The COMEL Award 2012
The COMEL Award 2012
by Silvia Sfrecola Romani
The COMEL Contemporary Art Award is born and is dedicated to the memory of the entrepreneur Vanna Migliorin.
CO.ME.L., acronym of Commercio Metalli Latina, is a leading company in the trade and processing of semi-finished aluminium metals that has been operating in Latina since 1968.
In recent years CO.ME.L. has committed itself to the territory in which it operates by sponsoring and supporting cultural initiatives.
Here is the idea of the Premio Comel Vanna Migliorin Arte Conteporanea 2012 that will take place from 18 February 2012 to 18 March 2012 at the Galleria d’Arte Contemporanea della CO.ME.L. sita in Latina, Via Neghelli, 68 with the following aims:
the promotion of contemporary art;
the consolidation of the link between art and business;
the enhancement of aluminum, workable material, versatile, flexible, recyclable.
The image of the COMEL Award
It was entrusted to a working group that immediately thought, on the suggestion of Gabriella Mazzola, a female figure who remembered Mrs Vanna Migliorin.
Not the idea of the portrait as much as that of the synthesis, of the symbolic representation that put together the feminine being, the decisional spirit, the strength and the determination, the sensibility, the CO.ME.L., the aluminum.
Two vehicles: the LOGO and the PLAQUE AWARD.
From the collaboration between Annalisa Lazzarotto and Giuliana Bocconcello was born the face of a woman who in the logo, created by the studio THE SIGN | creative design’, becomes one with the brand CO.ME.L. and in the plate, real work, becomes one with the material or aluminum.
Annalisa Lazzarotto has therefore succeeded in the intent not easy to approach, to a historical brand and historicized, like that CO.ME.L., a new brand, contemporary, that physically and ideally, the logic commercial to that artistic, in a clear and unequivocal dialogue between culture and enterprise.
Giuliana Bocconcello, for her part, pulled out of an aluminum plate a female face with her eyes closed, in an attitude of silent recollection, of absorbed meditation. The intention, at all hidden, is to arrive at a visible and sensitive representation of thought or, rather, the act of thinking. But, on the other hand, going as far as the interpenetration between the woman and the aluminum, remember, absolutizing, the total dedication that Madame Vanna had for her work. The hole in the background, from which the face extends outwards (or upwards or upwards) suggests the possibility of an elsewhere with which dialogue is always open.