{"id":856,"date":"2020-09-29T15:34:49","date_gmt":"2020-09-29T13:34:49","guid":{"rendered":"http:\/\/www.josedapice.it\/?page_id=856"},"modified":"2020-10-10T15:08:28","modified_gmt":"2020-10-10T13:08:28","slug":"press","status":"publish","type":"page","link":"https:\/\/www.josedapice.it\/en\/press\/","title":{"rendered":"Press"},"content":{"rendered":"
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

press<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
\u2026 \u201cFrom an operational point of view, the Brazilian artist prefers the techniques of drawing, collage and assemblage. For him, drawing is certainly the fundamental form of expression, the one in which he excels thanks to an extraordinary talent characterized by an almost obsessive and maniacal precision that reaches the limits of hyperrealism ".<\/div>
\u00a0<\/div>
... "The taste for storytelling takes on its most declared evidence, in particular, in a significant strand of his production, that of" books ", very bizarre three-dimensional works created by assembling the most disparate elements and objects (together with designed inserts or collage) and using materials such as wood and lead ".<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Francesco Poli <\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Pupi Avati<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
... "In peasant culture that sumptuous tangle of unmotivated images, which reaches us before sleep, in semi-sleep, was called the\u00a0nostalgia for the dead \u201d.<\/i><\/div>
\u00a0<\/div>
\u2026 \u201dAnd so in half-sleep, the defenses canceled, in a state of extreme receptive capacity we are reached by these inexplicable wholes, united by a silent immobility. I experienced the same feeling when I met the work of the master Jos\u00e9 D'Apice.<\/div>
One for which to paint is to delve into the unknown.<\/div>
I confess that I immediately felt a very strong suggestion, a suggestion dictated by the overwhelming quantity of inexplicable that each of his works contains.<\/div>
In short, I like to think that everything that Jos\u00e9 D'Apice paints is pre-existing.<\/div>
Lies in that secret archive of inexplicable images, forbidden to the uninitiated \u201d.<\/div>
\u00a0<\/div>
... "It is recognizing the unknown, knowing that that large white space of canvas or paper that is in front of it contains it, to make the unknown suddenly\u00a0talk to him<\/i>".<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u2026 With great graphic mastery Jos\u00e9 D'Apice lets a dark and mysterious world emerge that is both literary and also transcendental and mystical. And precisely this relationship between graphic rigor and transcendental content has a profound origin in the European artistic tradition ...<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Prof. Dr. Helmut Reuter\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Silvia Pegoraro<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

An artist of great charm, Jos\u00e9 D'Apice never resorts to the lure of fascination as an end in itself. Although animated by an intensely "romantic" impulse for the unlimited, the indefinite, the indeterminate, for nature as an infinite enveloping body, it never entrusts the meaning to an ineffable, confused emanation. By creating incisive and clear images, however surreal - images that do not disdain to make their own the effectiveness of an iconography in some ways akin to the powerful and immediate synthesis of certain votive painting - this artist seems to want to express an absolute experience, and therefore mythical, of space, in which the human presence is transformed into a suggestive heraldic apparition. Jos\u00e9 D'Apice's art - rich in conceptual and symbolic knots of a literary and philosophical matrix - thus expresses a new, current experience of the sublime: the dumbfounding and darkening of nature coinciding with its showing itself; the establishment and the overcoming of the image, in a coexistence of \u201crelative\u201d abstractionism and \u201crelative\u201d figurativeism.

<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tread more ..<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t

An artist of great charm, Jos\u00e9 D'Apice never resorts to the lure of fascination as an end in itself. Although animated by an intensely "romantic" impulse for the unlimited, the indefinite, the indeterminate, for nature as an infinite enveloping body, it never entrusts the meaning to an ineffable, confused emanation. By creating incisive and clear images, however surreal - images that do not disdain to make their own the effectiveness of an iconography in some ways akin to the powerful and immediate synthesis of certain votive painting - this artist seems to want to express an absolute experience, and therefore mythical, of space, in which the human presence is transformed into a suggestive heraldic apparition. Jos\u00e9 D'Apice's art - rich in conceptual and symbolic knots of a literary and philosophical matrix - thus expresses a new, current experience of the sublime: the dumbfounding and darkening of nature coinciding with its showing itself; the establishment and the overcoming of the image, in a coexistence of \u201crelative\u201d abstractionism and \u201crelative\u201d figurativeism.

