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	<title>Alessandro Costanzo</title>
	<link>https://alessandrocostanzo.it</link>
	<description>Alessandro Costanzo</description>
	<pubDate>Wed, 19 Oct 2022 18:32:30 +0000</pubDate>
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		<title>home</title>
				
		<link>https://alessandrocostanzo.it/home</link>

		<pubDate>Thu, 22 Sep 2022 13:34:11 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

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		<title>Same green same sky</title>
				
		<link>https://alessandrocostanzo.it/Same-green-same-sky</link>

		<pubDate>Thu, 03 Sep 2020 11:52:17 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

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Same green, same sky
2020 Installation projectWebcam, sound recorder, inner tubes, sound installationVariable dimensionsMaison Gregoire - Uccle (BE)&#38;nbsp; &#124; Private garden - Catania (IT)&#38;nbsp;Curated by Emmanuel LambionIn collaboration with MUSUMECI contemporary





	
 Il lavoro nasce da una riflessione su chi non si è mai mosso dal proprio luogo di origine.Due webcam “innestate” su due alberi, una nel giardino della Maison Grégoire e un’altra in un giardino privato in Sicilia, sono state messe online 24/24 h. alcuni giorni prima dell’inaugurazione del progetto.L’installazione è una sorta di “liberazione” processuale dello sguardo di una pianta che si trasforma in un essere ibrido, capace di trasmettere confidenze e visioni a un pubblico straniero via internet.Parallelamente, un’installazione sonora all’interno dell’abitazione combina i frammenti di due interviste a persone che mai, o molto raramente, hanno lasciato il luogo di nascita, rispettivamente la Sicilia e Bruxelles.Entrambi sono invitati a immaginare una terra estranea, come fossero l’una familiare all’altra.L’intreccio di astrazioni linguistiche prodotto dalla combinazione di estratti delle interviste, a metà tra francese e siciliano, mette in luce il rapporto specifico sviluppato dagli autoctoni con il rispettivo luogo di origine, dando vita a un dialogo surreale, dal quale traspaiono pensieri e progetti intimi.
Alcuni disegni sono stati sviluppati successivamente.

	The work stems from a reflection on those who have never moved from their place of origin.Two webcams “grafted” into two trees, one in the garden of the Maison Grégoire and the other in a private garden in Sicily, were put online 24/24 h. a few days before the inauguration of the project.The installation is a kind of processual “liberation” of the plant’s gaze transforms itself into a hybrid being, capable of transmitting confidences and visions to a foreign audience via an online platform. In parallel to this, a sound installation installed in the house combines the fragments of two interviews carried out with persons who never, but very occasionally, left their place of birth, one in Sicily, one in Brussels. Both were invited to imagine a land alien to themselves, the one so familiar to the other. The intertwined linguistic abstraction created by the combination of excerpts of their respective interviews, halfway between French and Sicilian, highlights the specific relationship they developed with their respective place of origin, whilst giving birth to a surreal dialogue, where they reveal intimate thoughts and projections.Some drawings were developed later.










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Il centro d'arte indipendente Maison Grégoire, situato in un fiore all'occhiello del Modernismo del 1933 di Henry van de Velde, è stato creato nel 1995 su iniziativa di Véronique e Philippe Terrier-Hermann in associazione con il proprietario, Thomas Simon. Per i fondatori dell'associazione si trattava di rendere questo luogo accessibile al pubblico, allestendo un programma di mostre di giovani artisti, belgi e della scena internazionale. Nel 1996, i fondatori hanno aperto il programma invitando curatori esterni come Pascal Beausse, Anne Wauters, Jean-Paul Jacquet, Stéphane Roussel o Florence Derieux e, dal 2008, Emmanuel Lambion.
Dal 1995 l'Observatoire-Maison Grégoire ha presentato il lavoro di più di cento artisti come Edith Dekyndt, Runa Islam, Christoph Draeger, François Curlet, Ann Veronica Janssens, Barbara Visser.
www.bnproject.be
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/85b9efc564cda5e69f5508c7cfb156d470162ac2e83cb4fd8d3c8c0ba4bd385e/Impaginazione-disegni-maison.jpg" data-mid="96739106" border="0"  src="https://freight.cargo.site/w/1000/i/85b9efc564cda5e69f5508c7cfb156d470162ac2e83cb4fd8d3c8c0ba4bd385e/Impaginazione-disegni-maison.jpg" /&#62;
Same green, same sky #note
2020 series of drawingsspray and print on paper34 x 24 cm each



