ANSWERS QUESTIONS THAT REQUIRE STRICT
of Angela Giuffrida
to promote a debate on the part of the Unit on the silence of women, which occurred over a year ago, I had put putting ten questions. My contribution, to the trashed unit, appeared on the website of the country for women and later read on Women, the magazine of Luciana Tufan. My intent was to shift the terms of the confrontation from the floor limit of a general and unexplained silence the hard core of the problem was left out from the discussion. Even today, unfortunately, remains untouched and untouchable because the issues raised have not had any response. We propose again, to sum up my speech then, in the hope that the pressure exerted by the stringency of the crisis makes the mind more open to dialogue.
I think is necessary to ensure a broader framework to the problem of female silence and start talking about re-foundation of thought altogether. Sure there are times when the arrogance of power manifests itself in all its boldness, without the veils that softened, but not forget that power is synonymous with male dominance and that the community organizations are everywhere androcentric dominanza se è vero, com’è vero, che sulla gratuità del lavoro di cura affondano universalmente e pervicacemente le loro fondamenta. La questione femminile non è un’”anomalia” solo italiana. Per la verità sull’azzeramento del punto di vista delle donne, quindi sulla negazione di un pensiero autonomo femminile, gli uomini hanno fondato le loro società palesemente autistiche, e ancora oggi in tutto il mondo, anche nelle nazioni che ci sembrano più democratiche in quanto prevedono un maggior numero di donne nei luoghi del potere, nessuna donna è veramente soggetto né mai lo sarà finché continuerà a guardare il mondo dalla fessura attraverso cui il maschio umano lo guarda. Chasing
individual data that call their opposite, men polarize the reality that is so fragmented and conflictual, in responding to the reality of anything done, especially that living thing is made and remains in place thanks to intricate and insoluble connections. This is the cognitive approach is one way men and undoubtedly unfit to rationally manage the world: the universal dehumanization, irrationality has become a way of life are the proof of the above statements, in those circumstances, if we continue to move to ' Procedure for this little parzialissima and truthful representation of reality is given to us even develop a new idea of \u200b\u200bpower, politics and democracy.
But women usually stationed in the male thought which continue to use the nefarious mechanisms. The tendency to deal separately with the issues in question can be seen in the debate that unfolds around themes can not be understood out of context if, for example aphasia of our kind to be placed in the universal aphasia that prevents women and men in the world to develop thinking act rational actions to move the species (in this sense we must understand the silence, words are mute if they fail to revolutionize the existing). The issue of women can not be fully understood, and then exceeded, until such clear that it is only the spearhead of a general misconception of the nature of the living human being, male or female, considered all the living "thing" between things, a mere means to satisfy needs of others.
Likewise, the division of women in movements, groups, associations, self, or just not communicating with each other, reflecting the endemic in the separation of male and acquisition landscape cognitive unconscious male idea of \u200b\u200bconflict as opposed foreclosure - also underlined the critical feminism - that places the other or in the role of enemy, preventing any constructive confrontation.
I believe that the characteristic traits of closure and rigidity of the typical male mind would lead all men, not only Italian, excluding diversity and to provide maximum approval that produces the neutralization of the differences, which the feminist political thought has not failed to comply, stating that there are possible amendments. Nevertheless, women remain generally in the bed of male thought and therefore continue to reject a healthy discussion, especially with a thought as my way of imparting the kind of a turn 360 degrees. Of course, revolutionary ideas are destabilizing, so scary, but if you really want a civilized society and just need to revolutionize the existing force.
To pick up the threads of a dangerously interrupted revolution, notes Lidia Ravera, not continue to spin, losing precious time and energy, not continue to "complain, resent, hold a grudge" unnecessarily, we must ask ourselves some questions that require demanding answers:
- It 's possible to make the world the ideals of justice, equality and freedom if the end of politics continues to be at all levels of the male, ie the achievement of power?
- The achievement of these ideals does not imply that individual human beings in all their concreteness and diversity occupy the political center and that the goal is to assure each of them not only survival, but evolution and a good quality of life?
- To do this there is no need to radically change the political point of view, transferring it from the narrow scope of the need for men of power to the living whole of humanity (whether female or male) and their needs as the living and inevitable as human ?
- To make it the center of political action does not require a completely different vision of the human being, no longer a thing among things, "the statue of the earth" as Descartes said, mere means to satisfy the needs of others, but the person responsible for its growth and its species, subject to the other that make life possible on Earth?
