Artist, he exhibited in Paris in 1969 with Lucio Fontana and Pablo Picasso; first mathematician then architect, leader of the Italian museographic experience that in the fifties started the reuse of historical-architectural spaces in exhibition spaces with Ignazio Gardella, Franco Albini, B.B.P.R. Carlo Scarpa, Giovanni Michelucci; plans the restoration and "adaptation to new use" of the Neapolitan museums of Capodimonte, San Martino, Duca di Martina, Villa Pignatelli, Museum of S. Benedetto in Salerno, Museum of Paestum, Musees Royaux des Arts in Brussels. Ezio Bruno De Felice writes that "the union of the various parts all restored and living in a new use, could give to the city a functional set for various activities of culture, art, commercial, artistic, handicraft, antiquarians, museum polytechnics, such as to make it a self-sufficient active and functional center ". He designs exhibition systems, tables, chairs, staircases, prefabricated system "in opera", jewels in semi-precious stones, he realizes monotypes. Insect designer. Entomologist sui generis - dialogues in vernacular verses with places, people and anemalucce, tries to read them in different ways, studies the perfect organization of these elementary organisms that "in herd are in the world with us". '' Perhaps one of the motivations that drives him is for him, master of Restorations (and therefore adored to the great as to small measures), the charm that expresses the tiny, the infinitely small, to which this time he approaches with greedy interest his magnifying glass [...] De Felice ethnomorphizes the reader, forces him to observe the teeming microworld object of his acute poetic observations from the angle of the object itself ". De Felice analyzes the world of things that already exist with the making of the archaeologist who searches for traces, fragments, spies, roots of an indicative paradigm. Observes with "omnivorous curiosity", draws the landscape, the ruins, the faces, the insects, with accuracy; collects and preserves every piece of material culture. The scrap warehouse is its privileged place from which it recovers scrap, mechanical parts, gears, toothed wheels, gaskets, pieces created for obsolete uses, inks them and prints them under the press. Monotypes are an extension of the life cycle of structural parts of objects destroyed by neglect and mortified by abandonment. The polishing brushes, which American soldiers bring to Italy, are reused in new combinations, experimenting with new possible uses; moreover, the wooden planks that can not be used for the plating of the boats recover from the shipyards of the Sorrento peninsula; this first section cut from the trunks coming from Africa with a concave side is assembled to the polishing brushes to compose a dividing mobile system: the "forest" shaped by the wooden totems welcomes - circumscribing it - a round table, its "think tank", the space of the soul, in the experimental laboratory of Palazzo Donn'Anna.
EZIO BRUNO DE FELICE: RESILIENT DESIGN
Martusciello, Sabina
2018
Abstract
Artist, he exhibited in Paris in 1969 with Lucio Fontana and Pablo Picasso; first mathematician then architect, leader of the Italian museographic experience that in the fifties started the reuse of historical-architectural spaces in exhibition spaces with Ignazio Gardella, Franco Albini, B.B.P.R. Carlo Scarpa, Giovanni Michelucci; plans the restoration and "adaptation to new use" of the Neapolitan museums of Capodimonte, San Martino, Duca di Martina, Villa Pignatelli, Museum of S. Benedetto in Salerno, Museum of Paestum, Musees Royaux des Arts in Brussels. Ezio Bruno De Felice writes that "the union of the various parts all restored and living in a new use, could give to the city a functional set for various activities of culture, art, commercial, artistic, handicraft, antiquarians, museum polytechnics, such as to make it a self-sufficient active and functional center ". He designs exhibition systems, tables, chairs, staircases, prefabricated system "in opera", jewels in semi-precious stones, he realizes monotypes. Insect designer. Entomologist sui generis - dialogues in vernacular verses with places, people and anemalucce, tries to read them in different ways, studies the perfect organization of these elementary organisms that "in herd are in the world with us". '' Perhaps one of the motivations that drives him is for him, master of Restorations (and therefore adored to the great as to small measures), the charm that expresses the tiny, the infinitely small, to which this time he approaches with greedy interest his magnifying glass [...] De Felice ethnomorphizes the reader, forces him to observe the teeming microworld object of his acute poetic observations from the angle of the object itself ". De Felice analyzes the world of things that already exist with the making of the archaeologist who searches for traces, fragments, spies, roots of an indicative paradigm. Observes with "omnivorous curiosity", draws the landscape, the ruins, the faces, the insects, with accuracy; collects and preserves every piece of material culture. The scrap warehouse is its privileged place from which it recovers scrap, mechanical parts, gears, toothed wheels, gaskets, pieces created for obsolete uses, inks them and prints them under the press. Monotypes are an extension of the life cycle of structural parts of objects destroyed by neglect and mortified by abandonment. The polishing brushes, which American soldiers bring to Italy, are reused in new combinations, experimenting with new possible uses; moreover, the wooden planks that can not be used for the plating of the boats recover from the shipyards of the Sorrento peninsula; this first section cut from the trunks coming from Africa with a concave side is assembled to the polishing brushes to compose a dividing mobile system: the "forest" shaped by the wooden totems welcomes - circumscribing it - a round table, its "think tank", the space of the soul, in the experimental laboratory of Palazzo Donn'Anna.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
