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Stefano MezzArOMa No jokeS please, we’re italian
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Oct 02, 2020

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Page 1: Stefano MezzArOMa - Serena Morton - Homeserenamorton.com/perch/resources/no-jokes-please-were... · 2014. 5. 20. · Stefano Mezzaroma’s work is graphically brilliant and ... iconography

Stefano MezzArOMaNo jokeS please, we’re italian

Page 2: Stefano MezzArOMa - Serena Morton - Homeserenamorton.com/perch/resources/no-jokes-please-were... · 2014. 5. 20. · Stefano Mezzaroma’s work is graphically brilliant and ... iconography

Stefano MezzArOMaNo jokeS please, we’re italian

AN EXHIBITION CURATED BYSERENA MORTON

CRITICAL ESSAYS BYSOPHIE HASTINGS

andDUCCIO TROMBADORI

ITALIAN CULTURAL INSTITUTELONDON

29th February - 15th March

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Il presente catalogo è stato pubblicato in occasione della mostrache si terrà presto l’Istituto Italiano di Cultura di Londra29 Febbraio - 15 Marzo

This catalogue was prepared for the exhibitionwhich will be held at the Italian Cultural Institute of London29th February - 15th March

ITALIAN CULTURAL INSTITUTE39 Belgrave SquareLondon SWIX 8NX

© 2012 - Stefano Mezzaroma

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical or other without the written permission of copyright owners.

SPECIAL THANKS TO:Francesca Abbiati & Chris Poll Duccio TrombadoriAngelo Caligaris

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Pop goes ContemporarySophie Hastings

Stefano�Mezzaroma’s�work�is�graphically�brilliant�andstartlingly�beautiful�to�look�at�and,�at�a�time�when�instal-lation�art,�video�art�and�conceptual�art�are�the�linguafranca�of�the�contemporary�art�scene,�it�also�poses�ques-tions.�Above�all:�‘What�does�it�mean�to�be�a�contempo-rary�pop�artist?’�Mezzaroma�is�a�27-year-old�self-taughtartist�and�celebrated�DJ�whose�preoccupation�with�im-ages�from�the�mass�culture�that�surrounds�him,�and�itsexpression� in� collage,� found�objects,� old�posters� andscreen-printing,�appears�at�first�to�mimic�those�ground-breaking�artists�of�the�1950s�and�‘60s�whose�driving�im-pulse�was� to�move� on� from� the� cool� detachment� ofmodernism�and�Abstract�Expressionism.�Why�would�ayoung,� emerging� talent� choose� to� express� himselfthrough�a�genre�of�Modern�Art�that�has�endured�sincethe�early� 1950s?�What�gives�Pop�Art� its� longevity,� itsability�to�recreate�itself�and�stay�relevant�way�beyondendless� tea-towel� reproductions� of� Andy� Warhol’sCampbell’s�soup�cans?�It’s�worth�looking�at�the�historyof�Pop�Art�and�the�legacy�young�artists�like�Mezzaromamust� assume�with� their� continuation�of� the�genre,� inorder�to�show�that�the�new�pop�art�is�as�current,�vitaland�engaged�as�it�ever�was.�Like�performance�art�whichemerged�at�the�same�time,�also�in�reaction�to�the�formalart�of�the�first�half�of�the�20th�century,�pop�art�continuesto�flourish�as�an�avant-garde�art�form�because�of�its�un-flinching�confrontation�with�a�rapidly�changing�world.

Pop�Art�was�first�identified�in�1952�with�the�foundingof�the�Independent�Group,�in�the�UK,�which�challengeda�traditional�approach�to�fine�art.�Co-founding�artist�Ed-uardo�Paolozzi�presented�the�band�of�writers,�artists,sculptors,�architects�and�critics�with�work�made�fromfound�objects,�including�his�now�iconic�collage,�‘I�Was�ARich�Man’s�Plaything.’�A�pistol�pointing�at�a�scantily-clad1940s�pin-up�emits�a�puff�of�smoke�in�which�the�word‘pop’�appears.�But�it�was�in�the�1960s�that�Pop�Art�reallytook�off,�with�Roy�Lichtenstein,�Andy�Warhol,�Tom�Wes-selman,�Robert�Indianna,�Claes�Oldenburg�et�al�in�NewYork� and�David�Hockney,� Patrick� Caulfield� and� PeterBlake�in�London.�The�1962�show�of�54�pop�artists�in�NewYork,� ‘The� International� Exhibition� of� New� Realists,’brought�the�genre�into�the�mainstream�but�there�was�a

