BRASIL E ITALIA UNIDOS PELA ARTE EM ROMA

Fernando Lavieri, Istoé Magazine, São Paulo, 2022

A partir do dia 2 de outubro acontece em Roma, na Itália, uma excepcional exposição de arte chamada Além das Fronteiras. O local escolhido é Basilica de San Lorenzo in Lucina que fica no centro da cidade.

A mostra reúne artistas brasileiros e italianos como Carlos Araujo e Joseph Pace. Estão à frente do evento a curadora de arte ítalo-brasileira Lívia Bucci e Mara Dolzan, marchand e galerista sul-mato-grossense, que tem 38 anos de experiência.

“A ideia é que a exibição simbolize a aliança cultural entre as duas nações”, diz Mara. O visitante local e internautas vão ver pinturas e esculturas de valor histórico gigantesco. A mostra ficará aberta até 22 de novembro.

JOSEPH PACE, LUXARCHEOLOGY, MUSEO NAZIONALE ARCHEOLOGICO DI CIVITAVECCCHIA

Lara Anniboletti, Direttrice del Museo Nazionale Archeologico di Civitaveccchia e di Orvieto, 10 Luglio 2022

Dal 19 Luglio 2022 al 18 Settembre 2022, il Museo Nazionale Archeologico di Civitavecchia inaugura Joseph Pace, Luxarcheology, una mostra di sculture realizzate con scarti industriali di gioielli dall’artista anglo-italiano Joseph Pace. La mostra segna una nuova tappa nella storia del Museo Nazionale Archeologico di Civitavecchia.

La mostra vede questo protagonista dell’arte internazionale confrontarsi con le straordinarie opere del Museo, un confronto tra le raffinate ed estetizzanti opere dell’artista italiano e i capolavori del Museo Nazionale di Civitavecchia. La mostra è a cura di Lara Anniboletti, direttrice del Museo Nazionale Archeologico di Civitavecchia e direttrice del Museo Nazionale Archeologico di Orvieto dove la mostra approderà in autunno.

Le opere di Joseph Pace sono tutte realizzate con migliaia di bijoux, perlopiù vintage, che l’artista recupera dai residui della produzione industriale in tutto il mondo, svolgendo così una sorta di ricerca nel campo della “archeologia industriale” applicata alla decorazione del corpo del nostro tempo. Pace, è  uno dei maggiori esponenti del filtranisme, la corrente filosofica e artistica neo esistenzialista che egli fonda a Parigi nella metà degli anni ’80. Le sue opere sono esposte in istituzioni e musei soprattutto in Europa e Sud America.

Dai suoi dipinti sull’Africa dei primi anni ’80 alle opere sull’Irremovibilità della Memoria (serie IDM e ATONS), alle sculture di bijoux, Pace unisce l’estetica delle arti decorative con la scultura, pittura e l’incisione contemporanea. Fa spesso riferimento alla moda, alla storia e alle arti decorative, con tutta la loro ambiguità, sperimentazione, associando a queste anche la filosofia e la psicanalisi. Il suo lavoro è internazionalmente riconosciuto per la sua capacità di reinterpretare molte delle nostre più profonde realtà psichiche. 

Le sue mostre recenti includono il Museo Boncompagni Ludovisi per le Arti Decorative (2021), Musée National du Bardo de Tunis, interrotta per la pandemia covid-19, (2021), il Pantheon (2021), la Basilica di San Lorenzo in Lucina (2021), il CRC di São Paulo (2020), la Câmara Municipal de Itapevi (2020). 

Studi letterari, giuridici, sociali e psicoanalitici all’Università Sorbona di Parigi e nelle Università Sapienza, UniRomaTre e IRPs di Roma, Joseph Pace (1959, Morbegno, Sondrio) si forma in Congo-Kinshasa. E’ stato Cultore di Sociologia dell’arte, di Sociologia della conoscenza e di Storia del pensiero sociologico alla Sapienza di Roma e all’USP di São Paulo. Del suo lavoro si sono occupati la Galleria Nazionale d’Arte Moderna di Roma, la Direzione dei Musei Statali di Roma, il Vaticano, il Polo Museale del Lazio, il Polo Museale della Puglia, l’Ambasciata d’Italia a Brasilia, l’Ambasciata d’Italia a Tunisi, la Soprintendenza ai Beni Culturali dello Stato di São Paulo, l’IIC Istituto Italiano di Cultura di São Paulo, l’Université de la Loraine, l’IIC Istituto Italiano di Cultura di Tunisi, l’Università Cà Foscari di Venezia.

JOSEPH PACE, AVE CRUX SPES UNA, PANTHEON 2021 EXHIBITION

Forewords by Emanuel von Lauenstein Massarani

Rome-based sculptor, painter, performances and installations Joseph Pace is among the most significant artist working today. From his Central African centered paintings of the early 1980s to his works reconstructed from memorie (IDM and ATONS series) to his assemblage sculptures using thousand of pieces of rare fashion jewelry, Pace seamlessly combine the aesthetics of decorative arts with the modern sculpture, painting and engraving. Often fashion, history and decorative arts are referenced, with all their ambiguity, experimentation and humor associated with those philosophy and psychoanalysis. Pace’s works has been internationally recognized for its ability to reinterprets many of our psychic realities. His work has been shown in institutions and museums in throughout the world. 

Pace’s work was the subject of a major exhibition organized at the Museum of Art of the  Parliament of São Paulo, Boncompagni Ludovisi Decorative Arts Museum of the National Gallery of Modern Art of Rome, Museu Afro Brasil di São Paulo, Museo Crocetti, Teatro di Jaguariuna, Forte Sangallo a Nettuno, Ambasciata d’Italia a Brasilia. 

Recent exhibitions include, Libri d’Artista. L’Arte da Leggere, Castello di Bari, Castello di Copertino, Museo Boncompagni Ludovisi of decorative arts. Joseph Pace, la Révélation de la Forme, Musée National du Bardo de Tunis. A expressividade de Joseph Pace na criação de suas joias esculturais, CRC di São Paulo. Joseph Pace, Sacra Sacrorum Pantheon in Roma, and Biblioteca Storica Nazionale dell’Agricoltura. His work was also on view at the International Film Festival of Ostia, Florence Biennale, Universal Exposition of Sevilla.