	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/ff39119fc7918e1fcd0ff3d3ffe6288bb2f2728fa2c28b0458bb4fb21c4af23d/_DSC1335-25.jpg" data-mid="96746771" border="0"  src="https://freight.cargo.site/w/1000/i/ff39119fc7918e1fcd0ff3d3ffe6288bb2f2728fa2c28b0458bb4fb21c4af23d/_DSC1335-25.jpg" /&#62;&#60;img width="2000" height="2799" width_o="2000" height_o="2799" data-src="https://freight.cargo.site/t/original/i/63a2b774563b2a3a5d56331c34a5407e15404fc7ee8b9571125d849ae78f0358/_DSC1310-1mod.jpg" data-mid="96953641" border="0"  src="https://freight.cargo.site/w/1000/i/63a2b774563b2a3a5d56331c34a5407e15404fc7ee8b9571125d849ae78f0358/_DSC1310-1mod.jpg" /&#62;&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/34e5cd1d701d6a11b637a721dfc96c3da623d84eb727ee7d761ee843956c4eed/_DSC1327-17.jpg" data-mid="96746774" border="0"  src="https://freight.cargo.site/w/1000/i/34e5cd1d701d6a11b637a721dfc96c3da623d84eb727ee7d761ee843956c4eed/_DSC1327-17.jpg" /&#62;
	&#60;img width="2000" height="2799" width_o="2000" height_o="2799" data-src="https://freight.cargo.site/t/original/i/80ee846c6dcf7dd9626264fccea30d6be82b6d3bc7811bb7c3a05c1580c5aaa9/_DSC1310-mod.jpg" data-mid="96953363" border="0"  src="https://freight.cargo.site/w/1000/i/80ee846c6dcf7dd9626264fccea30d6be82b6d3bc7811bb7c3a05c1580c5aaa9/_DSC1310-mod.jpg" /&#62;&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/9eb8b9f2c063503ca554fbc54106148b2018122d410f13b06bc5ca83da8f7112/_DSC1334-24.jpg" data-mid="96746772" border="0"  src="https://freight.cargo.site/w/1000/i/9eb8b9f2c063503ca554fbc54106148b2018122d410f13b06bc5ca83da8f7112/_DSC1334-24.jpg" /&#62;&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/57f11c1c9fd674bdf5a882255298c79aa207ac903a1395aee7d66a66f830cf4f/_DSC1326-16.jpg" data-mid="96746770" border="0"  src="https://freight.cargo.site/w/1000/i/57f11c1c9fd674bdf5a882255298c79aa207ac903a1395aee7d66a66f830cf4f/_DSC1326-16.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Indagine sulla curvatura</title>
				
		<link>https://alessandrocostanzo.it/Indagine-sulla-curvatura</link>

		<pubDate>Fri, 18 Sep 2020 18:53:29 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/Indagine-sulla-curvatura</guid>

		<description>
	&#60;img width="1600" height="1066" width_o="1600" height_o="1066" data-src="https://freight.cargo.site/t/original/i/49ad0d7f1a744a8fc7028e341d2fb54a6eec38b921c8503568edb8bb16e071a1/_DSC0733-31-mod2.jpg" data-mid="83114664" border="0"  src="https://freight.cargo.site/w/1000/i/49ad0d7f1a744a8fc7028e341d2fb54a6eec38b921c8503568edb8bb16e071a1/_DSC0733-31-mod2.jpg" /&#62;

	

Indagine sulla curvatura
2020
installation
Plaster, corianders of sketch and note, light bulbs 
Variable dimensions
Courtesy On the Contemporary - CataniaIn collaboration with MUSUMECIcontemporary

	Il lavoro nasce come intervento site-specific, per gli spazi di On the Contemporary a Catania.L’esoscheletro di una porzione di luminaria, convive con i soffitti dello spazio, mimetizzandosi e mascherando la sua fastosa natura. Il gesto si sviluppa a partire dall’originaria funzione della parata liturgica, che “osserva” e nello stesso tempo omaggia la processione, di conseguenza ne ricostruisco un suo “falso” in gesso, come ad appropriarmi soltanto del suo involucro e così anche della sua ossequiosa identità, silenziosa e scrutatrice.All’interno del calco ho inglobato alcuni pensieri e scritti sul mare che sono visibili soltanto in parte sulle calotte in vetro delle lampadine adagiate in basso.Sviluppandosi in due direzione opposte, l’istallazione si divide in un vuoto centrale, rivelandosi così sostanza malleabile che si plasma alle superfici più “periferiche”.

	The work was born as a site-specific intervention, for the spaces of On the Contemporary in Catania.The exoskeleton of a portion of the "luminaria" coexists with the ceilings of the space, camouflaging and masking its lavish nature. The gesture develops from the original function of the liturgical object, which "observes" and at the same time pays homage to the procession, therefore I reconstruct a fake of it in plaster, as if I take possession only of its shell and also its obsequious identity, silent and scrutinizing.Inside the cast I incorporated some thoughts and writings about the sea that are only partially visible on the glass shells of the light bulbs lying at the bottom.Developing in two opposite directions, the installation divides into a central void, thus revealing itself as a malleable substance that molds itself to the more "peripheral" surfaces.





&#60;img width="1068" height="1600" width_o="1068" height_o="1600" data-src="https://freight.cargo.site/t/original/i/b30fd622ddf2da4cb726c8e85b2eca61151ffdcaf54143cf29da3cc277f2109f/_DSC0757-47.jpg" data-mid="83114679" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/b30fd622ddf2da4cb726c8e85b2eca61151ffdcaf54143cf29da3cc277f2109f/_DSC0757-47.jpg" /&#62;


