Cesare Iezzi (Chieti, 12-03-58).
Self-taught, he began to paint very young,
among the sculptures and marble sketches of his father's laboratory. His artistic debut takes place at the Bottega
d'Arte in Chieti in 1976, he Looks with interest at both the metaphysical
painting of Giorgio de Chirico and the surrealist one of Salvador Dalì and Renè
Magritte. After graduating from the
Technical Institute for Surveyors in 1981, he enrolled in the faculty of
architecture and in the same period made a series of drawings inspired by Frank
LIoyd Wright. In 1981 he set up his
first solo show in the Malatestiana gallery in Rimini. In 1984 he was invited to exhibit at the
Galerie Sallambò in Paris, with the stage name Audens. From 1990 he began to frequent the Tuscan
artistic environment with a long series of exhibitions. In 1996 he was one of the founders of the Movimento
Iperspazialista and signed the draft of the Manifesto Iperspazialista participating
in all the exhibitions of the movement in Italy and abroad. In Tirolo di Merano, on the occasion of the
L'Albero della Poesia, Tribute to Ezra Pound event, he is present with the
Hyperspatial Movement at the Brunnenburg Castle in an exhibition curated by
Mary de Rachewiltz, Milena Milani and Giancarlo Da Lio. 1998, the works of the Movement become part
of the "Pound" collection. In
2007 he produced the series of works called ''Superstringhe'' inspired by
quantum physics and the book "The Elegant Universe" by Brian
Greene. In 2010 he moved to
Macerata. In 2015 he presented his
latest research entitled Photopsyche at the Aurum in Pescara, a series of
photographic portraits in digital art on the theme of the visible and
invisible. In 2016, during the strong
earthquake that struck the Marches and central Italy, he moved to Civitanova
Marche. Since 2016 he has transposed the
concept of Photopsyche into sculpture thus creating "Sculptures" or
the transfigured vision of the human being in which the materialized forms of
his own psyche appear, presented during the Artedimarca Prize in Macerata at
the Laboratorio 41 gallery in 2018. In the same year inserts the two
researches, sculpture and digitalart, in three installations that he presents
in Milan at the Made4art Gallery during the Photofestival event entitled
Elements. In 2018 he was among the
selected ones for the Marche Prize in the sculpture section. In 2019 he met the gallery owner Vincenzo
Morra which led him to have an artistic partnership with the homonymous
gallery, Morra Arte Studio in Naples. In
2019 he received the first prize at the "Books on canvas" event
organized during the FLA event in Pescara.
In Milan he is a guest with a performance by him at the Libreria Bocca
in the Galleria Vittorio Emanuele.
During the pandemic he elaborates the Ambivalence project which he
presents with a solo exhibition in the Spazio Bianco gallery in August 2021 in
Pescara and subsequently at the Italian Art Touch gallery in Bologna. In 2022 he gave life to the Anthropocene 2.0
project for a new hybrid sculpture in symbiosis with nature and subsequently
the Anthropsyche digitalart version, presented with a performance at the IAT in
Bologna. In 2022 he was among the
finalists for the sculpture of the Arteborgo prize in an exhibition held at the
Venanzo Crocetti Museum in Rome. In the
same year he was a finalist in the sculpture category of the Amedeo Modigliani
Foundation prize in Rome. In December
2022 his sculptures are presented at the Malipensa Gallery by La Telaccia in
With the beginning of 2023, a new project entitled DUAL begins which takes the form of a solo exhibition held at the Palazzina Azzurra in San Benedetto del Tronto from 4 March to 25 April, six installations on the theme of duality in a comparison between old and new contemporary myths.
He lives and works at his studio in Civitanova Marche.
And so we went out to see the stars again
Everything is "dual" in this review, not just the chosen title; his "sculptures", for example, are the result of a creative path that starts from the conception of a classical mold, driven both by his architectural studies in the university field but above all by the Greek and mythological world of Giorgio De Chirico's models from which he rises in the years of its formation, change form and substance through the modern use of products and techniques. Even the material used for their creation is a conflict between opposites: the plaster modeled with PVC which gives intensity and vigor to the timeless faces of the portrayed characters, reducing their expressive solemnity, favors a sense of disorientation in the eyes of the observer, halfway between the real and the imaginary, generating in him a sense of restlessness which at the same time strengthens the communicative capacity of the works.As proof that the artist is in a continuous phase of research and evolution of his expressive language, in recent years his sculptural production has been enriched with small natural inserts that he places within his works. They are wooden fragments of particular shape or size "sculpted" by the sea and recovered by the artist during his walks along the shoreline of Civitanova Marche where he lives and works.The condition of "darkness" that annihilates modern society was the inspiration that prompted him to insert luminous bodies in the cavities of his works that allow the works to raise their interpretative level from the purely aesthetic one. His plaster casts, obtained from a first clay model and subsequently processed with PVC plastic resins, through these luminous inserts reveal the most impervious meanders of their essence to the eyes of the visitor, increasing their charm and introspective analysis. Iezzi is a great thinker and an artist attentive to the dynamics of his time, of which he scrutinizes its evolution and captures the most significant aspects, aware that intellectuals can no longer turn their gaze away from the ailments that grip the human soul and that today more than ever making art has acquired a great sense of responsibility.For this reason, his art has a strong educational and didactic connotation aimed at the whole community and in particular at the younger generations. After all, the work today can no longer be analyzed only in its autonomy and independence, but only if it is placed at the center of a social debate.The artist wants to make man go back to being the essence that questions and wonders about the reasons for his choices and not choices in recent decades. He wants me to reflect on the effects caused by the continuous transformation of our liquid society which has led man to completely modify social hierarchies, environmental priorities and dialogue between men, which instead, just like Iezzi's works, go beyond any material such as an irrepressible and ambivalent centrifugal force.Andrea Viozzi
DUALITY IN THE ANTHROPOCENE PERIOD,
THE IMPORTANCE OF CHOICES MADE BY HUMANS
AND HOW THE DUALISM ACTED IN THEIR CHOICE OF THEIR DECISIONS.
