Gislon Art

Swipe or drag to flip the pages, click to open items

Enjoy your vist here

Contemporary Art portal :

Nuove opere 2014New works of 2014 production
< Flip
Back to site

Gislon Art Headlines

Back to previous page

Matter of Stains Questione di macchie, 2014

A stain is a stain but it contains a world of shades, colors and emotions that only those who can look into the innermost corner can 'see. Even our emotions, our feelings (anxiety and fear) are stains over time. Our being in the world, and the world itself is a stain.

Una macchia è una macchia ma contiene un mondo di nuances, di colori ed emozioni che solo a chi sa guardare nel più recondito angolo puo' vedere. Anche le nostre emozioni, i nostri sentimenti(ansie e paure) sono macchie nel tempo. Il nostro essere nel mondo, ed il mondo stesso è una macchia.

Solitude and ConsciousnessSoliudine e Coscienza, 2014

The loneliness is to live in a modern world hungry for knowledge, speed and virtuality but that locks us in a real loneliness of human contacts of physical relationships. Everything is virtual and fast. We get lost in the time of actually isolating us in a different virtual worlds. We know everything that happens in the world without knowing what the world is. The world is a journey without knowing and without effort, without dirt, risk and adventure, shutting more and more frightening in the consciousness that is the becoming of things, the transience of life and the unnecessary battle against time, now almost useless and pear so scary. Over time, our own that we do not live, but where do we draw into its vortex transparent, silent and terrific.

Solitudine - La solitudine è quella di vivere in un mondo moderno affamato di sapere, velocità e virtualità ma che ci chiude in una solitudine reale di contatti umani di relazioni fisiche. Tutto è virtuale e veloce. Ci perdiamo nel tempo della realtà isolandoci in un mondi virtuali differenti. Sappiamo tutto quello che succede nel mondo senza sapere che cosa è il mondo. Il mondo è un conoscere senza viaggiare e senza fatica , senza sporcizia, rischi e avventura, chiudendoci sempre di più nella spaventosa coscienza che è il divenire delle cose, la caducità della vita e l’inutile lotta contro il tempo, ormai quasi inutile e pero così spaventoso. Il tempo, il nostro che che non viviamo, ma di cui ci facciamo trascinare nel suo vortice trasparente , silenzioso e terrificante.

La bellezza nell'Arte Published in 2014

La Bellezza dell’arte nell’arte. “L’arte fa parte dello spirito assoluto, insieme a religione e filosofia, ma mentre la religione usa immagini mentali empiricamente costituite e la filosofia il puro concetto, l’arte usa la sensazione, l’oggetto sensibile“ Quando parliamo di bellezza nell’arte parliamo principalmente di tutto quello che concerne il valore globale che un opera riesce a dare allo spettatore fruitore della sua osservazione visiva (o uditiva). In effetti parliamo di valore in senso generale e cioè sia dal punto di vista estetico e sia dal punto di vista di contenuto (di sentimento). Partendo da un tempo lontano, infatti, la bellezza era legata piu’ al valore rappresentativo, simbolico che estetico (o esoterico) del manufatto. Infatti la tecnica e gli strumenti (go at Portal ).....

Invisible Cities serie 2010

Cities are part of us that live there, but as for our bodies, do not know really. The live, the live, we suffer the joys and sorrows, we perceive, but we can not observe them in detail, we do not see completely. We need someone or something that describes the EC. A virtual mirror, a foreign tourist who knows that most of us inhabit. We see its colors, its prospects, but barely recognize its boundaries. As for our body, there is always a hidden side, a back, do not see, even if we perceive and feel, but which, of course, we would never see. Invisible Cities are like the soul, that we feel but do not know really, but we feel we can not wait. Today we see them in one way and another tomorrow. Today and tomorrow in a particular color different. But there are always off-set that make them recognizable to all, the geometries of the characters. They live in a time and change over time. Our time. Change, grow and change with the changing of their vital component of their cells: their people in their time. My city will be the same a hundred years or one thousand? We as the small particles that are living, the build and consume, we are invisible and imperceptible, just as they are our eyes when we look through the eyes of everyday life. Cities are invisible and we are invisible to the cities. But for this we must look for, examine and experience them in detail, the details of everyday life to recognize their salient features, their character, their souls and live with them ourselves