	&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/9e3778086a37bf314fb6de16ef4d2ab7970edb30c9431290343defaf73992149/_DSC0745-Modifica-64.jpg" data-mid="83114673" border="0"  src="https://freight.cargo.site/w/1000/i/9e3778086a37bf314fb6de16ef4d2ab7970edb30c9431290343defaf73992149/_DSC0745-Modifica-64.jpg" /&#62;&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/22e1f763ee77dff466acd9c1d0a6b5af6367c9da0cb890834d180bf736d94901/_DSC0741-35.jpg" data-mid="83114669" border="0"  src="https://freight.cargo.site/w/1000/i/22e1f763ee77dff466acd9c1d0a6b5af6367c9da0cb890834d180bf736d94901/_DSC0741-35.jpg" /&#62;
	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/7c0b9cb7441b77e48b4b05400ae1f34318dc6d32baa93d779398c710c841cb4c/_DSC0742-36.jpg" data-mid="83114670" border="0"  src="https://freight.cargo.site/w/1000/i/7c0b9cb7441b77e48b4b05400ae1f34318dc6d32baa93d779398c710c841cb4c/_DSC0742-36.jpg" /&#62;&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/739feb76a247679426d8cbea748f7229f9082e9c0263ee552ea174a46edb2595/_DSC0747-40.jpg" data-mid="83114675" border="0"  src="https://freight.cargo.site/w/1000/i/739feb76a247679426d8cbea748f7229f9082e9c0263ee552ea174a46edb2595/_DSC0747-40.jpg" /&#62;
	&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/f7111310b8fa907e135ae9151d7a14aa3b76be2f0ea4d74b637f15000fcf7d37/_DSC0748-41.jpg" data-mid="83114676" border="0"  src="https://freight.cargo.site/w/1000/i/f7111310b8fa907e135ae9151d7a14aa3b76be2f0ea4d74b637f15000fcf7d37/_DSC0748-41.jpg" /&#62;&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/4f81301cba6be36dfe8819959b2538440a7037d15c3d91c4bd2a7261f0deddca/_DSC0733-31.jpg" data-mid="83114665" border="0"  src="https://freight.cargo.site/w/1000/i/4f81301cba6be36dfe8819959b2538440a7037d15c3d91c4bd2a7261f0deddca/_DSC0733-31.jpg" /&#62;



&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/010ae1c47344297537900b37b31503cfc4f87cd88f1e3cb7e74896e6b0b292d5/_DSC0749-42.jpg" data-mid="83114677" border="0"  src="https://freight.cargo.site/w/1000/i/010ae1c47344297537900b37b31503cfc4f87cd88f1e3cb7e74896e6b0b292d5/_DSC0749-42.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Ora dopo ora</title>
				
		<link>https://alessandrocostanzo.it/Ora-dopo-ora</link>

		<pubDate>Mon, 29 Jun 2020 09:07:38 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/Ora-dopo-ora</guid>

		<description>
	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/816561540013505bb1d8bf2fd17bdeaad33d18382c39bb3bca3145a876d536e6/_DSC0107-4.jpg" data-mid="75927563" border="0"  src="https://freight.cargo.site/w/1000/i/816561540013505bb1d8bf2fd17bdeaad33d18382c39bb3bca3145a876d536e6/_DSC0107-4.jpg" /&#62;
	

Ora dopo ora&#38;nbsp; &#38;nbsp;2020
Installation
stainless steel, coriander of sketch and notes, dissuaders10 x 103 x 153 cm&#38;nbsp;
	










 Nell’installazione due pannelli semi-riflettenti d’acciao rivolti verso l’alto, inglobano immagini e visioni circostanti. Come due finestre sul mondo, come macchine da presa miopi, registrano colori, immagini e azioni che si consumano incessantemente nell’intorno.Nel mostrarsi all’esterno, l’uno diventa testimonianza di un tragico accumulo, l’altro ne prende coscienza. Un inno all’incessante procedere del tempo, che come una grossa macina disfa continuamente pensieri e azioni.I dissuasori agiscono come “cuscini”, separando il pensiero dalla superficie e mostrando al terreno la loro criticità.




	In the installation, two semi-reflective stainless steel panels facing upwards incorporate the surrounding images and visions. Much like on the world windows, or short-sighted cameras, they record colors, images and actions that are constantly consumed in the surrounding environment.As the panels show themselves outside, the one bears witness to a tragic accumulation, while the other becomes aware of it. A hymn to the endless progress of time, which constantly undoes thoughts and actions, much like a huge millstone.The bollards act as "cushions", keeping apart the thought and the surface and showing their criticality to the ground.





	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/0fe9a68bd680dc2a66d56b1f0a0c59bf8c07ba93fc08763b65fbb0794632fe32/_DSC0109-5.jpg" data-mid="75933897" border="0"  src="https://freight.cargo.site/w/1000/i/0fe9a68bd680dc2a66d56b1f0a0c59bf8c07ba93fc08763b65fbb0794632fe32/_DSC0109-5.jpg" /&#62;&#60;img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/378e9af793825c7d644b96d0e5804d66beaa2c38c8760a262bb21ec09ae79639/_DSC0120-Modifica-18.jpg" data-mid="75933903" border="0"  src="https://freight.cargo.site/w/1000/i/378e9af793825c7d644b96d0e5804d66beaa2c38c8760a262bb21ec09ae79639/_DSC0120-Modifica-18.jpg" /&#62;
	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/427ad79de3dbc5e89f7fec2a1f1983c517175b8f7191c05ac9edc48cb599befc/_DSC0113-1.jpg" data-mid="76038953" border="0"  src="https://freight.cargo.site/w/1000/i/427ad79de3dbc5e89f7fec2a1f1983c517175b8f7191c05ac9edc48cb599befc/_DSC0113-1.jpg" /&#62;&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/1b0790edb75efe7e0aa5435de3cf41ce799faf7d21345b7991072111edfac427/_DSC0118-Modifica-1.jpg" data-mid="75933902" border="0"  src="https://freight.cargo.site/w/1000/i/1b0790edb75efe7e0aa5435de3cf41ce799faf7d21345b7991072111edfac427/_DSC0118-Modifica-1.jpg" /&#62;
	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/3a1d0e903fe7d9f393280581431f261415db0b988e78510fe268cbd0a836cae8/_DSC0114-7.jpg" data-mid="75933899" border="0"  src="https://freight.cargo.site/w/1000/i/3a1d0e903fe7d9f393280581431f261415db0b988e78510fe268cbd0a836cae8/_DSC0114-7.jpg" /&#62;&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/830dc6e8e6c8d0e47b4843b4ded627978fdda1d03b9d911d10a516848fd4d4b8/_DSC0115-2.jpg" data-mid="76038954" border="0"  src="https://freight.cargo.site/w/1000/i/830dc6e8e6c8d0e47b4843b4ded627978fdda1d03b9d911d10a516848fd4d4b8/_DSC0115-2.jpg" /&#62;