JOSEPH PACE

University of Lorraine, France, Documentary Resources on Central Africa, September 2021

Born in 1959 in Morbegno (Italy), to parents of Anglo-Italian origin, Joseph Pace is a painter and sculptor. He spent his youth between Rwanda, Burundi and Zaire where he trained at the “Cours Descartes” in Kinshasa. Then he studied at the Sorbonne University in Paris (Bachelor of Arts and Arts), and in Rome at the universities of Sapienza (doctorate in sociology) and at Uni-Roma-Tre (second level master’s degree in neurosociology).

Pace is considered to be the leader of filtranism, the neo-existentialist artistic and philosophical current that he founded in Paris with the Congolese doctor Jean-Marc Mayenga in 1987. Pace uses different techniques such as assemblage, sculpture, painting, electronic prints and photography; he is influenced by contemporary African art and Central African animism, the iconography of mass society, philosophy and psychoanalysis. Her work is an artistic and intellectual journey that has allowed the artist to reinterpret our deepest psychic realities. Also recycling materials already in use such as jewelry, wood, iron or refrigerator windows, Pace uses assembly as the primary medium.

His work has been exhibited at the National Bardo Museum in Tunis, Afro-Brasil Museum in São Paulo, Boncompagni Museum for Decorative Arts at the National Gallery of Modern Art in Rome, Pantheon in Rome, Italian Embassy in Brasilia, Câmara Municipal de Itapevi, National Library of Agriculture of Rome, Diocesan Museum of Amalfi, Castle of Bari, Castle of Copertino, Museum of Art of the Parliament of São Paulo, CRC of São Paulo, Municipal Theater of Jaguariúna, Fort Sangallo de Nettuno.

During his career, Pace was also Assistant Professor of History of Sociology and Sociology of Knowledge and Art at the Faculty of Sociology of La Sapienza University in Rome (1996-2008).

JOSEPH PACE, HIS LIFE, HIS WORK, HIS ART

Book by Albert Russo, ed. Amazon, July 2021/.

Joseph Pace and I met in Rome through a mutual friend, the extraordinary Laura Maggi.  This was a most serendipitous encounter, since we both grew up in Congo and would share many memories.  Then too, we discovered that we had much more in common, our art, our writings and our Weltanschauung. A true Renaissance man, Joseph Pace is a painter, a sculptor, a philosopher, a peace activist, through his art, mainly. –Albert Russo, Tel Aviv.

This fascinating new Russo’s book looks in detail at Pace’s influences, life and works. The first part begins examines his style; it covers Pace’s techniques and training; his time spent at the Sorbonne University founding the Filtranisme Movement. The volume then investigates Pace’s move away from Figurative, the changes to his personal life and the way in which these informed his work. It also documents his eventual success in the art world. The second part of the book is a gallery of Pace’s work in 120 pictures of the artist and his work.

JOSEPH PACE, GOLD, LA REVELATION DE LA MATIERE
GOLD, THE REVELATION OF MATTER

Essay by Maria Vittoria Longhi, IIC Istituto Italiano di Cultura di Tunisi; Musée National du BARDO/Tunisie; Ambasciata d’Italia in Tunisia / Ambassade d’Italie en Tunisie; Il Corriere di Tunisi./ Decembre, 2020/.

Today we present a somewhat special exhibition that we should have held at the Bardo Museum, our prestigious partner, last June and then to October, postponed several times due to the pandemic. Hoping to see it physically set up as soon as possible in the magnificent rooms of the Bardo Museum, we have prepared a presentation video, a small gift for the friends of the Institute, to accompany our end-of-year wishes. Gold, by the artist Joseph Pace, is the title of this exhibition. Gold, light, beauty. May they therefore be the best wishes for a 2021 full of health and serenity.

نقدم اليوم معرضًا خاصًا إلى حد ما كان يجب أن نقيمه في متحف باردو ، شريكنا المرموق ، في يونيو الماضي ثم حتى أكتوبر ، تم تأجيله عدة مرات بسبب الوباء. على أمل رؤيته تم إنشاؤه فعليًا في أقرب وقت ممكن في الغرف الرائعة لمتحف باردو ، قمنا بإعداد فيديو عرض تقديمي ، هدية صغيرة لأصدقاء المعهد ، لمرافقة رغباتنا في نهاية العام. الذهب هو عنوان هذا المعرض للفنان جوزيف بيس. الذهب والنور والجمال. لذا نرجو أن يكونوا أطيب التمنيات لعام 2021 المليء بالصحة والصفاء.

JOSEPH PACE’S EXPRESSIVITY IN CREATING HIS SCULPTURAL JEWELRY
A JOSEPH PACE VIRTUAL ONLINE EXHIBITION IN COVID-19 TIME

By Emanuel von Lauenstein Massarani, com a parecia do IPH – Instituto de Recuperação do Patrimônio Histórico, Conselho de Contabilitade do Estado de São Paulo, SP, Brazil, October-December, 2020/.

Passionate about creativity as well as originality, Joseph Pace’s sculptural jewels lead us to an important reflection on adornment and its relationship with humans, animals and the world in general. From the simplest creations to the most technological, from the most poetic to the most conceptual, from the most voluminous to the most refined, all are related to illustrate the beauty and variety of our world. Considered one of the greatest exponents of the philosophical movement launched in Paris in the 1980s and called “Filtraniste”, the Italian artist who has participated in numerous cultural events in Brazil, and especially in São Paulo, creates the most varied forms with stones and jewels sculptures that enchant by beauty and brilliance.

Each of his works has its origin in something real and results in unique and singular pieces that enchant. Through each touch and each shine, the sculptures convey a story to us, as well as an account of the hands that created it, as the artist approaches in different ways his relationship with the work that most often honors the female figure. Joseph Pace renews himself and proposes himself coherently and continuously researches his artistic creation, with a state of the soul that animated a lot of poetry in shapes and colors, as in the words of poets or in the musical notes of the composers of the romantic era today.

Painter, sculptor, philosopher and playwright, Joseph Pace was born in Morbegno, Italy, in 1959. He lives and works in Rome where he did his artistic training. He started in the figurative arts, driven by his mother painter and by his uncle Antônio Cardile, a well-known artist from the Roman School. He graduated from the La Sapienza University in Rome and the Sorbonne in Paris.

His rise is closely linked to his encounter with Mariastella Margozzi, a well-known contemporary art historian who defined him as an “informal and filtranist” artist. Intimately connected to the informal, but also to action painting and pop art, the artist is known both for his painting and for his engravings and sculptural jewels.

