The "Incontri d'Autunno" exhibition was a great adventure, above all because it was born in a few days to replace the performative encounter with art masters who painted on the Berlin wall. Being late in the times, the organizers Gentile Polo and Antonello Serra opted for a reasoned postponement for Spring 2019 and "Incontri d'Autunno" was born in the Archaeological Area of Lodron Palace in Trento (Italy). Taken from the celebrations for his thirtieth anniversary, Serra has confided in the experience and professionalism of the Rotalian colleague Gentile Polo, who organized between 03 and 17 November 2018 a collective exhibition of great value. Among the Venetian and Trentino masters of art who welcomed the invitation we admired the works of Paola Toffolon, Roberta Coral, Marisa Asola, Grazia Zuccolotto, Maria Grazia Martina and Danilo Artist for the Veneto, while among the Trentino have made a fine show of himself Cristina Zanella, Rita Demattio, Renata Di Palma, Silvana Todesco, Claudio Cavalieri, Antonello Serra and the untiring organizer Gentile Polo.
"Between soul and body, temporal fragmentations characterize the multimaterial experimentations of the thirteen artists present at the collective INCONTRI D'AUTUNNO, from 3 to 17 November 2018 in the refined location of the Archaeological Area of Palazzo Lodron - Volksbank in Trento, open from Monday to Saturday from 10 am at 12 and from 16 to 18. Combinations of a pictorial-expressive research that removes dreams, matter and memory, cultured fragments and portraits as sedimented preciousness of one's own unique experience. Let's stop watching it on the present works, starting from the production of Gentile Polo, an artist of broad spectrum, material, investigator of the surfaces as the chromatic depths of his painting as of his poetry, both enriched by the experience of traveler and curious explorer of other, in a mottled painting of visionary realism; Claudio Cavalieri presents autonomous wooden objects in the space, playing the transparency in articulated linear geometries, drawn between sails and breakers in juxtaposed scansie, serial passages between natures composed of an improbable meditative hortus; Cristina Zanella intercepts impalpability in monochrome surfaces, shaded by imperceptible tensions from voids in the void of landscapes just highlighted, to evoke, between magenta and blue, dawns and sunsets of moons, gray storms and gusts of wind, as inner forces released in the space; Antonello Serra assembles archeology of the sign, among ancestral zig zag spirals, evidence of a suspended mythology traced in the complexity of the time transcribed in anthropomorphic and zoomorphic spellings, prefigurations of symbolic conjunctions; Renata Di Palma evokes silence in the Mediterranean color, in the traces of the shadow stuck in the walls, in the closed shutters, in thresholds of architectures of other places, filtered by serene chromatic arias to remember the summer, to remind us of the experience deposited in the surfaces worn, on a world of other times, a genius loci remained in no dispersive places of contemporaneity; Grazia Zuccolotto entertains silent presences of expectations, between metaphysical apparitions of suspended gestural afflatus, between dream and truth, tempered by nuances of secret virtues; Paola Toffolon traces in her compositions, in material-chromatic sediments re-emerged from subtly stratified surfaces, temporal reshuffles of latent tensions articulated in the melancholy colors of signaling transfigurations; Danilo Artist investigates the light in the trajectories of the shadow in diaphragmatic scripts unsheathed in taut blades of conjunctive flashes in otherwise incalculable spaces; Roberta Coral enters in the game of rhythmic joints of geometric dances, in labyrinthine traces of free movements, a whirling gait of kaleidoscopic scores; Marisa Asola crystallizes in metamorphic arabesques informing color layers, aroused by subtle cursive signs, expanded spots of spaces articulated in projections of full-bodied shadows; Rita Demattio enhances the material, textured grammar, in plastic protrusions which define a luminosity of relief of horizon, of excavation, which identifies a depth, a crack, a fault, a fracture, another space where light stops; Silvana Todesco chooses the body, the plastic anatomical space defined in the musculature, almost to certify the power of the inviolable form, approached to the sense of the vanitas traced in the short existence of a flower; Maria Grazia Martina transcribes on the background all over a thread of "various forces" chaos and time, dialogues with atmospheric vibrations that displays tangles, knots and joints at the mercy of order and disorder. Trento, 3 November 2018 Maria Grazia Martina All rights reserved © "The Gentile Polo Art Studio (Rovere' della Luna, Tn - Italy), which organized the event and all the artists mentioned, sincerely thank and we hope to have the honor in the future to collaborate again with a generous and complete artist like his .. With this in-depth analysis we leave you, but stay connected for further news, events and behind the scenes of Art! http://www.studio-martorelli.net/polo-gentile/
(Lucia Martorelli - Gentile Polo Art Studio)