CLAUDIO SCARDINO

CONTATTI

Arte Claudio Scardino

Opere Contemporanee Uniche di Claudio Scardino

arte@claudioscardino.com

Epilogue

Scardino's art encompasses all the components of conceptual art; the idea, the project, and the underlying concept of the work prevail over the aesthetic result or the final physical object. It is based on the dematerialization of the work, privileging intellectual reflection, philosophy, and language over visual contemplation.

The concept is the fundamental element, often more important than the artifact itself, as in Orma indelebile (Indelible Mark) from 2006 where...

It dematerializes: the work can be ephemeral, documented only by photographs, videos, or texts, such as Rondine (Rondine) from 2012, where the construction of the work was entrusted to a group of offering dancers, and at the end of the composition it was then broken down like a mandala.

In short, Scardino's conceptual art asks the viewer to think rather than admire, emphasizing the theoretical validity of the artist's thought.

The definition of conceptual art in the context of his work is accurate because it defines his goal as an art grounded in thought, no longer based on a now misunderstood and ambiguous "aesthetic pleasure." Specifically, in 1975, Scardino created the photographic work Prometeo, composed of a real model flanked on the left by a photographic reproduction of it and on the right by a panel on which the word "model" was drawn. The artist aimed to prompt the viewer to meditate on the relationship between image, word, and reality in logical and semiotic terms. He brings together the word "model," the photo of the model, and the actual model; the logical-semiotic mechanism is the same in all cases, each created without the other's knowledge.

He frees art itself from the formal and cultural constraints that had constituted its tradition: the rarefaction of emotional content in his art soon led to a desire to dispense with the artwork, to the point of even abandoning the work itself after having repudiated it in sequence. the commercial value of the work, its form, and the existence of time within it. His work since 2018 has been characterized by a return to the object, painting, and sculpture. In this sense, these very different experiences can be defined as "conceptual," yet they share an unmistakable common denominator: they took shape around the narrative dualism represented by images and writing.

The historical antecedents to these latest experiences were undoubtedly the "Futurist Evenings" at the Giubbe Rosse in Florence.

As a sculptor and photographer, he has expanded the scope of his work to include interventions on the ground, through texts, writings, and videos of his lengthy performances in urban and natural contexts that include the presence of humans. Scardino's aim is to validate the relationship between humanity and the environment as a creative "fact" par excellence, intimate and primitive, free from cumbersome voluntaristic implications and redundant artificial mediations.

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