Jos\u00e9 D'Apice delves into the labyrinths of the soul, to search for the dark roots of life: in his work we read the journey of Western art of the past century, its oscillation between reality and prophecy, between anguish and dream, between screaming and lyrical abandonment, between vision and blindness. The unity of his path is not certainty but the dissemination of fragments, the emergence of enigmas, the revelation of ambiguity, which is already expressed in his pictorial technique, sophisticated but at the same time aimed at the elementary purity of an origin.

Baudelaire wrote, with regard to Delacroix, that the \u201cfinished\u201d has nothing to do with the \u201cfinished\u201d. Thus the completeness of Jos\u00e9 D'Apice's works is inseparable from their being alien to any idea of re-finishing, in their grasping in fiery the metamorphosis of matter. The synthesis of the sign suggests a minimal gap between thought and pictorial rendering, an executive speed ready to fix an elusive thought enclosed in the gesture (one thinks with the hands, Heidegger said), a powerful and ephemeral image, a reflection of light on the dark wall of matter.

D'Apice's chromatic universe is the result of an austere limitation that turns into the possibility of unprecedented, intense coloristic emotions: the alchemical, unfathomable depths of black; the absolute light of white; the warm and vibrant emotion of red, yellow, gold.

His pictorial sign belongs to a desiring "writing" that gives life to a game of contrasts, conceptual and at the same time exquisitely perceptive: weight \/ lightness, opacity \/ transparency, color \/ non-color, density \/ rarefaction, alternation of strong material density - color and diaphanous chromatic glazes.

A thematic key to Jos\u00e9 D'Apice's work is in fact also rarefaction, the dialectic of the stroke with the void: "making space" is also a "making-void": "form is precisely the void; the void is precisely the form \u201d, sounds a beautiful maxim of the Heirdaya Sutra. The void as absolute "white", the void as the spiritual breath of space.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Presentation to the catalog on the occasion of the exhibition held in the city of Lisbon in 2000<\/strong><\/em><\/p>

"... Small and strange drawings, born as if by chance in following the traces that the rediscovered ancient paper or parchment tell in a veiled way to then gain evidence, body, immediate citizenship in the unusual revelation ..."<\/p>

"... The faces that D'Apice draws do not represent stillness, on the contrary, an enigmatic hibernation, they are mute, cold, alienated presences, hugging the walls of the years, of the times ..."<\/p>

\u201c\u2026 But if there really were a land forming the landscape as in these drawings, it would be scratched, black, desolate it would be what remains after the cataclysms, winds, rains, icy flames. It would be this lifeless throbbing of the burnt grass, this vegetal departure of bones, those deep holes straight in the center of the earth. A sort of terrible stage where worlds fight each other even more than beings. And these if there were only elusive images of the battle. Shadows, above all, shadows\u2026 ".<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Fernando de Azevedo\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Vito Apuleo<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Presentation to the catalog on the occasion of the exhibition held in the city of Rome in 1997<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u201c\u2026 Jos\u00e9 D'Apice's perceptive universe opens up infinite possibilities to a narrator who, digging deep into his emotions, establishes meaningful relationships with something other than himself. If you look at the story of this artist from such an angle, you understand the reasons for a journey in which only the dimension of the unconscious would seem authentic, a mirror of a discomfort that can easily be traced back to that loss of center that the man of our time has suffered like destiny. A closer look at D'Apice's work, however, leads to the conclusion that it is not difficult to decode the results of such complexity ... "

