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-Mono

Mono
2005
  -Mono

Mono
2005
  -Mono

Mono
2005
-Metal Son

Metal Son
2004
  -Metal Son

Metal Son
2004
  -Metal Son

Metal Son
2004
-Metal Son

Metal Son
2004
  -Metal Son

Metal Son
2004
  -Metal Son

Metal Son
2004
-Mono

Mono
2005
  -Mono

Mono
2005
  -Metal Son

Metal Son
2004
 
Born on November 6, 1960, in Santena (Turin), Italy.
Lives and works in Turin, Italy.


Though sometimes considered a product of the artistic atmosphere of the early Nineties, the painting of Bartolomeo Migliore, from its specific chronological and cultural point of view, reveals certain peculiarities that make it unique, especially to the Italian art milieu. The decade witnessed an emergent desire to return to painting. Painting was redefined by a young, nomadic, and international public according to unique generational rules. While art continued to serve as a viable expression of contemporary culture, other media began to offer itself to similar ends. Turin, which Migliore has referenced since the beginning of his career, was a vital and bold centre for these new artistic trends. As a small metropolis, it exhibits states of tension and an urgent demand for change—if not a complete break—from the academic art of established institutions. Though grouped with the new generation of figurative painters, Migliore prefers to identify himself with more abstract tendencies. This attitude defines his artistic prerogative and characterizes him as both an intense and atypical artist.

Bartolomeo Migliore rejects the idea that painting should describe, narrate, or illustrate. He neither appreciates the explicit imagery targeted at today’s youth, nor is attracted by the relentless revival of low quality matter. For Migliore, it is essential to liken painting as much as possible to conceptual reality, repositioning at its centre the “language question.” Aware that words merely represent minimal and isolated units, Migliore attempts to reveal poetic and structural sensitivity in his painting. He therefore focuses on primary and essential elements, the power of the word, and its ability to act as both sign and signifier. While a graffiti-like aesthetic appears to emerge in his work, Migliore relies on the less direct forms of synthetic and conceptual art. Dating back to the Seventies, these styles often use the word to achieve a sort of progressive dematerialization in painting. An artistic pioneer during this era, Joseph Kosuth worked towards such dematerialization with purely semantic intentions. He adopted a neutral typography typical of the modern dictionary to allow writing to act as a universal form of communication. In American art, writing assumes an iconographic relevance when sign meets signifier and turns it into image. The writing in Ed Ruscha’s paintings explores this relationship in the places and situations of American cultural mythology via realistic landscapes, cinema, and advertisement. Christopher Wool’s work, which may be considered closest to Migliore’s, plays with series of black words on white backgrounds to reduce the authority of painting to a minimum. Wool aims to create an easily recognizable typography that may act as the signature-logo of the artist. The way in which Raimond Pettibon creates a dialogue between image and word is different still. Using an original template, he places it in a black, hostile, and disorienting context to obfuscate all meaning.

According to Migliore, the word has value both for its sense (its out of context meaning) and for its spelling (its concrete form, a crucial element in contemporary communication). His word choice is never incidental: beyond its sense and spelling, other important elements play a role in the word’s ability to imprint itself on the mind of the viewer.
In Migliore’s work, the word not only communicates his artistic style but also his idea of the world. As words are concepts, painting words means restoring their meaning, just as lyrics of a song or a stanza of a poem also re-create significance. What persists is the idea that poetry can be found everywhere. Bartolomeo Migliore also explores other fields of written and verbal communication. In each, he continues to mold his individual style. Interested in Californian graphics and the indy music world from which he draws and transfigures ideas for his painting, Migliore captures and rewrites a moment with a spontaneous symbology. This technique provides Migliore with an effective mode of self-expression, one far more revealing than realistic illustration. The power of the word lies in its dual- existence as a sign composed of individual letters and a signifier participating in the global language of visual imagery. What the visual arts cannot manage to express amidst the overload of images we are exposed to is left to music and oral culture to articulate. In the end, Migliore explores his own identity matrix, but never forgets his origins. His paintings expand upon this single and fecund idea. The most recent, Sonic Death (My Nigger Soul), offers a style of painting that increasingly distances itself from the painted object. It ventures out of the two-dimensionality of painting, defining itself as a far more complex and spatial installation. Using three albums as a starting point for creation—the record released by Joe Ramone three months before his death; Dirty by Sonic Youth, with the famous cover by Mike Kelley; and the second album of System of a Down, Migliore expresses himself in a work equally spectacular, incisive, deliberate, and politically a-technological. He uses a dark palette of mixed grey and purple hues, mimicking the photocopy aesthetic, to contrast the monochrome background of the canvas. As a result, passwords, catch phrases, and categorical imperatives are haphazardly transformed into signs to create a work open to and ripe with conflict.