Since 1986 he has participated in numerous group exhibitions and individual shows in Paris and Marseille (France), Barcelona and Seville (Spain), Rome, Alessandria and Alba (Italy) and Munich (Germany). He held individual exhibitions at Espaço Cultural CRCSP and at Galeria Spazio Surreale, as well as at the Art Museum of the Parliament of São Paulo.

JOSEPH PACE – BETWEEN INFORMAL AND ‘POP ART’

By Emanuel von Lauenstein Massarani for ‘Jornal Da Zona Leste’, São Paulo, JOSEPH PACE – ENTRE O INFORMAL E A ‘POP ARTCAMARA MUNICIPAL DE ITAPEVI (JOSEPH PACE – BETWEEN INFORMAL ART AND ‘POP ART’ | MUNICIPAL CHAMBER OF ITAPEVI), Itapevì Municipal Chamber, IPH – Instituto de Recuperação do Patrimônio Histórico, Prefeitura de Itapevì, Estado de São Paulo, SP, Brazil, March, 2020

For the second time the Municipal Chamber of Itapevi receives the exhibition by artist Joseph Pace […]. The need to use material in the work of art occurs at the decisive moment in the process of Joseph Pace’s contemporary art. It is the subject that interpreted the terms of our existential condition. Matter as a medium represents the artist’s spirit in the unity between sign and matter, gesture and action, but it also becomes the philosophy of his research. Retrieve material to bring it to a creative level. Pace has operated on the same basis for many years. The process of his research allows him to transform the material from its natural state into a surface that sometimes reaches the appearance of an arabesque. The use of the materials used leads to an explosion of light that completely invades the field, enriches the work with shiny facets and signals presence in all parts of the field

ARTIST’S BOOK – ART TO READ

by Mariastella Margozzi, from the book LIBRO D’ARTISTA – L’ARTE DA LEGGERE (ARTIST’S BOOK – ART TO READ), Bari Castle and Copertino Castle of the Polo Museale della Puglia, Ministry of Cultural Heritage, Bari, Italy, 2019/

[…] After a period dedicated to painting, today Joseph Pace’s works are created with a refined and aestheticizing language, made with thousands of pieces of mostly vintage costume jewelery, which he recovers from the residues of industrial production in every part of the world, thus also creating a sort of research in industrial archeology applied to the decoration of the bodies of our times. “[…] Influenced by the iconography of the mass society of our times, my work is placed in an artistic and intellectual path through which I reinterpret our deepest psychic realities. Inspired by different sources such as fashion, history, philosophy and the decorative arts, I use different techniques, thus bringing together generations of different creatives and audiences […]

JOSEPH PACE, SACRA SACRORUM AT THE NATIONAL HISTORICAL LIBRARY OF AGRICULTURE

by Mario Pullimanti, from the catalogue JOSEPH PACE, SACRA SACRORUM AT THE NATIONAL HISTORICAL LIBRARY OF AGRICULTURE, National Historical Library of Agriculture, Ministry of Agricultural Policies, Rome, Italy, 2019/

Between 1 and 29 March, the National Historical Library of Agriculture of the Ministry of Agricultural Policies, will receive Sacra sacrorum, the exhibition of jewelry sculptures by the artist Joseph Pace which was presented at the Pantheon in Rome from November 2018 to January 2919. The exhibition marks the opening of the National Historical Library as an exhibition space for sculpture. These are seven sculptures entirely made with jewels that illustrate “The Sacred of Sacred Things” through sacred and profane themes. Chose with the mission of inaugurating the National Historical Library of Agriculture for sculpture, the artist had to adapt his works to the format defined by the Italian historical heritage department. Acclaimed artist since the mid-1980s, Pace (1959), is one of the leading exponents of Filtranisme, the neo-existentialist artistic and philosophical current that he founded in Paris in the mid-1980s. Among the sculptures in review there are four new works made specifically for this exhibition in three months of work. The event was organized in cooperation between the artist and the IPH of São Paulo who has already curated his monographs in Brazil at the Museo de Arte del Parlamento and at the CRC of São Paulo (2010), at the Teatro de Januariuna (2011), at the Camara Municipal de Itapevi (2018), at the Pantheon in Rome (2018-2019). The Italian artist’s exhibition opens a new period for the National Historical Library of Agriculture, which has more than one million books of European and national historical importance to its credit. Unique in its kind, the Pace exhibition marks the new artistic vocation of space. An interactive application by the artist completes the exhibition. Joseph Pace’s works were also the theme of exhibitions at the Italian Embassy in Brasilia (2013) and at the Italian Circle of San Paolo (2015). His line of work brings him closer to other artists, from the modernist Gustave Klimt, to the neo-dada Jasper Johns and Robert Rauschenberg, to the kitsch of Damien Hirts and Jeff Joons, to the culture of waste by Alejandro Marmo/

PANTHEON IN ROME – SACRA SACRORUM – JOSEPH PACE

from the catalogue PANTHEON IN ROME – SACRA SACRORUM JOSEPH PACE, Basilica di Santa Maria ad Martyres, Polo Museale del Lazio, Ministry of Cultural Heritage, Pantheon, Rome, Italy, 2018/

“Sacra sacrorum” is a complex and ambitious project, the realization of which lasted several years. It is the first major solo exhibition dedicated to Joseph Pace in Italy since the 2014 exhibition at the Boncompagni Decorative Arts Museum of the National Gallery of Modern Art of Rome (“L’Eva Futura”). Joseph Pace’s most ambitious and complex project to date, ‘Sacra Sacrorum’ has been almost ten years in the making of research and work. Exceptional for the place and in the contents, the exhibition deals with some passages from Genesis and exposes the precious content also through the jewels. […] The Pantheon in Rome, intend to resume the dialogue between art and faith that brought the Basilica of the Pantheon to host the most famous artists of the age, among them Raphael, becoming the center of the Roman artistic life, culminating in the periodic exhibition of the most prestigious works of famous painters. […] In this context it has been thought to continue the initiatives already taken in the past few years for this International Art Exhibition, dedicating it for 2018 to dr. Joseph Pace, eminent and well known Italian artist […]. The coherence and the originality of Joseph Pace artistic journey has been well described in 2014 by Mariastella Margozzi of the National Gallery of Modern Art of Rome, for the “L’Eva Futura” artist’s solo exhibition: […] Joseph Pace’s work gives an artistic and intellectual pathway with which the artist reinterprets many of our psychic realities. […]. From various points of view, his line of work brings him closer to other artists such as Gustave Klimt, Marcel Duchamp, Robert Rauschenberg, Damien Hirts. Jeff Koons, Zaha Hadid […]/

MUNICIPAL CHAMBER OF ITAPEVI – JOSEPH PACE COSMIC EMOTIONS

by Emanuel von Lauenstein Massarani, form the catalogue JOSEPH PACE – EMOÇÕES COSMICAS (JOSEPH PACE – COSMIC EMOTIONS), Câmara Municipal de Itapevi, IPH – Instituto de Recuperação do Patrimônio Histórico, São Paulo SP, Brazil, 2018/

For the first time, Itapevi receives the exhibition by artist Joseph Pace […] The artist presents 14 canvases that change with each work as the mutation of emotions everyday […] Considered one of the exponents of the philosophical movement launched in Paris in the 1980s, called “Filtraniste”, Joseph Pace brings to the City Hall of Itapevi the exhibition “Cosmic Emotions”. The screens combine colors and emotions to represent the dynamism of the almost atomic cosmic force in the existence of being […]/.

