Enrico Bonetto was born in Padova September 27, 1972 by father and mother a seamstress restorer, they inherited a love of materiality and textures. Immediately manifests a passion for design testing prior art then it will follow up studies (civil engineer) to the foundation of ”ETC STUDIO...”; specializing in architecture and design. 1999 is the year in which the artistic production starts to be smooth so far along in a transversal way throughout the history of contemporary art: the style is changed from informal to post impressionist to minimal art, always reinterpretrato and reinvented in personal key. It was during these years that engages with the sculpture, works primarily in wood and photography. This is his latest love from traditional photos with SLR camera, the digital magazine until use Photoshop and intramontabile Polaroid. Married to Chiara, fashion designer.
“It is expressed through an eclectic style that elaborates the instances of modern avant-garde and showed an instinctive propensity to matter: the accumulations of everyday objects, as well as assemblies made by old objects recovered sends a place of irony and become evidence perception. Rituals iconography of the civilization of consumption pass through the interpretation of the artist, who performs the decomposition with an outcome of ironic and unsettling paradox.”
"Henry Bonetto exalts the abstract potentiality of the spontaneous language dictated by the unintentional signs that stay on cardboards of support. An art poliedrica expressed by the small formats to great installations, dimension of a mind in continuous to become in which every realization is surface in which you/they stop him the signs of the time. Absolute protagonist could appear the subject, in reality in the works they intervene a continuous of elements that make every job a cardinal product: the small fragments are the pictorial results of great installations and the 'works to be installed to wall' they act from mediatrici since soaked with subject, idea, gestualità. An important attention is set to the equilibrium of the forms that is also equilibrium of the tones always creating homogeneous solutions and you full of emotional organicity."
Enrico Bonetto: the trap of the object
Henry Bonetto "it traps" and "it connects" among them thoughts, emotions, objects. His/her whirling and chaotic search-action, duly distant from the parameters of that art that "he/she believes him beautiful", avoiding to plan him on principles of surplus leziosità and rifugendo from solutions distorted and dissonant iconiche dictated by the dogmas of inapplicabilità and incomprehensibility of the contemporary ismis, favors a clear and well grammatical fluxus in the precise logic of constructions recalled you, in the gestuale and repetitive addition of smaller but intimate details, in the innocence of the sentimental vision, directing the poetic in operation of it of an art that "it feels him true" and it assembles the own creative virtus on the object (anticipating his to make artistic object) with which it establishes deep dialogues opening him/it out to the potential levels of existence and subsistence of its native semantic position.
Through the object Henry Bonetto sketches histories immediate and involving, you plan on connections immaginifici whose narrative simplicity and the adoption of primitive registers move the analysis from the mimetic datum to that likely in which to recognize flashes of reality; the deceptive façade of actions easy, gestuali, mechanically reaffirms in fact, through the action of the empirical exploration of the memoirs, as in game of curious childish observations, the need of harmonic reunification of space, time and subject in new contexts that the artist approaches with the same respect with which a precious thought is recalled and far, to recover decadent emotional reminescenze and needy psychic sediments suddenly to replace him in a narrative present that the artist intends to express and to share.
Forcing or subduing the subject Henry Bonetto individualizes and it circumscribes stadiums of naturalness and immediateness that bring every artistic image to the slow one to flow some daily life, filtered by a transitory but present barrier between simulation and dissimulation, among before and later, between life and death, understood as extreme of a real run that doesn't want to be reflected in him in (de) finish of the illusion; endless frames and endless looks distractedly directed on the world originate deep analytical immersions, contemporarily genesis and epilogues of runs inspired by existential codes whose endless psychological connections belong to the artist himself and they are skin and protection from the apparent incongruities of the same life.
Cleverly drawing from the dictionary nouveau réaliste Henry Bonetto contests then at first the safe reality riappropriarsene, allowing to emerge him/it sottoforma of experiences and of lived more distant than they become sudden passages intertestuali according to proper logical runs, allowing to flow the feelings as in a nonstop growth of biological beings fagocitanti without truce up to reach gigantismi ipertrofici. Not the artist departs not at all from images. or portions of them. to insert then the ended product, ri-knowable and ri-collocabile thanks to continuous dialectical exchanges, in the environment in natural staircase, building and invading I space him/it well over the physical limits of the cloth.
