RED CHINA, Gian Berra: the last painting of informal Baroque 2009, minimal magic

Gian Berra: l’ultimo dipinto di informale barocco 2009 in minimal magic

Nel 2009, Gian Berra, dopo aver dipinto circa 100 opere di informale barocco, chiuse questa serie con un ultimo dipinto RED CHINA che riassume tutto il contenuto emozionale della ricerca. Una opera che conteneva in sintesi un percorso di sperimentazione che ora viene pubblicata e raccontata nelle varie fasi. Minimal magic.

Gian Berra: the last painting of informal Baroque 2009, minimal magic

In 2009, Gian Berra, after having painted about 100 works of Baroque informal, closed the series with a final painting RED CHINA that sums up all the emotional content of the research. A work which contained a summary of an experimental path that is now being published and told in various stages. Minimal magic.

Red China, ritaglio 1 : Assoluto

Questo è il ritaglio 1 del quadro Red China. Splende il campo di alluminio cromato che ruba gli occhi. Esso é lievemente inclinato come per allontanare un equilibrio assoluto. La mentalità occidentale ritiene necessaria la sicurezza di possedere di un equilibrio, ma ciò è la sua debolezza assoluta. La mentalità occidentale non ha una sicurezza, perché ritiene necessario un punto di partenza, e anche essa desidera un punto di arrivo. La mentalità occidentale vive correndo in cerca di auto realizzazione, ma non ha mete perchè ha delegato ad un concetto assoluto il suo sogno.

La mentalità della civiltà orientale (cinese) non concepisce concetti assoluti definiti. La civiltà cinese costruisce la sua sicurezza sul concreto di ogni attimo.

Essa cambia il suo orientamento seguendo gli istinti e l’esperienza.

La civiltà cinese ama lo sfondo di colore rosso, che indica la forza vitale completa di ogni suo aspetto, nessuno escluso.

La civiltà cinese ama le linee oblique perché indicano vitalità e movimento ( gli occidentali temono di perdere il contatto con la sicurezza).

Una linea nera spezzata disturba l’equilibrio, lo fa con arroganza perché è nel suo diritto. Fili di luce determinano i confini degli elementi figurativi, ma lo fanno senza sicurezza, perché ogni punto fermo è una illusione.

Per la mentalità cinese le illusioni sono un gioco. Per la mentalità occidentale le illusioni sono schiavitù e sono strumenti per guidare le coscienze verso la follia.

Immagine completa del quadro Red China con i suoi territori:

https://www.facebook.com/998592530210695/photos/a.1003214383081843.1073741829.998592530210695/1004321642971117/?type=3&theater

Red China, cutout 1, Absolute

This is the first crop of the picture Red China. Shining chrome aluminum field that the eyes steals. It is slightly tilted as if to ward off an absolute balance. The security Western mind considers it necessary to have a balance, but this is its absolute weakness. The Western mind has no security, because it believes need a starting point, and it also wants an end point. The Western mind lives running in search of self-realization, but no goal because delegated to an absolute concept his dream.

The mentality of the eastern civilizations (Chinese) does not conceive defined absolute concepts. Chinese civilization builds its security on the concrete of each moment.

It changes its orientation following the instincts and experience.

Chinese civilization loves the red background, indicating the complete life force of every aspect, without exception.

Chinese civilization loves the oblique lines that indicate vitality and movement (Westerners fear of losing touch with the security).

A black broken line disturbs the balance, it does so with arrogance because it is within his rights. light strands determine the boundaries of the figurative elements, but they do so without security, because every milestone is an illusion.

For the Chinese mentality illusions are a game. To the Western mind illusions they are slavery and have instruments to guide the consciences towards madness.

Full image of Red China framework with its territories:

https://www.facebook.com/998592530210695/photos/a.1003214383081843.1073741829.998592530210695/1004321642971117/?type=3&theater

https://www.facebook.com/998592530210695/photos/a.1002107736525841.1073741828.998592530210695/1031339340269347/?type=3

2-ritaglio-due

Red China, minimal magic 2: il senso di colpa

Ecco il ritaglio 2 di Red China in Minimal magic

La linea del cammino è chiara come un serpente scuro già tracciato. Basta seguirla anche perché è comodo. Sembra fermarsi in un luogo innaturale di metallo che luccica

Red China, minimal magic 2

Ecco il ritaglio 2 di Red China in Minimal magic

La linea del cammino è chiara come un serpente scuro già tracciato. Basta seguirla anche perché è comodo. Sembra fermarsi in un luogo innaturale di metallo che luccica. Attira l’attenzione, ma solo per un attimo, perché cola un po’ di sofferenza lungo quel cammino.