paradox:�Pop�Art�was�avant-garde�but�also�commercial.Could� these� two� things� co-exist?� Can� ‘cheap’� art� begood�art;�what�do�we�do�with�our�perceptions�of�‘high’and�‘low’�culture?�Of�course,�this�discourse�was�at�thevery�heart�of�pop�art:�intimations�of�irony�and�parody�ofmass�culture�rendered�it�‘high’�art�but�Warhol�in�partic-ular�seemed�more�seduced�than�bored�or�appalled�byhis�subject�matter.�His�blank-eyed�gaze�and�vocal�mon-otone�seemed�to�emphasise�his�refusal�to�criticise�theiconography�he�repeated�again�and�again�until�we�wereblank-eyed�ourselves;�or�was�he�the�embodiment�of�theeffects� of� an� over-commodified,� celebrity-obsessed,media-saturated�culture�on�its�people?

At�the�same�time,�Italian�artist�Mimmo�Rotella,�whoalso�took�part�in�the�1962�New�York�show,�was�workingon�his�own�brand�of�pop�art.�It�had�taken�him�years�towin�the�critics�over�but�his�torn�movie�posters�cut�frombillboards�with�a�penknife,�along�with�zinc�and�metalsheeting,�and�stuck�onto�canvas,�hit�a�nerve�and�his�1958series,�Cinecitta,�finally�gained�him�an�international�fol-lowing.�Discovered�and�befriended�by�top�French�criticPierre�Restany�in�1960,�he�joined�the�Nouveau�Realismegroup�which�included�Yves�Klein,�Tinguely,�Cesar,�Spo-erri,�Arman�and�Christo,�and�moved�to�Paris.�He�workedwith�typography,�insetting�and�super-imposing�images,and�went�on�to�use�pages�of�magazines�distressed�withsolvents,�covering�them�with�the�graffiti�he’d�seen�on�thestreets.�In�1990,�he�was�part�of�the�‘High�and�Low’�exhi-bition�held�at�MOMA�in�New�York�and�continued�to�showinternationally,�until�his�death�in�2006.�Venues�includedthe�New�York�Guggenheim,�the�Centre�Pompidou,�theMuseum�of�Contemporary�art� in�LA�and�the� internet,with�the�web’s�first�ever�one-man-show�in�Italy.

During� Rotella’s� exceptionally� long� career,� came� asecond�generation�of�pop�artists:�Keith�Haring,�KennyScharf,�Futura�2000�and�Jean-Michel�Basquiat�accom-panied�by�powerful�new�painters�David�Salle�and�JulianSchnabel;�Warhol�was�still�working,�watching�and�collab-orating.�While�the�first�generation�of�pop�artists�had�re-sponded�to�a�newly�sophisticated,�post-war�advertisingindustry,� the� cartoon� strips� and� superheroes� of� theiryouth,�Hollywood’s�technicolour�extravaganzas�and�at-tendant�celebrity�culture,�and�the�mundane�tug�of�con-sumption,� the� second� wave� was� not� faced� with� anexternal�barrage�but�an� internal�maelstrom.�Nowhere

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was�this�more�evident�than�in�the�work�of�Jean-MichelBasquiat.�Asked�about�the�words�and�phrases�that�lit-tered�his�canvases,�he�said�‘they’re�in�my�head…when�I’mworking�I�hear�them�and�just�throw�‘em�down.’�WhenBasquiat�and�Warhol�collaborated,�they�defaced�eachother’s�paintings�and�Basquiat’s�scribbling�on�and�block-ing�out�of�Warhol’s�logos�was�eloquent�in�its�refusal�ofthe�earlier�simplicity�of�pop�art�and�an�expression�of�adisturbingly�complex�internal�life.

