{"id":12607,"date":"2024-10-04T15:02:38","date_gmt":"2024-10-04T13:02:38","guid":{"rendered":"https:\/\/www.neshergallery.com\/?p=12607"},"modified":"2024-10-16T15:05:21","modified_gmt":"2024-10-16T13:05:21","slug":"the-arkhe-%e1%bc%80%cf%81%cf%87%ce%ae-in-the-hands","status":"publish","type":"post","link":"https:\/\/www.neshergallery.com\/it\/the-arkhe-%e1%bc%80%cf%81%cf%87%ce%ae-in-the-hands\/","title":{"rendered":"The Arkh\u00e9 (\u1f00\u03c1\u03c7\u03ae) in the hands"},"content":{"rendered":"\t\t
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MEDIA:
El Punt Avui
https:\/\/www.elpuntavui.cat\/<\/a>
<\/b><\/p>

DATE:
04.10.2024<\/strong><\/p>

TITLE:
The Arkh\u00e9 (\u1f00\u03c1\u03c7\u03ae) in the hands
<\/strong><\/p>

WRITTEN BY: Aina Vega Rofes<\/strong><\/p>

LINK TO MEDIA:
https:\/\/www.elpuntavui.cat\/cultura\/article\/19-cultura\/2463639-l-arkhe-a-les-mans.html<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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ENGLISH TRANSLATION<\/pre>
The Arkh\u00e9 (\u1f00\u03c1\u03c7\u03ae) in the hands<\/h2>
Aina Vega Rofes \/ Diari EL PUNT AVUI 4.1024<\/h3>
This summer I discovered the sculptor Guido Dettoni, a native of Milan who came to Catalonia in 1961 and has left his mark on all the Catalan countries. The poet Carles Duarte speaks of him as a “Catalanised Italian, or rather an Italianised Catalan”. What fascinates me about Dettoni is his kinaesthetic ability to “see with his hands and touch with his eyes”. He is a visual and tactile artist, a sculptor and painter who creates his works with his hands, leading us to a sensory experience in which the gaze touches the object and the hands listen to the beat of time.<\/p>
All Guido Dettoni’s works adapt to the fingers, the palms, the whole hand. It is an entirely human, ergonomic and at the same time highly spiritual art form. For Dettoni, working with the hands is an artistic process that becomes a path of knowledge and discovery.<\/p>
Dettoni’s works are all about meaning, there is no room for superfluity. Even emptiness is ontological. I am reminded of Loosian forms (https:\/\/es.wikipedia.org\/wiki\/Adolf_Loos) where the line is pure and what is superfluooes not exist because the artist has banished it to oblivion. Without artifice, without excess, melody without embellishment. It is the work in the “Arkh\u00e9”, the modelling of the origin of all things, because we are matter sculpted in the hands of prophets, sages, poets and artists. And at the same time, this matter conceals the Platonic idea of perfection in every form, since the hands shape the sensible reality according to Dettoni’s ideal, which the artist visualises when he closes his eyes to give meaning to the Virgin’s Mass. As in his work Maria, perhaps the most emblematic: “I try to find in my memory with my eyes closed, blindly discovering the shape that brings me closer to the concept”. This is the emergence of form, with an evocative active touch that manipulates the material in a meditative state in which the unconscious emerges.<\/p>
“Touch is concrete, it does not lie,” says Dettoni, and by manipulating the object, the artist is able to visualise all its facets. And then comes the verb: once the form has been found, following intuition, the intellectual path of recognising what has been created begins. This path is no longer tangible (tactile) but abstract (visual) and, by interpreting the volume, the process of understanding the work begins, based on the mental images loaded with history and ideology that the artist draws in his mind.<\/p>
Sometimes Dettoni goes one step further and the conceptual journey continues with transmutation. Once the form has been achieved, the artist sets the result of the manipulation process in motion, creating an infinite number of plans which, thanks to a computer programme he has designed, are superimposed to create a short film that can produce an infinite number of aesthetic results. Transmutation transforms the three-dimensional volume into a two-dimensional image, just as the Cubists proposed for art.<\/p>