ART COLLECTION OF THE CIRCOLO ITALIANO OF SÃO PAULO

by Emanuel von Lauenstein Massarani, from the catalogue COLEÇÃO DE ARTE DO CIRCOLO ITALIANO DE SÃO PAULO(ART COLLECTION OF THE CIRCOLO ITALIANO OF SÃO PAULO), Instituto de Recuperação do Patrimônio Histórico, Italian Cultural Institute in São Paulo, Circolo Italiano di São Paulo, Brazil, 2016/

Observing the works of Joseph Pace, we easily comes to the conclusion that Pace is an artist who creates new forms, like the mutation of our emotions […]. The Italian artist is considered one of the greatest exponents of the philosophical movement launched in Paris in the 1980s and called “Filtraniste” […]. Renewing himself at all times, unpredictable in both style and technique, the artist knows how to approach the most absurd colors with sensitivity and good taste, creating refined arabesques […]. Chromatism has a function of reaching vital dynamism and of almost atomic cosmic force in existence […]

FILTRANISME – JOSEPH PACE – FONDAZIONE MUSEO VENANZO CROCETTI

edited by JOSEPH PACE – FILTRANISME – CROCETTI MUSEUM, Rome, Italy, 2015/

The eternal city is as usual filled with events, among which we highlight Joseph Pace solo exhibition at the Museo Venanzo Crocetti from January 12 to January 28 (2015). The largest exhibition dedicated to the artist Joseph Pace. Experimental works of art are presented in which engravings are combined with jewelry sculptures. More than forty paintings, prints, sculptures from museums and private collections around the world are presented./

DUBAI UNITED ARAB EMIRATES – UAE | ARTISTIC MOMENTS AT THE VENANZO CROCETTI MUSEUM IN ROME

edited by Jumeirah Magazine, Dubai UAE, JOSEPH PACE ARTISTIC MOMENTS AT THE VENANZO CROCETTI MUSEUM IN ROME, Dubai, 2015

Hailed as one of the most important artists of the moment, painter, sculptor and printmaker, Joseph Pace is celebrated in this compelling solo show. With more than forty sculptures, paintings, assemblages, and large prints processed with a computer, drawn from private collections and museums around the world, you can expect to see artistic contents with philosophical undertones. Jewels also play a part./

FONDAZIONE MUSEO VENANZO CROCETTI – JOSEPH PACE

by 酒井 香織 – Kaori Sakai – for VENANZO CROCETTI MUSEUM – JOSEPH PACE, Rome, Italy, 2015/

Poster for the solo exhibition of Joseph Pace. Crocetti Museum hosts a special exhibition. Relaxing on the outskirts of Rome at the Venanzo Crocetti Museum, the Janpaese journalist Kaori Sakai presents Joseph Pace’s artworks. From January 12 to January 28, 2015, a solo exhibition by internationally active Italian sculptor Joseph Pace is held at the Venanzo Crocetti Museum in Rome. The artist features a unique gem-studded style, and has recently been a topic of interest at the Boncompagni Ludovisi Museum.

VENANZO CROCETTI MUSEUM PRESENTS JOSEPH PACE FILTRANISME

by Pascale Brison, from the catalogue MUSEO VENANZO CROCETTI PRESENTA JOSEPH PACE FILTRANISME (VENANZO CROCETTI MUSEUM PRESENTS JOSEPH PACE FILTRANISME), Museum Venanzo Crocetti, Rome, Italy, 2015/

Featuring over forty sculptures, assemblages, paintings and large prints processed with a computer coming from museums and private collections around the world, the “Joseph Pace (Filtranisme)” event aims to “Exploring the new art’s opportunities: from the engravings processed with a computer to the jewels sculptures technique”. Joseph Pace, painter, sculptor, printmaker, is one of the most important and influential artists of the moment. […] With his work, he gives a new content to the meaning that art can take on in a period dominated by the culture of the image. The recent jewelry sculptures of the MIDAS series, paintings such as large computer-generated engravings, with a strong emotional load, deal with topics such as tragic hedonism, precariousness and impermanence of life, things and phenomena.This great exhibition is just another of the multiples homages dedicated to the artist. In recent years tributes to his work have been set up at the Museo Boncompagni of the National Gallery of Modern Art of Rome (Italy, Dec.2014/Jan.2015), at the Museu Afro Brazil in Sao Paulo (Brazil, June/Nov. 2014), at the Italian Embassy in Brasilia (Brazil, June/Oct.2013); at the Museo Diocesano of Amalfi (Italy, 2012), CRC in Sao Paulo (Brazil, Mar.2012); at the Forte Sangallo of Nettuno (Italy, July 2011) and Teatro Municipal de Jaguariuna (Brazil, Apr/May 2011); at the CRC of Sao Paulo (Brazil, May 2010) and at the Museu de Arte of the Parliament of Sao Paulo (Brazil, July 2010) […] Through different techniques, Pace put together different creatives and users generations. This also is, according to the artist, the aim of the filtranisme. In Europe and mainly in South America, his works have taken part in several exhibitions in museums and other exhibition centers […]/.

FLORENCE BIENNALE

by Domenico Bachlet, from the catalogue FLORENCE BIENNALE, International contemporary art exhibition of Florence, Florence, Italy, 2015/

[…] Painter, sculptor, philosopher and playwright, Joseph Pace is a central figure of Filtranisme […]. Born in 1959 he grew up in Africa in Zaire. […] Pace lives and works in Rome […].