Luca Beatrice
 
 
 
Bartolomeo Migliore - Selected Group Exhibitions
 

2010

Sto disegnando!!!, Villa Sirtori, Olginete, Lucca (Italy)
  Catodica 5, Stazione Rogers, Trieste (Italy)
  Still in Motion - The 10th Anniversary, LipanjePuntin artecontemporanea, Roma (Italy)

2009

Sto disegnando!!!, Studio Arkema, Portogruaro, Venezia (Italy)
  Traffic Art 2009- Focus Torino, 41 artecontemporanea, Torino (Italy)
  3 Words, Emmeotto, Roma (Italy)
  Maria Cilena ha 20 anni, Maria Cilena arte contemporanea, Milano (Italy)
  Out-let #2, Glenda Cinquegrana Art Consulting, Milano (Italy)
  Still in Motion - The 10th Anniversary, LipanjePuntin artecontemporanea, Trieste (Italy)
  TORINOver. Il linguaggio genera mondi, Chiostri di San Pietro in Vincoli, Torino (Italy)
  Love Me Fender, Palazzo Sanguinetti, Bologna (Italy)

2008

Signs, Glenda Cinquegrana Art Consulting, Milano (Italy)
  Ex Voto, Castello di Rivara, Torino (Italy)

2007

Artlab Limited Edition, Stile BK Artlab, Torino (Italy)
  Disforie 007, Palafuksas, Torino (Italy)
  From the vault, Galleria Pack, Milano (Italy)
  Art(verona, LipanjePuntin artecontemporanea, Verona (Italy)
  Segnale assente, Nt Art Gallery, Bologna (Italy)
  BAM on tour 2007, Antichi Bastioni, Carmagnola (To) (Italy)
  Bam on Tour 2007, Antichi Bastioni, Carmagnola, Torino (Italy)
  Segnale Assente, NT Art Gallery, Bologna (Italy)

2006

Supermegadrops 2, CRAC, Cremona (Italy)
  Sixty Hotel, Riccione, Ravenna (Italy)
  BAM- Biennale d'arte del Piemonte, Villa Giulia, Verbania (Italy)
  Ex-voto, Palazzo Libera, Villa Lagarina (Tn) (Italy)
  Arte Fiera, LipanjePuntin artecontemporanea, Pack, Bologna (Italy)
  Pubblicità comparativa, castello di Rivara, Rivara (To) (Italy)
  Dissonanze, Maria Cilena, Milano (Italy)
  Sound Zero, Kunst Meran/o Arte, Merano, Bolzano (Italy)
  Immaginetteria, Museo d'Arte Contemp. Casa del Console, Calice Ligure, Savona (Italy)
  Sound & Vision, Palazzo della Penna, Perugia (Italy)
  Verismo-Illusionista Pittorico, Casa del Console, Calice Ligure, Savona (Italy)

2005

Clip'it, Perugia (Italy)
  Video.it/Contrappunti 2005, Palazzo Granari della Roccia, Torino (Italy)
  Nuove Parole, Pake, Castelveltro di Modena (Italy)
  Altri fantasmi, Gas Art Gallery, Torino (Italy)
  Aperto. Collezione #1, Maria Cilena arte contemporanea, Milano (Italy)
  Fun City, Gas Art Gallery, Torino (Italy)
  Collettiva Arti Visive, Spazio Frog, Napoli (Italy)

2004

Dinamiche evolutive, Galleria Pack, Milano (Italy)
  Allarmi, Caserma De Cristoforis, Como (Italy)
  Wand Arbeiten, Galerie Luciano Fasciati, Chur (Switzerland)
  The Black Album, Antonio Colombo artecontemporanea, Milano (Italy)