	
&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/4f6b9933f6085059284cec7466447ebb114fa448b520f774a97304b9cd4f131e/_DSC0129-Modifica-1.jpg" data-mid="75933905" border="0"  src="https://freight.cargo.site/w/1000/i/4f6b9933f6085059284cec7466447ebb114fa448b520f774a97304b9cd4f131e/_DSC0129-Modifica-1.jpg" /&#62;
	
</description>
		
	</item>
		
		
	<item>
		<title>Assembramenti</title>
				
		<link>https://alessandrocostanzo.it/Assembramenti</link>

		<pubDate>Tue, 09 Jun 2020 08:32:52 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/Assembramenti</guid>

		<description>
	&#60;img width="1920" height="1282" width_o="1920" height_o="1282" data-src="https://freight.cargo.site/t/original/i/ee95faf0b56d15edcf3784454abca4da3b26077a8669ba8fc55f0f33145cc643/_DSC1274-Modifica-6.jpg" data-mid="92853324" border="0"  src="https://freight.cargo.site/w/1000/i/ee95faf0b56d15edcf3784454abca4da3b26077a8669ba8fc55f0f33145cc643/_DSC1274-Modifica-6.jpg" /&#62;
	

Assembramento #1, #2
2020Ink on paper, gold tape21 x 14,5 cm each
	





















Il ciclo “Assembramenti” nasce da una riflessione sull’accumulo.

Stratifico silhouette a partire dalle forme di alcuni macchinari industriali per la triturazione e distruzione di oggetti. Nella caotica sovrapposizione, si disintegra ogni riferimento formale appartenente all’oggetto, trasformandosi quasi ironicamente nel suo “derivato”. 




	










The “gatherings” cycle stems from a reflection on accumulation.

I layered silhouettes starting from the shapes of some industrial machinery for shredding and destroying objects.

In the chaotic superimposition, every formal reference belonging to the object disintegrates, almost ironically transforming itself into its

“derivative”.












	&#60;img width="1920" height="1282" width_o="1920" height_o="1282" data-src="https://freight.cargo.site/t/original/i/8dd69609a42311f271eb2485f05caa50a0cf37694054fcd49a0c14015cf54527/_DSC1277-3.jpg" data-mid="92853329" border="0"  src="https://freight.cargo.site/w/1000/i/8dd69609a42311f271eb2485f05caa50a0cf37694054fcd49a0c14015cf54527/_DSC1277-3.jpg" /&#62;
	&#60;img width="1920" height="1282" width_o="1920" height_o="1282" data-src="https://freight.cargo.site/t/original/i/389e6370d645be81e944042ab33bbcddd5623af098a868bf844ec2117271149c/_DSC1278-4.jpg" data-mid="92853330" border="0"  src="https://freight.cargo.site/w/1000/i/389e6370d645be81e944042ab33bbcddd5623af098a868bf844ec2117271149c/_DSC1278-4.jpg" /&#62;














&#60;img width="2000" height="1600" width_o="2000" height_o="1600" data-src="https://freight.cargo.site/t/original/i/a5b7d784acb22bd60ba0c2df2a985226b8a151f75c6836b09491220b0ac1f21b/foto-opera0014.jpg" data-mid="92853576" border="0"  src="https://freight.cargo.site/w/1000/i/a5b7d784acb22bd60ba0c2df2a985226b8a151f75c6836b09491220b0ac1f21b/foto-opera0014.jpg" /&#62;Assembramento #5, 2020, ink on paper, 42 x 29,7 cm - Opera 3 magazine
	&#60;img width="2000" height="1600" width_o="2000" height_o="1600" data-src="https://freight.cargo.site/t/original/i/18a13dba8e6aa7b2e5066a8bafcc556d76da2b9b139cc52bc463b1b64f9bdcb1/foto-opera0010.jpg" data-mid="92853578" border="0"  src="https://freight.cargo.site/w/1000/i/18a13dba8e6aa7b2e5066a8bafcc556d76da2b9b139cc52bc463b1b64f9bdcb1/foto-opera0010.jpg" /&#62;
	&#60;img width="2000" height="1600" width_o="2000" height_o="1600" data-src="https://freight.cargo.site/t/original/i/3da316b5c4e0693471018362c0da9aff33a4a4933069da463440a7a4cad4e530/foto-opera0012.jpg" data-mid="92853577" border="0"  src="https://freight.cargo.site/w/1000/i/3da316b5c4e0693471018362c0da9aff33a4a4933069da463440a7a4cad4e530/foto-opera0012.jpg" /&#62;







	Ipotesi per una tautologia della disintegrazione Testo di Martina Campese e Raffaella Ferraro per Opera 3 

Il lavoro di Alessandro Costanzo sprigiona un vortice di energie contrastanti, in cui i principi di riconoscibilità della rappresentazione si annullano nella disintegrazione dell'oggetto. Una collisione di sagome indefinite che lottano tra loro e nell'incontro/scontro liberano una carica esplosiva in grado di rivelare tutta la potenza e l'unicità del frammento. 


