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*Bondage Iubilaeum II

*Bondage Iubilaeum II

*Bondage Iubilaeum II

A world of transhumans devoid of morals and spiritual values.

Polyptych picture made up of 6 compartments.

Technique: oil and acrylic on canvas.


Specifications
Light source - Ex.: Monochromatic, Two-color Polichromatic
Genere - Es.: Fantasy, Still life, Religious, Landscape Noir
Subject represented - Ex.: Horses, Fruit, Cats Male and female nude
Technique used - Ex.: Oil on canvas, Pencil on paper Oil and acrylic on canvas
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Neo-expressionism
Artist data
Artist experience - Ex.: Emerging, Expert Expert

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€5,460.00
Ex Tax: €5,460.00
  • Availability: Unavailable
  • Dimensions: 240misura x 0misura x 180misura

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Valerio
Valerio de Filippis
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Valerio de Filippis,

Pozzuoli (NA), 5 marzo 1960, inizia la sua ricerca artistica, nel campo della pittura, nel 1980 a Bari, poco prima prima del conseguimento della maturità scientifica (1982). Compie numerosi viaggi all'estero stabilendosi nel 1992 per due anni a Bruxelles. Dal 1994 vive e lavora a Roma dove nel 2003 fonda lo Studio E.M.P. (Experimental Meeting Point) studio d'arte, luogo di interscambio espositivo e confronto culturale e tecnico tra artisti di qualsiasi linguaggio. Vincitore di numerosi premi, è stato invitato a diverse rassegne, anche internazionali. Del suo lavoro si sono interessati in più occasioni la Stampa e la Radiotelevisione italiana. Le sue opere fanno parte di collezioni pubbliche e private. Attivo dal 1980 nel campo dell'iperrealismo, negli anni Novanta vive la prima fase di distacco dal realismo figurativo verso esperienze tendenti all'astrattismo. Dal 2003 conduce una ricerca pittorica sperimentale attraverso l'uso di colori e materiali non tradizionali. Soggetto delle sue opere è il corpo umano, prevalentemente maschile, ad eccezione del ciclo sulla mitologia delle Sirene. Nel 2001-02 si è avvicinato alla pittura neoespressionista conducendo una ricerca su tematiche legate ai comportamenti umani aberranti, generando, in occasione di una mostra ad Orvieto, controversie che sconfinavano in un'interrogazione parlamentare (dettagli nella sezione Rassegna Stampa). Negli anni 2004-'06 ha lavorato ad opere a tecnica mista tra pittura e computer art, con il ciclo denominato "Frammenti". Nel 2007 realizza la sua prima installazione, un video e alcune opere concettuali. Nel 2010 è autore di alcune performances, due delle quali estreme. Dal 2013 comincia a sperimentare la videoart, il montaggio video e la composizione musicale, quest'ultima avvalendosi sia di software per elaborazione di Musica Concreta, sia studiando pianoforte e chitarra. Nel 2015, dopo aver musicato con voce alcune liriche di William Blake, realizza "Musica per Riccardo III", con testi originali di William Shakespeare. Da qui prenderà il via la realizzazione di un lungometraggio, "The Mirror and the Rascal" di recente concluso ed attualmente in concorso in alcuni Cinefestival, che si caratterizza per talune trovate surreali e sperimentali, e per la contaminazione fra teatro, cinema e videoart. 

born in Pozzuoli (Naples, Italy) on March 5 1960, began his pictorial research in Bari in 1980. Throughout his career he traveled extensively abroad, staying in Brussels for two years. He’s been living and working in Rome since 1994, where in 2003 he funded the E.M.P. Studio (Experimental meeting Point): art studio, exhibition space and a place for artists of different backgrounds to inspire and challenge one another. De Filippis has won numerous awards and has been invited to many international festivals. His works are housed in many public and private collections. De Filippis’s been active in the Hyperrealism camp since 1980 and during the 90s for the first time he cut himself off from figurative realism to pursue experiences leaning toward abstractism. Since 2003 he’s been conducting a pictorial research through the use of non-traditional colors and materials. Human body, mostly male, is the subject of his work, though he also produced a cycle on Sirens’ mythology. In 2001-02 he approached neo-expressionist painting by conducting a research on issues related to aberrant human behavior, generating, during an exhibition in Orvieto, disputes that bordered in a parliamentary question (details in the Press Review section). Between 2004 and 2006 de Filippis produced mixed media works (digital art combined with painting) with the cycle called “Scraps”. In 2007 he created an installation, a video and several conceptual works. In 2010 he is the author of some performances, two of which extreme. Since 2013 he’s been experimenting with video art, editing and musical composition, the latter using both software for the elaboration of Concrete Music, and studying piano and guitar. In 2015, after having played with voice some lyrics by William Blake, he made "Music for Richard III", with original texts by William Shakespeare. From here will start the production of a feature film, "The Mirror and the Rascal" recently concluded and currently in competition in some Cinema festival, which is characterized by certain surreal and experimental findings, and for the contamination between theater, cinema and video art.