Finally, the object takes shape again and can become works such as Sant F\u00e8lix, a collective experience of “handsmatter” that began as a joint exercise with children and young people from Vilafranca del Pened\u00e8s. Each of them modelled their own sculpture of the saint, hand in hand, and after assembling the many photographs of the many faces of the little sculptures, Dettoni sculpted what would become the symbol of Vilafranca.<\/p>
More recently, Guido Dettoni has been working on the concept of the “haptic nexus”, in which active touch acts as a link between matter and sensory, cognitive and emotional processes. Through manipulation we can reach distant corners of our memory and awaken emotions we did not know we had, as happened to the child who ran through the streets of Mil\u00e0 manipulating clay and forming figures that each time turned out to be a new (self)discovery. It is a game and a joy that shows that we can all create shapes, but only the hand of the artist can shape transcendence.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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ITALIAN TRANSLATION<\/pre>
L’arch\u00e8 (\u1f00\u03c1\u03c7\u03ae) nelle mani<\/h2>
Aina Vega Rofes \/ Diari EL PUNT AVUI 4.1024<\/h3>
Quest’estate ho scoperto lo scultore Guido Dettoni, originario di Milano, arrivato in Catalogna nel 1961 e che ha lasciato il segno in tutti i Paesi catalani. Il poeta Carles Duarte parla di lui come \u201citaliano catalanizzato, o forse meglio dire catalano italianizzato\u201d. Ci\u00f2 che mi affascina di Dettoni \u00e8 la sua capacit\u00e0 cinestetica di \u201cguardare con le mani e toccare con gli occhi\u201d. \u00c8 un artista visivo e tattile, uno scultore e pittore che realizza le sue opere con le mani e ci conduce ad un’esperienza sensoriale in cui lo sguardo tocca l’oggetto e le mani ascoltano il battito del tempo.<\/p>
Tutte le opere di Guido Dettoni si adattano alle dita, ai palmi, alla mano intera. \u00c8 una forma d’arte del tutto umana, ergonomica e, allo stesso tempo, altamente spirituale. Per Dettoni lavorare con le mani \u00e8 un procedimento artistico che diventa un percorso di conoscenza e scoperta.<\/p>
Le opere di Dettoni sono tutte piene di significato, non c’\u00e8 spazio per il superfluo. Anche il vuoto \u00e8 ontologico. Mi fa pensare alle forme loosiane (https:\/\/es.wikipedia.org\/wiki\/Adolf_Loos) dove la linea \u00e8 pura e ci\u00f2 che avanza non esiste, perch\u00e9 l’artista lo ha relegato nell’oblio. Senza artificio, senza eccesso, melodia senza ornamento. \u00c8 l’opera nell’\u201carch\u00e8\u201d, il modellamento dell’origine di tutte le cose, perch\u00e9 siamo materia scolpita nelle mani di profeti, saggi, poeti e artisti. E, allo stesso tempo, questa materia nasconde l’idea platonica della perfezione di ogni forma, poich\u00e9 le mani plasmano la realt\u00e0 sensibile a misura dell’ideale di Dettoni, ci\u00f2 che l’artista visualizza quando chiude gli occhi per dare significato alla massa vergine. Come nella sua opera Mar\u00eda, forse la pi\u00f9 emblematica: \u201cCerco di trovare nella mia memoria ad occhi chiusi e, alla cieca, scopro la forma che mi avvicina al concetto\u201d. \u00c8 l’emergere della forma, con un tatto attivo evocativo, che manipola la materia in uno stato meditativo in cui emerge l’inconscio.<\/p>
“Il tatto \u00e8 concreto, non mente”, dice Dettoni, e, nella manipolazione, l’artista riesce a visualizzare tutte le sfaccettature dell’oggetto. E poi arriva il verbo: una volta trovata la forma, seguendo l’intuizione, inizia il percorso intellettuale di riconoscimento di ci\u00f2 che \u00e8 creato. Questo percorso non \u00e8 pi\u00f9 tangibile (tattile), ma astratto (visivo) e, attraverso l’interpretazione del volume, inizia il processo di comprensione dell’opera, basato sulle immagini mentali cariche di storia e ideologia che l’artista disegna nella sua mente.<\/p>