\u201c\u2026 By reviving the magical rituals that add Latin American culture to the suggestions of Surrealism, D'Apice thus creates a personal theater of images that the subtle handwriting of the nib leads to a unifying identity. With an insistence that we would dare to define maniacal (in the noblest sense of the term) the nib traces the marks on the sheet and new seismograph, highlights all the times of those earthquakes that stir the artist's restlessness ... "

\u201c\u2026 Trapped in the alchemy of graphic thickening, those profiles look like skulls saved by their descensus ad inferos and into whose secrets Jos\u00e9 tries to penetrate. "

"... The poignant microcosm of an experience, in short, whose stratification becomes a synthesis of sincere emotion and dramas of sentiment ..."<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u201cMy hand is but the instrument of a distant will\u201d. I love this phrase by Paul Klee very much. The reason is the same why I love Jos\u00e9 D'Apice's works. His activity as an artist is in fact characterized by the constant, uncompromising and almost obsessive search for that "distant will".

His paintings tell of our journey through life. With its ancestral influences, fears, passions, loves, horrors, crimes, dreams. Jos\u00e9 D'Apice offers us emotions. That sometimes disturb us, because they penetrate into hidden areas of our memory and our conscience.

Here lies the profound ethical sense of his painting. We will never be sufficiently grateful to artists like him, who take this path for us. How will we never be sufficiently grateful to poets.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Oliviero La Stella<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Philip of James\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Criticism published in the newspaper "Il Messaggero" on the occasion of the exhibition held in the city of Rome in 1997<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u2026 The exhibition of drawings by Jos\u00e9 D'Apice, a Brazilian artist transplanted to Rome, entitled TRANSIT seems to indicate a path towards the reconquest of a privilege. What destiny grants, in theory, to every artist: to dialogue with the invisible. And it is precisely for this service rendered to the "Other" that D'Apice's works seem to immediately gain the role of sign-writing ... "

\u201c\u2026 Faced with a sacred which, when one speaks, seems destined to lose its meaning, drawing also means taking revenge. And then D'Apice's works can also tell of beings clinging to their instincts and their own religiosity. And precisely for this reason they are also able to legitimize, without being distracted by those who have no eyes to see, the right to consider themselves unique and unrepeatable. When a man succeeds so completely in becoming a contemplator of trees and stars, he also succeeds in finding the path of mystery ... "<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Critique published in the newspaper "L'Unit\u00e0" on the occasion of the exhibition held in the city of Rome in 1997<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u2026 Painter born in Sao Paulo in Brazil, Jos\u00e9 D'Apice is a formidable designer of natural sign tales. He draws a shape found in nature like a tree and then gradually dresses it with signs that declaim, almost tattooing it in the story, the intimate tragedy of materials. Then all of a sudden he retrieves old papers and like a refined amanuensis surrealizes melodies of faces, sometimes grim, other times so unconscious in their being fixed, which border on the alchemical imprint of a medieval illuminated manuscript ... "

"... Basically, in the negation of the ruling Academies, the Brazilian artist is perhaps one of the few examples drawn of making realist painting ..."<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Enrico Gallian\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Corriere della Sera\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Criticism published in the newspaper "Corriere della Sera" on the occasion of the exhibition held in the city of Rome in 1997<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u201c\u2026 D'Apice's works, with very refined graphics and all in small format, reproduce the artistic journey of the young Brazilian painter from 1994 to today. Ancient parchments and precious papers are crossed by a subtle mark that now takes into account the veins of the sheet, now the texture of the fabric ... "

"... Enigmatic and magical scenes that stand out against a lunar landscape ..."<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Presentation to the catalog on the occasion of the exhibition held in the city of Fiuggi in 1996<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u201c\u2026 The very refined Brazilian painter, engraver and graphic artist Jos\u00e9 D'Apice takes part in this exhibition with a triptych of inks with a subtle and elegant sign. it is a profoundly intellectual yet immediate work, which offers multiple interpretations, letting us wander into the boundless world of waters: from the distant world of the Atlantic Ocean to ours in Fiuggi ... "<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Daniele Baldassarre\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Michael Darvell\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Criticism published in the weekly \u201cWhat's on & Where to go\u201d on the occasion of the exhibition held in the city of London in 1985<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