JOSEPH PACE, FUTURE EVE AT THE BONCOMPAGNI MUSEUM OF THE NATIONAL GALLERY OF MODERN ART OF ROME

by Mariastella Margozzi, form the catalogue JOSEPH PACE, L’EVA FUTURA MUSEO BONCOMPAGNI DELLA GALLERIA NAZIONALE D’ARTE MODRENA DI ROMA (JOSEPH PACE, FUTURE EVE BONCOMPAGNI MUSEUM OF THE NATIONAL GALLERY OF MODERN ART OF ROME), Boncompagni Decorative Arts Museum of the National Gallery of Modern Art of Rome, Rome, Italy, 2014/

Joseph Pace, is one of the the greatest exponents of “le filtranisme”, the philosophical and artistic neo-existentialist current that he founded in Paris in the mid 80s. As was for the existentialism of Jean-Paul Sartre and Albert Camus, the filtranisme also is artistically expressed through the work by Joseph Pace. Inspired by sources as diverse as fashion, sport, history, electronic music and decorative arts, the Italian artist Joseph Pace uses techniques different (such as painting, assemblage, sculpture, electronic engravings, photography) influenced by the iconongraphy of mass society, philosophy and psychoanalysis. His work gives an artistic and intellectual pathway with which the artist reinterprets many of our psychic realities. L’Eva Futura (Future EVE) is a 2014 artwork made out of synthetic resin, polypropylene, jewels with an elegant and aesthetic language, which takes up some issues dear to the twentieth-century literature that have popularized the term “android”. The work prefigures the possibility of life of artificial human beings, discusses the ethical question of the border between “human” and “non-human” and the limitations of the machines and also the man, but mainly promotes the idea of a reality essentially illusory. The Future Eve, like all works belonging to the series MIDAS, was created with thousands of pieces of jewelery, mostly vintage, which Pace search all over the world, thus creating a sort of “industrial archeology” research applied to the decoration of the body of our times. Through different techniques, Pace put together different creatives and users generations. This also is, according to the artist, the aim of the filtranisme. In Europe and in South America, his works have taken part in several exhibitions in museums and other exhibition centers/.

MIDAS BY JOSEPH PACE FILTRANISME

Edited by Alessandro Alessandroni for MIDAS BY JOSEPH PACE FILTRANISME Solo Exhibition, Alson Gallery, Milan, Italy, 2015

With his works that scrutinize the visitor as if they were talking to each other in a low voice, they transport us to an illusory world, made of paintings, sculptures, assemblages and large computer-generated engravings. Inspired by what surrounds him such as fashion, history, music, electronics and decorative arts Joseph Pace uses different techniques to complete his works, a research that takes him around the world, always dedicated to experimentation on the new communication possibilities of art. One of the greatest exponents of filtranism, the neo-existentialist philosophical and artistic current that he founded in Paris in the mid-1980s. As was the case with the existentialism of Sartre and Camus, filtering is also expressed artistically through the work of Joseph Pace. The Eva Futura, like all the works of the MIDAS series, was created by the artist with thousands of pieces of costume jewelery, mostly vintage, which he searches all over the world, carrying out in parallel a search within the ” industrial archeology “applied to the body decoration of our times. Through different techniques, Pace brings together different generations of creatives and users. This, according to the artist, is also the task of filtering. Art and experimentation and as such has no limit, as Fontana and other great masters Joseph Pace does not limit himself to talking to us with a single matter but leads us to reflect on whether it is possible to experiment with new visual forms on the border between human and non-human, i limits of machines and also of man, but above all it promotes the idea of ​​an essentially illusory reality by creating with his works an artistic and intellectual path through which the artist reinterprets our deepest psychic realities. Painter, sculptor, engraver, he is one of the most important, influential and erudite artists of the moment. The recent jewelry sculptures of the MIDAS series, paintings such as large computer-generated engravings, with a strong emotional load, deal with topics such as tragic hedonism, precariousness and impermanence of life, things and phenomena […]. After the exhibition at the Alson Gallery his works will be exhibited for a solo exhibition of the artist at the Afro Brasil Museum in São Paulo, the exhibition will be held in March, April and May to coincide with the São Paulo contemporary art fair Paulo. Joseph Pace Lombard artist was born in 1959 in Morbegno in the province of Sondrio, he exhibits only for cultural purposes. He trained in Africa in Zaire, graduated in sociology at Sapienza, perfected himself in languages ​​and literature at Sorbonne, had a master’s degree and a specialization in psychotherapy. Self-taught, he has exhibited since 1980 for cultural purposes. His works are part of important public collections worldwide

AFRO-BRASIL MUSEUM – BLACK PEOPLE IN BRAZILIAN FOOTBALL – THE ART AND THE ARTISTS

by Emanoel Araujo, O NEGRO NO FUTEBOL BRASILEIRO – A ARTE, OS ARTISTAS (BLACK PEOPLE IN BRAZILIAN FOOTBALL – THE ART AND THE ARTISTS), Afro-Brasil Museum, São Paulo State Secretariat for Culture, São Paulo, Brazil, 2014

In the year that celebrates its ten years, the Afro Brasil Museum, an institution of the State Culture Secretariat, presents the exhibition “O Negro no Futebol Brasileiro – Art and artists (Homenagem a Mário Filho)”. The show highlights the presence of black players in the history of football in Brazil, the host country of the World Cup, and its importance in the construction of national identity. The importance and strength of this social phenomenon, widely documented by the press, is recognized […]. Photos and caricatures of players and thematic installations such as the Stadium, by the artist Aston, born in Benin, and the jewelery artwork “Mundial Brasileiro” by the Italian artist Joseph Pace, which will be part of the museum’s permanent collection. Another highlight of the show is due to the votive masks, with football themes, based on the geledés rituals, carried out by the Beninese artist Kifouli

ITALIAN EMBASSY IN BRASILIA – ITALIAN-BRAZILIAN ART – CONTEMPORARY ART EXHIBITION

by Raffaele Trombetta and Attilio de Gasperis, Italian Embassy in Brasilia and Italian Istitute of Culture of São Paulo, from the catalogue ARTE ITALO-BRASILEIRA – MOSTRA DI ARTE CONTEMPORANEA (Italian-Brazilian Art – Contemporary Art Exhibition), Italian Embassy in Brasilia, General Italian Consulate, IIC Italian Institute of Culture, Brasilia, Brazil, 2013

Painter, sculptor, philosopher and playwright, Joseph Pace lives and works in Rome where he is artistically trained. Initiated to painting and figurative arts by his mother painter and his uncle Antonio Cardile, an artist of the Roman School, he studied at the Sapienza University of Rome and at the Sorbonne in Paris. His ascent is linked to the meeting with Mariastella Margozzi of the National Gallery of Modern Art in Rome, who was able to define him as an artist “informal and filtering”. Considered as one of the leading exponents of “Filtranisme”, the neo-existentialist philosophical movement born in Paris in the 1980s, since 1986 has participated in numerous individual and collective exhibitions in Paris, Barcelona, Seville, Rome, Florence, Alessandria, Alba, Padua, Neptune, Munich and San Paolo. With his works it is present in many private and public collections

INTERVIEW | A STORI TO TELL – JOSEPH PACE

by Rogerio Bucci, from Quattrocchi Magazine, Rome, 2012 JOSEPH PACE, UNA VITA RACCONTATA –

It is the fascinating story of Joseph Pace dictated in simple words to the recorder of Rogerio Bucci, Brazilian publisher and member of the Commission of the International Art Biennale of Florence.

