{"id":1257,"date":"2025-05-21T07:48:00","date_gmt":"2025-05-21T07:48:00","guid":{"rendered":"https:\/\/butticontemporanea.it\/arcangelo\/"},"modified":"2025-05-29T12:27:11","modified_gmt":"2025-05-29T12:27:11","slug":"arcangelo","status":"publish","type":"post","link":"https:\/\/butticontemporanea.it\/en\/arcangelo\/","title":{"rendered":"ARCANGELO"},"content":{"rendered":"<section  class='av_textblock_section av-dz3-aa79aec59e0c2df2b46a87ead62d7406 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><h1>Arcangelo<\/h1>\n<\/div><\/section>\n<div class='flex_column_table av-82qf-2ad4cb92068f9084f77c43827430ea57 sc-av_one_full av-equal-height-column-flextable'>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-82qf-2ad4cb92068f9084f77c43827430ea57\">\n#top .flex_column_table.av-equal-height-column-flextable.av-82qf-2ad4cb92068f9084f77c43827430ea57{\nmargin-top:20px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-82qf-2ad4cb92068f9084f77c43827430ea57 av_one_full  avia-builder-el-1  el_after_av_textblock  el_before_av_one_full  first flex_column_table_cell av-equal-height-column av-align-top  column-top-margin'     ><p><section  class='av_textblock_section av-m9133r50-a70c44c7e3cf6a621d7dfe3619c16905 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>By Veronica Zanardi<\/p>\n<p><span style=\"font-weight: 400;\">Following the exhibition dedicated to Mario Raciti, the Museo Butti|Contemporanea now presents a selection of works\u2014a small retrospective\u2014by a significant figure in contemporary painting: Arcangelo. This exhibition traces a path that, though parallel, moves along different trajectories.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Arcangelo emerged on the Italian art scene in the 1980s, a period deeply influenced by the Transavanguardia movement. However, from the very beginning, his artistic exploration diverged from this contemporary trend, taking an entirely different direction.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">His deep, almost visceral connection to his homeland ties him to other artistic choices. The works on display bear witness to this bond, inviting viewers to discover how it manifests itself through themes and materials that have been central to his research. These elements, imbued with the force and inevitability of deeply rooted connections, are entirely devoid of sentimental softness.  <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Rightly so, Gramiccia defines Arcangelo\u2019s personal sensibility as &#8220;Odyssean.&#8221;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Odysseus, often seen as the indomitable hero constantly in motion, driven by an insatiable thirst for knowledge and the desire for the unknown, reveals a different nature upon closer examination. He is not the most powerful, the strongest, or the most authoritative among the warriors of Troy. Instead, the defining trait that Homer attributes to him\u2014one that sets him apart\u2014is his   <\/span><i><span style=\"font-weight: 400;\">&#8220;patience.&#8221;<\/span><\/i><span style=\"font-weight: 400;\">. Patience is the ability to experience passions while mastering pathos. Though Odysseus appears restless in his journeys\u2014whether imposed or chosen\u2014it is, in fact, the world around him that moves. Paradoxically, his motion is internal, reflective. His drive is to attain a contemplative stillness, one that finds its fulfillment in a small island\u2014his homeland\u2014where he can process everything that has happened in distant lands.<br \/>Odysseus does not move, or when he does, his movements are minimal and essential. He remains motionless inside the wooden horse he conceived. He is nearly immobile, tied down, as the sirens sing their maddening song, yet he does not struggle once he has passed their test, nor does he question the power of their voices. His final journey, the one recounted by Dante, is undertaken in pursuit of the absolute stillness &#8220;beyond the sun,&#8221; with the awareness that such stillness is what enables universal movement.<br \/>An &#8220;Odyssean&#8221; sensibility, then, is one that favors minimal motion, a patience that reworks the matter of one&#8217;s native soil\u2014the blinding white of lime, the coal-black nights of the South. It is the ability to process external turmoil in interior silence, to ruminate and create something new\u2014an artwork that, however small, changes the world.     <\/span><\/p>\n<p><span style=\"font-weight: 400;\">I was fortunate to collaborate with Arcangelo, sharing a year of teaching with him. It was a fruitful bond, a period of growth: on one side, the offering of didactic skill; on the other, the force of a deeply personal emotional transmission\u2014just as personal as Arcangelo\u2019s painting itself. Our collaboration thrived precisely on this &#8220;Odyssean&#8221; sensibility, marked by constant, daily progress, discoveries, and reflections that continually opened new paths for artistic exploration. It left a significant and lasting imprint on me, made all the more tangible through the awareness of this dynamic interiority.    <\/span><\/p>\n<p><span style=\"font-weight: 400;\">An artist\u2019s life is often structured in cycles. This small yet comprehensive exhibition gathers works spanning from the early 1990s to the most recent years.  <\/span><\/p>\n<p><span style=\"font-weight: 400;\">From the Pianeti cycle and beyond, the subject remains the land of origin: Irpinia, whose essence demands to be seen, almost imposes itself. The canvas becomes a sun-bleached sheet, the colors those of the parched landscape, where rain turns the earth into thick mud clinging to one\u2019s feet. From the stroke to the color, everything is spiritual.<br \/>In the Misteri cycle, browns and blacks return. Catholic-pagan rituals intertwine with African initiation ceremonies. The violent, sacred red of blood links the flagellants of southern Italian processions to the blood daily shed in the savanna. Nature\u2019s primal forces unite people across time and geography. The steps of the dance and the procession coincide, and black merges coal with African nights.        <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Arcangelo preserves the sense of epiphany.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In recent years, once again, his homeland exerts its gravitational pull on the artist. His works are not mere evocations of ancient relics; rather, they embody the pulse of an ancestral soul that defies the tyranny of time.  <\/span><\/p>\n<p><span style=\"font-weight: 400;\">The crocus flowers remain still among the stones of the ancient Appian Way.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Some of these works evoke an unexpected, muffled sound behind us\u2014something rising from the depths of the earth, almost like the last echo of a primordial clamor, perhaps a forewarning of something long past yet now indecipherable. <\/span><\/p>\n<p><span style=\"font-weight: 400;\">After the initial spontaneous emotion comes the time for contemplation\u2014to absorb, process, and allow what we have seen to settle within us.<\/span><\/p>\n<h3><\/h3>\n<p style=\"text-align: right;\">\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-m915208p-a2d996cc657a4a06c1dbffc1f766d483\">\n#top .hr.hr-invisible.av-m915208p-a2d996cc657a4a06c1dbffc1f766d483{\nheight:30px;\n}\n<\/style>\n<div  class='hr av-m915208p-a2d996cc657a4a06c1dbffc1f766d483 hr-invisible  avia-builder-el-3  el_after_av_textblock  avia-builder-el-last '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><\/p><\/div><\/div><!--close column table wrapper. Autoclose: 1 --><div class='flex_column_table av-g6x64-749381cdb106a2f6b6a4ef35834b7165 sc-av_one_full av-equal-height-column-flextable'>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-g6x64-749381cdb106a2f6b6a4ef35834b7165\">\n#top .flex_column_table.av-equal-height-column-flextable.av-g6x64-749381cdb106a2f6b6a4ef35834b7165{\nmargin-top:20px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-g6x64-749381cdb106a2f6b6a4ef35834b7165 av_one_full  avia-builder-el-4  el_after_av_one_full  avia-builder-el-last  first flex_column_table_cell av-equal-height-column av-align-top  column-top-margin'     ><p><section  class='av_textblock_section av-m9i78err-9de9fac1164adc1c4e106e26b37a7fcd '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p><b>Archangel: ulissian painter<br \/>\n<span style=\"font-weight: 400;\">by Roberto Gramiccia<\/span><br \/>\n<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Emilio Villa, the great multilingual master of thought and language, once described Giulio Turcato as an Odyssean painter. Today, I believe this definition fits only one artist in Italy. That artist is Arcangelo, who now docks his ship\u2014his art\u2014at a safe harbor: the Museo Butti\/Contemporanea in Viggi\u00f9, which hosts a splendid and unmissable selection of his works, spanning different and even relatively distant creative periods.<br \/>But what does it mean to be proudly \u201cOdyssean\u201d?<br \/>If Odysseus were reborn today, he wouldn\u2019t have a \u201ccareer.\u201d Not only would the Trojan Horse be useless (modern-day Troy would be obliterated in minutes with a couple of guided missiles), but his loves, his journeys, and his adventures would all lose their meaning. There would be no suitors to defeat, no vengeance to claim. Most importantly, Odysseus would not set sail again\u2014after twenty years of the reassuring warmth of home\u2014to cross the Pillars of Hercules in search of the unknown.        <\/span><\/p>\n<p><span style=\"font-weight: 400;\">Today, no one cares about the Pillars of Hercules anymore. Utopias have vanished; there are no more dreams left to pursue. The stillness of postmodernity and post-contemporaneity is disrupted only by crises\u2014like the COVID pandemic, which took millions of lives, or wars and massacres, from Ukraine to Gaza, measuring the failure of a declining West with mountains of rubble and fields of corpses. As Gramsci put it: &#8220;The old world is dying, and the new cannot be born: in this interregnum, a great variety of morbid symptoms appear.