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Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye...

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Stefano MezzArOMa No jokeS please, we’re italian
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Page 1: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

Stefano MezzArOMaNo jokeS please, we’re italian

Page 2: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 3: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 4: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 5: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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.

Page 6: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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.

Page 7: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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’.

Page 8: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 9: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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’.�

Page 10: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

OPERE / WORKS

Page 11: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 12: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 13: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 14: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 15: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 16: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 17: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 18: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 19: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 20: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 21: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 22: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 23: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 24: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 25: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 26: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 27: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 28: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 29: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 30: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 31: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 32: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 33: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 34: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 35: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 36: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 37: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

Page 38: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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

private collection

Page 39: Stefano MezzArOMa - Serena Morton...Duccio Trombadori We are pleased to accompany the insightful eye of ‘Steve’ Stefano Mezzaroma. Through his art he manipu - lates with ease and

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


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