Provocative, irreverent, transgressive, always profound, Pace retraces his long road, from his childhood spent in Africa in Binza district, Kinshasa, Congo, to the first significant encounters in Paris with intellectuals and artists and to the legendary Ileana Sonnabend, the meetings with Andy Warhol and Bob Rauschenberg, the French poet Jacques Garelli, going through the significant friendships of a life like that with sociologist of knowledge Kurt Heinrich Wolff. In this interview Joseph Pace (Born 1959, Morbegno, Italy) reveals some moments of his long experience as a philosopher and artist.

Rogerio Bucci: Joseph, do I know you lived in Africa?
Joseph Pace: I owe a lot to Africa, Rwanda, Tanzania and Congo-Kinshasa in particular which is now called the Democratic Republic of the Congo. Africa has marked me. I spent my childhood there. I feel African. I am African. Inside. I still speak the language of Kinshasa in English, which I was familiar with French and English.
RB: I didn’t know you knew the ingala too. Your Portuguese is also impeccable. Your story reminds me of the novel The Saved Language by Elias Canetti.
JP: Yes. I recognize myself in that story. In my family being polyglot was a natural thing. My mother spoke German, Polish, French, English and Arabic. My father, who was also multilingual, he was half English. He was an liaison officer during the Wolrd Word II with the 8th English Army from Montecassino to Venice during the war of liberation. He has never fenced it or asked for benefits.
RB: And what memories do you have of Africa? …Those of Africa in the 1960s.
JP: I especially remember Kinshasa, a wonderful city. Imagine: A city built in the equatorial forest; then the Congo River, the largest river in the world by water flow. How wonderful with its water lilies. Then the civil war, the Leopards, the mercenaries who passed in front of our villa in Binza, Kinshasa. The stories of the massacre of the thirteen Italian aviators killed at Kindu airport in 1961. The murder of Lumumba. And the diurnal labors of my father, then director with UNESCO of the IPN, the Institut Pédagogique Nationale, which prevented the political exploitation of his students. It saved many lives. I still remember the first lynching I witnessed: I was five, I was in the car with my mother when it happened that a man was chased, taken and lynched by the crowd in a market. He had stolen a bread. I am moved when I think of the sweet eyes of the vendors with their bowls full of things to sell, who smiled and generously always offered me something.
RB: Your father worked for UNESCO.
Yes. Aurelio Pace was an African history specialist. The intellectual climate of those years was incandescent. Our house was frequented by intellectuals, artists, musicians, magistrates. He worked with the Corsican poet Jacques Garelli, author of Brèches and Lieux Précaires, extraordinary collections of poems as I keep in my home library. Garelli then left us and went to teach at the University of New York. A true genius.
RB: Other important meetings?
JP: Of course the one with my friend Kurt Wolff, Kurt Heinrich Wolff, to whom I owe, moreover, my transition to informal. Kurt was a renowned knowledge sociologist. He died recently. Great family friend. He had known mine since 1933, from the time of the University in Florence. Jew, he had fled Germany: his entire family was exterminated in the Nazi death camps. Carla, his wife, a very intelligent woman, told me about when she forced Kurt to leave Germany before the Nazi racial laws. Kurt was very much in love with her. Life also owed her. In Florence they became friends of my father who, like Kurt, was a philosophy student with the philosopher Ludovico Limentani who will later be the supervisor of Wolff’s thesis on the philosophy of knowledge. My father helped Wolff translate his thesis from German. Just the wiessensoziologie, the sociology of knowledge, will later make Wolff known in the United States. When my father died, I was just sixteen, Kurt supported me like a son. It was a wonderful talent. An enthusiast of life. His colleagues affectionately called him “the poet”: he introduced the work of George Zimmel and Karl Mannheim to the world by translating them into English. Wolff’s pupil in Italy was Alberto Izzo with whom I collaborated for more than a decade at the University of Rome. Memory, as you can see, is an integral part of my life.
RB: And then ?
JP: Poets like Jacques Garelli, Pablo Maria Landi with whom I founded Filtanisme in Paris, my friend Marcia Theophilo, candidate for the Nobel Prize. Then there is Antonio Cardile, brother of my mother, an artist of the Roman School. Cardile introduced me in visual arts. And then Kurt Wolff, this time as a painter, who stimulated me to leave the figurative.
RB: I know you met Robert Rauscemberg, Andy Warhol and other American artists.
JP: I meet them in Paris in my childhood. The first time I met Warhol I was very impressed with his cowboy boots: like the ones he wore at the inauguration of his famous Flowers set up by the gallery of Ileana Sonnabend at the Quai des Grands Augustin. As I remember the smile of Bob Rauschemberg sitting in the large windows of the Ileana’s gallery overlooking sur l’Ile de la Cité.
RB: What space does memory, memory occupy in your artistic experience?
JP: Historical and social formation processes of each of us represent a sort of involuntary inheritance which occupies an often considerable space in us. Mariastella Margozzi, of the National Gallery of Modern Art of Rome. well describes my series of works entitled IDM, or of the Irremovability of Memory, where in works such as the Black Boards, or Tableaux de la Mémoire (the blackboard of memory), I express the collective unconscious and the long journey of the man.
RB: Do you always exhibit for cultural purposes?
JP: Art is spirituality, it enters the soul of those who grasp it. Catch and Surrender, surrender and capture, says Kurt Wolff. Everything around us is spirituality, we are surrounded by it, but we don’t see it. Somehow quantum physics is helping us to unmask the real. Courage is needed. Freud also suffered from depression. Le Filtranisme, the neo-existentialist philosophical current that I founded in Paris, reaffirms the centrality of human life. It is a commitment for all of us we must if we really want to change things. We can do it. We have to do it. We have little time yet. Life is the cornerstone. We should learn to rethink it through happiness lessons. Life is now. And we can always do something, but for others. This is true happiness./

