MINUTES OF THE JURY OF THE
COMEL AWARD VANNA MIGLIORIN 2018
On October 7, 2018, at 10 am, the selection board of the seventh edition of the International Contemporary Art Award COMEL Vanna Migliorin met, at the Spazio COMEL gallery in Latina (ITALY). The jurors were: Andrea Baffoni, Ada Patrizia Fiorillo, Maria Gabriella Mazzola, Giorgio Agnisola, president. Lorenzo Canova was absent, unable to intervene.
After the greetings of Maria Gabriella Mazzola, Giorgio Agnisola opens the works recalling the theme of this edition, “Harmonies in Aluminium”, and inviting the members of the jury to perform a detailed survey of the works individually, identifying possibly a set of three names on which to put the attention in view of the awarding of the prize. Previously, the award organization had sent to the jury a video of the 13 finalist works already placed in the gallery.
We then move to a friendly debate, during which the jurors explain and motivate their preferences. Afterwards, we go back to reviewing the works, this time collegially, after contacting via phone Lorenzo Canova, making him aware of the state of the work, as well as acquiring his opinion.
Then we arrive at the final discussion and, after a calm exchange of ideas, the committee decides to assign the COMEL Award 2018 to:
Sergey Filatov, Russian artist, with the following motivation:
“In the workPlatasonus, Sergey Filatov, referring to the experiments between avant-garde music and visual arts, uses aluminum as sound metal with essential construction and original and minimal technology, thanks to the percussive action of wires moved by simple electrical devices, bearing small clappers at the end. The contrast between the functional essentiality of the structure and the evocative randomness of the musical effects is resolved in a sense of delicate, discreet and intimate harmony, which is not free from a subtle and perhaps disquieting allusion to the possible hybridizations between man and machine“
The Jury emphasizes the good level and variety of stylistic registers and technological paths of the finalist works, and decides to award a special mention to four works:
“Labyrinth I “ (2017), di Federica Zianni, con la seguente motivazione:
“A hollow shape and emphasized by a wraparound formal motif, in which the reference to an organic nature and, in particular, to the internal structure of an auricle, is a reason to bring us back to the theme of listening and silence.“
“My time“, (2018), by Marco Cavalieri, for the following motivation:
“Marco Cavalieri‘s work My Time, where the original assembly of objects and plates is engraved in aluminum to configure an imaginary rotating device, packaged in the manner of totems. It refers to the idea of internal mechanisms of life, between memory and time. “
“Piattaforma AL-13“, (2018), by Laura De Lorenzo, for the following motivation:
“In its structure, characterized by an elegant compositional essentiality and a fitting set of visual synthesis, constructive and planar dynamics coexist with pictorial effects entrusted to the ductile and sensitive qualities of the metal.”
“My Open heart“, (2018), by Monika Kosior, for the following motivation:
“In My Open heart, the Polish artist Monika Kosior plays with refinement between the “open heart” of the artist’s psychological and spiritual intimacy and the almost surgical unveiling of the anatomy of an organ that has always been hanging in the balance between its physical functions and its millenarian metaphorical and symbolic connotation. “
The Prize of the audicence goes to Carmelo Minardi for the work “Musa Spaziale”.
The great charm of this artwork has impressed the audience for its evocative capacity of images of other places and future times. A work initially strikes for its aesthetic beauty and then slowly reveals the incredible technical skill thanks to which it was made.
Carmelo Minardi is a skilled aluminum sculptor, able to master a technique such as oxyfuel, usually used with other metals. By this technique the metal is cut with an instrument that uses a jet of pure oxygen. Because of its characteristics and chemical conformation, in addition to cutting, the aluminum is deformed obtaining this particular ‘crumpled’ effect, that is not used in industry, but which acquires a unique charm in art and that Carmelo Minardi has been able to make vivid and vibrant .