Giuseppe Stampone

Interprets Adele-C’s philosophy in one of his primers, used as the theme of a hypothetical 60s/70s style advertising Carosello. The letters forming the company’s name become, through the artist’s drawings, a medium for narrating its identity with slogans and references to the story of Adele, the values of design and interpreting the human and personal experience as a way of communicating one’s lifework. Stampone’s exploration of pop culture dialogues vigorously with a strong presence in popular culture: the world of advertising and a landmark show in the history of broadcast communication which sparked great debates on the use of commercial advertising.

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One of four artists invited to represent Italy at the L’Habana 2012 Biennale, Giuseppe Stampone (1972) explores the potential synergies among reality and digital by creating a workspace which strives to become a link between quotidianity and its digital version. His aesthetic elaborates the traces that permeate contemporary pop culture, defining a language/bridge among the different interpretive levels of today’s popular culture. Stampone collaborates with the IULM in Milano, Teramo’s Università degli Studi, Naple’s Università degli studi Federico II and the “Mc Luhan Program in Culture and Technology” in Toronto. He is also developing a research project on art and new media with Alberto Abruzzese and Derrick De Kerckhove. His work has been exhibited in national and international museums and galleries. Among his last exhibits: “Greetings from Aquila”, curated by Luca Massimo Barbero and Elena Forin, MACRO museum, Rome 2011, Art Basel Miami, Special Project (Art Nova) “Greetings from New Orleans”, 2011; “Liverpool Biennial”, 2010; “The Private Museum”, curated by Giacinto di Pietrantonio, Museo Gamec, Bergamo, 2010; “The Flower of May”, curated by Yongwoo Lee, Kunsthalle City Museum, Gwangiu, 2010; “Caronte. Giuseppe Stampone/Julia Kent”, curated by Manon Slome, Julia Draganovic, Julian Navarro, Asher Remy Toledo, The Invisible dog, Brooklyn, New York, 2009. He is also working on artistic/didactic projects that address social and environmental themes such as “Watercolors for not wasting life” and “Why?H2o”, which involved 10,000 children from 30 countries in collaboration with ProgettoMondo Mlal. His interest in creating windows of action through art have led him to founding, together with others, the Solstizio project, created with the European Union’s support and developed through a collaboration with Italy, Poland, Croatia, Spain, Cyprus, Slovenia, Burkina Faso and Benin.

Antonello Matarazzo

Matarazzo is responsible for Adele-C’s “Victor” desk, created by artist Mario Airò. Victor is the re-elaboration of a project, also by Airò, entitled “Puccini at Ansedonia”: a table that alludes to a musician’s concentration and the mental spaces generated on a daily basis by the study and analysis of one’s hearing. Matarazzo immerses “Victor” in a contemporary rhythm, building a taut interplay between the object and a woman’s body: restlessness and experimentation animate the journey until the surprise of discovery.
Born in Avellino in 1962, Matarazzo is a painter, director and video artist. Thanks to his research, focused on integrating various media (photography, painting, video, etc.), he was part of the medialista movement.

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Since 2000, when his first short film “The Fable” (18th Bellaria Film Festival, produced by Raitre’s Fuori Orario) debuted, his videos have been featured in many national and international film festivals (Venice Film Festival, Festival Cinema Méditerranéen Montpellier, Torino Film Festival, Festival des Cinemas Différents de Paris, Festival del Cinema Locarno, etc.), including some – the Mostra del Nuovo Cinema di Pesaro and the Festival de Cine in Mar del Plata – which have organized retrospectives of his work.
In 2009 he realized his first mid-length film documentary, “Latta e Cafè” (4th Rome International Film Festival), produced for Filmauro by Luigi and Aurelio De Laurentiis. Between painting, videos and video-installations, the center of gravity and leitmotiv of Matarazzo’s work is his propensity for in-depth analysis of human beings’ introspective and anthropological traits. This aspect of his work has attracted the attention of several universities, among them Brera, Rome 1, Chieti, Salerno, Pisa and Cambridge, that have shown his work in seminars and didactic workshops. Matarazzo’s work has been featured in the 2009 and 2011 editions of the Biennale Arte di Venezia.

Valerio Spinelli

Creates the Zarina video for Adele-C, in which he interprets the symbolic and emotional value of objects through Zarina, the small armchair made expressly by Cesare Cassina for his daughter Adele during Christmas 1943. For Adele this armchair represents her family’s tradition and history, and the special place that things “intentionally left for one’s children” can acquire.
Valerio Spinelli was born in Rome in 1980. Since 2001 he has been working as a graphic designer, illustrator, animation artist and sound designer. He observes traditional animation in order to create it with digital instruments. His pixelpongo (www.pixelpongo.com) project explores, deforms, experiments, manipulates, blends and combines sounds, music, graphic, illustration and animation, molding pixels as if they were pongo.

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2010 sees the debut of his “Testaballoon”, a short animation film for which he created text, story, music, sounds and animation. “Testaballoon” was selected by several festivals among which Cortopotere (Bergamo), the Future Film Festival (Bologna), the Trick Animation Festival (Milan), Cortoons (Rome). It received a special mention at the VideoArt Festival at the MACRO Testaccio, La Pelanda Museum of Contemporary Art (Rome, 2011) and garnered the first prize in the recent “Fatti un Film” contest at the Palazzo delle Esposizioni (Rome, January 2012).