The succubus and the sadistic, 1995/2010
coated clay ,
80x41x27 cm

Il succube e il sadico, 1995/ 2010

argilla patinata,

80x41x27 cm

 

 

Forti profili

Scava la matita dentro e fuori quel muro di probabilità e varianti che i forti profili a malapena riuscirebbero a contenere: la forza, il potere, il cannibalismo, o ancora, un’intuizione.

Forti profili fusi nei tratti che parlano dell’uomo - niente storia, nessuna anticipazione, per un istante presenti, il tempo di un’azione che si prepara a divenire “altro”, l’attimo vivo che pulsa, l’unica porzione di tempo che ci è data per vivere la bellezza.

Mani e volti contratti alle prese con le  intenzione quotidiane dell’esistere, intrisi di tensione emotiva, avidi di potere, pronti a confrontarsi con il traffico, la tecnica, il ritmo, il suono del  quotidiano.

Scalfisce la pietra lo scalpello, modella l’argilla la stecca ed io sono qui con il mio desiderio fra le mani, vivere creando.

La mia scultura è  l’uomo  a confronto con la propria natura predatoria, come lo è  la vita.

Elena Mutinelli

 

Strong profiles


The pencil  digs in and out of that wall of probability and variations that the strong profiles could barely contain: strength, power, cannibalism, or an intuition ...
Strong profiles cast in their features, that speak of man - no history, no anticipation, there for only one moment, the time of an action as they prepare to become "other", the moment is alive, throbbing,  the only portion of time
 given to us to enjoy beauty.
Contracted hands and faces dealing with everyday existence, imbued with emotional tension, power-hungry, ready to deal with the traffic, the technique, the rhythm, the sound of the ordinary.
The chisel marks the stone, the tool models the clay, and I am here with my desire in my hands, as I live and create.
My sculpture is man faced with his predatory nature, as is all of life.

Elena Mutinelli

©.  STUDIOMARTE

Foto Antonio Piccin

Grafica Stdmarte

Traduzioni Roberta Mazzesi

 

 

LE OPERE SCULTOREE DI ELENA MUTINELLI SONO  ESEGUITE A MANO SENZA MEDIAZIONE ALCUNA DI ARTIGIANI E MACCHINE

The sculptural production of Elena Mutinelli is hand made without any artisan's or machinery's help.

 

Nessuna delle immagini può essere riprodotta o trasmessa in qualsiasi forma o qualsiasi mezzo elettronico, meccanico o altro senza l’autorizzazione scritta di Elena Mutinelli, proprietaria dei diritti dell’immagine.

No image of this book may be reproduced  or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage end retrieval system, without permition in wring from Elena Mutinelli, owner of  the images copyright.

Casella di testo:

       sculptress

  Elena   Mutinelli

       sculptress

HAND SON THE BODY

 

The sculptress Elena Mutinelli has a special, urgent need to rediscover ‘hands’ that are able to feel again and give back the rights of the body, so as to discover the body

as the centre of the existential experience, as a way of knowing and showing the qualities of a person. She goes against the trend or perhaps it is better to say that she anticipates a condition of nostalgia of the body that many young artists begin to claim in paiting and sculpture, reacting against the culture of telematics, against the poor and conceptual art, intellectualism and the virtuality of experiences. The vigorous moulding, substantially expressionist, but with initial inspiration by Rodin and quotations Kollwitz, with special emphasis on hands ad feet as extreme parts of the body and, therefore points of articulated relation, contact and com- munication with other bodies and with material and space, make her handling of sculpture explicity a place for rediscovery and study, echoing and expressing the body. The recent cycle of her works inspired by the figures of the mad people visited in a asylum and observer during their bath, becomes emblematic of a corporality highlighted by the pathology, that often has an extreme effect on the sensations, as the body is felt as sole point of ‘reference’ of pleasure/pain and, in this way, the only means of expression/communication towards the inner part (space of conscience) as well as to the outside world (space of relation).