\u201c\u2026 D'Apice has created an exceptional and very personal style in the panorama of contemporary painting. The exhibition currently underway here in London presents works ranging from 1983 to 1985 and show a homogeneous stylistic vision. The works, of an almost photographic quality in the metallic subjects, that it seems like you can touch them ... "<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Presentation to the catalog on the occasion of the exhibition held in the city of Rome in 1983<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

"... In his works Jos\u00e9 D'Apice examines the silence that has settled on things, discovered by chance or sought after in the world of scrap ..."

\u201c\u2026 The artist paints a world abandoned to itself, which transmits only an exhausting incommunicability, without which, however, things would not exist. His gaze is a vice that holds the silence, his hand acts on it facing the absolute darkness ... "

"... His imagination is as if immersed in an intimate and profound emptiness in which the action acts as if it were standing still ..."<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Italo Mussa\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Alberto Bevilacqua\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Presentation to the catalog on the occasion of the exhibition held in the city of Rome in 1983<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

"... Jos\u00e9 D'Apice is a painter of preambles ..."

"... Visions that have a vague Kafkaesque coloring or refer to Beckett's parentheses ..."

\u201c\u2026 The fact is that D'Apice paints hard, thankless fairy tales, where man is a prisoner and can only ask for freedom from the gaze or the objects he sees. These preambles also make me think of the eloquent silence on the face of a Keaton that is made the object of metamorphosis ... "

"... D'Apice draws against the verbal dominance of an historical era in which language is often, as well as decayed, a hallucinogenic substance that displaces the center of consciousness outside of us ..."<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