The time, discontinuous but cyclical element, underlines, in these curious and elaborate creations, the rhythmic vitality of the pulsionis and the intuitions that in the mind and in the eye of the artist, subordinates usually to the rigorous daily practice by the technicalities and by the scientific grips, the overcoming of the border makes between physical law and metaphysical axiom possible, edging the concepts of liberty and liberation inside which "nothing is as there would be expected that pits."
In the desire to dissolve the dramatic element, in the excess ludicas that characterize the action of Henry Bonetto, are concealed instead thematic strongly truthful; here then that the lyricism of the elegy surrenders the place to the disarming purity of the not-conventionality and in the nonstop line of the stream of consciousness they appear on the surface new you sprout of knowledge.
Bringing the sceneries of the existence in the sceneries of the work. both it pictorial, sculptural, photographic or installativa - Henry Bonetto considers, ripercorre and it penetrates the historical time of the proper one to act; part from the linguistic sinergies of the first artistic avant-garde for then to overcome her, correcting the anachronisms and the historical mistakes of it, eliminating the perpetual push suggested by their value collective esperienziale to recover the autonomy of action subjective and to be able him to move in direction of the only point in which it grows of value, that is toward states I would fill some thought in which it accompanies us, granting meets us unexpected, rejoinings and unexpected involvements with our mutable states of the self, child and adult.
The overlaps polimateriche that they sometimes subsist independent from the same nature of the fetish-object they represent the migratory dimension of the intellect in which the unidirectional trip meets and overcomes consecutive points of not-return; the different linguistic registers, well recognizable even though inside a mechanism of synthesis that it mixes helter-skelter apparently the sintagmis of it, they eloquently communicate a message mole-dada that it puts aside from the tall codes of the communication and, ignoring the linguistic excesses through the repeated use of rhetorical figures and dry constructions and paratattici, it intends the trapped object as concept-trap in whose gravitational area to gather and to redefine the potential logical unities of ample and free creative dimensions more and more.
A complementary world exists to that human, never contemporary, that is the world of the objects, endless, that surround, they complete, they perhaps oppress our life.
Henry Bonetto stirs among them and realizes with sensibility of it the artistic and poetic potentialities, above all of those things that were not born for being looked and that you/they are finally forgotten when pardon of utility.
Bonetto looks around him curious and careful, it revalues and ridona a purpose through new form to all of this that we consider by now useless or banal.
The select objects are assembled, upside-down, repainted but left recognizable in their essence, in their native function eliminating every hierarchy among the various aspects that compose the reality.
Also for this the work of Henry is so various, as the possibilities of the human emotion are various that cannot have a repetitive cliche.
The materials of discard always bring itself a very deep content, tied up to the biography and its personnel way to intend the objects that so not only relive in operation compositiva but through the same person of the artist that reconstitutes and ripresenta in the work a memory, an emotion, an intimate portion of its life.
The titles are integral part of the work, I am a further stimulus that the observer must try for extracting the possible sense. Never descriptive but slightly ironic, I am linguistic representation of the idea that is introduced with games of words or with calls to the philosophy and the literature.
The art of Bonetto is conceptual finally despite or perhaps really because the result is "poor art" in which the concept transforms and raises these extra-artistic materials to artistic fully. But not an elegant cold conceptualism to if himself so much to be made some concept operates, but rather a thought blood fact to the peer of intuition and practice, of poetry and of manualità, of eclecticism and of coherence.
The sublimation of this vivid attention toward the emotions that have acted but that they leave still the own traccies it is the easy art, surface of cardboard stretched on the floor on which the artist works. This spontaneously welcomes the intentions of the artist in the while the life of the work he goes realizing: squirts of color fallen, imprints, experimentations, signs, becoming support and testimony of the genesis of the work.
The artist accepts in every moment suggestions from the same base, in how much the easy art stays in communication with what it happens in the place of job.
And' single work, is together composition of. Whose concept of base despite the name is complex, it is a metaphor of the casual relationships that you/they exist among the things, not separate reality in monologues but dialogues, relationships visual compositive and of spirit.
L' easy art brings the creative trial of the work, the same impetus, the same colors, the graphic details that are experimented on the surface of cardboard before.
It derives a work of it sister done with the same genetics of the final work, to which it ties him so much to be able to be conceived as it departs integral to expose in correspondence.