JOSEPH PACE – FILTRANISME

by Giampiero Pedace, from the catalogue JOSEPH PACE – FILTRANISME, Forte Sangallo, Città di Nettuno, Nettuno, Italy, 2011

It is with particular pleasure that, as County Alderman of the Department of Tourism and Culture of the City of Nettuno, I welcome the invitation to introduce the solo exhibition Filtranisme, by Joseph Pace, an innovative and committed Italian artist of the international artistic panorama. Pace’s artistic contribution is twofold and is expressed on the one hand through cultural commitment, which is often taken up and underlined by the title of the exhibition itself, Filtranisme, by the name of the philosophical and artistic current that he founded in Paris in the late 1980s; on the other hand, through the expression of the intimate sensitivity of his nature as an artist, intimately linked to significant artistic currents. A commitment and sensitivity that are also expressed in other cultural fields, such as poetry and drammaturgy. Joseph Pace’s canvases are not those who want to explain once and for all the world to the beholder, but, thanks to a continuous renewal both in style and technique, an invitation to look at existence in its multiple and changing manifestations. I believe that Forte Sangallo is a worthy setting to host the Filtranisme exhibition in Nettuno and that for the city it is a very important cultural moment to welcome and make known an eclectic and international artist who has already exhibited in various European countries and South America, like Joseph Pace. […] The exhibition “Joseph Pace Filtranisme” opens with an overview of the production of this international artist with large engravings (figurative) on linoleum, later elaborated on canvas to the computer, and a selection of “informal” oils of the teacher since 1986 exhibits in Europe and South America.

JOSEPH PACE – MUNICIPAL TEATER OF JAGUARIUNA

by Maria Das Graças Hansen Albaran, from the catalogue JOSEPH PACE – TEATRO MUNICIPAL DE JAGUARIUNA (JOSEPH PACE – MUNICIPAL TEATER OF JAGUARIUNA), Teatro Municipal de Jaguariuna, Instituto de Recuperaçao do Patrimonio Historico de São Paulo, Prefeitura de Jaguariuna, Estado de São Paulo, Brazil, 2011

The Department of Tourism and Culture of Jaguariúna presents, 18 oils and 7 engravings by the Italian painter Joseph Pace, in the halls of the Municipal Theater of Jaguariúna. The exhibition entitled The exhibition “Dynamism” of Artist Joseph Pace is the result of a synergistic collaboration of the Prefecture of Jaguariúna with the Institute of Historical Heritage of the State of Sao Paulo (IPH). Joseph Pace, the greatest exponent of Filtranismo, was born in 1959 in the city of Morbegno in Italy and studied all the university of Rome La Sapienza and all the university of the Sorbonne in Paris. The work of the Italian artist Joseph Pace is permeated by the emotions of life, portraying in his strokes strong nuances of his drama, a frantic relitance, in the rhythm of the contemporary man who makes everything around him an essential fact, in his works the colors contrasting, the impulsiveness of the strokes, are grouped with sensibility and good taste in refined arabesques. His works, since 1986, are exhibited in collective and personal in Paris, Marseille, Barcelona, ​​Seville, Alexandria, Alba, Monaco and Sao Paulo. In Brazil his works are present in São Paulo at the Museum of Art of the Parliament and in the CRC collection and in the cultural rooms of the Prefecture of Jaguariuna.

MUSEUM OF ART OF THE PARLIAMENT OF SÃO PAULO – JOSEPH PACE – FULL EMOTIONS OF VITAL DYNAMISM AND COSMIC STRENGTH

by Emanuel von Lauenstein Massarani, from the catalogue JOSEPH PACE, EMOÇÕES REPLETAS DO DINAMISMO VITAL E DA FORÇA CÓSMICA (JOSEPH PACE – FULL EMOTIONS OF VITAL DYNAMISM AND COSMIC STRENGTH), Museum of Art of the Parliament of São Paulo, São Paulo, Brazil, 2010

Painter, sculptor, philosopher and playwright, Joseph Pace was born in Morbegno, Italy in 1959. He lives and works in Rome where he did his artistic training. He started in the figurative arts driven by his mother painter and by his uncle Antônio Cardile, well-known artist of the Roman School. He graduated from the La Sapienza University in Rome and the Sorbonne in Paris […]. He has works in several collections in Europe, Africa and Brazil at the CRC and at the Art Museum of the Parliament of São Paulo […]. Renewing himself at all times, unpredictable in both style and technique, the painter Joseph Pace knows how to approach the most absurd colors with sensitivity and good taste, creating refined arabesques. By observing his works, he comes to the conclusion that he is facing an artist who creates new forms that change each work with the mutation of emotions that life, always changing, raises in the spirit of the Italian painter. When we observe his works, we come to the conclusion that we are facing an artist who creates new forms that change at each work like the mutation of emotions in our life, always changing. Considered one of the greatest exponents of the philosophical movement launched in Paris in the 1980s and called “Filtraniste”, its chromatism has a function of reaching vital dynamism and almost atomic cosmic force in existence. The insertion of an eventual figurative element of rupture in the composition is a call to the observer of the dramatic reality that emerges from the artist and that can prevail over aesthetic emotion. The rhythm that the artist inprinted and where everything becomes an essential fact for its realization, her painting is made jet and its color is life […].