A�third�generation�of�pop�artists�has�had�half�a�cen-tury�to�absorb�and�internalise�the�mass�media�and�thereis�the�addition�of�the�internet,�a�virtual�replica�of�the�in-formation�overload�we�are�learning�to�marshal�and�di-rect.�Not�only�are�we�faced�with�images�on�billboardsand�television�screens,�in�magazines�and�cinemas,�we�aresucked� into�a� technological�vortex� that�bombards�uswith�a�constant�stream�of�visual�stimuli.�Artists�engagedwith�popular�culture�have�more�material�than�ever�to�ex-plore�and,�one�would�imagine,�less�‘headroom’�than�everin�which� to� think.�And�yet,�Mezzaroma’s� clean,� sharpgraphics�and�his�harnessing�of�technology�give�his�worka�directness�that�is�hugely�refreshing.�What�makes�hisart�stand�out,�on�top�of�its�visual�impact,�is�the�subtext:Mezzaroma’s�meanings�are�richly�layered�and�he�is�un-afraid�of�social�commentary.��In�‘Mao,’�a�black�and�whitephotocopy�of�Chairman�Mao�taken�from�a�bank�note�isturned�into�a�silk�screen�and�stencilled�with�the�Googlelogo�and�Chinese�stars.�Clearly�a�comment�on�China’sbanning�of�Google�and�on� its�dubious�record�on�freespeech,�we’re�also�looking�at�the�commodification�of�theface�of�Communism�–�think�Castro�t-shirts�worn�by�everytraveller�across�the�globe,�as�well�as�the�proliferation�ofMao�paraphernalia�snapped�up�by�tourists.�We�also�thinkof�the�negation�of�creativity�during�Mao’s�50-year�Cul-tural�Revolution�and�compare�it�to�the�recent�arrests�ofAi�Weiwei.�In�a�country�where�artists�are�imprisoned�forspeaking� against� the� government,� ambitious�Chineseparents�choose�the�career�of�artist�over�all�others�fortheir�children�because�it�is�so�well�remunerated�and�re-spected.�Is�contemporary�art�seditious�or�conformist?

Mezzaroma’s�use�of�the�Jurassic�Park�logo�wih�theword�Microsoft�emblazoned�across�is�also�obvious�in�itsintention�yet�underpinned�with�a�deeper�narrative.�Theconstant�development�of� technology� renders� today’sbrand�new�computer�tomorrow’s�dinosaur;�how�do�we

deal�with�a�time�in�which�new�technology�produces�evermore�gorgeous�baubles�for�our�delectation;�do�we�justthrow�them�away�and�buy�again?�Do�our�children�seetheir�ipods/pads/phones�as�desirable�and�replaceable�assweets?�There’s�something�sublimely�comforting�aboutthe�Jurassic�Park�image,�reminscent�of�more�innocenttimes�when�articulated�film-studio�creatures�were�reallyscary�and�sweets�were�peardrops.�But�isn’t�nostalgia�themost�insidious�emotion�of�them�all?

‘Ikea,’� which� has� a� black� and� white� Disney� Merlinagainst�a�grid�of�colours�that�suggest�a�Damien�Hirstspot�painting,�tells�us�that�the�Scandanavian�superstorewill�bring�colour�to�our�lives�like�magic.�Once�Merlin�con-sults�his�book�of�spells�–�or�visits�Ikea�–�he�will�be�filledwith�colour�too.�Merlin�is�old�fashioned,�kindly,�again�ref-erencing�an�idealised�past,�but�his�gentle�posture�beliesthe�hollow�promise�of�the�sales�pitch:��we�know�Ikea�fur-niture�is�a�nightmare�to�construct�and�leaves�everyonein�a�fury�but�its�shiny�potential�is�laden�with�the�draw�ofa�magical�future.�‘Mary�Will�Save�Us,’�depicts�a�cut-outof�the�infamously�strict-but-fair�nanny�against�a�back-drop�of�an�empty�parliament�washed�with� the� Italianflag.�‘A�spoonful�of�sugar’�is�inscribed�across�the�bottombegging�the�question�as�to�the�nature�of�the�medicinewe�are�obliged�to�swallow.�This�emblem�of�chaste,�Ed-wardian� womanhood� could� not� be� further� from� thewomen�connected�to�the�Italian�prime�minister�and�thequagmire�of�his�private�life,�so�is�the�artist�having�a�jokeat�his�expense�or�perhaps�suggesting�that�the�salaciousgossip�we�are�fed�is�the�sugar�to�sweeten�the�taste�ofpolitical�reality�and�stop�us�asking�too�many�questions.

‘Taxi�Cola,’�stands�slightly�outside�this�body�of�work.Less� graphic,�more� painterly,�with� its� Jackson�Pollockspots�and�splashes�on�a�grainy�black�and�white�film�still,this�image�is�more�ambiguous�than�the�others.�It�is�un-comfortable�to�be�reminded�of�product�placement�whenwe’re�busy�making�associations�with�a�film�that�has�suchemotional� resonance,� and� the� ‘RC’� logo� seems� out� ofplace�next�to�De�Niro’s�moody,�insular�figure.�But�graffitiisn’t�supposed�to�be�easy,�the�film�itself�is�beyond�uncom-fortable�and�the�artwork�is�beautiful.�As�much�as�meaningcan�be�found�and�social�critique�is�intentional,�Mezzaromamakes,�above�all,�visually�arresting,�powerful�work.�Wher-ever�he�goes�from�here,�as�a�young�leader�of�the�thirdgeneration�of�pop�artists,�will�be�a�fascinating�journey.