A volte Dettoni fa un ulteriore passo avanti e il viaggio concettuale continua con la trasmutazione. Una volta raggiunta la forma, l’artista mette in moto il risultato del processo manipolativo, ed \u00e8 allora che vengono creati un numero infinito di progetti che, sovrapposti grazie ad un programma informatico da lui stesso progettato, diventano un cortometraggio che pu\u00f2 dare origine a innumerevoli risultati estetici. La trasmutazione converte il volume, da tridimensionale, in un’immagine bidimensionale, proprio come proponeva l’arte dei cubisti.<\/p>
Infine, l’oggetto riprende forma e pu\u00f2 diventare opere come Sant F\u00e8lix, un’esperienza collettiva di \u201chandsmatter\u201d che si basa su un esercizio congiunto con bambini e ragazzi di Vilafranca del Pened\u00e8s. Ognuno di loro ha modellato, in dettaglio, la propria scultura del santo e, dopo aver assemblato le molteplici fotografie dei molteplici lati delle piccole sculture, Dettoni ha scolpito quello che sarebbe stato il simbolo di Vilafranca.<\/p>
Ultimamente Guido Dettoni sta lavorando al concetto di \u201chaptic-nexus\u201d, in cui il tatto attivo funge da collegamento tra la materia e i processi sensoriali, cognitivi ed emotivi. Attraverso la manipolazione possiamo raggiungere angoli remoti della memoria e risvegliare emozioni che ancora non conoscevamo, come accadde a quel bambino che correva per le strade di Milano manipolando la creta e plasmando figure che ogni volta si rivelavano una nuova auto-scoperta. Un gioco e una gioia che dimostra che tutti possiamo creare forme, ma solo la mano dell’artista pu\u00f2 dare forma alla trascendenza.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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SPANISH TRANSLATION<\/pre>
El arqu\u00e9 (\u1f00\u03c1\u03c7\u03ae) en las manos<\/h2>
Aina Vega Rofes \/ Diari EL PUNT AVUI 4.1024<\/h3>
Este verano he descubierto al escultor Guido Dettoni, natural de Mil\u00e1n, que lleg\u00f3 a Catalu\u00f1a en 1961 y ha dejado huella en todo los Pa\u00edses Catalanes. El poeta Carles Duarte habla de \u00e9l como \u201citaliano catalanizado, o quiz\u00e1s mejor dicho catal\u00e1n italianizado\u201d. Lo que me fascina de Dettoni es capacidad cinest\u00e9sica de \u201cmirar con las manos y tocar con los ojos\u201d. Es un artista visual y t\u00e1ctil, un escultor y pintor que crea sus obras con las manos y nos conduce a una experiencia sensorial en la que la mirada toca el objeto y las manos escucha el latido de los tiempos.<\/p>
Todas las obras de Guido Dettoni se adaptan a los dedos, a las palmas, a toda la mano entera. Es una forma de arte enteramente humana, ergon\u00f3mica y, al mismo tiempo, de gran espiritualidad. Para Dettoni, trabajar con las manos es un procedimiento art\u00edstico que se convierte en un camino de conocimiento y descubrimiento.<\/p>
Las obras de Dettoni son todo significado, no hay sitio para la superfluidad. Incluso el vac\u00edo es ontol\u00f3gico. Me hace pensar en las formas loosianas (https:\/\/es.wikipedia.org\/wiki\/Adolf_Loos) donde la l\u00ednea es pura y lo que sobra no existe, porque el artista la ha desterrado al olvido. Sin artificios, sin excesos, melod\u00eda sin adorno. Es el trabajo en el \u201carqu\u00e9\u201d, el modelado del origen de todas las cosas, porque somos materia esculpida en manos de profetas, sabios, poetas y artistas. Y, al mismo tiempo, esta materia esconde la idea plat\u00f3nica de la perfecci\u00f3n de cualquier forma, ya que las manos moldean la realidad sensible a medida del ideal de Dettoni, lo que visualiza el artista cuando cierra los ojos para dar sentido a la masa virgen. Como en su obra Mar\u00eda, tal vez la m\u00e1s emblem\u00e1tica: \u201cIntento encontrar en mi memoria a ojos cerrados y, a ciegas, descubro la forma que me acerca al concepto.\u201d \u00c9ste es el surgir de la forma, con un tacto activo evocador, que manipula la materia en un estado meditativo en el que emerge el inconsciente.<\/p>