- Why do we women have in general so difficult to recognize the person to be appointed to this revolutionary change? Always us build the human body so we know it, because we always know we take care of what they need to live and evolve.
- Why slow to recognize and affirm strongly that we are the authority on living?
- Why slow to acknowledge that the war declared by ruthless men to life throughout the world (just think of the exorbitant on armaments in the face of the unexplained limited to those intended for life, and the irrational killings di donne, bambine/i, ma anche uomini innocenti) rivela una abissale carenza di conoscenze nel campo del vivente dovuta presumibilmente al fatto che essi non protraggono la vita e non se ne curano?
- Perché ci riesce difficile capire che il disprezzo maschile per i corpi viventi e i loro bisogni, per le donne e le attività di riproduzione e di cura costituisce un serio ostacolo al mantenimento della vita sulla terra?
- Per quale motivo esitiamo a riconoscere che solo una mente capace di abbracciare la vita nella sua reale complessità può governare un mondo di viventi e che questa mente è la nostra?
- E infine, è davvero così difficile comprendere che fare appelli, scendere in piazza, demonstrate and count is useless unless it is re-established the truth and that is the centrality of women?
The answers to these questions depends, I believe, the possibility to overcome the ominous silence of women and men, and initiate a confrontation and profitable.
For differential allegory in painting of James Cuttone
of Anthony Contilia
"The analysis of the thought is always allegorical in relation to
using speech. His problem is infallibly this:
whereas what was being said in what was actually said? "
, Michel Foucault ( The Archaeology of Knowledge, 1969)
The
tempo non è mai, e solo, sviluppo rettilineo senza retroazioni. Tra continuità, fratture e ritorni è come l’acqua di un fiume in discesa e turbolenta. Una corrente che, incontrando ostacoli o altre deviazioni che turbano l’andare liscio, forma dei vortici obbligando il percorso a dei zigzag che mescolano discesa e risalita. Discontinuità e continuità si combinano in un intreccio complementare, e senza escludere le variazioni del caso dovute al contesto.
Basterebbe pensare alle forme dei diversi paradigmi che hanno caratterizzato lo stile di ricerca e realizzazione sia nel campo scientifico-filosofico quanto in quello artistico vero e proprio per quanto riguarda l’infinito e il problema del suo continuum; lì that is where people work according to the belief that "nature does not jump" and applies the model of gradual cognitive-operational. This is the finished graft, in scientific research sophisticated particle or wave quantized form closes the frayed when the method of differential equations and the "renormalization" resets the tears that had the laundry in front of the formalization gained. Similarly, in our opinion, is the process that runs in the forms tested / li contemporary art that looks at things from other points of view with respect to the data, and examine other organizational plans to close a framework in the form assumed by the artist.
Fluctuations in flows and found that their unstable equilibrium with a new formal organization. Niels Bohr pointed out that "we are prisoners of language so that any attempt to formalize intuition is a play on words." In the art world, to paraphrase, similarly, one can say that the intuition of the artist finds body in the pictorial representation by recombining the seeds of artistic language.
The problem of 'form' that is meaningful and strong returns, although in the light of necessary and contingent innovations and trans-formations deemed required by science and art to find answers and actions do not homogenizing and stagnant, if not want to waste my time listening to the lived and imagined even into the future.