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The Parody of Today’s WorldDuccio Trombadori

We�are�pleased�to�accompany�the�insightful�eye�of‘Steve’�Stefano�Mezzaroma.�Through�his�art�he�manipu-lates�with�ease�and�loose�irony�the�stereotypes�of�ourmore� than� tested� consumer� civilization.� Gifted� withspontaneous�expressiveness�Steve�inspirationally�com-bines�advertising�messaging,�topical�information�and�lat-est� fashion� to� make� his� art� both� a� statement� and� acommentary�on�today.�His�art�becomes�cinema,�photog-raphy�and�television�all�in�one�contemporary�imagery.Avant-garde�experimentalism�distanced�culture�and�so-ciety.�New�technologies�today�bridges�the�gap�with�theintelligence�of�digital�programs�and�the�fusion�of�differ-ent�languages�that�often�fail�to�communicate�the�truemeaning.

By�flexing�and�inter-mingling�of�these�different�mediums,the�direct�life�experience�is�filtered�by�Steve�through�allu-sions�that�immerse�in�the�collage�of�snapshots,�special�ef-fects�and�photoshop that�enhance�fiction�and�expand�bothimagination�and�understanding,�making�it�collide�with�real-ity.�From�the�forest�of�symbols�of�commercial�civilization,Steve�‘smile’�humourously�combines�a�number�of�poignantmetaphors�to�help�the�observer�understand�the�seriousissue�of�what�is�required�to�‘save�the�world’.�The�result�is�akaleidoscope�of�witty�appearances�that�replaces�the�fairytale�with�the�coldness�of�pop insignia.�Art�becomes�an�ex-pression�of�realism�and�practicallity�and�invites�everyone�tojoin�in�a�journey�through�the�idols�of�our�time.

It�is�a�reality�experience�of�Alice‘s�looking�glass�that�un-covers�and�deciphers:�the�covers�of�fashion magazines,advertising� signs,� flashes of� events,� crimes� news� andsports,�movie�trailers,�video�scripts,�wars,�traces�of�life,�sex,love�and�death�in�both�the�virtual�and�real�versions.�

This�iconography�memorized�by�Steve�refers�to�themost�recent�film�heritage:�the�show�begins�with�StevenSpielberg,�with�the�image�that�associates�the�caducityof�the�Microsoft brand�in�the�shadow�profile�of�Tyran-nosaurus�recovered�from�Jurassic Park.�It�is�not�coninci-dence�that�these�are�followed�by�the�silhouette�of�thevillain�Darth�Vader,� dark� lord� of� the� universe� of� ‘Star

Wars’ silouetted�with�his�sword�on�a�fluorescent�back-ground.�Michael�Douglas�and�Charlie�Sheen�enter�thefray,�framed�by�the�overlaid�silhouette�of�Wall�Street�bull:to�remind�us�that�‘money�never�sleeps�and�often�chargeson� relentlessly�at� the�expense�of�a�dense�network�ofblood-stained�hands�causing�the�background�of�postersfaces�to�smile�apathetically.�Then�‘enter’�the�flowing�sil-houette of�Mary�Poppins�with�her�umbrella�hovering�overthe� semicircle� of� Italian� Parliament� (white,� red� andgreen)�to�seal�the�emblematic�and�alluding�refrain�‘justa spoonful of sugar…‘.�

Invention�and�creativity�are�not�reduced�to�inlaid�fig-ures�extracted�from�the�screen�and�computer:�So�as�toavoid�visual�sterility,�Steve�manipulates�the�images�onthe�silkscreen�canvas,�by�painting� ‘interventions‘�withgold�spray,�cutting�and�pasting�of�the�written�word�andgeometric�shapes�that�intersect�with�inter-communicat-ing�lines.�By�playing�with�the�idols�and�icons�of�our�time,he�fondles�them�and�somehow�uncovers�and�then�exor-cises�their�power�and�influence:-�Bin�Laden�ends�up�witha�dummy�in�his�mouth�to�advertise�diapers,�or�tetragonalfigures�of�Chinese�communism�as�Mao�Tse-dun�is�ab-sorbed�by�the�approval�sign�of�Google�Viewdata.�WhileAlbert�Einstein,�the�sacred�monster�of�science�and�em-blem�of�antomasia�‘homo�sapiens’,�laughs�and�sticks�outhis�long�yellow�tongue�thereby�advertising�in�the�formof��the�Chiquita�banana�gourmand�monkey;�Then�by�du-plicated�by�a�photograph,�Mike�Tyson,�king�of�physicalforce�applied�to�boxing,�actually�has�no�other�rival�thanthe�menacing�image�of�himself.