Henry Bonetto knows how to put in connection sky and earth, that populated sky of stars that set in his/her works they are metaphors of the individual for which every star is a person and every person a star. That earth made of wood, paper, metal, color, pulsating life and time that it flows. Henry creates the communication among these two worlds that him specchiano one in the other, approaching the ideas to our physical sensibility, raising the works composed by the objects that we meet in our walk toward an ideal place.
Ironic artist; soaked with humor Dada; permeable to the report of the consumerism inspired by the Pop Art; Conceptual artist; exponent of the Nouveau Realisme; Henry Bonetto grazes and investigates all these artistic tides: <<But I don't fully recognize me in none of them>> precise, confirming him/it with energy. We are of forehead to an artist "Citazionista" that it gathers, it synthesizes and it proposes the traces of good part of the artistic run of last century. In fact, in his/her works materiche and of great emotional impact, intentionally the inspirations are read, the pulsionis, the stilemis of the greatest artists of the '900, but always interpreted with irony and with the individual figure of Bonetto. Henry shows to have assimilated the lessons of the teachers and to know how to elaborate an autonomy compositiva that he already recognizes and you/he/she distinguishes him in the national artistic panorama. Surely it is a romantic but not in the almost pathological sense of the German Sehnsucht, on the contrary in the modern meaning given by Germano Celant, above all when: "in to reduce to the least terms, in to impoverish the signs, to reduce them to their archetypes", it uses the ordinary materials, used, old, unused and rejected intending so to save the memory and the memory of it. Working him gathers the essence of the humanity in the sublime moment in which it tries to explain the same sense of the existence. Are we before to a new artistic kind invented from Henry Bonetto and in continuous and unpredictable development?
Approach to the inevitable installation of three giant white doors soaked under positive and negative, filled with diverse images applied with wise and balanced collage.
ENRICO BONETTO - SINCE 72
The title of this exhibition, "Product of", as well as being the main theme of the exhibition, highlighting ironically that the works are produced by the artist, is also closely linked to the pseudonym of Henry Bonetto, "Since 72 "evocative pop back in perfect harmony with his spirit radically ironic that makes him call his study" factory ". Housed in a barn in the '30s, intentionally kept exactly as it was, without any restoration with only one coat of white lime that creates a feeling of essential minimalism, the artist's studio is his place for the soul and is similar in Somehow in its work.
"Product of" is also the title of a work, the most recent and never exhibited until now, he sees the torn cardboard as a medium characterized by marked and written by Bonetto worthy of being elevated to the part of the work, which , out of context, take on meaning "other", thus becoming works of art in a proceeding Duchamp memory.
These works essentially assemblies of various objects that the artist chooses and decides then to revive, always characterized his entire production. Bonetto uses recycled materials because they are handy and do not cost anything, his intention is to make art with "nothing", using waste, residues that sometimes even abandoned because they are seeking to find it. In this sense, neo-realist language, because it draws the world of objects to assemble and relocate them in a different context within which become carriers of new meanings, leaving the flow of communication as a kind of stream of consciousness, creating for the viewer of knowledge and ideas for himself an ever more conscious self-awareness. The artist perceives the evocative potential and therefore communication objects he chooses, and giving them new content and new forms when they are no longer "useful", he paints imaginative stories and connections that the viewer is called to actively complete.
Another area of investigation that very moved Bonetto is the different perception of reality that various means of expression return. In this sense it is particularly significant installation, created by the artist for SPAZIOTINDACI, which makes use of old slides, holiday memories with landscapes and people, projected onto a screen in a way which is totally out of focus, photographed by the artist in the moment of projection and then exposed. The result is a deliberately abstract image with black border (created by light and dark of the projection in the photo) returns the flavor of old movies. The viewer is thus faced with a dark room whose only light sources, in addition to the projector, the pictures are blurry slide on the walls, the subjects are the same, but the perception of them has is completely different. The artist changing the means of expression filters and fixed his vision of reality, different from time to time, trying to make tangible his mental process. The installation, entitled "REC" as the button on the recorder, somehow suggests that memories are sort of recording memory, in this case the artist / recorder, which reproduces them (and makes them infinitely reproducible ) through the filter of personal sensitivity and reworks them not giving back to reality, but his vision of it. In this sense the installation is close in some ways to the music, which Bonetto is the true art as it is easily replicable and affordable for all, according to the artist in fact the problem of the art is its remoteness from the people to cultural issues as well as cost. In choosing and combining in a new and harmonious objects, Bonetto makes a conceptual which unites him to the composer and then compared it to his concept of perfect art, music.