same holds for / in the contemporary art world. So troubled by the accelerated testing, and to the end of the informal information and virtual reality of digital electronics, the search for form in art, in fact, like the fantastic bestiary of fields and relativistic quantum vortices' chaotic ', does not cease to act as the mediator unavoidable. Why, however, art and science have a close relationship in what they give a face to things visible and invisible: the form / shape the organization. The show then depicted
the world organized and / or re / organization / for diagrams. From the pictures the more substantial the more abstract diagrams or to the same algebraic equations as abstract, and made visible in arithmetic geometric shapes, today, thanks to the graphics compiuterizzata, also plotted in observable and colorful forms certain play their role as mediators. But in some places and trends aestheticization spectacularized, form is everything, and this, blunting the necessary gap that there must be between the autonomy (not "pure") and smuggling of art ideologizzante, it helps to distinguish between the figure and represented, especially if the imagery is identified with the digital-free synthetic double bottom. The signs do not tell anyone anymore and waste away. The "ghost" of the idea of \u200b\u200bthought, felt, imagined and virtual, is one with reality, while the communication media is responsible to transform the ideology of planning in undifferentiated abstraction of experienced real peaceful. States of being-there that, together with its consistent attitudes and behavior, vehicle only consents to reconcile with the mechanical world of the administration. Even the art (in general), which feeds on subjectifications immersed in the asymmetries of things and the multiplicity of relations, are being asked to abandon his sense of waste and disagreement between the forms, the anti-formal pre-and supra-and yet transcends the same contingency in which the events are realized. As if to say that the universe of discourse of literature, poetry and art without losing its function as well as political and cultural criticism to become a mediator of the conflict and drowning acquiescent consent divorce between words, images and things. The new "sublime", this stage of evolution, the unified market of immaterial production preach and practice such as res natural order of discourse. Abolished the conflict between the heterogeneous and the same places as the difference between the socio-political and the momentum created utopian art, expelled and even hetero-TOPIE, would not that inertia and let live by the end-story. Thus, the same symbolic order (and own) the language of painting, more exposed to consumer consent to the immediate impact of image-forms, seems to mediate most simulacra (without references) that stretched imagination to friction with the concrete events insurance uncritical and gratification.
But there are still those who, in the world of artists (commercial and advertising away from the spotlight of the sponsors of fashion), like the Sicilian painter Giacomo Cuttone also operates in a different and counter-trend: paints, makes graphics, designs and chine with the act colors and patterns of the otherwise allegory. As if to say that his art is characterized by the residues of the allegory (painting / say-otherwise) of the differential inequalities, for which a certain order of discourse (symbolic), especially if it has to do with the forms of law and politics does not absorb fully the real socio-cultural and other variables.
We like it, so to characterize this pictorial allegory of the artist James Cuttone as an allegory of artistic difference, as ratio that - unlike in the case of the classical "differential calculus" of knowledge and homogenizing classical deterministic - not renormalize le equazioni disturbate dall’eteros, ma utilizza il differenziale come campo pittorico di sperimentazione storico-materiale perché emerga l’eteros, e perché l’eteros si strutturi in forme composite per affermare il suo diritto di essere voce ed esistenza altra, ma egualmente vita da vivere fuori il condominio dell’omologazione forzata. L’opera “Transgender (50x50 acrilico su tela)”, da questo punto di vista, ci sembra una delle più eloquenti e riuscita. La polimorfia è resa con l’impasto delle macchie di colore che timbrano la figura nella sua non-monogama espressione di insopprimibile identità singolare duale (uno-di-due, una identità molteplice o complessa).
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| Transgender |
The images of the paintings Cuttone offers us, in our opinion, not only have a continuity in the work of the form, always subjected to twisting geometric and chromatic scopic bending and varying shades (whether it uses the contrast black / white or range of the spectrum of colors), as well, and still retain the distance and the gap between what the quid is shown and illustrated. A quid not forget that in the "between", as noted in the workings of the plan and the shapes subjected to constant changes, there is the possibility of further exploration semantizzanti aesthetically. This is because our artist would also like to address some (involved) and demystification of care. He, in fact, taking care to avoid the easy slippage of the subjectivist rhetorical fashion, exposes some cultural alienation and political invasive and homogenizing, which overshadows the negative burst of otherness and difference. A cure so artistic, that of Cuttone, which captures the shadow of negativity in flight and makes it instantly visible transhipped (after having examined and "stripped") on the canvas as a "reflective assessment" projected on the floor of the painting itself spatialized . As pointed out Paul Klee, the artist works in Sicily geometry and brush to make the invisible visible.
show (and demystify) the coverage discursive-symbolic order leveling out, what passes for real shapes of the order of the "master" and his regime consumerism, is the invisible of the true (hidden) occupying the artistic tension of our Sicilian painter - James Cuttone - and of which its production is symptomatic, especially the last period.
specimens are all in this context the work of the Cycle-Afghan Taliban, being a result of the war against terrorism (to be charged to the Muslim world) and the violence of war so-called humanitarian and infinite, as well as wild, as well as against people of color migrant hunger, poverty, persecution or other reasons of domination, power and control arrangements dictated by the political geography of the twenty-first century.