Un occidentale a questo punto guarderebbe alla sua sofferenza patita e ne ricaverebbe malinconia, autocompiacimento o rabbia ( un islamico solo rabbia e frustrazione ).

Ma per la sensibilità di un cinese ( civiltà della Cina ) il percorso non dona importanza eccessiva a tali emozioni. Ci sono, esistono, ma è più importante osservare il campo rosso che sostiene il cammino. Non solo: Si sviluppano territori gialli frammentati appena attorno al territorio di lucente alluminio.

Per di più la mentalità orientale cinese osserva con interesse il percorso verticale quasi trasparente che attraversa la zona di alluminio.

Per lui è una zona interessante perché gli propone mille alternative, malgrado mille ostacoli che la attraversano.

Nella civiltà occidentale gli ostacoli vengono usati e affrontati per sfuggire i pesi dell’anima e per imboccare strade con entusiasmo, che nascondono il disagio del senso di colpa indotto, ( per un islamico vengono scartati, oppure sostituiti da altri percorsi già tracciati da altri ).

Per un appartenente alla civiltà cinese o giapponese gli ostacoli generano curiosità, ma non immediata azione. Essi fanno semplicemente parte della vita, e vissuti.

Red China, minimal magic 2

Here cropping 2 of Red China in Minimal magic

The line of the road is as clear as a dark snake already mapped. Just follow it because it is convenient. It seems to stand in an unnatural place from metal that glitters. Attracts attention, but only for a moment, because cola a little ‘suffering on that journey.

A West at this point would look to his past pain and would procure melancholy, complacency or anger (an Islamic only anger and frustration).

But for the sensitivity of a Chinese (Chinese civilization) the course does not give too much importance to such emotions. There are, there are, but it is more important to observe the red field that sustains the journey. Not only that: They develop yellow territories fragmented just around the shiny aluminum territory.

Moreover the Chinese oriental mentality observes with interest the almost transparent vertical path that runs through the aluminum area.

For him it is an interesting area because it offers him a thousand alternatives, despite a thousand obstacles that cross.

In Western civilization obstacles are used and addressed to escape the soul weights and take roads with enthusiasm, which hide the discomfort of guilt induced, (for a Muslim are discarded, or replaced by other already traced by other routes) .

For a member of the Chinese or Japanese civilization obstacles generate curiosity, but no immediate action. They are simply part of life, and lived.

3-ritaglio-tre

Red China, minimal magic 3: La Paura

Ecco il ritaglio 3 di Red China in Minimal magic.

Ecco la strada, la via da percorrere perché è la sola che abbiamo a disposizione in questo attimo di vita. Noi nel percorrerla pensiamo che essa sia la sola … e camminando noi ci sentiamo sicuri. Come il pensiero occidentale esamina il suo cammino?

Il pensiero occidentale conosce i suoi limiti ma anche li nasconde a sé stesso. La mentalità assoluta occidentale non ammette errori non previsti, non ammette la sua debolezza. Il pensiero occidentale non ammette la Paura; esso ha paura della Paura. Il timore del pensiero occidentale è che anche la Paura sia assoluta.

La Paura come concetto assoluto non può essere dominata, ne esaminata, ne accettata. La Paura non ha una immagine, non può averla perché è assoluta e contiene tutte le immagini possibili.

La Pura è indefinibile.

Per il pensiero occidentale la Paura ha il valore malefico e assoluto del Male.

Il pensiero occidentale non può conoscere il Male, perché è il valore inverso del Bene. Il pensiero occidentale pensa di conoscere il Bene, ma lo confonde con i suoi interessi e con le sue idee e ideologie.

Le idee e le ideologie, e le religioni su cui fa affidamento il pensiero occidentale sono la rappresentazione dei suoi desideri e delle sue paure.

Ma essi non hanno il potere di creare relazioni con i concetti assoluti che creano tali concetti.

Il pensiero occidentale è cieco.

Il pensiero cinese rappresenta la Paura con infinite immagini con cui parlare in infiniti modi. Il pensiero cinese può temere la Paura, ma sa anche farsela amica e ingannarla o lusingarla. Per esso la Paura ha un valore grande, ma mai assoluto. Per il pensiero cinese esiste sempre una via di fuga o una alternativa.