The vast and varied oeuvre is a kind of need to leave, given the awareness of being in the world, many traces of possible selves in harmony with his own time and in accordance with its cultural. In this context includes another installation, always created by the artist for SPAZIOTINDACI, entitled "POST-IT", which consists of 28 sheets of colored paper of 28 different colors randomly hung on the wall. The leaflets are not written, the message has yet to be designed and laid out on paper and denial forces the viewer to make an effort to complete its meaning. These are the people that as they gain awareness of being alive and aware of their being in the world through thought should complete the work and write your message, leaving, finally, their track.
AFTER THE IMAGE OF ENRICO BONETTO - SINCE72
Analog or digital television networks that reach more than 9 of my powerful remote often runs into advertising of weight loss products who are interested in very flaunt images of the "Before" and images of the "After" irrefutable evidence in hand is unavoidable 'purchase. Well I think in a really sincere in the two photos that the model is not the same and therefore there is a model before and after model. But this is another story ...
View = Latin for "imago, Imaginis." Reproduction recreated in the likeness of ourselves, of appearance, reminiscent of what actually exists outside of us. Figment of the imagination. Construction, representation, representation fantastic. Impression left in the mind. Description lively and colorful. Appearance. Appearance. Appearance. Spectrum. Larva. Imitation, depiction of the outer shape of an object. Drawing. Figure. Appearance represented: the image of a painting. In particular, that of the photographic and cinematographic projected figure: blurred image. Simulacrum. Effigy. Schema. In particular: the object of devotion in the form of cardboard bearing the effigy of God reproduced or Saints. ("Dictionary of the Italian Language", C. Passerini Tosi, Publisher Milan, 1969)
I like to think that the first image is equal to the meaning that the dictionary of elementary my mother gives the term "image". And after that the image is all that comes later: the set of other images that the mind associates the image before, the set of feelings, emotions or anything, neglect, rejection, all other things that neither I nor anyone else nor anyone else would know describe the detail that remains, the background around that particular more details. The image after it is personal and nominative, no one will ever steal it: if the crisis will lead to a total crack you it will still be there, maybe even dead.
Of course, as it helps the dictionary, you are not speaking here of the two dimensions, because the images before and after two steps are consequential in our mind (or soul) and then depart from the view of anything and therefore always in three dimensions: a dreamscape, a pack of cigarettes crushed to earth, a nice ass on a porn site and sped to 202 per hour on the highway, a bag of garbage from other bags of garbage, a room of the Biennale, a page Men's Health at the barber gay-friendly.
Here you are. What I wish to analyze are more steps, both immediate and after many years, from the first image after and how an artist, any artist, able to fit like a hacker and modify them. So we are here to talk about my personal image after the artist "Henry Bonetto" and how it can create orientandomi letting me to comb through the retrospective of his work entitled "PRODUCT OF", which also helps us to rearrange his artistic .
I began to know Henry Bonetto autumn 2010. It was a gloomy day and so on.
PRODUCT OF seems like it because if we add an effe could mean FINISHED PRODUCT or PRODUCT! GO! MI I HAVE BROKEN MARONI! So pull even a slap to all this madness of production - machines - money - outcome - crisis - the new millennium - escort - cocaine - club dogo.
Like any self-respecting retrospective is divided into periods. And then also his artistic career is divided into periods: Well this is an axiom of course! I believe three periods: the first and long term we might call the Old Testament, the second very recently that we call the New Testament, and one that is not there. So two periods and one that is not. It 'obvious that the three periods are placed in three rooms of the exhibition: the entrance is the Old Testament, the basement houses the New Testament, while the top floor there is the period that is not there, so can rise rightly the supernatural, without reaching.
Having known the artist in person and seen most of his works, most of which are not exposed there is, first, that the lyrical content to follow to outline a clear profile of the artistic career of Henry Bonetto then unconsciously referring to other jobs that you can find on the site www.enricobonetto.com, publications relating to other shows on other websites or do not find. In any case, the exhibits will remain the most successful summary.
