Nella sua evoluzione linguistica il lavoro di Zampogna assume una capacità di analisi sociale e un’identità critica che finiscono con il diventare cifra stilistica. […] L’opera diventa luogo di analisi, ma anche di racconto, di narrazioni che scavano nel dato oggettivo smontandolo e rimontandolo secondo regole etiche che affiorano dalle distese inquiete del proprio mondo interiore. […] Con le “macellerie” Zampogna porta in scena il corpo dell’arte, il vero dell’opera. […] Le sue raffigurazioni […] smorzano la crudezza della carne macellata, ne attutiscono la violenza dell’urlo, mostrando la verità di una redenzione che nella carne esprime tutta l’esaltante bellezza della vita.
In its linguistic evolution, Zampogna’s work proves capable of a social analysis and critical identity that end up becoming a key stylistic feature. […] The work turns into a scene of analysis as well as a receptacle for a story and narration that delve into objective facts by dismantling and rebuilding them according to ethical rules that surface from the restless expanses of his own inner world. […] With his “macellerie” (slaughterhouses), Zampogna brings the body of art, its truth, onto the scene. […] his depictions […] tone down the rawness of the butchered meat, […] muffle the
violence of the cries, showing the truth underlying a redemption which, in this flesh, in this meat, expresses all the exhilarating beauty of life.
Teodolinda Coltellaro
Sono i colori e i pennelli gli strumenti scelti da Gaetano Zampogna per indicarci una via d’uscita, una possibilità di salvezza, ricordandoci che l’esercizio quotidiano di un fare non utilitarista, disinteressato, “inutile”, libero, può essere la chiave per combattere le istanze disumanizzanti che ci assediano. Finché c’è l’arte c’è speranza.
Colours and paintbrushes are the tools chosen by Gaetano Zampogna to show us a way out, a chance for salvation, reminding us how the daily army of a non-utilitarian behaviour – disinterested, “useless,” free – could be the key to fight the dehumanising aspirations besieging it. While there’s art, there’s hope.
If you want to use the photo it would also be good to check with the artist beforehand in case it is subject to copyright. Best wishes. Aaren Reggis Sela
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