JOSEPH PACE FILTRANISME

by Mariastella Margozzi, National Gallery of Modern art of Rome, from the catalogue JOSEPH PACE – FILTRANISME – Works from 2000 to 2010, Rome, Italy, 2010

The evolution of a the painting by Joseph Pace comes to grips with the painter’s impatience, leaving behind him the elementary srtucture of the conposition belonging to the so-called “windows” period and the strong “cross” brushstrokes of previous works. The aromatic textures representing the search for stability where the emotional memory could find, stabilize and recount (the unspeakableness of the memory was precisely the theme of that period). Mainly logical or rational thoughts led along the tortuous path scearching for emotions and existencial dramas of interception, attack and sinking as if a sot of naval battle was fought with the subconscious. And it was this which was used in those textures. The “networks” of signs, to record the memories of inner tensions (force of gravity) or meditations in suspensions (Le fil de la memoir). Now color has taken the upper hand on nay “form”, event most informal. And with color the artist has begun to unravel a more chaotic yet more punctual narration in the sense of ownership of explicating themes such as agaves that arise from the combination of a few spontaneous brushstrokes that at the end sharpen or astound, bringing to mind the flights of birds in haven so dense that rather than admit their flight for freedom, incorporate that flight as in a vortex. This narration the became written thought with musical rhythms winding around a bobbing over the entire surface of the picture, and with the improbable algebraic formulas of the picture that invade the background colors, which are necessarily dark to give the prominence to this “writing”. In this way Joseph Pace has begun to comunicate the “reflection”, or better yet, the complex thought that combines memory and reason to a systematic search that is necessary for consciousness. A more speculative thought has arisen. At the same time, however, Pace has painted pictures where the brushstrokes of color mix and merge to form a dense and confused horizon, a kind of comsciousness that blossoms in disorder. And on this virtual horizon the artist paints with decisive and clear vertical strokes of pure red. There are no longer structuring signs as in the first work, or attempt at erasing the projection pressing on the outskirts of consciousness. These lines are separations between self awareness, and above all, thoughts, feelings, emotions and memories. Caesuras but not bars, at times punctuated the whole surface of the painting with the same rhythm, sometimes using just two or three, or as if to express not so much the need to open or close emotional communication with what’s beyond but how to separate that so that it is enough to be able to watch without feeling threatened. Now colour has taken the upper hand on any “form”, even the most informal and this narration then became written thought with musical rhythms winding around a bobbin over the entire surface of the picture, and with the improbable algebraic formulas […]. At the same time, however, Pace has painted pictures where the brushstrokes of colour mix and merge to form a dense and confused horizon, a kind of consciousness that blossoms in disorder and, on this virtual horizon, the artist paints with decisive and clear vertical strokes of pure color […].

JOSEPH PACE

from the catalogue JOSEPH PACE, CRC – Conselho Regional de Contabilidade do Estado de São Paulo, São Paulo, Brazil, 2010

O CRC de São Paulo inaugura a exposição do pintor italiano Joseph Pace. Nascido em Morbegno, mas formado no Zaire, ele exibiu suas pinturas nas principais galerias do mundo. Joseph Pace é um artista ecletico a trezentos e sessenta graus. Pintor, escultor, poeta e dramaturgo, Joseph Pace nasceu em Morbegno, Italia, em 1959. Formou-se artisticamente entre Roma, São Paulo no Brasil, Paris e Kinshasa na República Democrática do Congo, onde vive cercado por uma família de intelectuais. A mãe, de fato, é pintora, enquanto seu tio, Antonio Cardile, è un pintor, escultor e gravador, da Escola Romana. Joseph Pace concluiu seus estudos jurídicos e sociais em la Universitad Sapienza em Roma, e em la Universitad de la Sorbonne em Paris. Desde 1985, ele expõe seus trabalhos na França, Espanha, Alemanha, Itália e Brasil e é precisamente aqui, na cidade de São Paulo, que encontramos sua última exposição intitulada “Emoçoes”, com curadoria de Emanuel von Lauenstein Massarani. As obras presentadas por o CRC ficam expostas no Espaço Cultural do Conselho Regional de Contabilidade do Estado de São Paulo até o dia 31 de maio. A exposição, composta por 13 obras de pinturas feita a jato e com utilização de cores vivas, foi inaugurada no dia 10, durante evento comemorativo ao Dia do Contabilista, celebrado nacionalmente em 25 de abril. Artista intimamente ligado ao informal, mas também à action painting e à pop art, Joseph Pace e conhecido e reconhecido tanto por suas pinturas quanto pelas gravuras que cria.

JOSEPH PACE – TO THE PREDOMINANCE OF COLOR – WORKS FROM 2000 TO 2008

by Mariastella Margozzi of the National Gallery of Modern Art of Rome, from the catalogue JOSEPH PACE – TO THE PREDOMINANCE OF COLOR – WORKS FROM 2000 TO 2008, Rome, Italy, 2008

The evolution of a the painting by Joseph Pace comes to grips with the painter’s impatience, leaving behind him the elementary srtucture of the conposition belonging to the so-called “windows” period and the strong “cross” brushstrokes of previous works. The aromatic textures representing the search for stability where the emotional memory could find, stabilize and recount (the unspeakableness of the memory was precisely the theme of that period). Mainly logical or rational thoughts led along the tortuous path scearching for emotions and existencial dramas of interception, attack and sinking as if a sot of naval battle was fought with the subconscious. And it was this which was used in those textures. The “networks” of signs, to record the memories of inner tensions (force of gravity) or meditations in suspensions (Le fil de la memoir). Now color has taken the upper hand on nay “form”, event most informal. And with color the artist has begun to unravel a more chaotic yet more punctual narration in the sense of ownership of explicating themes such as agaves that arise from the combination of a few spontaneous brushstrokes that at the end sharpen or astound, bringing to mind the flights of birds in haven so dense that rather than admit their flight for freedom, incorporate that flight as in a vortex. This narration the became written thought with musical rhythms winding around a bobbing over the entire surface of the picture, and with the improbable algebraic formulas of the picture that invade the background colors, which are necessarily dark to give the prominence to this “writing”. In this way Joseph Pace has begun to comunicate the “reflection”, or better yet, the complex thought that combines memory and reason to a systematic search that is necessary for consciousness. A more speculative thought has arisen. At the same time, however, Pace has painted pictures where the brushstrokes of color mix and merge to form a dense and confused horizon, a kind of comsciousness that blossoms in disorder. And on this virtual horizon the artist paints with decisive and clear vertical strokes of pure red. There are no longer structuring signs as in the first work, or attempt at erasing the projection pressing on the outskirts of consciousness. These lines are separations between self awareness, and above all, thoughts, feelings, emotions and memories. Caesuras but not bars, at times punctuated the whole surface of the painting with the same rhythm, sometimes using just two or three, or as if to express not so much the need to open or close emotional communication with what’s beyond but how to separate that so that it is enough to be able to watch without feeling threatened. Now colour has taken the upper hand on any “form”, even the most informal and this narration then became written thought with musical rhythms winding around a bobbin over the entire surface of the picture, and with the improbable algebraic formulas […]. At the same time, however, Pace has painted pictures where the brushstrokes of colour mix and merge to form a dense and confused horizon, a kind of consciousness that blossoms in disorder and, on this virtual horizon, the artist paints with decisive and clear vertical strokes of pure color […].