Una strada conosciuta può essere ripensata e corretta e il cammino può continuare. Tutto è relativo.

Così nel ritaglio 3 il cammino scuro passa attraverso tante prospettive colorate e poi si dirama in una deviazione che genera angoscia.

E’ la sfida che la cultura cinese vince alla grande sulla cultura occidentale.

https://www.facebook.com/998592530210695/photos/a.1003214383081843.1073741829.998592530210695/1004321642971117/?type=3&theater

Gian Berra 2016

Red China, minimal magic 3: The Fear

Here cropping 3 of Red China in Minimal magic.

This is the path, the way to go because it is the only one available to us in this moment of life. We follow it in we think that it is the only … and walking us feel safe. As Western thinking examines his path?

Western thought knows his limits but also hides them himself. The western mentality does not admit absolute unexpected errors, he does not admit his weakness. Western thought does not admit Fear; it is afraid of Fear. The fear of Western thought is that the fear is absolute.

Fear as an absolute concept can not be dominated, they examined, he accepted. Fear does not have an image, it can not have it because it is absolute and contains all possible images.

The Pura is indefinable.

To Western thinking Fear has the evil and absolute value of Evil.

Western thought can not know the evil, because it is the inverse value of Good. Western thought think you know the Good, but confuses him with his interests and his ideas and ideologies.

Ideas and ideologies, and religions on which relies on Western thought is the representation of his desires and his fears.

But they do not have the power to create relationships with absolute concepts that create these concepts.

Western thought is blind.

Chinese thought is the Fear with endless images to talk in endless ways. Chinese thought may fear the Fear, but also knows how to have it friend and deceive or flatter her. Fear for it has great value, but never absolute. For Chinese thought there is always an escape route or an alternative.

A road known can be rethought and correct and the path may continue. Everything is relative.

So in the cutout 3 dark path goes through many colorful perspectives and then branches out into a detour that generates anxiety.

And ‘the challenge that Chinese culture wins big on Western culture.

Gian Berra 2016

https://www.facebook.com/998592530210695/photos/a.1003214383081843.1073741829.998592530210695/1004321642971117/?type=3&theater

https://www.facebook.com/998592530210695/photos/a.1002107736525841.1073741828.998592530210695/1031339340269347/?type=3

continua…

My roots are important….gian berra

Stop for a moment…

https://sites.google.com/site/segusinosite/

https://sites.google.com/site/pederobbasite/

https://sites.google.com/site/veniceworldart/

https://sites.google.com/site/gianberrasite/

creative hand of gian berra

creative hand of gian berra

gian berra  hippie in 1973.

gian berra hippie in 1973

gian berra in 1973!
My roots are important. These are the childhood experiences that form. Forget or pretend to be water under the bridge that is misleading. I care so much that I do I compare with them every moment. Return to your roots is how to get the strength, enthusiasm, willingness to grow as all the puppies of the human being. Mature without carrying the wonder of childhood is like dying. Nature is indifferent to the identity of the individual creatures. It affects the mass of life that replicates itself. So I think that intelligence is an event happened by chance, at least until it really will not be used for the benefit of each identity that you want to play live the life.

Gian Berra organize the first public exhibitions of his art in the late 70’s when the great leap of the art market has now been exhausted. The economic boom is now a memory and the reality of things requires a period of reflection really healthy. Listen to him:

“… It seemed that the illusion of aping the excesses of the international art market was worth more. The pictures without content were no longer taken into account. Even in the province’s” artists “who had ridden the fashion of the new rich form an image they realized that it was now a hangover it was over the ridiculous … ”

“… What could I offer with my art so naive, skinny,” timeless “, now taken for granted? Yet my inner fire begged me not to notice and to continue to dig behind the masks of those who live on illusions a successful end in itself. It was a tough choice, but only so I felt satisfied. In that time still did not speak of “roots” and the dark future on the horizon looked like a hopeless void.

I realized that it was so easy to let the memories showed me the path of my true identity. Why should the people who swarmed around me did not see the colors that I admired about me? I stopped to listen to the voices of the old walls, I was blessed to greet the stones of the bed of the Piave and watched kidnapped the chimneys were smoking from the rooftops. Every now and then fled riding my old Moto Guzzi 500 military and reaches the sea in Jesolo. The wind and the sun comforted me and made me dream with the enthusiasm of those who have forgotten the lesson of freedom that came from ’68. The great lesson of John Lennon singing the Hippy dream seemed forgotten. The party seemed over, the policy failed to distort the dream in violence and deception. The New Age had not yet arrived in Italy and minds were lost in that void. And glad of it.

