1111Luca Galileo Ciuffoletti_Painting the Music
The violinist activity of Luca Galileo Ciuffoletti begins about thirty years ago with the achievement in 1985 of the diploma at the Conservatory of Music "S.Pietro a Majella" in Naples. The following concert activity is part of collaborations with international symphonic institutions. In 2015 the decisive turning point with the beginning of the search for a new artistic language capable of combining music with visual arts. Composer and writer, in 2016 the Japanese publishing house "BeeBest" brought together in three volumes all of his violin compositions from op.1 to op. 22. He also authored a series of violinist technical analyses as well as dissertations related to his works of visual art. Ciuffoletti lives and works in Japan.
An artists' son - the mother an affirmed painters, the father a sculptor and visual art professor - in 2015 he definitively quits the stage to dedicate himself to experimentation work: the work of his father Giancarlo, but also that of Paul Klee and Wassily Kandinsky, immediately exert a strong stimulus strongly influencing the first work. An obsessive search of jitter between sound and image with the central figure of J.S. Bach has produced works that have been imposed immediately for their uniqueness and expressive power. Ciuffoletti's artistic production includes numerous works related to music and in particular to Bach's figure, but also includes works that evolve around other themes dear to the artist such as Nature and Spleen. There are also many reading layers and the philosophical and metaphysical implications that he himself exposes in long dissertations accompanying individual works. The transversal theme common to all works, a part from music, is that of pure Psychic Automatism, a definition that, as it appears in the 1924 André Breton's Surrealist manifesto, is well suited to outline the modus operandi of Ciuffoletti: "... Pure Automatism with which we propose to express, through words or writing or otherwise, the true functioning of thought. Command of thought, in the absence of any control exercised by reason, outside of any aesthetic and moral concern..."(from Wikipedia). Why psychic automatism? The reason has to be sought after in the past concert activity of the artist, of his violinist, interpreter experience, which as such unites rational, conceptual, intellectual elements at moments of pure inspiration dictated by the unconscious, thus offering to the listener fragments of pure creativity, vision of the soul, executive spontaneity that naturally transcend notions and patterns. This is the element from which Ciuffoletti starts, what he considers to be the ring between the two art disciplines and the way to explore. The Consequential-Non-Coincident (CNC) and Consequential-Coincident (CC) terms refer to the simultaneous or non-simultaneous action between sonic and motor impulse. The visual path is divided into two large groups: Music and Visual Arts and Nature as a Dream - Decaying Spleen - Pure Psychic Automatism.
For the first group (Music and Visual Arts) there are three sub-categories:
- Conceptual with elements of Psychic Automatism. They are all the result of an analysis of Bachian scores where the sound and motor impulse coincide (simultaneous action); in them the dualism between automatism and conceptuality is expressed through variability factors.
- Psychic automation operating on the basis of an ambiguous figurative. In these works there are weak figurative impulses that interact with psychic automatism by materializing forms and structures dictated by instinct. Here are the works on Richard Strauss and Frank Bridge that were also made based on the simultaneity of the action.
- Pure Psychic Automation. Absence of intentions, pure instinct dictated by the sound medium and simultaneous action. Here are works on Luciano Berio, Kurt Atterberg, Gosta Nystroem and a series of interesting works where the musical narrative (sound impulse) is replaced by the simple beat of a metronome, providing insights into explorations of the rhythmic nature of aggregating shapes. It is undoubtedly the influence of Japanese calligraphy and zen philosophy within these works.
In the second group, Nature as Dream - Decaying Spleen and Pure Psychic Automation there are two sub-categories:
- Psychic Automation and Nature as a Dream /Pure Psychic Automation. Weak figurative impulses that interact with psychic automatism by materializing shapes and structures dictated basically by instinct. There is no longer the music now replaced by visions of Nature subjects able to deeply excite the artist or from the desire to express through images the existential discomfort (Spleen). Psychic automation is here vibrated by the mediums of visual (nature) or introspective (spleen) experience.
- Pure Psychic Automation.
Dr. Ishikawa Yasuko a well-known Japanese immunologist and intellectual and CEO of the Japanese publishing company BeeBest, offered a generous contribution to the presentation of Ciuffoletti's works. After his first itinerant exhibition in Italy that has recently landed in the provinces of Lodi, Brescia, Cremona, Florence and Cosenza, Ciuffoletti will be present at the public presentation of the works at the Ropponghi Hills Club in Tokyo and their exposure to Hakusen Private Museum in Machida this coming November. Return to archive