The artist's website is very broad about it, rather would need updates on the New Testament.
The fact is that this boy was born and raised in the countryside of the device adjacent to the Venetian Padovano from his carpenter father and mother a seamstress. Dedicated to do a lot of things bordering on hyperactivity, could not resist to experiment with art during the late puberty. Apart from the first attempts Impressionists takes you directly to the artefacts that count and have attracted the attention of professionals.
The passion for graffiti and street art for New Yorkers of pop art, especially the obsessive mania for Jean Michel Basquiat revived with great fervor in the early works, but precisely the philosophy of the artist with braids takes office and will be married by Henry Bonetto throughout its production: even the most recent and certainly the future. That philosophy that freedom comes first, the appearance does not matter, in the process of making a work there is no corruption or mental limits except those presented by the artist, and the revaluation of the case: if the coffee accidentally falls toward the end of the work means that it was part of the same. Immediacy is important in this regard to prevent damaging the purity of the relationship artist - work. Another major influence have "Fountain" by Marcel Duchamp and "Artist's Shit" by Piero Manzoni, since any object or thing moved from its usual context to a new one as an art gallery can totally change the perception. Much less the spirit craftsman and manual father complete the key points of the wealth of the bottom of the artist from which come most of the productions of the Old Testament destined to leave their mark.
The style, however, is unique because here Enrico Bonetto we really puts his in the technique, in interpreting these influences and assemble them, adding the issue of recovery. All the works are made with recycled materials, taken from the context rustic home, from construction sites, from the street, from the waste industry, from garbage containers and delivered to an eternal destiny, often through the use of spray cans, markers of , paints, resins. The aesthetic result is very strong and dense: strong colors and dense materials. An explosive collage of meanings and emotions, perhaps too many, which reads the youth in an artistic sense, for better or for worse. The use of the writing is at times brilliant, at times seems to want to explain something to her strength observer.
In any case, we always talk about three-dimensional works, the technique of collage and collage techniques.
The works of this period are very direct and quite easily perceive the emotions of the artist or the meaning prince of the article, both for the use of a more acute color, both for the insertion of pieces that become symbolic, aspiring to become slightly spiritual.
Works that do not clearly express meanings are in my opinion the most valuable, the most introverted, have a flame inside because the youth (also in the artistic sense) pervades them anyway, but you do not show. They are powerful but timid, may perhaps be sweet or angry and sad at the same time. The image after it is in these more personal, multi-faceted (to put Pantene) richer.
The way in which the artist editing steps within the observer of the image before and after the image is very invasive in this period, in the sense that there are clear and decided tampering. If it were a thief not have much luck. If it were a microchirurgo, would collect complaints in each hospital. The fact remains that always manages to convey feelings as well, uncorrupted, and in the case hits the mark, this is bound to grab one small space in the memory of the observer, never let it escape.
Note: at this time you are accompanied by a current side parallel to his work called "Easy Art". When Henry Bonetto creates within his factory Pianiga (VE), is usually spread on the ground to not to get too rough a surface corrugated cartons from recycled material. At the end of the work remain on this support, also for the use of cans, a series of sketches and negative signs in the finished work. Each case is itself a work: An Easy Art
And here a little turn for the man, a great turning point for humanity. The year 2011 is an important year for the artist because it starts with a blank. A vacuum production. A full reflection. There is something that has a little 'tired probably. No longer able to come up with a work day or so, as in his best times. He can not because he does not want to. Caught between his style, which for years has supported the ups and downs of life, struggling to breathe.
The rest ends up in the middle of 2011 when he began to recover pieces of Art Easy to pack memories of childhood or puberty, objects that would never have a future, but only a past, often briefcases and boxes, especially containers with contents, Sometimes even old paintings. Memories, whether positive or negative, are building a part of our souls that over time become stronger, they may become hard, put on masks to protect themselves from corruption or outside them. The soul changes with the experiences, the pain suffered, the joys taken. The finished packages are closed and it's not clear what are carrying. Slightly colored, to lord it is the color of cardboard. Raw and rough as if to defend boasting of its thickness.