“El tacto es concreto, no miente”, afirma Dettoni, y, en la manipulaci\u00f3n, el artista es capaz de visualizar todas las facetas del objeto. Y despu\u00e9s llega el verbo: una vez ha encontrado la forma, siguiendo la intuici\u00f3n, comienza el camino intelectual de reconocer lo creado. Este camino ya no es tangible (t\u00e1ctil), sino abstracto (visual) y, al interpretar el volumen, comienza el proceso de comprensi\u00f3n de la obra, a partir de las im\u00e1genes mentales cargadas de historia e ideolog\u00eda que el artista dibuja en su mente.<\/p>
A veces, Dettoni da un paso m\u00e1s all\u00e1, y el viaje conceptual sigue con la transmutaci\u00f3n. Una vez lograda la forma, el artista pone el resultado del proceso manipulador en movimiento, y es entonces cuando se crean infinidad de planes que, superpuestos gracias a un programa inform\u00e1tico dise\u00f1ado por \u00e9l mismo, se convierten en un corto cinematogr\u00e1fico que puede dar sitio a infinidad de resultados est\u00e9ticos. La transmutaci\u00f3n convierte el volumen, en tres dimensiones, en una imagen, de dos dimensiones, tal y como planteaban el arte los cubistas.<\/p>
Finalmente, el objeto vuelve a tomar cuerpo y puede convertirse en obras como Sant F\u00e8lix, una experiencia colectiva de \u201chandsmatter\u201d (manosmateria) que parte de un ejercicio conjunto con ni\u00f1os y j\u00f3venes de Vilafranca del Pened\u00e8s. Cada uno de ellos model\u00f3, a pies juntillas, su propia escultura del santo y, tras el ensamblaje de las m\u00faltiples fotograf\u00edas de m\u00faltiples caras de las peque\u00f1as esculturas, Dettoni esculpi\u00f3 lo que ser\u00eda el s\u00edmbolo vilafranquino.<\/p>
\u00daltimamente, Guido Dettoni trabaja en el concepto de \u201chaptic-nexus\u201d, en el que el tacto activo act\u00faa como nexo entre la materia y los procesos sensoriales, cognitivos y emocionales. A trav\u00e9s de la manipulaci\u00f3n podemos llegar a rincones remotos de la memoria y despertar emociones que a\u00fan no conoc\u00edamos, como le pasaba a aquel ni\u00f1o que corr\u00eda por las calles de Mil\u00e0 manipulando el barro y moldeando figuras que resultaban ser cada vez un nuevo (auto)descubrimiento . Un game-play and joy que demuestra que todos podemos crear formas, pero s\u00f3lo la mano del artista puede dar forma a la trascendencia.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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ORIGINAL IN CATALAN<\/pre>
L\u2019arkh\u00e9 (\u1f00\u03c1\u03c7\u03ae) a les mans<\/h2>
Aina Vega Rofes \/ Diari EL PUNT AVUI 4.1024<\/h3>
Aquest estiu he descobert l\u2019escultor Guido Dettoni, natural de Mil\u00e0, que va arribar a Catalunya l\u2019any 1961 i ha deixat empremta arreu dels Pa\u00efsos Catalans. El poeta Carles Duarte en parla com a \u201citali\u00e0 catalanitzat, o potser m\u00e9s ben dit catal\u00e0 italianitzat\u201d. El que em fascina de Dettoni \u00e9s la seva capacitat sinest\u00e8sica de \u201cmirar amb les mans i tocar amb els ulls\u201d. \u00c9s un artista visual i t\u00e0ctil, un escultor i pintor que crea les seves obres amb les mans i ens condueix a una experi\u00e8ncia sensorial en qu\u00e8 la mirada toca l\u2019objecte i les mans escolten el batec dels temps., natural de<\/p>
Totes les obres de Guido Dettoni s\u2019adapten a la forma dels dits, dels palmells, de tota la m\u00e0 sencera. \u00c9s una forma d\u2019art enterament humana, ergon\u00f2mica, i, alhora, de gran espiritualitat. Per a Dettoni, treballar amb les mans \u00e9s un procediment art\u00edstic que esdev\u00e9 un cam\u00ed de coneixement i descobriment.<\/p>