But I wanted hard. Even then I was convinced that the wealth was inside each of us. was enough to pull it off. Do not you and no one gives when you find the street or is imposed on children as absolute truth … asks in exchange for your soul … ”

“… I had already decided: I turned the images felt my soul into concrete representations that everyone could see. Paintings, real forms, writings, poems, concepts and I would have adored me first. Instead of trying to create idols the road. ”

I WAS BORN …

I was born in a day in November 1947 just after the war was over. A Segusino (TV) there were very few paved roads and telephones. Susa is a village in the hills, almost mountains. Those brave they went to work abroad, but the flight was started 100 years earlier when the artificial paradise of the Venetian Republic was wiped out. The United brought you more misery than before I was born and when poverty was the norm. The misery that the strict laws when it is associated with ignorance. Only the sentiments of humanity and infinite patience of the women who saved the soul of the countries oppressed by a sense of helplessness in the face of events. These are problems that afflict human beings, not Mother Nature. Susa was a fortunate and wonderful nature. but its inhabitants did not know. I spoke recently with the few remaining old and I had the good fortune to discover the reality hidden behind the fear of starvation. As each isolated from the world’s conflicts and hatred for things born from nothing, was enough to step on the field of a neighbor, stealing an apple to invoke hatred. The talk of the country were run by the perpetual and every favor was the result of submission to those who could put a good word. The tavern was the outburst of males and gossip a double edged sword of old ladies. The dialect of Susa was sharp and decisive as that of the mountain. The church was the place to see who came every Sunday to show himself. Who we were not aroused suspicions.

My nature will be enchanted by this timeless corner of Veneto. An optimism that led me into the human and physical landscape of those places. A Venetian who was struggling to throw out its roots. When he was sixty-eight, great time, already beginning to explore the surrounding world and the passion of painting became the main direction.

Representing the wonder for the world that was growing inside me does not pay, just like how all the passions. The mere fact of living it satisfies and makes you continue. The enthusiasm of youth to take me on a difficult road to manage. The artist works in themselves, but every moment the search box.

I soon learned that the reality is quite different. How strange the art market! Nor is the space to dream. But I set myself to do it my way, and the energy was great as the dreams.

The art gallery Martinazzo Montebelluna gave me a valuable hand in 1978 out of the shell. Then began the real number of exhibitions, largely self-managed.

My art was always optimistic and enthusiastic. I was interested in the outlet end in itself. A naive figurative and essential that time is filled with flashes of irony and smugness. NEO BAROQUE as a figurative call it love.

Just a dream, like the rare sculptures already begun to produce then. A pleasant discovery was the watercolor I have always had a hand quickly and spontaneously. I still enjoy, especially in small sizes.

But the game never ends: how to have fun without using the picture? Thus leaving no stone unturned defied the boundaries further and further began my artistic form of gambling.

The BAROQUE INFORMAL was already in my hands trying another form of expression. Sounds easy, but turned out to be a street full of new challenges. The concept that loses its immediate readability in favor of a proposal without thinking of suggestions: a call for the viewer to challenge his own feelings and see where it could go.

I thank my last (of time) friend and admirer Giancarlo Nadai that continues to give me suggestions and opinions. An artist who need it like bread.

Gian Berra, Spring 2007

Overview of 35 years of events:

From 1977 to 1980:

I organized two exhibitions in Treviso Ca ‘de rich and 4 years on permanent display at the gallery in Piazza del Val wheat. Due to the personal gallery Brotto Cornuda (TV). Two personal exhibitions at the gallery The Well of Castelfranco Veneto, Staff in Villach (Austria), Collective in San Diego (California, USA), staff at the gallery of Our Lady Bridge in Conegliano TV, the gallery staff Rasarda in Montecatini Terme, the beginning of collaboration with the Gallery Martinazzo Montebelluna. In 1978, expose for the first time in Treviso at the gallery “The Casket of Val.” It ‘an opportunity to know the “market” for my province. I was offered the opportunity to exhibit at the historic hall of Ca ‘de Ricci for two years in 1978 and 1979. I was presented a painter of great value in vogue in the city: BRUNO FAEL. I met him in his splendid study at Victoria Square and I was generous with advice from which to draw and the result of which I heartily thank him.

