“‘Translations and Transformations’ is a journey with two destinations: Dante’s and mine. Dante’s Divine Comedy was written at in the early 14th century, in Italian, and in verse. He is the narrator and main character. Since 1812 when it was first translated into English, this long poem of 100 Cantos has been translated continuously just in English. Dante’s journey takes us down into the many levels of the Inferno (the Pope is next to Satan); we leave the Inferno climb a mountain out of Purgatory leading to Paradise. Dante has completed his journey and returns to earth, content.
I have also completed my journey. The Divine Comedy is still being translated because within the poem’s tight geometric structure, Dante has exposed the flaws of human nature. He was a Catholic, but highly critical of the clergy. In the wider sense, pride is still with us as is greed. This is a universal work of art that resonates in today’s living language and, fortunately via translators, for future generations.
There are twenty-six etchings in ‘Translations and Transformations’, it is bound and all the text is letterpress printed. The Italian text is printed in light gray, the English translations in black. Open, the size is 13″high X 37”wide.” —Roberta Delaney
Dante’s Inferno Razor
“This is a job from a couple months ago. This was one of the most intense themes I have done. Tons of details in very small places. The theme was Dante’s Inferno and the images are based on Dore’s illustrations for the book. The toughest part was that I had to alter the images to make them fit the format of the windows. I had to make the altered images still recognizable as the classic Dore illustrations.
The ‘frames’ are sculpted and the images are bulino engraved. The scenes on the hidden panels were also bulino engraved. The knife was made by Joe Kious of Kerrville, TX.” —Straight Razor Place, December 14, 2011
Contributed by David Israel
Artist Maruizio Cattelan’s Final Project
“The time has come: sooner or later it arrives for everyone. It’s not a painful moment and not even traumatic, it’s the natural evolution of a path of spectacular appearances and equally as many escapes, attempts to hiding away and revelations: Maurizio Cattelan is bowing out with one last exhibition. The retrospective All (from November 4th to January 22nd) at the Guggenheim Museum of New York (that Nancy Spector, head curator of the museum, has called “one last hanging”) is his most radical and visionary project. The reverse cone of Frank Lloyd Wright’s architecture thus transforms into a seventeenth-century transposition of a sort of Dante’s Inferno, crowded by thousands of sinners: the exhibition combines all of Cattelan’s works, suspended from the museum’s skylight in a new, total and extreme project that transforms visitors into lost souls and the tour of the exhibition into a descent into the underworld. It’s also true that the great conflicts between right and wrong, Paradise and Hell have been in the heart of Maurizio’s career.” –Paola Manfrin, L’Uomo Vogue, November 2011
See also: L’Uomo Vogue’s interview with Maurizo Cattelan.
Learn more about Cattelan’s exhibit at the Guggenheim Museum.
Contributed by Patrick Molloy
Istvan Madarassy, “Hungary Celebrates Dante” (2011)
“The Hungarian artist Istvan Madarassy is considered one of the leading sculptors of copper in Europe, signed in the past, the restoration of the main sights of Budapest and was awarded the Medal of Merit by the President of the Republic of Hungary. Madarassy Istvan born in Budapest in 1948. And ‘member of the Academy of Sciences and Arts European Union with headquarters in Salzburg (Austria). In Italy, more precisely in Ravenna, his ‘Gates of Hell’, has received the gold medal of the Biennale Dante. His sculptures depicting St. Stephen King of Hungary and Queen Gisella, were presented to Pope John Paul II by the President of the Republic of Hungary Ferenc Madl. Another of his works is the UN. He has exhibited around the world, from Paris, London, New York, Tel Aviv, Vienna, Frankfurt and Milan. The artist presents a series of important Magyar His creations result of the precise ability to merge the hand with the technique: Madarassy it intervenes on the copper plate using a blowtorch, thus giving rise to images, changing landscapes and charming, with effects from aurora Northern Lights. In these works that could be called ‘pittosculture’ – showing the overlap of branches and twisted trees – pictures will be added from which peep heads and big hands, with vivid expression. In fact, while the hand is the means by which the artist creates, the mind and spirit are the crucible, the cradle of inspiration, where it begins the process of transformation and sublimation of matter. As a novice Demiurge, Madarassy soul infuses the matter, blowing a magical divine breath: copper so bitten by the fire, oxidized, shaped to life and soul liberating light and life.” —Life Beyond Tourism November 11, 2011 (retrieved on December 14, 2011)
In collaboration with the Museo Casa di Dante, Florence, Italy.
Contributed by Patrick Molloy
“EverAfter” Photographs by Claudia Rogge (2011)
“…Le opere in esposizione sono liberamente ispirate alla Divina Commedia di Dante Alighieri, presentano i segni della pittura rinascimentale e manierista o i tableaux vivants messi in scena da Pier Paolo Pasolini in alcuni suoi lavori. L’Inferno, il Purgatorio e il Paradiso sono l’elemento di riferimento per l’elaborazione di domande sul confine ancestralmente labile tra bene e male; vizi e passioni sono le cifre di un sentire umano in continuo cammino verso direzioni confliggenti ed interdipendenti. La nudita’ e il bell’aspetto dei soggetti raffigurati rappresentano una sorta di perfezione terrena formale, limitata e necessariamente proiettata verso una dimensione diversa, piu’ completa, mentale e interiore; la folla alza le braccia al cielo per osannare, supplicare o maledire, a seconda del girone.” [. . .] —La Citta’ di Salerno, October 17, 2011
See Also: Galleria Verrengia, October 21 – December 3, 2011, Salerno, Italy.
Contributed by Davida Gavioli
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