&#8221; One of these symptoms is the crisis of art\u2014its surrender to the homogenizing, market-driven pensiero unico and to the power structures that police it. This crisis reflects the stagnant swamp in which we find ourselves today\u2014a swamp that, nonetheless, Odysseus would have navigated to reach the open sea once more.        <\/span><\/p>\n<p><span style=\"font-weight: 400;\">This is precisely Arcangelo\u2019s mindset and approach: he is a heretical artist, a free-thinking Bruniano who, despite the oppressive calm, continues his journey. Today, he lands in this small but precious museum, bringing the testimony of his unyielding yet captivating painting. Arcangelo, one of the few truly talented painters\u2019 painters in his artistic prime, has no interest in the exhaustion and numbing atmospheres of the post-contemporary. For years, he has carried on his physical and mental journey\u2014bravely, yet with the generosity of one who, as I once wrote, \u201ctravels the world with a bottle of wine (or rum) in hand, ready to offer a drink to whomever he meets.\u201d   <\/span><\/p>\n<p><span style=\"font-weight: 400;\">In an age of war, this artist from Campania strikes me as a messenger of peace. A partisan of peace, who, without making proclamations, weaves a borderless, stateless pictorial manifesto\u2014what once would have been called internationalist\u2014a manifesto that seeks out the other and the elsewhere with a sense of shared curiosity that is both a way of life and a deeply Odyssean, truly modern attitude. As the paintings in this exhibition so eloquently express, Arcangelo\u2019s work unfolds with the natural spontaneity of a storm in a forest or a tropical jungle. It moves between a minimal degree of figuration and a maximum of vibrant, unpolished abstraction.   <\/span><\/p>\n<p><span style=\"font-weight: 400;\">More introspection than representation. More an exploration of the unknown than a chronicle of the present. Gesture-driven painting, yet guided by a compositional wisdom inherited from an ancient tradition. A pulsating vitality and an inexhaustible drive for discovery that reconnects us with strong ideas and meaningful actions\u2014rather than the feeble resignation of those content to merely \u201cwait out the night.\u201d<br \/>Arcangelo does not just want to endure the night\u2014he wants to make it unforgettable, like a night of passion with the most beautiful and beloved of women.     <\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Lebanese Vase in Beirut<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Room of Mysteries<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">I Feel the Desert Closer<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Arabian Dawn<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <i><span style=\"font-weight: 400;\">Long Night of Pagan Saints<\/span><\/i><span style=\"font-weight: 400;\"> \u2014these are some of the titles of the works on display. They read like verses of poetry, drifting out of the room like musical notes traveling between continents, between dimensions\u2014including an anthroposophical one\u2014without hesitation, without fear.<br \/>And then there is something that makes Arcangelo\u2019s paintings unmistakable: they captivate the viewer effortlessly, without any evident trickery, without pandering. It is the mystery of a painting that is at once \u201cinsolent\u201d and perceived as gentle\u2014one that offers solace and comfort, not by sedating like benzodiazepines, but by awakening, like a strong double espresso at dawn.   <\/span><\/p>\n<p style=\"text-align: right;\">\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-9fs30-d5145552a99864bdd8d0d4ca568cd65f\">\n#top .hr.hr-invisible.av-9fs30-d5145552a99864bdd8d0d4ca568cd65f{\nheight:30px;\n}\n<\/style>\n<div  class='hr av-9fs30-d5145552a99864bdd8d0d4ca568cd65f hr-invisible  avia-builder-el-6  el_after_av_textblock  avia-builder-el-last '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><\/p><\/div><\/div><!--close column table wrapper. Autoclose: 1 --><\/p>\n","protected":false},"excerpt":{"rendered":"<h3>Critical anthology<\/h3>\n","protected":false},"author":1,"featured_media":1773,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[16],"tags":[],"class_list":["post-1257","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critical-antology"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>ARCANGELO - Museo Butti Contemporanea Viggi\u00f9<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/butticontemporanea.it\/en\/arcangelo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ARCANGELO - 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