi Daikoku between 1987 and 1989. The second higher that draws its archetypes from classical mythology, by further elaboration of psychoanalytic Freud and Jung, and speculations Schopenhauer, Nietzsche, even Severino. Investigation of the unconscious, and then emerge through the pictorial representation with some possible answers, offering a view of things and the world where the dream is confused with reality and fiction is repeated, causes the paint to operate on David Dalla Venezia two levels: aesthetic and narrative on the one hand and philosophical and metaphysical other. The plant
spectacular, the multiplication of characters equal to themselves, the symbols that act as agents themselves using the "proper life" of the object depicted, the continuous interweaving of quotations, iconographic motifs of classical, baroque and culture Figurative modern in a timeless space and in progress, appear today so balanced each other (because the result of hard work and complex) to make this specific type of painting is a unique event, unique but recognizable, certainly ' no more episodic.
In the pictures of David Dalla Venezia, dialogue and debate that can be seen between conflict and peaceful acceptance of the same, between past and modernity, conformism and self-assertion, recall also the dogmatic imperatives in the Kitch (the exceptional movement figurative painting by Norwegian international theorized Odd Nedrum), which will take place this year Biennale in Venice at Palazzo Cini San Vio, from September 17, thanks to the curatorship of David Dalla Venezia: rejecting irony, always relate to the ancient masters, "not because they are old but because teachers' shun originality and contrast it with the intensity of subject.
From this one can deduce that the artist's works are a compendium of suggestions dynamically heterogeneous, in fact what is striking at first glance it is a solid firm that is not just about plant structure, but rather gives the log color and clarity of the formal wording, whatever it is, the supporting feature, as it was for Titian, Dali, Magritte, De Chirico, figures crucial to the artistic education of young David Dalla Venezia.