The pictorial language of James Cuttone it never leaves the mediation of symbolic and critical contact with the reality of events, its levels and its divisions, and there where a lot of painting, with the complicity of much criticism on the run from the contexts actual practice seems to privilege as the IN-imponderable forms, but the Sicilian artist working in the sign-symbolic transformations going hunting denudanti symptoms. It is symptomatic that direction we went towards the shape and image of the graft that we like to call allegory differential. And our artist seems to do it with semantic and political awareness as well as criticism, and first of all, Art.
Even when it is proven in research abstract - as in the case of the terrorist attack (11 September 2001) to some of the clearest symbols - the Towers, the World Trade Center and the Pentagon - of American power - the figure Cuttone's painting has always sought a form that realizes the subtraction of the actual creative expression masked in revealing, form at the bottom with colors colors lyric aesthetic-cognitive assigned to the articulation of / i / color I live on the geometry of the classic black-and-white contrast (shadow / light).
same procedure, we think, connotes, as mentioned above (other times), his notes chine Taliban. Work, that, in the structure graphics were also used verses of poetry in tune, and as a further pictorial harmony, before the verbal and aural.
The slope of this painter, who mixed poetry and painting, as we say in the Muslim West, or the alien that appears in its irreducibility of culture, habits, attitudes and styles on display behind it, as the ' Other ". The stranger can not be assimilated and elusive to certain details of European recognition of the civilized world. This is the case (also) the eye doctor's Taliban medusizzante china (from protruding eyes), and surrounded by white / empty the notch pupil belonging to a patient with a burka (rather than perceived and assumed that flashy).
show (and demystify) the coverage discursive-symbolic order leveling out, what passes for real shapes of the order of the "master" and his regime consumerism, is the invisible of the true (hidden) occupying the artistic tension of our Sicilian painter - James Cuttone - and of which its production is symptomatic, especially the last period.
specimens are all in this context the work of the Cycle-Afghan Taliban, being a result of the war against terrorism (to be charged to the Muslim world) and the violence of war so-called humanitarian and infinite, as well as wild, as well as against people of color migrant hunger, poverty, persecution or other reasons of domination, power and control arrangements dictated by the political geography of the twenty-first century.
The pictorial language of James Cuttone it never leaves the mediation of symbolic and critical contact with the reality of events, its levels and its divisions, and there where a lot of painting, with the complicity of much criticism on the run from the contexts actual practice seems to privilege as the IN-imponderable forms, but the Sicilian artist working in the sign-symbolic transformations going hunting denudanti symptoms. It is symptomatic that direction we went towards the shape and image of the graft that we like to call allegory differential. And our artist seems to do it with semantic and political awareness as well as criticism, and first of all, Art.
Even when it is proven in research abstract - as in the case of the terrorist attack (11 September 2001) to some of the clearest symbols - the Towers, the World Trade Center and the Pentagon - of American power - the figure Cuttone's painting has always sought a form that realizes the subtraction of the actual creative expression masked in revealing, form at the bottom with colors colors lyric aesthetic-cognitive assigned to the articulation of / i / color I live on the geometry of the classic black-and-white contrast (shadow / light).
same procedure, we think, connotes, as mentioned above (other times), his notes chine Taliban. Work, that, in the structure graphics were also used verses of poetry in tune, and as a further pictorial harmony, before the verbal and aural.
The slope of this painter, who mixed poetry and painting, as we say in the Muslim West, or the alien that appears in its irreducibility of culture, habits, attitudes and styles on display behind it, as the ' Other ". The stranger can not be assimilated and elusive to certain details of European recognition of the civilized world. This is the case (also) the eye doctor's Taliban medusizzante china (from protruding eyes), and surrounded by white / empty the notch pupil belonging to a patient with a burka (rather than perceived and assumed that flashy).
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| The doctor Taliban |
's commitment to pictorial Cuttone, which follows the route of the net graph and the chiaroscuro of the plots of the color, now accentuated and now blurred, now between borders and boundaries, So always carry a sharp and a brand that, in our view, it also works in the direction of dynamic expression (and allegorizing).
expressionism, however, whose subjectivity po (i) ethics should not be confused with the cry of the vaporous rhetoric or tear all subjective. And here the material amalgam of color, capable of stress and conflict expectations (not always reassuring and wrenching our age), the dramas of wandering presentification of migrants and illegal immigrants.
are the paintings on board the yearnings and expectations of travelers to global poverty, illegal in the Europe of free movement of goods and capital, on tramp steamers of human traffickers, or isolated and confined in the CEI (Centre for identification and expulsion) of the sea in the Mediterranean, seeking a temporary port while living with the thought and soul hanging tree back to Ithaca.
