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For many months I am reflecting on the prerogatives of contemporary reality, in which from the images that run fast in "display of the connected world" you establish a process of continuous training of human identity; is through the cognitive approach hypertext that this reality continually recombines putting together heterogeneous fragments, so the identity of the man loses his uniqueness to become plural expression. In August of 2014, with this perspective, I curated the exhibition entitled Routes Connective, the Mole Vanvitelliana of Ancona. Fifteen artists participated in activities in the national and international scene (catalog page http://www.bllanco.it/download/itinerari-connettivi_catalogo.pdf).
I was born in Latina, in 1975. I am a painter connective.
Life has led me to philosophy, philosophy art.
• "Corrispondenze" (personal two with Francesco Lozzi), texts and presentation by Dr. Giovanna Bonasegale - Atelier Arco Amoroso April 21, Ancona from April 21 to May 4
• "Opere recenti" - Gallery Puccini, Ancona from 26/09 to 7/10, texts by Prof. Antonio Luccarini and Dr. Giovanna Bonasegale
• "Sinte-X" personal two with Walter Paoletti - Gallery Puccini, Ancona June 11 to 19
• "Umanovacuo" staff by Prof. Marcello Monaldi - University of Trieste, June 1 to 22
• "Beyond" personal two with Massimiliano Orlandoni, presentation by Prof. Antonio Luccarini - Mole Vanvitelliana Ancona, from June 9 to July 1
• "Guardiani e figure involute nello spazio" personal two with Francesco Lozzi - Gallery Art Studio Andromeda Trento, March 16 to 29
• "Segnali residui connettivi" staff by Marianna Cozzuto - Spazio Comel Latina, from 28 June to 13 July
• "Cieli, display and Lacrima di Morro d'Alba" personal presentation by Marvi Maroni - Gallery Puccini Ancona, from 23 November to 8 December
• "Arteria 2010" - Teatro Valle, Chiaravalle (AN) 24 to 30 May
• Award SATURARTE 2010 - Stella Palace, Genoa from 'September 11 to 25
• Biennale Prize Artemisia 2010 - Mole Vanvitelliana Ancona
• "Genovarte 2011 - Biennial of Contemporary Art", Curator Mario Napoli - Genoa Palazzo Stella June 18 to July 3
• "Biblia Pauperum" Eucharistic Congress, Curator Prof. Armando Ginesi - Diocesan Museum, Jesi from 27 August to 26 September
• "Mare Mostrum - Adriatic Mediterranean Festival" - District San Pietro Ancona August 27 to September 11
• "Biennale of Contemporary Art in Ferrara" - Ferrara, Estense Castle | November 3 to 11.
• "Biennale Prize Artemisia" - Ancona, Mole Vanvitelliana | November
• "Art Fair Genoa" - stand gallery Satura Genoa, February 14 to 17
• "Itinerari connettivi" creator and curator and present with an installation - the Tamburi's hall Mole Vanvitelliana Ancona, from 31 August to 30 September
Papier - Ancona (Italy)
L'Affiche - Milano (Italy)
By Marianna Cozzuto:
[...] Colored spots as unicellular organisms developing, fluid forms that are duplicated, caught in the unfolding of a perpetual transformation.
The thinking behind the production of Rodrigo Blanco is very deep, has its roots in the concept of fluidity and continuity of existence, recalls the concept of "meat" developed by the French philosopher Merleau Ponty. Rodrigo eliminates any dualism, his art is a continuum of matter that every time takes a different form, is an offshoot of a common substance.
So there is a separation between subject and object, no division between cognitive thinking and empirical experience, psychic. There being in the world. Be in communication with the world, this opens access to opportunity.
Perception is lived and ambiguous relationship of subjective and objective elements. "If I wanted to translate exactly the perceptual experience, I should say that you perceive in me and I perceive" (M. Merleau-Ponty, Phenomenology of Perception).
The perception therefore is the most important time of the existential, is one in which the man feels and lives the self and the other self.
Rodrigo Blanco does not admit the absolute truth. In the only solution is the death of the continuity of life. All the works of Blanco are ambiguous, open to interpretations and mutations.