Il procedimento creativo messo in atto dall'artista asseconda il naturale incedere del tempo, mediante un'azione progressiva di documentazione e accumulo di appunti, scorie e frammenti che, come in un ragionamento sineddotico, nel lavoro finale si traduce in un'operazione di valorizzazione della parte per il tutto. Nell'ottica di una sublimazione del "superfluo", Alessandro Costanzo raccoglie quel che resta dei macchinari esplosi, tracciandone e riportandone i contorni sulla superficie del foglio, attraverso un meticoloso processo di sovrapposizione e intersezione. Tutto il lavoro si presenta così come una sorta di vertigine creativa in cui gli esoscheletri delle macchine trituratrici collidono fra loro fino ad annientare la loro stessa identità originaria. Nell'ammassarsi di rottami ridotti in poltiglia, diviene quindi impossibile distinguere la singolarità dell'oggetto, che ormai persa la sua integrità trova nuovo valore e significato in una composizione caotica collettiva, in cui, dall'assembramento di forme ibride, l'artista sviluppa la sua personale "meccanica della distruzione". 


Questa particolare forma di "poetica dell'annullamento" nasce da un meditato dialogo tra coppie di opposti - rappresentazione e disintegrazione, creazione e distruzione, costruzione e de-costruzione e riesce a trovare il suo punto di equilibrio proprio nell'indefinibilità e nell'unicità dei singoli frammenti, nonché nelle nuove composizioni che si originano a partire dall'incontro tra essi. 


Assembramento #5 è un ammasso intricato di forme / non forme astratte, risultanti da una serie di singoli processi distruttivi, in cui l'artista interviene come in un'istantanea a fissare sul foglio la fase di passaggio della materia dalla riconoscibilità del prima alla indecifrabilità del dopo. Qua e là, qualche parola sparsa si intravede nella trama della composizione: vertigine, collisione, detonazione, disinnescare, poltiglia. Poi una frase, che introduce una finestra temporale e suona quasi come un monito: "agisco in ritardo". 





	È ormai tardi per cosa? 

Il tempo, una componente essenziale nella ricerca di Alessandro Costanzo, si sottrae a ogni nostro tentativo di controllo e il divenire si impone come unica dimensione possibile nell'inevitabile mutevolezza dell'esistenza. 
A una condizione presente, così frammentata e discontinua, l'artista risponde immortalando i postumi di un atto distruttivo, in cui risulta impossibile risalire all'identità pregressa dei singoli oggetti. 

L'atto della disintegrazione, ovvero la perdita dell'integrità fisica di un corpo, innesca inevitabilmente riflessioni sul caos che precede, in tulle le filosofie, la generazione di un nuovo ordine. 

"In ogni caos ce un cosmo, in ogni disordine un ordine segreto." (Jung) 

Proprio come ii protagonista del libro di Gombrowicz, Cosmo, Costanzo affronta una realty caotica e multiforme cercando di districarsi tra pezzi e indizi che solo lui sembra vedere. Riallacciandoci proprio alle considerazioni dello scrittore polacco, ogni individuo crea la propria realty selezionando arbitrariamente determinati elementi; stando cosi le cose, qualsiasi presunzione di ordine assoluto viene soppiantata da un'idea di ordine profondamente personale e, conseguentemente, si vanno a definire infiniti mondi possibili e paralleli, tanti quanti sono i soggetti the li pensano. 

La realtà caotica e multiforme viene accuratamente setacciata dall'artista, che, proprio partendo dalla raccolta e dall’accumulo dello scarto, riesce a tradurre il caos in nuove forme, associando ad esse un nuovo personale linguaggio segnico. II segno - inteso come traccia visibile, espressione grafica the traduce la rappresentazione di qualcosa, seppur in un linguaggio astratto nel processo di frammentazione dell'oggetto agisce come strumento positivo di ricostruzione, che permette di acquisire, sotto l’unica volontà dettata dal gesto artistico, una rinnovata rappresentazione. La traccia visibile conserva dunque la memoria dell’oggetto? 

In Assembramento #5 Alessandro Costanzo ipotizza una "tautologia della disintegrazione", andando ad annullare completamente la riconoscibilità della forma primigenia, attraverso la sovrapposizione e la stratificazione di segni, line e contorni. In questo modo, quel che resta dell'oggetto riesce a svelare un suo nuovo ordine, assume una nuova identità, ipotizza un nuovo kosmos per una ritrovata dimensione in cui immaginare rinnovate possibilità di esistenza e, perchè no, di "assembramento". 




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	<item>
		<title>Atti osceni</title>
				
		<link>https://alessandrocostanzo.it/Atti-osceni</link>

		<pubDate>Sat, 30 Nov 2019 10:58:54 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/Atti-osceni</guid>

		<description>&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/c45ae59f96547953e464d7b4e43bffb40eda34c0c92486fb7a2aaa31b2d2fa3e/_DSC9050modbn.jpg" data-mid="55734852" border="0"  src="https://freight.cargo.site/w/1000/i/c45ae59f96547953e464d7b4e43bffb40eda34c0c92486fb7a2aaa31b2d2fa3e/_DSC9050modbn.jpg" /&#62;Atti osceni




2019 
Installation 
Paper, acrilic spray, brass
110 x 58 cm each





	Il progetto consiste in alcune carte che il sole ha impressionato, provocandone una trasformazione ora cromatica, alla quale l’artista ha aggiunto l’incisione di alcuni versi, che un lembo sollevato delle carte permette di leggere, scoprendo le parole di Baudelaire proiettate sulla parete. Con un gesto ingegnosamente semplice, l’azione naturale del tempo e della luce viene così integrata all’intervento culturale, che assolve una funzione esplicativa, ma rappresenta anche un’intrusione voyeuristica, compiuta dalla mano di un invisibile curioso tentato dall’“atto osceno” di penetrare il dispositivo intimo dell’opera.
	