press \u2026\u201cDal punto di vista operativo l\u2019artista brasiliano predilige le tecniche del disegno, del collage e dell\u2019assemblage. Per lui il disegno \u00e8 sicuramente la forma di espressione fondamentale, quella in cui eccelle grazie a un talento straordinario \u00a0caratterizzato da una quasi ossessiva e maniacale precisione che arriva ai limite dell\u2019iperrealismo\u201d.\u00a0\u2026\u201dIl gusto per la narrazione assume […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_angie_page":false,"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-856","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nPress - Jos\u00e9 D'Apice Art<\/title>\n<meta name=\"description\" content=\"Per D'Apice, dipingere \u00e8 addentrarsi nell'ignoto. Scopri le citazioni dei critici d'arte dedicate alla produzione artistica di Jos\u00e9 D'Apice.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.josedapice.it\/en\/press\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Press - Jos\u00e9 D'Apice Art\" \/>\n<meta property=\"og:description\" content=\"Per D'Apice, dipingere \u00e8 addentrarsi nell'ignoto. Scopri le citazioni dei critici d'arte dedicate alla produzione artistica di Jos\u00e9 D'Apice.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.josedapice.it\/en\/press\/\" \/>\n<meta property=\"og:site_name\" content=\"Jos\u00e9 D'Apice Art\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-10T13:08:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.josedapice.it\/wp-content\/uploads\/2020\/10\/social-image-jose-dapice.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"1080\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/press\\\/\",\"url\":\"https:\\\/\\\/www.josedapice.it\\\/press\\\/\",\"name\":\"Press - Jos\u00e9 D'Apice Art\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/#website\"},\"datePublished\":\"2020-09-29T13:34:49+00:00\",\"dateModified\":\"2020-10-10T13:08:28+00:00\",\"description\":\"Per D'Apice, dipingere \u00e8 addentrarsi nell'ignoto. Scopri le citazioni dei critici d'arte dedicate alla produzione artistica di Jos\u00e9 D'Apice.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/press\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/www.josedapice.it\\\/press\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/press\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.josedapice.it\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Press\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/#website\",\"url\":\"https:\\\/\\\/www.josedapice.it\\\/\",\"name\":\"Jos\u00e9 D'Apice Art\",\"description\":\"Art\",\"publisher\":{\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/#\\\/schema\\\/person\\\/c12dad128226661e07e0f10fd388cc34\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/www.josedapice.it\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":[\"Person\",\"Organization\"],\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/#\\\/schema\\\/person\\\/c12dad128226661e07e0f10fd388cc34\",\"name\":\"Jos\u00e9 D'Apice\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/primo-piano-jose\u0301-dapice-def.png\",\"url\":\"https:\\\/\\\/www.josedapice.it\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/primo-piano-jose\u0301-dapice-def.png\",\"contentUrl\":\"https:\\\/\\\/www.josedapice.it\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/primo-piano-jose\u0301-dapice-def.png\",\"width\":1587,\"height\":1120,\"caption\":\"Jos\u00e9 D'Apice\"},\"logo\":{\"@id\":\"https:\\\/\\\/www.josedapice.it\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/primo-piano-jose\u0301-dapice-def.png\"},\"description\":\"Jos\u00e9 D\u2019Apice nasce a San Paolo in Brasile. Arriva a Roma alla fine degli anni \u201870 a seguito di una borsa di studio del governo brasiliano per l\u2019Accademia di Belle Arti di Roma. Nel 1982 diventa cittadino italiano. Tra il 1984 e il 1986 crea pi\u00f9 di 20 copertine di dischi per musicisti quali Louis Armstrong, Mina, The Eagles, Ray Charles, Loredana Bert\u00e9, Joe Cocker, Chicago, Bob Marley, ecc., per le etichette CBS, Ricordi, Sony, WEA, Globo Records, RCA, ecc. Nel 1985 crea la scenografia del programma musicale \u201cCLIPCLIP\u201d andato in onda quotidianamente sull\u2019emittente italiana TMC nell\u2019intero arco di quell\u2019anno. Nel 1992 \u00e8 invitato dal Comando Generale dell\u2019Arma dei Carabinieri a creare il loro calendario da collezione. Dato il grande successo ottenuto, \u00e8 invitato a realizzare anche quello dell\u2019anno successivo. A partire dall\u2019anno 2001, invitato dal noto quotidiano nazionale \u201cIl Messaggero\u201d, inizia la collaborazione nella creazione di disegni per le pagine dedicate alla Cultura e agli Spettacoli. Le opere di Jos\u00e9 D\u2019Apice si trovano in alcune delle pi\u00f9 prestigiose collezioni private in Europa, Arabia, Brasile, Stati Uniti, inclusa la Jalane & Richard Davidson Collection di Chicago, una vasta raccolta privata di opere, spesso in prestito a musei per mostre pubbliche itineranti. Tra le recenti mostre dell\u2019artista si segnala \u201cHumans Among Aliens\u201d organizzata a Singapore nel 2013 da \u201c29 Arts In Progress\u201d.