remember that a transaction of this cycle - "The island is not coming 2" - faces the cover of our latest book of poetry (I (s) dyad / The binary dell'asiento (2010). Of the others, in Specifically, the words "with the sea in his eyes," "Sad Wind," "Horizon oblique," "Flight of Hope" and "Dreaming of Ithaca."
expressionism, however, whose subjectivity po (i) ethics should not be confused with the cry of the vaporous rhetoric or tear all subjective. And here the material amalgam of color, capable of stress and conflict expectations (not always reassuring and wrenching our age), the dramas of wandering presentification of migrants and illegal immigrants.
are the paintings on board the yearnings and expectations of travelers to global poverty, illegal in the Europe of free movement of goods and capital, on tramp steamers of human traffickers, or isolated and confined in the CEI (Centre for identification and expulsion) of the sea in the Mediterranean, seeking a temporary port while living with the thought and soul hanging tree back to Ithaca.
remember that a transaction of this cycle - "The island is not coming 2" - faces the cover of our latest book of poetry (I (s) dyad / The binary dell'asiento (2010). Of the others, in Specifically, the words "with the sea in his eyes," "Sad Wind," "Horizon oblique," "Flight of Hope" and "Dreaming of Ithaca."
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| Wind sad |
a commodification that educates the statues in exchange for truth and the reality of the unreal happiness instant patina and worn as identification magic hallucinogenic. But the paintings of Cuttone is controvoce, and the features of his complex artistic representations suggest anything but an invitation acquiescence.
The sadness for the departure from their country, displayed in the Wind sad nostalgia for the island is not coming 2 and Dreaming Ithaca - the return from exile to home and loved ones - the hope and uncertainty to a time you can read in the canvas with the sea in the eye, are in fact the counterpoint to the allegory of differential marking the pictorial thought of his last works. A neo-expressionism
poetic material - we would categorizing this sense - is what the painter puts forward and used as counterpoint and voice of dissent, a rebellion made up, as irrevocable, bodies exposed to the elements of the story raped by power relations unequal. So the streets, going and returning of these textual-pictorial diagram of the Sicilian, testifies to the painful reality of conflicts, are more than a pictorial end in itself. In fact does not give up digging in the ruins of time and find the thresholds that open openings other semantic possibilities and value.
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| Forty fever |
Biography
Cuttone James was born in Marsala January 7, 1958. He studied at the Art School and the Accademia di Belle Arti di Palermo. Join the artistic life from 1972 explaining, in numerous group in Palermo, Mazara del Vallo, Petrosino, Trapani, Marsala, Locogrande, Reggio Calabria, Motta S. John Paceco, Bishop, Syracuse, Alcamo, Castelvetrano-Selinunte, Salemi, Zen / Palermo, Milan, Nova Milanese, Campobello di Mazara-Cave of Cusa, Santhià, Rome, Pisa.
He has made solo exhibitions in Petrosino, Marsala, Mazara del Vallo, Racalmuto, Brescia, Novi Ligure, Salerno, Florence, Paceco. He
illustrated several books of poetry and literary magazines.
E 'co-author of Companions of road walking (2003), Riccardi and Ed' Elmotell blues (2007), Navarra Editore; two texts of poetry collective intersemiotic mount (with CD-ROM version). In the eighties, along with the poet Anthony Contilia, as part of cultural promotion of the City of Petrosino, gave birth to a Festival of Contemporary Art and Poetry Award.
were concerned critics of his work: Gonzalo Alvarez Garcia, Joseph Biat, Rolando Certa, Anthony Contilia, Vito Gallo, Mario Umberto Garro, Giaramidaro Celeste, Salvatore Giubilato, Frank Incandela, Salvatore Maurici, Egidio Mascherini, Italo Perna, Vincent Piccione, Luciano Spiazzi, Mario Tumbiolo, Salvatore Vecchio, Attilio L. Vinci, Piero Di Giorgi, Abby Jones, Luciana Argentinian, Accardi Rosellina, Liliana Ingenito, Gianni Di Matteo, Frank Alaimo
From 2001 to 2005 he was a member of C. d. A. painting exhibitions of the City of Petrosino.
lives in Mazara del Vallo and is Chair of Arts and Image in Middle School Grades "Joseph Grasso."
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| Giacomo Cuttone |
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