The project consists of some works on paper that, being ‘exposed’ by the sunlight, have undergone a chromatic metamorphosis, to which the artist has added the engraving of a few verses, to be read through a lifted paper’s edge that unveils the Baudelaire’s words projected on the wall. By an ingenious yet simple gesture, the natural sunlight effect is thus integrated to the cultural intervention, the latter purposefully playing an explanatory function, though at the same time performing a voyeuristic intrusion by the invisible hand of an unknown curious observer yielding to the temptation to penetrate the works’ inner device.









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&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/49f3163232be051dea06d79f6403711f39ab17076daabcd441192dd61e680cff/_DSC9045modbn.jpg" data-mid="55734848" border="0"  src="https://freight.cargo.site/w/1000/i/49f3163232be051dea06d79f6403711f39ab17076daabcd441192dd61e680cff/_DSC9045modbn.jpg" /&#62;Atti osceni_2019 MUSUMECIcontemporary&#38;nbsp; - Bruxelles


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		<title>Incursione</title>
				
		<link>https://alessandrocostanzo.it/Incursione</link>

		<pubDate>Sun, 17 Nov 2019 11:15:17 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/Incursione</guid>

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Incursione2019Performative installationBird scare tape, brass, gold wire

245 X 355 cm

				
			
		
	






	Nell’installazione le tensioni e le ambiguità della dialettica di passato e futuro, stasi e movimento, decostruzione e costruzione, precipitano nella metafora delle liste di dissuasori che formano una cortina altrettanto repellente che permeabile, un divieto di transito travolgibile dal ricercatore consapevole di dover distruggere per poter creare. La cortina, quindi, come ipertesto visivo, contenente il, o i, concetti chiave, con i quali richiamare, identificare e decifrare i singoli testi, cioè le opere, dell’artista. Oltrepassare la cortina diviene così atto di apprendimento, lezione di lettura, passo iniziatico, contemporaneamente intellettuale ed empatico.
	In the installation the tensions and ambiguities of the dialectics between past and future, stasis and movement, deconstruction and construction find a final epitome in the metaphor of the strips of birds dissuaders assembled to form a curtain both repelling and permeable, a no thoroughfare to be run over by the researcher armed with awareness that destruction may be an unavoidable premise for creation. The curtain, then, as a plastic hypertext providing the key concept(s) allowing to find, identify, and deciphering, the individual texts, i.e. each work, of the artist. To cross the curtain amounts therefore to an act of learning, a reading qualification, a initiatory step, both in intellectual and empathic terms.










&#60;img width="1580" height="1054" width_o="1580" height_o="1054" data-src="https://freight.cargo.site/t/original/i/41c706bad78490991016b2fd31ca6ea4fdfe84d24add370268944ba005bd1b66/_DSC9102modbn.jpg" data-mid="55777090" border="0"  src="https://freight.cargo.site/w/1000/i/41c706bad78490991016b2fd31ca6ea4fdfe84d24add370268944ba005bd1b66/_DSC9102modbn.jpg" /&#62;Before the public

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Incursione_2019 MUSUMECIcontemporary&#38;nbsp; - Bruxelles

	
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		<title>Untitled (Je suis)</title>
				
		<link>https://alessandrocostanzo.it/Untitled-Je-suis</link>

		<pubDate>Wed, 30 Oct 2019 18:23:49 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/Untitled-Je-suis</guid>

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Untitled (Je suis)


	
		
		
	
	
		
			
				
					2019Performative installation&#38;nbsp;
Flexled, acciaio inox, forex, camere d’aria, batterieFlexled, stainless steel, forex, inner tubes, batteries

160 x 150 x 120 cmIn collaboration with
 Musumeci contemporary -&#38;nbsp;Bruxelles


	










Una zattera realizzata con camere d’aria, non può trasportare umani, ma soltanto la scritta luminosa “Je suis”. 
Rimane alla deriva per giorni, per poi essere ripescata dopo aver interagito col mare. 




	A raft made with air chambers cannot carry humans, but only the luminous writing "Je suis".
It remains adrift for days, only to be fished out after interacting with the sea.

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	[…] Il quadrato di scuri copertoni di gomma galleggianti di Costanzo porta alta verticale sulle onde marine imprevedibili la scritta Je Suis, luminosa per i led che la compongono. Il mito omerico è qui ripercorso "alla lettera": naufrago, mutando i tempi, non è Nessuno ma lo stesso enigma identitario, che si accende e si nomina scivolando senza meta sulle acque (qualunque lingua del mondo potrebbe in verità esprimerlo). Ma allo scaltro Odisseo l'indefinito Autòs serve come espediente concettuale di salvezza di fronte all'ingenuità grammaticale nominalistica del gigante primitivo, legata al pensiero concreto; sulla zattera tutta artificiale alla deriva nel mare contemporaneo, invece, la luce del pronome personale che afferma l'esistenza del Soggetto è l'insegna, più romantica che concettuale, di una rivendicazione ideologica, che prescinde dalla metafora.