Città invisibili serie 2010

Le città sono parte di noi che le abitiamo, ma come per il nostro corpo, non le conosciamo a fondo. Le viviamo, le abitiamo, ne soffriamo gioie e dolori, le percepiamo, ma non possiamo osserviate nei loro dettagli, non le vediamo completamente. Abbiamo bisogno di qualcuno o qualcosa che ce le descriva. Uno specchio virtuale, un turista straniero che le conosce più di noi che le abitiamo. Vediamo i suoi colori, le sue prospettive, ma a fatica riconosciamo i suoi contorni. Come per il nostro corpo, c’è sempre un lato nascosto, una schiena, che non vediamo, anche se la percepiamo e sentiamo nostra, ma della quale, naturalmente, non potremmo mai vedere. Le città invisibili sono come l’anima, che sentiamo ma non conosciamo a fondo, che percepiamo ma non vediamo. Oggi le vediamo in un modo e domani in un altro. Oggi sotto una colorazione particolare e domani diversa. Ma ci sono sempre dei risalti che le rendono riconoscibili a tutti, delle geometrie, dei caratteri. Esse vivono un tempo e si trasformano nel tempo. Il nostro tempo. Mutano, crescono e cambiano col cambiare dei loro component delle loro cellule vitali: i loro abitanti nel loro tempo. La mia città sarà la stessa fra cento anni o fra mille? Noi in qualita di piccole particelle che le vivono, le costruiamo e le consumiamo, siamo invisibili e impercettibili, proprio come loro lo sono ai nostri occhi quando le guardiamo con gli occhi della quotidianità. Le città sono invisibili e noi siamo invisibili alle città. Ma proprio per questo dobbiamo cercarle, scrutarle e viverle nei minimi dettagli, nei dettagli della quotidianità per riconoscere i loro tratti salienti, il loro carattere, la loro anima e vivere con loro noi stessi

The purpose of existence Published in 2014

What is the purpose of existence, if there is no certainty of the time? The human being is a tiny element of a grand design or a causality of nature? Of course by the time in which we live everyone can try to understand their world to relate well with other individuals but it is one thing to wax (inutilmete) to understand the laws of nature to make them our own, and another is to understand the feelings and emotions inside and outside to tell the others. Act as a sensor and as a witness to others. Here is what is the purpose of Being. It is not a common purpose. That is, all the men are strong and highly inclined to do this. Most ago by the user, rather lmaggior the part ignores this size and think about the physical needs of the poor and of the body, he thinks of his short time and to lay the groundwork for what the social ritual believed to be the essence of being. Take a position, ensure contiuità Dynasty and limited to small household. Only pohi, and Only in a few moments you think about the bigger picture, the philosophical scheme dell'essere.E here trying to find it in the message of the arts. Not with those set by the market, but the real ones. Those rare, difficult ones, where the beautiful and the ugly do not exist, where the schools, the patterns and values ​​are non-existent. This is pure art and those who create, even unconsciously, this is the artist. Artist not born and not made, but it is in moments particlari, when one realizes this for himself and for others.

Meaning of Life Published May 3, 2011

Art film that represents a lifetime of memories  within a short illusorial sleep where reality and fantasy merge together  and create one world. Suggestion for galleries: this clip art (with others) is on display on the wall (or projected on large screen in endless repetition) ideally in a place with dark wall. For galleries interested in organizing an event please bear in mind  that at this moment I have 10 clips of video art of about 5min'  each  on different themes. 

