European Cuteness Art [contaminazioni 016] – Art Show – Events in Bucharest


Art Show European Cuteness Art [contaminazioni 016]

Thursday, March 17th – 18:30


Palace of Parliament (Constantin Brâncuşi Hall)
2-4 Izvor St., Bucharest


A.C. Soligo Studio, one of the most important Italian art galleries, founded in 1969, will open on March 17th, at 6.30 pm, within the Palace of Parliament in Bucharest (Constantin Brâncuşi Hall), the art show European Cuteness Art [KINDCHENSCHEMA PSEUDOEGO COMMUNITY NARCISSISM], curated by Giancarlo Carpi, Italian critic, doctor in Philosophy and professor at the University of Rome.


Artists: Stefano Bolcato, Danilo Bucchi, Maria M. Bordeariu, Radu Carnariu, Laura Covaci, Darie Dup, Luciano Fabale, Marianna Felicetti, Gerlanda di Francia, Max Ferrigno, Gabriels, Kaloyan Iliev, Loreta Isac, Serena Leardini, Flavia Lupu, Luisa Montalto, Dan Nica, Ileana Oancea, Omino 71, Daria Palotti, Jordan Pancov, Laura Patacchia, Bogdan Pelmus, Magda Pelmus, Elisa Pietrelli, Cristiano Petrucci, Adrian Preda, Natascia Raffio, Adrian Sandu, Silvano Tessarollo, Katja Tukiainen, Elio Varuna, Esteban Villalta Marzi, Deyan Yanev, Valentina Zummo


The art show European Cuteness Art [KINDCHENSCHEMA PSEUDOEGO COMMUNITY NARCISSISM] is part of a multinational project named Contaminazioni2016.


The visual research of Giancarlo Carpi certifies certain formal, morphological and theme constants classified based on the “cuteness” aesthetics.

"Considering that this aesthetic class combines the concepts of merchandise fetishism and subjectivity mutilation, as well as its own morphologic vector – Kindchenschema – therefore it is not part of a single cultural tradition. The art show certifies the dissemination within European art of certain post-war art trends of the Asian and of the North-American continents: the Japanese Superflat and the American Pop Surrealism. In a historical-artistic posteriority, which seems to eradicate this European production of an aesthetic referring to the commercial –artistic plan and to merchandising, to the flat expression of an absolute capitalism connected to the economic and cultural globalization, this exhibit tries to underline the existence of this attitude in certain European countries. Meanwhile, the question is actively asked if and how this aesthetics is subordinated to other artistic movements more closely related to the traditions of these countries". [Giancarlo Carpi]