Costanzo's square of dark floating rubber tires carries the word Je Suis high vertically on the unpredictable sea waves, bright due to the LEDs that compose it. Here the Homeric myth is retraced "to the letter": castaway, changing the times, he is not Nobody but the same identity enigma, which lights up and is named by gliding aimlessly on the waters (any language in the world could actually express it). But to the shrewd Odysseus the indefinite Autòs serves as a conceptual expedient of salvation in the face of the primitive giant's nominalistic grammatical naivete, linked to concrete thought; on the completely artificial raft adrift in the contemporary sea, however, the light of the personal pronoun that affirms the existence of the Subject is the sign, more romantic than conceptual, of an ideological claim, which goes beyond metaphor.
Luciana Rogonzinski




A. Guillot, L. Rogozinski, P. E. Antognoli, Rĕlĭquĭae, Siracusa, Tyche Edizioni, 2020, p. 27

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Identità e libertà sono sinoni
mi nella metafora di una zattera che fugge, non cerca, approdi. Poiché non ė migrante, ma nomade, all'artista incombe decostruire l'io, l’io ereditato morale, sociale, familiare, per sostituirlo con l'io inquieto, mobile instabile della ricerca. Mobile, instabile, ossia liquido, marino e alla deriva, senza meta o, se c'è, una meta nel percorso stesso. Odisseo contemporaneo, Straniero in ogni terra e tempo, l'artista non si autoafferma tuttavia nel vuoto o nella disperazione. Il suo fare dà forma all'essere nell'opera, e il suo dire (je suis) la proclama vera con serena fermezza. Su questa vera e propria installazione scultorea, si imbarca dunque una condizione esistenziale, il cui viaggio senza inizio né fine, senza vincoli di direzione o durata, si materializza esclusivamente nelle metamorfosi dell’esperienza e dell’attività creativa.
Identity and freedom are synonymous in the metaphor of a raft that flees, does not look for, landings. Since he is nomad, not a migrant, the artist has to deconstruct&#38;nbsp; the inherited ego, the familiar, social, moral, self, and replace it with the restless, unstable mobile ego required by the research venture. Mobile, unstable, that is liquid, marine and adrift, aimless, or at most with a stake in the path itself. A contemporary Odysseus, a Stranger in every land and time, the artist does not, however, affirm himself in the vacuum or despair.&#38;nbsp; Through his doing the being&#38;nbsp; materializes in the work, while his saying (je suis) proclaims it true with serene firmness. Thus, this real sculptural installation carries nothing less than an existential condition, whose&#38;nbsp; endless, unconstrained “trip” exclusively takes place through the metamorphoses of the experience and the creative activity.


Rosa Anna Musumeci



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Untitled (Je suis) #1, #2, 2019Print on Fine Art paperHahnemühle Baryta on Dibond105x70 cm each
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Rĕlĭquĭae, curated by Anna Guillot, On the Contemporay, Catania 2020.
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		<title>1794 km</title>
				
		<link>https://alessandrocostanzo.it/1794-km</link>

		<pubDate>Thu, 02 Jan 2020 10:53:55 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/1794-km</guid>

		<description>
	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/8fe9b5b0e8f3c347dc92192c1435791fa5afea3e346f0913fe7e89d76b286c5c/_DSC9238mod.jpg" data-mid="57551468" border="0"  src="https://freight.cargo.site/w/1000/i/8fe9b5b0e8f3c347dc92192c1435791fa5afea3e346f0913fe7e89d76b286c5c/_DSC9238mod.jpg" /&#62;
	
1794 km2019Site specific installation
 Ascensore, vetro colorato, lettere adesive,&#38;nbsp;
Elevator, colored glass, adhesive letteringDimensioni variabili











Musumeci contemporary - Bruxelles
	




























































Riflettendo sullo spazio minimo in cui si è stretti dentro un’ascensore, sulla sua natura claustrofobica, ne de-costruisco l’identità, considerando nuovi confini. 

Nell’installazione, due coordinate geografiche segnalano latitudine e longitudine delle coste più vicine ai miei studi di Catania e di Bruxelles. Coordinate di un pellegrinaggio verso il mare, di un viaggio ipotetico verso l’illimitato. Le due &#38;lt;mete&#38;gt; si specchiano l’una nell’altra, si riflettono orizzontalmente, in contrapposizione al moto verticale dell’ascensore.&#38;nbsp;











	By pondering upon the minimal space allowed within a lift, on its claustrophobic nature, I deconstruct
its identity, considering new boundaries.In the installation, two geographical coordinates indicate the latitude and
longitude of the nearest coasts to both my Catania and Brussel ateliers. Coordinates of a pilgrimage towards the sea, of a hypothetical journey towards the limitless. The two
&#38;lt;destinations&#38;gt; are looking horizontally at each other, thus countering
the lift’s vertical movement.  