Offensive Art Published , 2009

;Nothing is real except the processes. The knowledge thus begins with the demolition of illusions. Knowledge means penetrate below the surface, in order to reach the roots, and therefore the causes, knowledge means to see the reality without the swamp. Knowledge does not means being in possession of the truth, but to go under the outer layer and groped, critically and actively, to get closer and closer to reality "
(Erich Fromm)

The Offensive Art is a way of understanding some human behaviors that are commonly used in certain situations and carry them on the two-dimensional table with the colors. An that’s  to integrate the subject and reveal the communication. It’s also technique of figurative representation,  simple, frugal, incomplete in  details, almost 'Offensive 'in respect of the classic representation of the art itself. But its ultimate aim is to highlight the discomfort represented and not the technical quality of the artifact itself. In fact it based itself on a base composed of geometric homogeneous areas of background colors and representation of  humanoids,  simple, in most of the cases, almost like to Keith Haring, whose goal is to bring the viewer's attention on the work. Offensive is, for example, an attitude portaited (see the self-portrait Fuck Off), but also the ‘boat people’, a boat of immigrants who represents the condition of those persons as an offense to human dignity; or the 'Treason', which is a common behavior in human beings but that offends the sense of love and fidelity. It is not a negative Art in itself, but the representation of a negativity that is embodied in the social, in the common sense of society.

Berlin' corners Published May 3, 2012

What's more beautiful that a grey morning in december in Berlin, with -5 degrees and frozen snow on the road pavement. Slippery pathways and cold hands , only the fast movements of the body can give me an illusionistic sensation of life. My life; or at least what remains of it. Searching, middlle in snow, across the tombs'stones and check it here and there. A small cemetery is the lifest place where one person appears in the foggy sky. At the end the cold search is at the end. I founded you, covered in the cold white snow. At that give me a warm sense of happyness. .

Arte informale : piccoli e grandi segni

Un quadro informale può essere segnico, cioè costituito solo da segni, piccoli o grandi, a volte mischiati a disegni. L'artista scrive sulla tela come su un foglio di carta, ma non segue l'ordine di scrittura convenzionalmente usato: i segni si spargono sulla superficie e ne risulta un quadro brulicante di piccoli tocchi di colore o di inchiostro, come un percorso in un mondo misterioso, in una fiaba, come un alfabeto indecifrabile. Ne sono importanti esponenti il tedesco Wols (pseudonimo di Alfred Otto Wolfgang Schulze), che dipinge l'esperienza vissuta in prima persona nei campi di concentramento; l'americano Cy Twombly, che lavora a lungo a Roma con artisti italiani, e l'italiano Giuseppe Capogrossi, di cui sono celebri i grandi segni ripetuti tante volte, che ricordano dei pettini rudimentali. In queste opere è facile intravedere la presenza di simboli religiosi molto antichi, come i totem: segni che ci affascinano per il mistero che li avvolge, anche se non sempre ne comprendiamo in pieno il messaggio.

Fosphoric Stautue Published May 3, 2012

A brand new concept of statues is born! The new series

Modern Giuditta and OlofernPublished 2014

The new concept of Giuditta and Olofern is a sculpture (60x30, iron and mold) which represents the modern worl with its emancipation and contrasts. Although already 2000 years ago, Giuditta was an emancipated symbol of her Era, and the beheading of Olofern had a subtile double meaning of the women emancipation against the masculine power, the modern Giuditta is much more agressive and powerfull. In fact if the hold behaded head had the symbol of the women victory upon the men power(but still in the masculine world), in the new Giuditta everithing is cencentreted of the women power. In the old Caravaggio painting, Olofern was still big, powerfull in hist representation. In this new sculpture Giuditta is the biggest figure and Olofern is just represented with the head. This reinforces the supremacy of the women emancipation against the falling masculine world.

Latest trends in today's art

The art of the last two decades is different from that considered until recently only a clever frame of a few merchants but it is a possible artistic reality. In fact, there is more and more awareness of the damage caused by technology and pollution and this leads to a process of awareness and reaction see against the dangers and threats of a triumphant capitalism and consumerism asservitore and this leads to artistic forms an-object and ideologically subversive . From this the combine paintings of Rauscenberg, the antrhopomorf mannequins of Segal and the art of rumination of Kosuth. (cfr. g. DORFLES)