In 1980 I decided to open my new studio in Trento in Piazza Santa Maria Maggiore. The year-long adventure in which guests in my study, a painter friend of exception: BRUNO DONADEL of Pieve di Soligo (TV). Staff Pejo (TN).

From 1981 to 1991:

Back in the studio of Covolo di Piave (TV) and organize the series of events that follow: Employees in Turin (International Art Centre), Personnel in Padua (gallery Semeghini), shown at “GIPSOTECA Canova” in Possagno along with Danilo Soligo (1984), continuously for two seasons at the gallery Bafile in Jesolo VE, for two seasons in the gallery Sartori stay in Lignano Sabbiadoro, in 1986 the series of exhibitions in New York: a personal Lanuvio and another in Genzano on Roman hills. An Art in Rome at Saletta. From 1987 to 1991 the series of summer exhibitions in response to the “Celebration of Unity”. All those summers around the Veneto, about 35 exhibitions in direct contact with people. In 1989, the adventure begins in Germany. Personal Dusseldorf, Braunschweig, Monaco and Wurzburg. Gian B-wandering points of the artists who have already encountered this: Luciano Buso, Danilo Soligo, Roberto Polanco, Ottorino Stefani mentioned in the bio page of this site.

From 1992 to 2005:

In 1989 he met Franco Carraro, the founder of Radio 5 range, and a free radio alternative that works in the Veneto and also played outside the region. It ‘an opportunity to work with the radio to spread the message creation. Gian Berra keeps you a broadcast on Sunday afternoon for some time: the title is “Between East and West”, themes of confrontation between two cultures meet.

In 1993 he began the adventure of PRACTICAL COURSE OF PAINTING I create as a way to interact with people who live near me. The aim is to gain experience of practical creativity to anyone who wants to try. Nearly a thousand people attended the course. Slow down with the personal but I do travel with European collectors in Paris, Prague, Metz (France), Liege (Belgium). I create the Cultural Association “cryolite” to help emerging artists shy of my land. Fund a “New Age Poetry Competition”, indicating a great feast of poetry every summer solstice. Poets who reward each other without expert critics. Arrange for eleven years at the City Hall Cornuda (TV) “a collective of Easter” in order to meet local and foreign artists. In 2005 I dedicate this exhibition will be the last to the artists closer to professionalism, but too shy to organize. Almost all of Valdobbiadene (TV). Outstanding artists with more experience and more years of practice: Sergio Bortolini, MIRELLA SOTGIU BEPI Mionetto and JOHN CARAMEL chart wonderful, shy and reserved in his country of Valdobbiadene was virtually ignored. I visited him and found him already very ill. It was an honor for me to propose an exhibition.

From 1995 to 1999 he attended a complete course of training in Psychosynthesis and the result is a diploma at the Center for Psychosynthesis Padova, even then already directed masterfully by Dr. Cynthia Ghidini. It ‘an opportunity to investigate the mental mechanisms that form and express the hidden power of creativity. The increased awareness of the potential hidden in every human being are within everyone’s reach: just past fears induced by an education which limits the courage so natural in children, more daring than what is obvious.

In the meantime, I write poems and stories begin with the first (see the darkened pages). For several years I have fun with painting INFORMAL BAROQUE which joins in perfect harmony with the figurative vein distinguishes me. There are only two languages that only require you to be there and have their say. Return home in 2003, now live and work away 38 boats always Covolo di Piave TV. In the meantime I found the time to do several conferences on the theme of “Fear, who is she?” The last one I held in November 2006 with a staff of my works very well managed at the Art Workshop in Conegliano TV. The friend Giancarlo Nadai I also organizes a permanent at the “King’s Bay Inn” on Refrontolo (TV), that too is a way of placing art in direct contact with people. I move less and now that the paintings to travel. In December 2006, finish my first novel: WASERE, dragon heart, about 200 pages, which I circulate among the closest friends waiting for a publication. The novel is set in 1906 in the village of Segusino (where I was born) and tells of a mysterious event actually happened in those mountains, magic and reality collide when the soul of the place awakens. But I’m already writing another of a completely different genre.

Gian Berra books are available on Lulu.com.

http://stores.lulu.com/baroque

Gian Berra