C O M M E N T

 

  NIKE, New Art in Europa 1993

  New York arts magazine 1999

  New York arts magazine 2000

  NO-RANDOM 2000

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

 

 




ISOLATION

by Christoph Kim

NIKE, New Art in Europa, Munchen aug-sept 1993 n48,pagg. 18-19

At first glance Barolomeo Migliore's work looks like awkward children's drawing or graffiti transfered to canvas or paper.He applies words, sentences and simple iconic signs executed in a nervous, interrupted style to a ground structured in dark tones or left completely light.the sentences are usually short quotes from the trivial mythology of dubious pop song like "my bloody valentine","R.E.M." and "the jesus and mary chain". An interest in music of this type also recently induced Bartolomeo Migliore to start his own band, "the obscenes". In his pictures sentences and idiomatic expressions in English,torn from their context,are accompanied by worn drawings of child-hood icons like "car","butterfly"or"pistol".
Sometimes fragments of ornament appear, a reference to classicism. The way he paints and draw make his works appear both spontaneous and sketehy. An impromptu note, recorded in awareness that it is transitory with writing wich dissolves in drawing. The symbol has been reduced to an icon executed in a fragile technique wich combats what lies beneath with a pastose handing of colour.
When working with paper, Migliore also uses simple collage elements like scraps torn from racing journals.Like the above mentioned pictorial elements, these too have autobiographical significance:

Bartolomeo Migliore is a racing afficionado.

Nevertheless, I would be misteanding to interpret these works as diary entris. The pictorial elements of these works appear to be a sort of tacit pointer, indicating particoular elemnts of both the external and the mental world to link them to each other in unconventional terms. The gesture of scratching and smearing is a comment in the impact intended:here it is impossible to give definitive form to a statement. 
Writing a word on the board means that it never means what it is supposed to; the authoritative appearance of the printed letters is always deceptive.It suggest lack of ambiguity and permanence. However, in the chaos of such an accelerated ear, it is difficult to capture even something small since the critical moment may elude neither the one not the other side to lapse from the most ambiguous statement into its opposite. This is why Migliore's written and iconic signs stand out against a black or white ground. Fragile and hastily placed,they refer to their own ephemerality. In this they resemble writing on the wall of a house wich may be painted over the next day, or the drawing of a circle on a pavement wich will be washed off by rain. 
The gesture of the provisional is in harmony with Migliore's central theme,isolation, wich is explicity referred to in his work by expression like "incommunicability"or "nobody knows me". The impossibility of communication result from his conception of what is provisional and what this means. Each moment only precedes what is to come. What has gone before, past time,is only present in memory and only the acceptance of casuality which links moments allows something like history and development to arise. Migliore seems to distrust casuality of this nature.Instead of a diachronic development the synchronicity of the moment emerges from his work to make the elements of various segments of time appear simultaneously: His doubts about historical continuity also subvert his conception of what language and even its grammar may be since meaning is costituted of rules wich have developed through an historical process. 
Therefore, what remains of language,whether written or pictorial, is only a trace left by scrawl wich is unsure how long it will last to be enticing or will linger only to grope forward again. This is ichoate language, always threatened by its extreme manifestation: silence and the static caused by an information overload.

Christoph Kim


NIKE, New Art in Europa, Munchen aug-sept 1993 n48,pagg. 18-19

 

 

 

 

 

 


 

 

 

 

 

 




Barolomeo Migliore 
presents the series Fetish. In his usual "scratched" style. Migliore scrawl on canvas and paper words with the insecure handwriting of a child coupled with signs and symbols belonging to the everyday life.

Ombretta Agr

su New York arts magazine vol. 3 n 4 april 1999

 

 

 

 

 

 


 

 

 

 

 

 




Curiosly
, the painter Bartolomeo Migliore's abstract ideogram, employing Farsi script, would seem more southern then northern. His painting foregrounds the details of language, the puntuaction, the ambivalent visual syntax of written word, the crossover in writing, the neraldic pallmpsest.


Robert C. Morgan

su New York arts magazine june 2000

 

 

 

 

 

 


 

 

 

 

 

 




Each
of his signs, each of his symbols, each of his words has in his painting the value of a sound,the sound of a culture by-night (NOISE).  Every word is a metropolitan rythm,is a sound, is the beat of a dark music culture, of an electric guitar. In this cycle,every painted word is indian,and it is not only rythm but soundtrack of nowadays.It is also the confirmation of a state of mind,of trends,of contemporary life,which apply to a linguistic research,made by acrilic on canvas.

Chiara Guidi


from catalogue NO-RANDOM, Giampaolo Prearo Editore, may-yune 2000