The hands assume plastic dimensions of notable evidence, not only urning the consolidation of the direct sensation and the contact with the shape, the design, the temperature, the reactivity of the body, but also with the re-emerging of the memory of the sensitive knowledge, going through the body, of relationships, confidence with the structure and the physical and psychical space. In my opinion, Elena Mutinelli is interested in this rediscovery and this affirmation of the central character of the body and sensibility of the existential experience, as well as a necessary return of the esthetical capacity (in the very elementary meaning of sensibiity) of the person , as well as recomposing a reason for the art and the skill of the person, as well as recomposing a reason for the art and the skill of the art that rejects the illusoriness, that is more and more invaded by the virtual imput (images, knowledge, culture, behaviour) and reacts coldly, with povery and conceptually against the impotence of the poetic world.

Elena Mutinelli demands a rekindling of the senses, so that hands rediscovery the ‘lost steps’ (we refer to the sculpture Su i nostri passi), that touch redefines the limits and shapes of the body, thus renewing all possible relationships with other bodies and physical and psychical outer and inner space (Amanti, Pellegrinaggio di una pazza, Mani sul dorso).

A careful research on the body made in moulding, accompanied  ad supported by anintense graphic process achieved by the preparation and special laying out, with lead on paper, allowing the senser to expand on their outline, finding more spacious times and means during the modelling of a drawing as a project. It is through this project that she expresses an intimate resentment and vibration of intangible material, which on a two-dimensional level of the sheet already tends to build up a volume, tendons, and flesh at the same time it gives back memory, evocation of the lost impressions, pressure towards an esthetical -way of sensibility, projecting the image of the proper sensibility- that is already lost or only under aberrant conditions.

With courage the young sculptress goes back to “live inside the body” and she gives it back big hands in order to feel and act, recognise and remodel herself.

 

Giorgio Segato

 

 

I GUERRIERI metropolitani di Elena Mutinelli (Milano 1967) hanno i volti fieri dei ragazzi africani che, con o senza permesso di soggiorno, popolano le nostre strade e lottano quotidianamente per guadagnarsi da vivere. Quelle che si vedono alla Casa degli Umiliati, sede dei Musei Civici di Monza, sono forme potenti, animate da uno spirito contemporaneo ma realizzate con una tecnica antica e impeccabile.

Marmi e terrecotte sono i materiali prediletti dalla Elena Mutinelli, che dà sfoggio di virtuosismo in ogni sua opera e sembra voler sfidare i maestri del Rinascimento. Ma non c’è nostalgia nel passato nei suo lavori che al contrario, cercano di intercettare le ansie e le inquietudini esistenziali dell’oggi. Questa tensione è evidente nella serie di corpi, contratti nervosamente ripiegati l’uno sull’altro, e in quella di frammenti anatomici, costituita da mani disperatamente aggrappate a corde sospese nel vuoto.

La mostra, trentacinque sculture e quindici disegni, vale una vista anche per scoprire la collezione dei Musei Civici, inaugurati due anni fa, oggi al centro di polemiche per la scarsa affluenza di pubblico a fronte di alti costi di gestione.

Michele Tavola

M. Tavola, Marmi e terrecotte di Elena Mutinelli sfidano i maestri del rinascimento, <<La Repubblica>>, XLI, Milano cultura, 2 luglio 2016, p. XVII

“Le mani afferrano un’idea nello spazio; cercano un pensiero perduto;

esprimono forza ed energia.

Le sculture di Elena Mutinelli vivono”

Vittorio Sgarbi

· V. Sgarbi, in Arte Contemporanea al Salone Nautico di Genova, invito della mostra, conferenza sulla mostra, Genova, Salone Nautico di Genova 4.10/7.10.2008, a.c. di ArteAmica, a.c. di Sessa Marine

 

Michelangelo del Duemila scava nella materia, con la forza delle sue mani, che sembrano non conoscere confini, lavora e pensa, stringe i denti e va avanti. E dì sé, Elena Mutinelli afferma: “Scavo con la matita dentro e fuori quel muro di probabilità e varianti che i forti profili a malapena riuscirebbero a contenere: la forza, il potere, il cannibalismo”.

Mauro Pecchenino

· Elena Mutinelli: Michelangelo del Duemila, FlipMagazine, ottobre 5, 2011, categoria attualità, Mauro Pecchenino

 

L’energia della creazione  replica lo spirito nel tempo.

Senza arte non c’è vita.

 

The energy of creation replicates the spirit in time.
There is no life without art.

 

Elena Mutinelli