By� this� unconventional� witnessing� of� the� strangemetamorphoses�of�the�modern�age,�Steve�takes�the�ob-server� through� the�weave� of� symptomatic� anagramsthat�play�images�against�words.�The�figure�of�Queen�Eliz-abeth�II�(who�game�titles�to�the�Beatles -�ony�to�be�re-jected�by�John�Lennon)�appears�with�a�Freddy�Mercurystyle�moustache�and�with�the�fateful�corus�of�God Savethe Queen,� that� highlights� the� ambiguously� betweentwo.�Halfway�between�anecdote�and�moralizing�irony,parody� and� celebration,� Steve’s� journey� continuesthrough�the�mountain�of�products�consumed�by�a�civi-lization�of�images:�rituals�and�myths,�the�sacred�and�theprofane,�science�and�magic,�all�held�in�the�melting�potof�a�culture�capable�of�assimilating�and�culpable�in�mak-ing�every�value�relative.

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The�stark�comparison�between�real�and�virtual�worldruled�by�advertising,�Steve�reveals�the�essential�featuresof�what�our�culture�has�become:�by�playing�with�ambi-guity�between�text,�image�and�caricature�that�involvesthe�mythes�of�certain�sex symbols (Angelina�Jolie)�or�ifthe�mega-apparatuses�of�furnishing�prêt a porter (Ikeaand�Hermes).�So,�the�remake�of�the�verso�of�collectiveinfatuations� is�proposed�again�even�when� the�authormakes�a�psycho-autobiographical�control�of�his�emo-tional�world.�The��humorous�and�sincere�description�ofMy World results�from�this�-�a�sort�of�imaginary�imagingtrip�around�his�room,�where�the�terrestrial�globe�is�con-stellated�simultaneously�by�dreams,�desires,�things�seenand�hoped.

The�attempt�at�parody�is�expressed�in�the�‘diary�inpublic’.�Here�the�agile�modern�film�hero�figure�of�Lupinarises,��and�combines�with�images�taken�from�comics,art,�history�and�news:�rather�like�the�hands�of�Adam�andthe�Lord�on�the�Day of Creation drawn�by�Michelangelo;Raphael’s�cherubs�doubled�by�two�winged�figures�ob-

tained� from� the�Simpson cartoon and�as� the� strikingbackground�of�a�night-time�New�York,�associated�withthe�famous�image�of�workers�who�built�the�glories�of�theThirties,�suspended�in�equilibrium�from�a�skyscraper�inconstruction.�Such�‘self�portrait’�could�not�close�withoutilluminating�with�a�frank�morality�the�football championFrancesco�Totti,�idol�of�sports�crowds�in�the�Rome�of�ouryears�and�an�example�realized�by�an�exuberant�youth,�.

Meticulous�and�capable�observers�can�combine�alltypes�of�visual�stimuli�through�Steve’s�imaginative�eyethat�writes�information�for�an�unlimited�and�always�en-joyed�investigation�simultaneously�in�thousands�of�facetsof�our�‘Global Village’.�The�conclusion�from�this�abstractview�of�the�pandemonium�of�an�era�is�‘signifying nothing‘-�to�quote�the�words�that�Shakespeare�put�in�the�mouthof�Macbeth.�The�end�of�morality� is� suggested�with�asmile� on� the� lips� to�define� the� intelligent� easiness� ofSteve’s�critical�spirit,�which�creatively�makes�precise�thepersuasive�and�poetic�focus�of�a�style�and�a�‘way�of�see-ing’.

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Tutto il Mondo in una ParodìaDuccio Trombadori

Ci� facciamo� volentieri� accompagnare� � dall’occhioprensile�di� ‘Steve’�-Stefano�Mezzaroma-�che�manipolacon�leggerezza�e�sciolta�ironia�gli�stereotipi�della�nostrapiù�che�collaudata�civiltà�dei�consumi.�Dotato�di�spon-tanea�espressività�egli�utilizza�lo�sfavillante�dispositivodella�macchina��pubblicitaria,�della�moda�e�della�comu-nicazione�facendo�il�verso�alla�fabbrica�dei�sogni�-cin-ema,�fotografia,�televisione-�che�alimenta�l’immaginariocontemporaneo.� Dopo� gli� sperimentalismi� di� avan-guardia,�che��distanziavano�cultura�e��società�di�massa,oggi�il�divario�è�ridotto�con�le�nuove�tecnologie,�l’�intel-ligenza�dei�programmi�digitali�e�la��contaminazione�deidiversi�linguaggi.�

Grazie� alla� flessibilità� dei�mezzi� espressivi,� � l’espe-rienza�diretta�della�vita�è�filtrata�da�Steve�per�allusioni:ci�si�immerge�nel�giardino�fiorito�delle�istantanee,�deglieffetti�speciali�e�di�photoshop che�esaltano�la�finzionefino�a�farla�coincidere�con�la�realtà.�Dalla�foresta�di�sim-boli�della�civiltà�commerciale�Steve�ricava�metafore��conuna�effervescente�capacità�combinatoria.�Il�diorama�fig-urativo�punta�a�‘salvare�il�mondo’�grazie�all’incanto�di�unsemplice�sorriso.�Ne�risulta�un�caleidoscopio�di�arguteapparizioni�che�sostituisce�la�favola�alla�freddezza�dellainsegna�pop.�Grazie�a�questo�accorgimento�estetico�lafantasìa� doppia� la� realtà� come� invito� ad� un� viaggiosapienziale�attraverso�gli�idoli�del�nostro�tempo.�

Lo�sguardo�si� impegna�allora�malcerto�e� incantatocome�quello�di�Alice�di�fronte�ad�una�‘Wonderland’ tuttada�decifrare:�copertine�di�riviste�fashion,�insegne�pubblic-itarie,� flash di� cronaca� nera� e� sportiva,� trailer cine-matografici,�elaborati�video,�guerre,�tracce�di�vita,�sesso,amore�e�morte�nella�versione�virtuale�e�in�quella�della�re-altà.�L’�iconografia�memorizzata�da�Steve�fa��riferimentoal�patrimonio�cinematografico�più�recente:�lo�spettacoloinizia�con�Steven�Spielberg,�con�l’�immagine�che�associala�caducità�del�marchio�Microsoft al�profilo-ombra�delTirannosauro�ripreso�da�Jurassik Park.�Segue�poi�non�acaso�la�sagoma�del�cattivo�Darth�Vader,�signore�oscurodell’universo�di�‘Guerre stellari’,�che�si�staglia�con�la�suaspada�su�di�uno�sfondo�fluorescente.�E��compaiono�ancheMichael� Douglas� e� Charlie� Sheen,� incorniciati� dalla

sagoma�sovrapposta�del�toro�di�Wall Street:�a�ricordarciche�‘il�denaro�non�dorme�mai’,�come�nell’omonimo�ultimofilm,�a�spese�di�una�fitta�rete�di�mani�insanguinate�che�fada�sfondo�ai�volti�da�poster con�il�loro�apatico�sorriso.�Pernon�parlare,�poi,�della�svolazzante�silhouette di�Mary�Pop-pins,�che�aleggia�col�suo�ombrello�sull’emiciclo�del�parla-mento� italiano� (in� bianco,� rosso� e� verde)� a� suggellodell’emblematico�quanto�allusivo�ritornello�‘just a spoonfulof sugar…’.

L’invenzione�e�la�creatività�non�si�riducono�all’�intarsiodi� figure� sottratte� allo� schermo� ed� al� computer:� perevitare�la�sterilità�visiva�Steve�manipola�le�immagini�inserigrafia�su�tela,�con�interventi�pittorici�che�prediligonoil�colore�dell’oro�diffuso�a�spruzzo,�il�ritaglio�e�l’inserzionedi� scritte� e� figure� geometriche,� la� stesura� di� fondiscreziati�da�linee�di�interferenza,�a�commento�della�com-posizione.�L’autore�gioca�con�gli�idoli�della�contempo-raneità,�li�vezzeggia�e�in�qualche�modo�ne�esorcizza�ilpotere:�accade�così�che�personaggi�tenebrosi�come�BinLaden�finiscono�con�un�ciuccetto�in�bocca�a�reclamiz-zare� i� pannolini�Pampers;� o� che� figure� tetragone� delchiuso�comunismo�cinese�come�Mao-tse-dun,�sono�as-sorbite� dal� segno� omologante� della� comunicazionetelematica� di�Google.� Mentre� Albert� Einstein,�mostrosacro�della�scienza�ed�emblema�per�antonomasia�dell’homo sapiens,�se�la�ride�cacciando�fuori�una�linguacciagialla�e�reclamizza�come�una�golosa�scimmietta�la�ba-nana�Chiquita;�quando�non�è�la�volta�di�Mike�Tyson,�redella� forza� fisica�applicata�alla�boxe,� che�sembra�nonavere� altro� rivale� che� la� minacciosa� immagine� di� séstesso,�duplicata�da�una�fotografia.�

Un�po’� scanzonato,� un�po’� testimone�delle� stranemetamorfosi�del�tempo�moderno,�Steve�intreccia�ancheun� sintomatico� gioco� di� anagrammi� tra� immagine� eparola,�quando�la�figura�della�Regina�Elisabetta�II�(chenominò�baronetti�i�Beatles)�si�presenta�con�un�paio�dibaffetti�alla�Freddy�Mercury�e�con�la�scritta��fatidica�Godsave the Queen,�dove�quest’ultima�parola�sta�ambigua-mente�ad�indicare�tanto�la�Regina�d’Inghilterra�quanto�lostorico�complesso�dei�Queen che�accompagnava�la�rockstar inglese.�A�metà� strada� tra� l’� aneddoto� e� l’� ironiamoraleggiante,�la�parodìa�e�la�celebrazione,�il�viaggio�diSteve�procede�ed�il�suo�istinto�figurativo�si�confronta�conl’immane�ammasso�di�prodotti�ad�uso�e�consumo�dellaciviltà�delle�immagini:�riti�e�miti,�sacro�e�profano,�scienza

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e�magìa,�tutto�si�tiene�nel�crogiolo�di�una�cultura�capacedi�assimilare�e�relativizzare�ogni�valore.�

Nel�paragone�stringente�tra�mondo�reale�e�virtuale,governato�dalla�pubblicità,�Steve��rivela�i�tratti�essenzialidi� una� cultura:� come�quando� �gioca�di� ambiguità� tratesto,�immagine�e�caricatura,�e�chiama�in�causa�il�mito�dicerti�sex symbol (Angelina�Jolie)�oppure�dei�mega-ap-parati�dell’arredamento�e�del�prêt à porter (Ikea�ed�Her-mès).�Questo�modo�di� rifare� il� verso� alle� infatuazionicollettive�si�ripropone�anche�quando�l’autore�effettua�ilcontrollo�psico-autobiografico�del�suo�mondo�emotivo.Ne�risulta�la�spiritosa�e�sincera�descrizione�di�My World,una� specie� di� viaggio� immaginario� attorno� alla� suastanza,�dove�l’immagine�del�globo�terrestre�è�costellatain�simultanea�da�sogni,��desideri,�cose�viste�e�sperate.��

La� tentazione� della� parodìa� ha� sempre� la� meglioanche�nel�‘diario�in�pubblico’.�Ed�allora�risalta�l’agile�fig-uretta�di�Lupin, eroe�del�film�d’animazione,�in�un�combi-nato�figurativo�preso�dai�fumetti,�dall’arte,�dalla�storia�edalla�cronaca:�come�le�mani�di�Adamo�e�del�Signore�nelGiorno della Creazione tratte�da�Michelangelo;�come�gli

amorini�raffaelleschi�doppiati�da�due�figure�alate�ricavatedal�cartoon dei�Simpson;�e�come�lo�sfondo�allusivo�diuna�New�York��illuminata�di�notte,�associata�all’immaginefamosa�degli�operai�che�ne�edificarono�le�glorie�neglianni� Trenta,� sospesi� in� bilico� da� un� grattacielo� incostruzione.� A� coronare� un� simile� ‘autoritratto’� nonpoteva� non� campeggiare� il� campione� di� foot-ballFrancesco�Totti,�idolo�delle�folle��sportive�nella�Roma�deinostri�anni,�quale�esempio�realizzato�di�una�gioventù�es-uberante�e�illuminata�da�franca�moralità.

Osservatore�meticoloso�e�capace�di�agglutinare�ognigenere�di�stimolo�visivo,�l’occhio�fantasioso�di�Steve�an-nota�informazioni�per�una�illimitata�e�sempre�divertitaindagine�in�simultanea�sui�mille�volti�del�nostro� ‘GlobalVillage’.�Ne�risulta�l’effetto�di�una�garbata�presa�di�dis-tanza�dal�pandemonio�di�un’epoca� ‘signifying nothing’,per� citare� l’espressione� che� Shakespeare� mise� sullabocca�di�Macbeth.�Ed�è�proprio�il�fondo�di�moralità�sug-gerita�col�sorriso�sulle�labbra�a�definire�l’intelligente�leg-gerezza��dello�spirito�critico�di�Steve,�che�così�precisacreativamente�l’accento�persuasivo�e�poetico�di�uno�stilee�di�una�‘maniera�di�vedere’.�

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OPERE / WORKS

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DON’T�LOOK�@�ME�-�2008�-�110x140�cm mixed technique on canvas

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DANTE�-�2006�-�160x151�cmmixed technique on canvas