	
&#60;img width="1600" height="2397" width_o="1600" height_o="2397" data-src="https://freight.cargo.site/t/original/i/bbabeab2613131ed1a6bb5de52f1d382fa1f7397090bc2057f94739b9f771eb3/_DSC9229mod.jpg" data-mid="57551459" border="0"  src="https://freight.cargo.site/w/1000/i/bbabeab2613131ed1a6bb5de52f1d382fa1f7397090bc2057f94739b9f771eb3/_DSC9229mod.jpg" /&#62;

	
&#60;img width="1600" height="2397" width_o="1600" height_o="2397" data-src="https://freight.cargo.site/t/original/i/8932a3bf52c3aeda3485f968d4d040d474d13d77adef204aa4e4e896d7badb70/_DSC9242mod.jpg" data-mid="57551470" border="0"  src="https://freight.cargo.site/w/1000/i/8932a3bf52c3aeda3485f968d4d040d474d13d77adef204aa4e4e896d7badb70/_DSC9242mod.jpg" /&#62;





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	<item>
		<title>exhibitions</title>
				
		<link>https://alessandrocostanzo.it/exhibitions-1</link>

		<pubDate>Wed, 19 Oct 2022 18:32:30 +0000</pubDate>

		<dc:creator>Alessandro Costanzo</dc:creator>

		<guid isPermaLink="true">https://alessandrocostanzo.it/exhibitions-1</guid>

		<description>

	&#60;img width="2048" height="1510" width_o="2048" height_o="1510" data-src="https://freight.cargo.site/t/original/i/42527e19d740726116f405cd9d3bc56385d99ea3c6f882ed1e033c6143217485/_GBE8364.jpg" data-mid="246868665" border="0"  src="https://freight.cargo.site/w/1000/i/42527e19d740726116f405cd9d3bc56385d99ea3c6f882ed1e033c6143217485/_GBE8364.jpg" /&#62;
	Dall’interno all’interno
Alessandro Costanzo solo show, Curva Pura, Roma, IT.
	&#124; 2025


	&#60;img width="3000" height="2003" width_o="3000" height_o="2003" data-src="https://freight.cargo.site/t/original/i/6c336af937404fa18e76a70c0eddd235572d129905b1fbe639358aed61119437/Costanzo---Studiomorf-06.jpg" data-mid="246868667" border="0"  src="https://freight.cargo.site/w/1000/i/6c336af937404fa18e76a70c0eddd235572d129905b1fbe639358aed61119437/Costanzo---Studiomorf-06.jpg" /&#62;
	Abbrivio
Alessandro Costanzo solo show, 
Isola, Palazzo Biscari, Catania IT.
	&#124; 2025


	&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/a4d9661f151454eeddb8986c56cc82c2cdba009e90ab317dd4ec2381a3c430e4/Hey-Siri---Alessandro-Costanzo-2023--05.jpg" data-mid="204859854" border="0"  src="https://freight.cargo.site/w/1000/i/a4d9661f151454eeddb8986c56cc82c2cdba009e90ab317dd4ec2381a3c430e4/Hey-Siri---Alessandro-Costanzo-2023--05.jpg" /&#62;
	Hey Siri
Alessandro Costanzo solo show, On the Contemporary, Palazzo Manganelli, Catania, IT.
	&#124; 2023



	&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ab18b53c43154501ab79249e77357a98a2b30f5f04869408858475aa32f7a063/_U6A1008-1.jpg" data-mid="156412110" border="0"  src="https://freight.cargo.site/w/1000/i/ab18b53c43154501ab79249e77357a98a2b30f5f04869408858475aa32f7a063/_U6A1008-1.jpg" /&#62;
	Soglie
Alessandro Costanzo / Davide Serpetti duo show, Manuel Zoia Gallery, Milano, IT.&#38;nbsp;
	&#124; 2022


	&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/dceb47c5139c8dd0c06c5124b7eb7d583fda0ab1649e20385f53ca18477f81c1/_DSC3145-HDR-2-9-20.jpg" data-mid="156412240" border="0"  src="https://freight.cargo.site/w/1000/i/dceb47c5139c8dd0c06c5124b7eb7d583fda0ab1649e20385f53ca18477f81c1/_DSC3145-HDR-2-9-20.jpg" /&#62;

	Accumulare il deserto

Alessandro Costanzo solo show, On the Contemporary, Palazzo Manganelli, Catania, IT.
	&#124; 2021

	&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/47eef98066300c0760ff91a5951c1fc8b773045f4f557ff0c064dc6121090f1c/_DSC9143mod-12.jpg" data-mid="156513426" border="0"  src="https://freight.cargo.site/w/1000/i/47eef98066300c0760ff91a5951c1fc8b773045f4f557ff0c064dc6121090f1c/_DSC9143mod-12.jpg" /&#62;


	En courant me reposer Alessandro Costanzo&#38;nbsp;solo show,
 Musumeci Contemporary, Bruxelles, BE.
	&#124; 2019


Special project

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	Same green, same sky
Alessandro Costanzo, curated by Emmanuel Lambion, Maison Grégoire, Uccle, BE.
	&#124; 2020

Selected Group Exhibitions
	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/03a30e55ed1cc777f6ddcff8f82052f4802667915e181437f610a44076d2134e/_DSC0739-34.jpg" data-mid="156518462" border="0"  src="https://freight.cargo.site/w/1000/i/03a30e55ed1cc777f6ddcff8f82052f4802667915e181437f610a44076d2134e/_DSC0739-34.jpg" /&#62;


	In ambiente
curated by Anna Guillot, On the Contemporary, Catania, IT.
	&#124; 2020



	&#60;img width="1600" height="1068" width_o="1600" height_o="1068" data-src="https://freight.cargo.site/t/original/i/0df74f406fa6210245e3221222b9a544c64cb95f453c0fad572627f7a3042597/_DSC9374mod.jpg" data-mid="156519018" border="0"  src="https://freight.cargo.site/w/1000/i/0df74f406fa6210245e3221222b9a544c64cb95f453c0fad572627f7a3042597/_DSC9374mod.jpg" /&#62;
	Rĕlĭquĭae 
curated by Anna Guillot, On the Contemporay, Catania, IT.
	&#124; 2020

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