Les obres de Dettoni s\u00f3n tot significat, no hi ha lloc per a la superflu\u00eftat. Fins i tot el buit \u00e9s ontol\u00f2gic. Em fa pensar en les formes loosianes (https:\/\/es.wikipedia.org\/wiki\/Adolf_Loos) on la l\u00ednia \u00e9s pura i el que sobra no existeix, perqu\u00e8 l\u2019artista l\u2019ha desterrat a l\u2019oblit. Sense artificis, sense excessos, melodia sense ornament. \u00c9s el treball en l\u2019arkh\u00e9, el modelat de l\u2019origen de totes les coses, perqu\u00e8 som mat\u00e8ria esculpida a mans de profetes, savis, poetes i artistes. I, al mateix temps, aquesta mat\u00e8ria amaga la idea plat\u00f2nica de la perfecci\u00f3 de qualsevol forma, ja que les mans modelen la realitat sensible a mida de l\u2019ideal de Dettoni, all\u00f2 que visualitza l\u2019artista quan tanca els ulls per donar sentit a la massa verge. Com a la seva obra Maria, tal vegada la m\u00e9s emblem\u00e0tica: \u201cIntento trobar a la meva mem\u00f2ria a ulls clucs i, a cegues, descobreixo la forma que m\u2019apropa al concepte.\u201d Aquest \u00e9s el sorgir de la forma, amb un tacte actiu evocador, que manipula la mat\u00e8ria en un estat meditatiu en qu\u00e8 emergeix l\u2019inconscient.<\/p>
\u201cEl tacte \u00e9s concret, no menteix\u201d, afirma Dettoni, i, en la manipulaci\u00f3, l\u2019artista \u00e9s capa\u00e7 de visualitzar totes les facetes de l\u2019objecte. I despr\u00e9s arriba el verb: un cop ha trobat la forma, seguint la intu\u00efci\u00f3, comen\u00e7a el cam\u00ed intel\u00b7lectual de recon\u00e8ixer el que s\u2019ha creat. Aquest cam\u00ed ja no \u00e9s tangible (t\u00e0ctil), sin\u00f3 abstracte (visual) i, en interpretar el volum, comen\u00e7a el proc\u00e9s de comprensi\u00f3 de l\u2019obra, a partir de les imatges mentals carregades d\u2019hist\u00f2ria i ideologia que l\u2019artista dibuixa a la seva ment.<\/p>
De vegades, Dettoni fa un pas m\u00e9s enll\u00e0, i el viatge conceptual continua amb la transmutaci\u00f3. Un cop ha aconseguit la forma, l\u2019artista posa el resultat del proc\u00e9s manipulador en moviment, i \u00e9s llavors quan es creen infinitat de plans que, superposats gr\u00e0cies a un programa inform\u00e0tic dissenyat per ell mateix, es converteixen en un curt cinematogr\u00e0fic que pot donar lloc a infinitat de resultats est\u00e8tics. La transmutaci\u00f3 converteix el volum, en tres dimensions, en una imatge, de dues dimensions, tal com plantejaven l\u2019art els cubistes.<\/p>
Finalment, l\u2019objecte torna a agafar cos i pot convertir-se en obres com ara Sant F\u00e8lix, una experi\u00e8ncia col\u00b7lectiva de hands-matter (mansmat\u00e8ria) que parteix d\u2019un exercici conjunt amb infants i joves de Vilafranca del Pened\u00e8s. Cadascun d\u2019ells va modelar, a ulls clucs, la seva pr\u00f2pia escultura del sant i, despr\u00e9s de l\u2019assemblatge de les m\u00faltiples fotografies de m\u00faltiples cares de les petites escultures, Dettoni va esculpir el que seria el s\u00edmbol vilafranqu\u00ed.<\/p>
Darrerament, Guido Dettoni treballa en el concepte d\u2019haptic-nexus, en qu\u00e8 el tacte actiu actua com a nexe entre la mat\u00e8ria i els processos sensorials, cognitius i emocionals. A trav\u00e9s de la manipulaci\u00f3 podem arribar a racons remots de la mem\u00f2ria i despertar emocions que encara no coneix\u00edem, com li passava a aquell nen que corria pels carrers de Mil\u00e0 manipulant el fang i modelant figures que resultaven ser cada vegada un nou (auto)descobriment. Un game-play and joy que demostra que tots podem crear formes, per\u00f2 nom\u00e9s la m\u00e0 de l\u2019artista pot donar forma a la transcend\u00e8ncia.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"
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