THE FIRST ROOM ON THE GROUND FLOOR OF THE BUILDING IS DEDICATED TO THE THEME OF THE EXHIBITION, DUAL .
IT IS A DIGITAL WORK WITH THE PROTAGONIST WHO IS DIVIDED INTO TWO IMAGES, HIS TWO CONDITIONS, OBVIOUSLY DIVERGENT, THE FIRST HAS A NATURAL AND MEDITATIVE APPEARANCE, THE OTHER INSTEAD LOOKS IN THE OPPOSITE DIRECTION WITH MARKS ON THE FACE THAT THEY HIGHLIGHT A CONTAMINATION , A TRANSFORMATION IN ACTION . WE FIND IT IN THE NEXT TWO SCULPTURES, ON THE LEFT (CYBELE) CYBELE ON THE RIGHT (DRIOPE) DRIOPE, THE FIRST LINKED TO NATURE AND WITH THE COLORS OF THE EARTH , THE SECOND IN START OF TRANSFORMATION AND METAMORPHOSIS . BEFORE THEM TWO PATHS, THE FIRST ( THE QUESTIONS ) MADE OF QUESTIONS THAT FLOW INTO THE DARKNESS OF OUR MIND AND THE SECOND ( THE ANSWERS ), WHICH SUBSEQUENTLY GENERATED POSSIBLE ANSWERS BUT STILL TO BE DECIPHERED.
ON THE WALL ON THE LEFT WE FIND A DIGITAL WORK WITH THE TITLE "THE FOUR MEDITATION", A HUMAN FIGURE WHO MEDITATES ON HIS EVOLUTIONARY PATH, FROM THE FIRST APPEARANCE ON EARTH UNTIL THE ONE PROJECTED TOWARDS A HI-TECH FUTURE.
ENTERING THE ROOM ON THE LEFT WE SEE TWO SCULPTURES PLACED AT THE END, ONE FACING TO THE OTHER, WITH TWO DIFFERENT STORIES .
THE PRIMORDIAL MAN (GEB) GEB WHO LIVES ON THE STILL VIRGIN AND UNCONTAMINATED EARTH, ON THE FLOOR A DIGIT FLOOR WORK ( HUMANITY DECLINE) WHICH INDICATES THE PATH THAT LEADS HIM INTO A SITUATION OF DECLINE, A DESCENT INTO DARKNESS AND THE OBLIVION. ON THE WALL ON THE LEFT, A DIGIT TRIPTYCH ( PASSAGE DISTORT), WHICH TRAVELS THROUGH THE HISTORY AND TRANSFORMATIONS OF OUR HABITAT IN A FEW SECONDS. AT THE BACK OF THE ROOM A SCULPTURE , ( MEDEINE) MEDEINE WHICH REPRESENTS NATURE AND THE NEW ECOLOGICAL CONTAMINATION , AT ITS FEET A DIGIT FLOOR ( HUMANITY INCLINE) WORK WHICH INDICATES THE NEW EVOLUTIONARY PATH OF HUMANITY: THE GREEN REVOLUTION.
LEAVING THE HALL ON THE RIGHT BEFORE THE STAIRS IS THE HALL WITH THREE DIGIT PANELS, THREE HUMAN FIGURES,
(HANGEL, AMINAH, SONOKO)
WITH THEIR POST HUMAN HYBRIDIZATIONS, THE DUALITY OF THE NEW HUMANS THAT LIVE IN A CONTINUOUS CONDITION OF AMBIVALENCE.
GOING UP TO THE FIRST FLOOR IN THE CENTRAL HALL WE SEE ON THE RIGHT A SCULPTURE (POSEIDON) POSEIDON, GOD OF THE SEA AND WATERS, IN FRONT OF HIM A DIGIT FLOOR WORK ( THE LAST OCEAN), WITNESS OF ENDLESS STORIES, MANY OF THESE TRAGIC, IS A SEA ASKING FOR HELP DESPERATELY SEEKS A HOPE TO CATCH ON TO.