The future in (finished)

by Enzo Di Gioia


The pictorial story of de Filippis is an incessant combination, decomposition and recomposition of the continuous interlocking of memory, translated on the canvas by the sure artistic experiences matured academically.

The privileging of a historicized language of art (the surreal), as a visual medium that practices a culture of expansion, of investigation below the apparent, is not a fact desired by an unmotivated choice or arising from the technical certainties that undoubtedly the author possesses, but rather, from a clear position taken in front of his artistic story which, as can be seen, in the practice of the already known, consumed or completely played on the control of reason, values ​​that risk making the design path of communicating the private sector is trinus or stagnant.

Conceptually, the artist retraces distant and forgotten itineraries, re-evaluates the eternal returns and entrusts the present to a language that prefers to broaden and aggregate new senses and constantly dynamic paths that often break out from outside the planning will precisely to transform themselves into meanings. that never settle down and never run out. He puts language in a position to produce a new meaning, opening up to free mechanisms; (typical component of the surreal) that brings unpredictability into the creative game, guided by the nature of the unconscious, which expands and dilates the intentionality of the work to stun the ornament, charging it with different potential and values.

de Filippis creates his "art" by eliminating the weight of matter, plays with acidulous colors, pulled until they lose their chromatic fullness, swollen with meanings, putrefying and touching with a palette of low, cold, metallic tones, capable of originating places where light and darkness intersect, movement and stasis, presence and absence, the subject and its substitute, the moment and eternity.

Thus, in telling, the gaze nestles in figurative schemes which in turn are the fabric and the suggestion of a story, a privileged moment of "that story" that is broader, more complex, more intimate and personal. Painting that is narration, dreams, hope, a long chain of events, of elements that follow one another, which is nothing more than the desire for a (non) end.

This is the tension that breaks into narration; recognizable images, identifiable social symbols in history, a metaphorical knowledge of "death", in unfolding things side by side, like the succession of a complex ... inflexible "everyday".

An art that recognizes stories, which lives in a present that investigates the past and projects itself into the inevitability of the future.




Enzo di Gioia

Bari, December 1982

____________________________________________________

Honi soit qui mal y pense

    by Marzia DiMarzio

The new exhibition by Valerio de Filippis opens with this evocative title, to say the least. Nothing is as it seems, everything is as it appears: the story of the collection develops on this dichotomy, which has eroticism as its leitmotiv. An eroticism that takes shape in all its facets, sometimes glossy, sometimes obscure, sometimes revealed, sometimes hidden. Reflection on a "scabrous" theme in the eyes of right-thinking people, treated with a subtle irony that makes fun of them. So honi soit qui mal y pense as a warning to go beyond appearances, not to make the mistake of hasty judgment given by the guests of King Edward III, the first enunciator of the motto, when they saw him pick up the garter that had fallen from his favorite noblewoman. The exhibition consists of works on wood of different techniques and formats, works that can be enjoyed from a visual point of view, which aim to undermine, through careful reflection, the cultural legacy imposed by society on this issue that is too often defined as delicate. Honi soit qui mal y pense offers the starting point for a journey through the world of eros, revisited however in the manner of a 1950s film noir: undressed but never vulgar women over whom men hover like a dark and voyeur presence. A man without a face, without that visible lust of possession for a woman placed before him without inhibitions and barriers. Eros and perversions treated with refined and elitist finishes wrapped in undefined and at times unreal atmospheres.

The only morbid and transgressive component turns out to be the eye of the observer who finds himself in front of the scene: curtains that move, alluring but hidden glances, warm sofas, bodies that touch each other, cars with headlights that creep into the night… scenario allusive perceived by the user according to his own impulses.

