Born from the collaboration between oliveo.it and aArte29, a well-known Italian contemporary visual art gallery, committed to research and oriented towards authors who investigate the new forms of perception and vision of reality, in the light of the multiform assimilation of reality itself, GUSTARTE’S is a new and unusual way to convey the taste for art and E.V.O. oil, actualizing the idea with a gift box, a true advertising totem which promotes both of those important topics.
This project and its inception were shared by some of the most famous artists of the international scene, first of all Ernesto Morales and Mirjam Appelhof and following Barbara Nati, Patrizia Posillipo, Massimiliano Mirabella, Sasha Vinci, Maria Grazia Galesi, Kyle Thompson e Francesco Cimmino.
The pictorial research of Ernesto Morales, an Argentinian artist born in 1974 in Montevideo (Uruguay), who currently lives in Italy, is characterized by a strong commitment for inquiry on themes related to memory, distance, identity and exile, witnessing the need to re-experience the geometry of urban spaces and the indefinite suspension of the ‘mind spaces’, through interpretation of the memory based on a symbolic syntax of formal elements which reconnect to the emotional experience and the oneiric imagination of each individual. From 2005 up to today, Ernesto Morales has exhibited in many countries in South America and Europe, such as: Argentina (Buenos Aires, Mendoza, Cordoba, Salta, Jujuy), Italy (Rome, Milan, Pisa, Naples, Turin, Genoa), France (Paris, Bordeaux, Toulouse, Bayonne), Spain (Madrid, Barcelona, Bilbao) and Germany (Cologne); since early 2006, Ernesto Morales’ artistic activity, based on themes regarding cultural identity and migration links between Europe and South America, is supported and endorsed by the Argentinian Embassy in Italy, by the Culture Department of the Government of the City of Buenos Aires, by the General Directorate of the Culture Department of the Argentinian Foreign Ministry, by the Italian Institute for Culture of the city of Buenos Aires.
The three directories that move the work of Mirjam Appelhof, a Dutch artist, are art as esthetic need, as intellectual need and as door to possible worlds. Her photography is not born as a snapshot, but on the contrary, it is slow, layer by layer, like a painter with a canvas: an old operation, with a modern and contemporary medium! The overlapping of strokes on the images and the melting pot of techniques and procedures reveal great innovation and eclecticism, and are characterized by the traits of the great masters of Dutch painting. With its attention to detail, sometimes to the infinitely small, to the luminosity and solemnity of the faces sculpted in the darkness or in the light, it almost seems an endeavor inspired by dreams and visions that almost always remain faint and fleeting.
Thus, Mirjam Appelhof reaches an oneiric dimension, in a creative hypnosis of places imaginary but also familiar, sometimes cold and sharp, other times warm and shaded, her poetry through images is honest, sincere, and never ordinary, its content strongly surreal, its subjects aspire to the perfectible and are fire signals that direct to the universal.
Barbara Nati, born in Rome in 1980, possesses the conscious sensitivity of her mutant Hybrid nature; her work layers reality forms taken directly from the bottom of the memory and, although they belong to the level of the possible physical experience, they end up becoming absolutely distant from the concrete system of the objects. With her images of an extraordinary allure, she plays ironically to elicit a pleasant but disorienting feeling of the opposite in the beholder. Barbara Nati’s oeuvre lies beyond what is commonly intended as photography, mostly standing out for its estranging effect. Her profoundly lyric investigation takes shape through a wise and skilful use of digital and technological tools. Her language always hovers between poetic and ironic, delivering essential social and ethical messages, with a particular focus on environmental issues ... Every setting, as a matter of fact, invites the viewer to look again at those things we take for granted and unleashes a visceral response by the viewer who is asked for a rational interpretation through a gloomy metaphor of the upcoming future.
Patrizia Posillipo was born amongst films and cameras, enveloped by the smell of the darkroom. At less than six years old, in the backyard of her parents’ studio, she poses and shoots her dolls: photography, which for her family, though being interesting, was still a job, becomes her life passion, which she indulges by graduating in photography at the IED (Istituto Europeo di Design) in Rome in 1996, soon after being awarded the Master in Photography Culture at the C.R.A.F (Centro di Ricerca e Archiviazione della Fotografia) in Spilimbergo, and finally graduating in Design at the Department of Architecture at the Second University of Naples. Over the years, she collaborates with internationally important photographers, both Italian and foreign, whilst exploring individual and collective research.
Massimiliano Mirabella lives and works between Naples and e Caserta, where he teaches pictorial decoration and set design at Istituto d’Arte di San Leucio; in 1993, he graduated in Painting at the Fine Arts Academy in Naples, with Master Armando De Stefano. In his work, Mirabella does not just bluntly report his performance; instead, he transfers it on a different perceptive level, superimposing his view of the world to the view of those who violently impede his natural research of artistic beauty according to different interpretative codes; fighting humans are crystalized in the shape of his work. It is the axis along which the new frontier of knowledge travels, which presumes the need to recover our roots to learn and design a future that was never so stark in human history. In this regard, Massimiliano Mirabella has cultivated the idea that labeling an artist as a painter rather than sculptor or performer is more useful to those who write about art than to the artists, and that a single and defined technique is the tomb of the creativity. According to Mirabella, photography, painting, sculpture, installation and performance are simply languages with a single common fil rouge; in his work, all those instruments operate with a view to the core objective, i.e. to bring the viewer to stop and reflect upon the emotions raised by His work.
“La terra dei fiori” Reggia di Caserta
In the ensemble of land, olive tree, olive oil and art, the floral compositions of the project “La terra dei fiori” by the duo Sasha Vinci – Maria Grazia Galesisymbolize a further connotation of the principle life, peace and rebirth. Protecting and preserving the planet is the duo’s inspiration: our body will feed the flowers and life will be reborn from flowers, in a perennial spring! As written by the curator DanieleCapra,“The simple but haughty beauty of gerberas and chrysanthemums incarnates the reaction to the destruction of a land enslaved by criminality and is a metaphor of the possible overturning of the impose situation of imprisonment” so the olive tree, with Its resistance and resilience has incarnated, witnessed to and protected along the centuries the life of an indefinite number of generations, and will continue to do so, regardless of the will of man!
Kyle Thompson was born in Chicago on January 11th, 1992. He began taking photographs at the age of nineteen after finding interest in nearby abandoned houses. His work is mostly composed of self portraits, often taking place in empty forests and abandoned homes. His work encapsulates the ephemeral narrative, a nonexistent story line that only lives for a split moment. These images show the collapse of narrative, as there is no defined story line with a beginning and end; instead, these images create a loop. This fleeting moment lives on in a constant unchanging state. By diverting the view of the face, the images become more ambiguous, the viewer is no longer able to tie a defined story line to the image.
He is currently based in Portland, OR.
Indeed the imaginative and the sensorial represent the common ground of Art and Taste, there where we want to take, with GUSTARTE’S, the amateur as well as the connoisseur, inviting them to lose themselves in the perceptive dimension, ranging between taste and smell, between the contextualization of the senses, imagination, and art as the sublime sensorial perception seeking.