\",\"sameAs\":[\"https:\\\/\\\/www.josedapice.it\",\"https:\\\/\\\/www.instagram.com\\\/dapicejose\\\/\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Press - Jos\u00e9 D'Apice Art","description":"For D'Apice, painting is like delving into the unknown. Discover quotes from art critics about Jos\u00e9 D'Apice's work.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.josedapice.it\/en\/press\/","og_locale":"en_GB","og_type":"article","og_title":"Press - Jos\u00e9 D'Apice Art","og_description":"Per D'Apice, dipingere \u00e8 addentrarsi nell'ignoto. Scopri le citazioni dei critici d'arte dedicate alla produzione artistica di Jos\u00e9 D'Apice.","og_url":"https:\/\/www.josedapice.it\/en\/press\/","og_site_name":"Jos\u00e9 D'Apice Art","article_modified_time":"2020-10-10T13:08:28+00:00","og_image":[{"width":1080,"height":1080,"url":"https:\/\/www.josedapice.it\/wp-content\/uploads\/2020\/10\/social-image-jose-dapice.png","type":"image\/png"}],"twitter_card":"summary_large_image","twitter_misc":{"Estimated reading time":"11 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.josedapice.it\/press\/","url":"https:\/\/www.josedapice.it\/press\/","name":"Press - Jos\u00e9 D'Apice Art","isPartOf":{"@id":"https:\/\/www.josedapice.it\/#website"},"datePublished":"2020-09-29T13:34:49+00:00","dateModified":"2020-10-10T13:08:28+00:00","description":"For D'Apice, painting is like delving into the unknown. Discover quotes from art critics about Jos\u00e9 D'Apice's work.","breadcrumb":{"@id":"https:\/\/www.josedapice.it\/press\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.josedapice.it\/press\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/www.josedapice.it\/press\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.josedapice.it\/"},{"@type":"ListItem","position":2,"name":"Press"}]},{"@type":"WebSite","@id":"https:\/\/www.josedapice.it\/#website","url":"https:\/\/www.josedapice.it\/","name":"Jos\u00e9 D & #039; Apex Art","description":"Art","publisher":{"@id":"https:\/\/www.josedapice.it\/#\/schema\/person\/c12dad128226661e07e0f10fd388cc34"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.josedapice.it\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":["Person","Organization"],"@id":"https:\/\/www.josedapice.it\/#\/schema\/person\/c12dad128226661e07e0f10fd388cc34","name":"Jos\u00e9 D'Apice","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/www.josedapice.it\/wp-content\/uploads\/2020\/10\/primo-piano-jose\u0301-dapice-def.png","url":"https:\/\/www.josedapice.it\/wp-content\/uploads\/2020\/10\/primo-piano-jose\u0301-dapice-def.png","contentUrl":"https:\/\/www.josedapice.it\/wp-content\/uploads\/2020\/10\/primo-piano-jose\u0301-dapice-def.png","width":1587,"height":1120,"caption":"Jos\u00e9 D'Apice"},"logo":{"@id":"https:\/\/www.josedapice.it\/wp-content\/uploads\/2020\/10\/primo-piano-jose\u0301-dapice-def.png"},"description":"Jos\u00e9 D'Apice was born in S\u00e3o Paulo, Brazil. He arrived in Rome in the late 1970s following a Brazilian government scholarship to study at the Academy of Fine Arts in Rome. In 1982, he became an Italian citizen. Between 1984 and 1986, he created over 20 album covers for musicians such as Louis Armstrong, Mina, The Eagles, Ray Charles, Loredana Bert\u00e9, Joe Cocker, Chicago, Bob Marley, and others, for labels such as CBS, Ricordi, Sony, WEA, Globo Records, and RCA. In 1985, he created the set design for the music program "CLIPCLIP," which aired daily on the Italian station TMC throughout that year. In 1992, he was invited by the General Command of the Carabinieri to create their collector's calendar. Given its great success, he was invited to design the following year's as well. In 2001, upon invitation from the renowned national newspaper "Il Messaggero," he began collaborating on drawings for its Culture and Entertainment pages. Jos\u00e9 D'Apice's works are held in some of the most prestigious private collections in Europe, Arabia, Brazil, and the United States, including the Jalane & Richard Davidson Collection in Chicago, a vast private collection of works often on loan to museums for traveling public exhibitions. Recent exhibitions include "Humans Among Aliens," organized in Singapore in 2013 by "29 Arts In Progress."","sameAs":["https:\/\/www.josedapice.it","https:\/\/www.instagram.com\/dapicejose\/"]}]}},"_links":{"self":[{"href":"https:\/\/www.josedapice.it\/en\/wp-json\/wp\/v2\/pages\/856","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.josedapice.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.josedapice.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.josedapice.it\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.josedapice.it\/en\/wp-json\/wp\/v2\/comments?post=856"}],"version-history":[{"count":0,"href":"https:\/\/www.josedapice.it\/en\/wp-json\/wp\/v2\/pages\/856\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.josedapice.it\/en\/wp-json\/wp\/v2\/media?parent=856"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}