It 's the place why? Why Henry Bonetto took the plunge, laid the foundations for his maturity, he is free from something that was a little 'oppressing, got rid of the superfluous to focus on the essential. Clean inside, beautiful outside. Cleaning, minimalism have elevated his work, making the image blurry after more hidden and therefore more intense, full of noble purity. Decreased the number of colors enhances the few remaining shades, because the attention is all for them. The voids assume more importance solids. Details win. The objective meaning lost.
The packaging draws a clear line of separation. Subsequent work conceals a different power that will not explode ever. Stay there. The board first. Less three-dimensional collage. Color if needed. Reduced production times because they do not need. Unlimited variety of techniques. Efforts concentrated on one, leaving everything.
This is a Bonetto to 360 degrees. No limits. Free. Convinced. Accurate.
The image then can be sexy, weak and moving. Spiritual one. Amletici for others. Perhaps presumptuous.
Henry Bonetto, thief and microchirurgo, left on his way to venture on a journey without destination.
_The Period that there is no
Does not exist because it is a journey of fancy and there because who am I to place it in time if its time has shuffled the cards?
The installation "REC" does not exist. As there is no projected images. Or maybe yes? What's that I see? And the pictures? And space? The concept of time has been raped, abused, analogically photoshopped. Robbed of reason is the observer. The magazine of a machine gun vomits cocoons: rattle and timely without beginning or end. Surrealism. Moments of fainting.
The first image is not there. The image after ...
Living in the age of mechanical reproduction of the object - and therefore dell'ampliabilità technique of his emotional function - and having to face the dawn of any cultural operation , the issue of replication work, demeaning and potentially infinite , the solution provided the artist is to escape to the weight of the work itself and subtract himself in the presence of his work . The precept is a form of art-making steps to ensure the originality of the final artistic product is to detach even before we have determined the completeness and even before we have outlined the structure . Riponderare from outside his own creation - also giving to recognize and guarantee their authenticity with its invasive existence - thus allowing the artist to experience the creative process as a mere spectator , as a soul free and released from having an attestation of its value . Outside, the crowd watching and sentient beings , the artist is a number, an understatement prisoner of sacred emptiness , a voice in the choir , gear of a communication mechanism to which he gave the charge. Refuge in reality more welcoming and anonymous and secular of externality , away from the idealized context of the gallery to watch from inside what looks from the outside, however, is in turn a conceptual operation that exists, as far away from orthodoxy celebratory a face and an identity of its own exposure , worship encomiastic a name that does not appear. The artist is not sacrificed their art objects ; exists between him and the relics pinned to the walls or scattered on the floor , the cool detachment of foreignness , thanks to which the art object becomes universal object , alluding to a romantic relationship in incodificabile as testimony of another's thought and that of production . The world of matter, as the universe of the artist , it remains only a core and evanescent guessed that protrudes beyond the act installative and performative , towards the certainty of everyday existence. Therefore eliminate their proud presence , delete the title so that it matches , conceptually and syntactically and morphologically , with its non-existence , avoid leaving traces of their passage and lines of its action means no return to cross the barrier that marks the increasingly blurred boundary between art and life , it means temporarily abandon the semantic fields of art to savor on the other side of a glass (not just metaphorically ) feelings and emotions real, plausible axioms . Beyond the minimal gesture then to design their own cancellation thus emerges from this anti-dogmatic , the principle of double presence , the yearning that is precisely the ubiquity of the artist. Present over the screens, with their absence and present, in the here and now of a time passing and marking the time of the art , with the absence anonymous . A two-way escape , that of Henry Bonetto - suspended between happenings, Fluxus and Arte Povera - the art form to the human form. Prisoner of a passage ( not so secret ) abstraction between the physical and the passing of which translates the dialectical tension between the liberal and servile nature of art , from the poetry of the intellect and the violence of the paraphrase . Preferable in the opposite alienate rather than pursue the lie of a single exploratory rightness and over. In the gallery is a carpet of autumn leaves of a soul, a puff of talcum powder , a portion of the wall circumscribed yet empty, a human presence , many words recited endlessly. The leaves , the dust and the litany transported by wind and weather , there are intangible and read, how ideas . Only the title of wood , hanging on a wall and triumphantly even denying its nature, manifests the heaviness of the concept, soon disappearing beyond the curtain of illusion, reconsidered from its earthly tangibility and corroded .
text by Gaetano Salerno