If everything is made of the same substance, of the same "flesh" then we can also predict the emanations from the body, which are not implants, but the continuity of the 'essence, that in contact with something new, additional, it becomes a party [. ..]. The past, the present and the future are connected by our awareness that glue and allows the flow of events and transformations of matter. A "memory upgrade", as defined by the artist himself, leads to the production of forms that dissolve or transform themselves to become something or to become more things at the same time [...].
By Antonio Luccarini
Although the direction of ironic language is one, always only to be tied solely to the problem of truth - eiron, etymology, corresponds to the questioner, one who, not possessing the truth, Research and illuminates this his investigation demolishing the obstacles - many, however, are its methods, its tools and its fictions. The irony, in a precise sense, it can be sharp, cold and ruthless as a scalpel that removes and mutilates, a heavy weapon, in short; but also belongs to the area covered by the term semantic irony, even the operation that is to make gas the obstacle, the obstacle to be overcome, in other words, it is ironic the act of producing light. At this second way of understanding the operation ironic lean the latest works by Rodrigo Blanco: set aside, but not completely erased, the movements of its initial color tests - choreography marked by the courage and freedom, ordered by curbing the excesses of dispersion and tangle - the young artist's first Latina in the creative exalted by his own stylistic autonomy, regardless of academicism, schools and trends, it seems now, in this new phase, about to take a route in reverse, feeling the need, this time, to confront all forms of spending, it belonged to the 'aesthetic field or the merely ideological. As if the excitement of the discovery of a world, the fact of creative freedom, gradually lost power and did place, however, at a moment's thought to the past and the history and listening to impose its infinite voices. Not changed, maybe you just pointed out, the main core of its artistic content, that is the central theme of his creative moment, the passage from the indistinct to the distinct, from the indefinite, from multiple dispersed to the synthesis unifying the units encompassing but not omnivorous. But are instead changed the outlook of the language, the routes envisaged as the space to go. And if in the works showed the initial spatiality 'only area within which to measure talent and poetic, in these works, the temporality seems to claim a domain just as strong. And the first mode of objectification of a temporality, which has now become a central topic and unavoidable, forces to the lines and colors to use the story as a tool for detection or unmasking depending on the narrative purposes. A particular type of story that uses the images and not the sequence of words and that, by its nature, must be vivid, and possess necessarily signs of brightness and brevity: overhead light, however, not flashes in the night, on the early history or recent. And we proceed obeying the laws of irony, to which we have referred, the one that does not attack or demolishes but subtracts weight arrogance boaster, is simply evaporate barriers, masks, pretense, hideouts, claims, tracotanze, stiffness, fundamentalism. In these recent efforts by Rodrigo Blanco, main protagonists risultanoÂ light, lightness, grace which have now taken the place of rhythmic elegance of the first works: now the questioner, who uses irony, of course, addressed his questions to the myths , department, monuments, businesses masterful, without making grimaces, but turning a disarming smile at everything that wants to deny the assertion of individuality, of the difference. Paradoxically stories Rodrigo Blanco they use characters in the story - almost a bestiary for new fairy tales - past and recent, quoted directly or only evoked, from Rembrandt to Freud, by Cucchi to Heidegger, to nullify the claims of every absolutism leveling. Fables of contemporaneity, therefore, told with grace, almost with the delicacy of secular prayer, uttered in tones Sommesi, almost whispered, without anathemas, exposed with colors and lines that do not send dazzling glare, but suggest, however, silences and pauses, unheard sounds from deep space that, compared to the dance on the abyss of the warning nihilistic Nietzsche, accepted and shared, they want to give priority to the size of the smile that frames l '"amor fati", also in the awareness of the nonsense that inhabits the living.
Pinacoteca Podesti Francesco Ancona
works entitled "Pace-A-mare" (Peace at sea) and "Presenza-incarnazione" (Presence-incarnation) - since 2013
Diocesan Museum Jesi
work entitled "Questo è il corpo" (This is the body) - since 2011
Banca Profilo Milan
work entitled "Tensioni vettoriali" (Tensions vector) - since 2007