2003

Piccole belve, Casa Piccinni, Bari (Italy)
  Del segno, del suono e della parola, PAV, Berchidda (Italy)
  Young Italian Genome, The Buia Gallery, New York (USA)
  La pittura come concetto, Palazzo Ducale, Massa (Italy)
  Melting Pop, Palazzo delle Papesse, Siena (Italy)

2002

Artisti in barca, Pio Monti, Roma (Italy)
  Winteraustellung, Galerie Luciano Fasciati, Chur (Switzerland)
  Forever, Das Gelbe Haus Films, Dorf (Switzerland)

2001

Hora zero, Galería Esther Montoriol, Barcelona (Spain)
  Suite, Castello di Rivara, Rivara, Torino (Italy)
  Noise, Galleria Pack, Milano (Italy)

2000

Matrix, Galleria Zonca&Zonca, Milano (Italy)
  Ubersicht, Galerie Luciano Fasciati, Chur (Switzerland)
  Na-to, Gale gate et al.gallery, Brooklyn, New York (USA)
  I fiori del mio giardino, Baluardo di San Regolo, Lucca (Italy)
  No-random, Consortium, Amsterdam (The Netherlands)

1999

Paint a Rumor, Galleria Maria Cilena, Milano (Italy)
  Sharjah International Art Biennial, Sharjah (United Arab Emirates)

1998

The Obscenes, Galleria La Giarina, Verona (Italy)

1997

E-motion, Moving Space Gallery, Gent (Belgium)

1996

The Skin of the White Lady, Artic Foundation, Eindhoven (The Netherlands)
  Versus II, Ex Lanificio Bona, Carignano, Torino (Italy)
  Battiti, Omphalos arte contemporanea, Terlizzi (Italy)

1995

Laupzeit 10Jahre, Galerie Josephski-Neukum, Issing (Germany)
  Schript im Bild, Galerie Luciano Faciati, Chur (Switzerland)

1994

Alphabetica, Biblioteca Nazionale, Firenze (Italy)

1993

A from Alphabeth, Moving Space Gallery, Gent (Belgium)
  Voodooloop, Kunsthaus Rhenania, Köln (Germany)
 
 
Bartolomeo Migliore - Selected Solo Exhibitions
 

2009

Strike, Galleria Omphalos, Terlizzi, Bari (Italy)

2007

Black>floor, Galerie Luciano Fasciati, Chur (Switzerland)
  Metal Son, Galleria Michela Rizzo, Venezia (Italy)

2006

Bartolomeo Migliore, Stile BK, Torino (Italy)
  Mono Logo, Palazzo Bricherasio, Torino (Italy)
  Spacerunner, 41 artecontemporanea, Torino (Italy)

2005

Mediterranea, Roma (Italy)
  MONO, LipanjePuntin artecontemporanea, Trieste (Italy)
  Limited C, A+M Bookstore, Milano (Italy)

2004

Still LIFE, Lindig in Paludetto, Nürnberg (Germany)
  Still WORD, Galleria Michela Rizzo, Venezia (Italy)

2002

Sonic Death (My Nigger Soul), Galleria Pack, Milano (Italy)

2001

Scar, Galerie Luciano Fasciati, Chur (Switzerland)
  Taste, Galería Esther Montoriol, Barcelona (Spain)

1999

The Nothing-Today, Galerie Luciano Fasciati, Chur (Switzerland)
  Truth or Dirty Language, Galleria Maria Cilena, Milano (Italy)

1998

A metà tra Berlino e Torino, Galerie Josephski-Neukum, Issing (Germany)

1997

Nothing, Galleria Maria Cilena, Milano (Italy)

1996

Get Off Trash, Omphalos arte contemporanea, Terlizzi (Italy)
  Trash Unlimited, Galerie Luciano Fasciati, Chur (Switzerland)

1995

Trash, Galleria Pinta, Milano (Italy)

1994

Square Jell, Moving Space Gallery, Gent (Belgium)
  Verzerrung, Kleine Galerie , Kunstverein für Karnten, Klagenfurt (Austria)
 
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