ON THE WALL ON THE LEFT, INSTEAD, WE SEE A DIGIT PANEL WITH A HUMAN FIGURE THAT RISES FROM THE ABYSS (MARINE DICHOTOMY).
THE DIFFERENCE BETWEEN THE TWO PARTS IS CLEAR, THE FIRST HAS A PROFILE WHERE NATURE HAS REMAINED INTACT AND A RICH AND PROLIFIC SEABED, THE SECOND IS THE CONTAMINATED ONE OF OUR DAYS, A SYMBOLIC BUT ALSO REALISTIC REPRESENTATION, BECAUSE WE LIVE IN A DUALISTIC PHASE OF ECOLOGY, THERE ARE STILL WONDERFUL PLACES TO BE EXPERIENCED BUT, IN OPEN CONTRAST WITH OTHER COMPLETELY DIFFERENT REALITIES.
IN THE ROOM ON THE LEFT THERE IS ANOTHER EXAMPLE OF DUALITY FROM GREEK MYTHOLOGY, A SCULPTURE, (PERSEPHONE) PERSEPHONE AT WHOSE FEET A BLACK CARPET (THE DARKNESS OF THE UNDERGROUND) WHICH WELCOMES A POMEGRANATE AT THE END
(SYMBOL OF THE ETERNAL RETURN).
IN SUCCESSION ON THE LEFT WALL THERE IS A PAINTING (THE FIFTH KNIGHT).
IT REPRESENTS THE FIFTH HORSEMAN OF THE APOCALYPSE, WHO APPEARS CHRONOLOGICALLY AFTER THE FIRST FOUR DESCRIBED IN THE NEW TESTAMENT: WAR, FAMINE, DEATH AND PESTILENCE, BRINGING THE "DIVINE PROVIDENCE" BACK TO THE EARTH
AT THE BOTTOM OF THE SAME ROOM WE FIND A SCULPTURE (DIONYSUS) DIONYSUS, AND A DIGITALART PANEL (DIONYSUS0 DIGITAL) WHICH PROJECTS FROM A TWO-DIMENSIONAL TO A THREE-DIMENSIONAL . SCIENTIFIC AND TECHNOLOGICAL RESEARCH WILL LEAD US TO UNEXPECTED SOLUTIONS AND IMPROVEMENTS BUT WE WILL HAVE TO MAKE THE RIGHT EVOLUTIONARY LEAP.
IN THE LAST ROOM, RIGHT BEFORE THE STAIRS, WE CAN SEE A SCULPTURE (ATHENA) ATHENA, AND TWO DIGITAL PANELS. ATHENA REPRESENTS ANOTHER DUALITY OF GREEK MYTHOLOGY IS AT THE SAME TIME GODDESS OF WAR BUT ALSO GODDESS OF ARTS AND WISDOM.
THE DIGIT PANELS REPRESENT THE DUALITY BETWEEN NORMAL AND VIRTUAL LIFE, THE FIRST ( LUCILAH ), STILL KEEPS ITS NATURAL APPEARANCE BUT IT IS ALSO IDEALIZED INTO AN EXTREMELY DIFFERENT FIGURE (XENIA) IN A SCENARIO GENERATED BY THE METAVERSE.
Duality in the Anthropocene Period
The specific object of anthropological research is man: man as a whole, as a producer of Culture, therefore of Art, beliefs, morals, religion, superstitions, laws and other activities. Man is immersed in nature and nature is the foundation of Culture.
Nature is, above all, the universe as a cosmic totality, visible and invisible! In this universe made up of an ecological environment, physical and biological laws, ethnic groups develop and evolve. Evolution, which is lost over the centuries, is slow and constant, passing through tribulations and unexpected variations. Anthropological evolution is on the one hand physical and on the other cultural. Physical anthropology studies the forms and structures of the human body, cultural anthropology investigates the meaning and structures of human life, as an expression of mental activity. After the first period of curiosity, the latter passes through the filter of the science of enlightenment and scientism which aim to satisfy and solve all the problems and needs of men, a shell made of matter alone.
In the latest development of scientism, man is entrusted to Transhumanism, a cultural and scientific movement that has the duty to improve the physical and cognitive capacities of the human species by applying new technologies. New technologies that are sweeping through every sector. They produce art, therefore painting, sculpture, music, sounds. It is however an empty art. He has no feelings, he has no conscience, he has no spirituality, he has no and no emotions.
On the other hand, man is essentially spirit, emotions, fantasy, imagination, passions, struggle and contrast. What we find in the artistic works of Cesare Iezzi. A wise mix of ancient and modern, spirit and matter, old and new between ancient imprisonments and liberation, a liberation that comes from a return to nature, to the natural principles of things and from the natural order of things. Hence Dual, the reiteration of free will, the free turning of man within his nature.
Art becomes emotion, communication, inventiveness, provocation, stimulus so that humans can fall in love with their soul again. His works are born and live in ecological time and, piece by piece, become structural over time and Cesare Iezzi's works succeed with ease and naturalness, it is no small matter.