Exhibition, therefore, evocative of different emotions depending on one's inclinations, always keeping in mind that honi soit qui mal y pense!


Marzia DiMarzio

Rome, 2011


_______________________________________________________________________________________


Erotic allusions

    by Cecilia Paolini


“Honi soit qui mal y pense”, shame on those who think ill of any human inclination. It is the motto of the Knights of the Garter, the oldest and most noble order of chivalry in the United Kingdom. The name, and consequently the motto, were born out of a misunderstanding, to help a beautiful lady to wear again the garter that accidentally fell during a dance... malice does not exist and, even if it were, it would be a game: in the series by Valerio de Filippis, presented entirely for the first time, reveals the same fresh awareness that it is much more inappropriate to set oneself up as a censor than to take lightly every aspect of human life, including eroticism. The series presented on this occasion is made up of small and medium-sized works on wood whose subject is various scenes of erotic life, meaning the literal sense of "eroticism": nothing physical or particularly explicit, rather an intimate of the parts, sometimes sophisticated, in which the vital pleasure of freedom from pre-established social schemes is alluded to, but not explicit. Everything, therefore, becomes ironic and even innocent for those who, after all, live according to the Terentian motto that "homo sum, humani nihil a me alienum puto".


Cecilia Paolini

Rome, 2011


_______________________________________________________________________________________

The veiled impulses

    by Lisa Simonetti

Erotic fantasies, hidden passions and bolder desires are hidden in the human soul of every human being who most often tends to dull their senses, in relation to unconscious mechanisms that are all too right-thinking and falsely hypocritical.

HONY SOIT QUI MAL Y PENSE, shame on those who think evil of any human inclination. No affirmation, dating back to the Knights of the Order of the Garter of the United Kingdom, can be more interpretative than this to enclose the meaning of the series of works that accompany the exhibition of Valerio de Filippis.

The erotic object and the continuous pursuit of pleasure merge into a sort of epos noir tinged with gloomy atmospheres which at the same time are patinated by flashes of sudden lucidity.

Given the success of the first exhibition and the recurring epiphany of a theme that marks today's society in an atavistic way, the original nucleus of the series is once again on display, together with paintings resulting from the work of the last year.

Reflections that lead Valerio de Filippis to represent the true meaning of eros through forms and images that do not have a clear explicit reference, rather they play within their intimacy making implicit sensations of pleasure, emptied of any kind of pre-established moral scheme.

The exhibition, therefore, consists of artworks on board of different techniques and formats, having as common denominator "eroticism". An eroticism with a literary flavor, in which the revealing presence of an emotional experience, albeit unconscious, intellectually raises this search for pleasure and desire as longed for as it is kept silent by the human soul.


Lisa Simonetti.

Rome, 2012


______________________________________________________________________________________


The libertine manifesto of Valerio de Filippis

    by Cecilia Paolini


If not by magic, at least for fun... this is the first thought of the series by de Filippis which imposes lightness as a fundamental requirement to be understood and not misunderstood.

“HONY SOIT QUI MAL Y PENSE”: a hymn to consider every human inclination as lawful, because basically the product of a natural tendency, but also a way to make fun of a way of being that is assumed to be out of the ordinary. The logic of the "scenes" presented by de Filippis is of a world that wants to be discovered, but as if it were a distant and unapproachable exhibition, as in a theater whose audience is open to all (indeed, understanding and applause are demanded from the audience ) but the stage is reserved only for experienced actors.

There is nothing empathetic, basically nothing that we could define as truly real, so much so that in front of these tables the spectator is led to believe himself a voyeur; but it is a role-play of which we are only pretending to be uninvited observers. On the other hand, the admonition not to think badly would not exist if one did not presuppose not only that one is outside of common social behavior, but that this extravagance is by now manifest: it is a world that needs spectators, aware of the fact that they can never become actors.

Everything is fiction, everything is a game: but whoever boasts of such a libertine yet formally refined manifesto can well establish himself in the limbo that separates reality from that world: he is part of the elite who, beyond conventions, live with carefree awareness the other and unreal dimension of masking. The collection proposed in this catalog is a divertissement for connoisseurs, a series of small and medium-sized works on wood characterized by meticulous painting that describes atmospheres of elitist elegance.


Cecilia Paolini

Rome, 2012

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