Cianciana presente a Matera con la settimana Santa.
- Pubblicati 3 volumi sulla storia delle Miniere di Zolfo di Cianciana: "Cianciana & lo zolfo".
- Costituzione "Ambiente Cianciana S.R.L." pe rla Gestione integrata dei rifiuti del Comune di Cianciana.
- Finanziato, il 02/04/2019, il progetto esecutivo di sistemazione dell'area tra la Via Don Luigi Sturzo e la Strada Statale 118 Corleonese - Agrigentina.
- Dipendenti del "Movimento Unito Dipendenti 118 Sicilia" e Seus all'Udienza generale con Papa Francesco, Città del Vaticano 27/3/201.
- Fiore di pesco
Double biMario-Mario Amari by Luca La porta. Setting from Paolo Sanzeri - Giovanni Proietto from the 10th until the 31st of August 2017, visits everyday from 9 p.m. Until midnight, or by appointment calling +39 3336308157
The “double biMario” show is an exhibition which has the purpose to explore and compare two fields of the artistic research brought by Mario Amari, a naturalized “ciancianese” painter. On one side, we have figuration, due to his incessant activities as a copist of Renato Guttuso's paintings, on the other side we find a simple abstraction, primary and elementary, with geometric and conceptual origins. The high quality of the reproductions from “Il convivio”, such as Picasso and his characters, Nuvola Rossa, La Vucciria and Piscina mediterranea, which are alle thought as a homage for the artist from Bagheria, is recognisable from the extreme precision and cleanness of the contours and from the accurate painting coat, which is able to translate the nervous and sharp style which belong to Guttuso, combining it with both his disruptive expressive force and his cromatic strenght, which is typical of his late artworks.
His baroque vitality and the horror vacui are Mario Amari's distinctive features, whose abstraction has its roots in the concrete art and feverish sperimentalism of the sicilian art from the 70's. The picture is nothig but a pure configuration of shapes and colors, in which geometric patterns and fissures are dispersed in the whole painting surface, wracking the time of interpretation of the picture infinite times.
Bold combinations and twists of primary (red, yellow, blue) and secondary (orange, green, pink, purple) colours juxtaposed to black, white and grey and complex mixtures of both regulars and irregulars geometric figures give life to dynamic and perfectly balanced compositions. In opposition to the strict precepts of concrete and planned art, Amari's research seems going much beyond the examination of the reaction to shapes and colours, moving from the acknoweledgement that sees a rigorously logic-mathematic approach as something that can't adhere to reality without resorting to creativity, defined by Bruno Munari,on his essay “Artista e designer” (1971), as that productive skill which is able to turn orient and transform fantasy into method and operative procedure.
Amari is a “bricoleur-artist” who likes to experiment different techniques and materials, such as collage, assemblage and installation, showing a pratical ways to operate based on a ludic approach. In the totemic Giants' figures, entirely realised from recycled materials, is possible to notice a childlish heritage, and the same can be said about the installation named “The Theatre”, where a greek amphiteatre, composed by small abstract pictures disposed in a semy-cicle, becomes an airstrip for paperplanes.
“Reliquiario” is a great diptych formed by two frames: an abstract one, whose geomtric layers of colours are overlapped to the usual fissures which, distributed in a regular way, open a breach in the image creating a rythmic contrast between the voids and full spaces and the areas of shadow and light, and it's oppose to a wide surface of plywood with small pictureswhere the artist created a collage using newspapers shreds, algebraic and childlish drawings scraps, authentic documents of our age.
What ties Guttuso reproductions with the abstracts pictures? The intense chromatic expression, based on both primary and secondary colours, and the quality, the attention and the care, almost artisan-like, for details. Amari is an artist able to slot into the meanderis of a vaste and complex culture, which spaces from the guides from the past to conceptual art, never giving up on the manuality and rituality which are part of the artistic process.
Luca La Porta
“Translation by Emanuela Figliolo”.
Cianciana, Things to do: The Maccalube of Bissana.
Driving for about 6 km along the provincial road that, from Cattolica Eraclea leads to Cianciana, we reach, after a crossroad, Contrada Bissana, where we can enjoy the original show of the Maccalube.
Cianciana, Things to do: FOREST AND GROTTOS OF MONTE CAVALLO.
The forest, planted in the ’60s, has significantly extended in the last decades, until covering the current surface of approximately 800 hectares, and has three entrances: from the crushing plant; from the “li panni” bridge; and from the “acqua amara”.
Cianciana, Things to do: THE PLATANI RIVER VALLEY.
The Cianciana territory offers hospitality to the Platani River, known in the past as Halykos because of its salty waters. The river represents the southern border of the city territory. In remote times, the ancient populations used to navigate it upstream in their boats, to fill them with salt and food.
Cianciana, Things to do: The Millaga Necropolis.
Next to Cianciana, in the southern part of the Bivona territory, we find the Contrada Millaga, a former feud, whose name seems to derive from the Arabic millaca (ملاﺣـة, mallāḥa), “salty spring”.