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BIG�BABOL�-�2008�-�110x140�cmmixed technique on canvas

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ALBERT�-�2012�-�135x100�cmmixed technique on canvas

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LAND�ROVER�-�2008�-�150x120�cmmixed technique on canvas

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MICROSOFT�-�2011�-�110x160�cmmixed technique on canvas

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THANK�YOU�EVE�-�2010�-�90x110�cmmixed technique on canvas

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MAO�-�2011�-�130x130�cmmixed technique on canvas

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FREDDY�MERCURY�TRIBUTE�-�2011�-�145x120�cmmixed technique on canvas

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TAXI�COLA�-�2011�-�140x100�cmmixed technique on canvas

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OSAMA�-�2011�-�135x100�cmmixed technique on canvas

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NOW�JUMP�-�2011�-�110x140�cmmixed technique on canvas

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TOO�EASY�TO�FIX�-�2011�-�135x120�cmmixed technique on canvas

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WALL�STREET�-�2011�-�110x140�cmmixed technique on canvas

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MY�WORLD�-�2010�-�147x147�cmmixed technique on canvas

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MARY�WILL�SAVE�US�-�2012�-�80x110�cmmixed technique on canvas

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ENERGIZER�-�2010�-�145x145�cmmixed technique on canvas

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CHE�GUEVARA�-�2008�-�130x100�cmmixed technique on canvas

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BORN�BIG�-�2008�-�150x100�cmmixed technique on canvas

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THE�NOID�-�2011�-�130x100�cmmixed technique on canvas

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HERMES�-�2011�-�80x120�cmmixed technique on canvas

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I’M�YOUR�FATHER�-�2011�-�200x150�cmmixed technique on canvas

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GOOD�MORNING�-�2011�-�100x150�cmmixed technique on canvas

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CALL�115�-�2011�-�70x200�cmmixed technique on canvas

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FORZA�ITALIA�-�2011�-�100x130�cmmixed technique on canvas

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DON’T�KNOW�-�2008�-�160x180�cmmixed technique on canvas

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MAROCCO�-�2007�-�196x214�cmmixed technique on canvas

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GIORGIO�ARMANI�-�2006�-�180x200�cmmixed technique on canvas

private collection

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TOTEM�-�2008�-�66x220�cmmixed technique on canvas

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BIOGRAPHY

Stefano�Mezzaroma,� at� only� 27� years� old,� hasforged�a�successful�career�as�both�a�DJ�and�artist.Brought�up�in�Rome,�a�city�steeped�in�history,�itwas�not�until�he�attended�university�in�Milan�thatStefano�was�fully�exposed�to�a�vibrant�scene�ofinternational,� contemporary� culture.� Whilststudying� Economics� at� Bocconi� University� hebegan�to�produce�House�music�and�paint�in�hisspare� time.�Painting� for� intense�periods�whilstlistening�to�music,�he�started�to�experiment�withnew�artistic�media�including�spray�paint,�collage,screen�printing�and�digital�manipulation.�ThoughStefano�has�no� formal� training�he�was�able� todevelop�his�own�unique�style�which�he�describesas�‘Contemporary�Pop�Art’.

As�a�child�Stefano�was�encouraged� to�paintand� draw� and� enjoyed� regular� trips� to� thecinema�with�his�father.�Films�have�come�to�playan�important�part�in�his�art,�in�which�he�oftenreuses� old� movie� posters� bought� at� fleamarkets.�He�has�developed�a�unique�hybrid�ofboth� artistic� media� and� subject� matter� bymarrying� iconic� figures� from�popular�culturewith�commercial�brands�and�humour.�Thoughhe�uses�elements�made�recognisable�by�otherartists� such� as� Andy� Warhol� and� MimmoRotella,� Stefano� has� created� a� signatureaesthetic�which�has�brought�Pop�Art�into�thetwenty�first�century.

In�2011�Stefano�was�selected�to�show�work�inthe�Italian�Pavillion�at�the�54th Venice�Biennale.This� coincided�with�his� largest� solo� show� todate,�which�was�entitled�‘Rewind’�and�held�atSpazio�Underground�in�Rome.�A�selection�ofwork�by�the�artist�is�on�permanent�display�atthe� Hausammann� Gallery� in� CortinaD’Ampezzo.�Collectors�of�his�work�include�theillustrious� Italian� designer� Giorgio� Armani.Having�exhibited�widely� in�Italy�and�in�a�fewlocations�internationally�such�as�Monaco�andSt�Petersburg,�the�artist�now�hopes�to�bring�hiswork�to�a�wider�audience.�

www.stefanomezzaroma.com