Andrea Fogli, Diario della polvere e dell’argilla
“Diario della polvere e dell’argilla” (Italian edition)
“Diary of powder and clay” (English edition)
introduction by Giorgio Agamben
with pictures and texts by the artist
Quodlibet, Roma/Macerata, 2018, pp. 160, col. / [link]
The Diary of powder and clay is composed of two parts. The first consists of 59 clay heads accompanied by brief passages from the diary in which the artist interrogates, one by one, the «unknown and nameless» faces that emerged from the clay. The second consists of some of the 59 faces drawn with graphite powder, one a day, between 14 April and 11 June 2017, accompanied by fragments written between 1980 and the present in which the author jots down his thoughts on the face, the image, the powder and evanescence.
«The expression of the face does not say, but calls, it is not a message, but a name. For this reason, it is always already in flight from the face, towards the missing name, that these faces of clay and graphite call with all their quiet fury. Anonymous, they require us to name them» (from the introduction by Giorgio Agamben)
Andrea Fogli, Santini apocrifi (1993-2018)
introduction by Lorand Hegyi,
with pictures and texts by the artist
Corraini, Mantova, 2018
Pages 128, col.; Italian /English / [link]
“Santini Apocrifi” collects the holy cards and postcards with religious subjects repainted and transfigured by Andrea Fogli in the last 25 years and illustrates – also thanks to diary passages written “on the sidelines” in this span of time – the visionary transformation of Catholic iconography , in particular of the Marian one, which is one of the central themes of the artist’s research.
Andrea Fogli, Ogni Cosa
texts by C.Terenzi, P.Weiermair, M.Valkonen,
with a dialogue between G.Carpi, G.Menolascina and the artist
Casa Editrice Tutti i Santi, Innsbruck 2013
Pages 128, col.&b/w; Italian /English; distributed by Maurizio Corraini srl / [link]
The book “Ogni cosa”, published on the occasion of the artist’s huge exhibition curated by Claudia Terenzi at the Casino dei Principi-Musei di Villa Torlonia in Rome, collects the main series of works from 1994 to 2013. A visionary path in which “Everything”, as the title of the book says, is taken within a process of metamorphosis that connects the human world to the natural world, figures and landscapes, men, animals and gods. In this path, the confluence of themes related to the figure of the Virgin Mary and those of the pagan Mater Tellus emerges as the fil rouge of the exhibition, and therefore a horizon through which we can find an unusual and apocryphal dimension of the sacred not separated from nature.
The book follows the division into 8 “rooms” of the exhibition: from the photographic series “Anagramma di Maria” (1994/2001) to the repainted small holy pictures and the large charcoal frieze of the “Vierge au Silence” (2005/2012); from the series of wax sculptures “Isole” (2005/2006) and “Cuori” (2007) to postcards of repainted landscapes of the series “Voyage au center du monde” (2008/2012); from the drawings of the “Dario delle ombre” (2000/2008) to the sculptures “Notti bianche” (2012) and the pastel powder paintings on wood of the “Risvegli” (2012).
Benoit Angelet, Evanescences et resurgences
an essay by B.Angelet with drawings by A. Fogli
Odilon, Roma 201
Pages 32, col.; French; limited edition.
The limited edition volume, accompanied by artist’s drawings, presents a text by the philosopher Benoit Angelet inspired by the work of A.F. and the theme dear to him of the appearance and disappearance of images as a metaphysical condition of visual art.
Andrea Fogli, Wanderer
Texts by B.Wally and the artist
Edition by the artist & International Summeracademy Salzburg, Roma-Salzburg 2007
Pages 48, col.; English
The book was published on the occasion of the solo exhibition “Wanderer” at the Land Galerie im Traklhaus in Salzburg and introduced by Barbara Wally, director of the International Summeracademy of Fine Arts in Salzburg where the artist taught from 2006 to 2008. The visions of natural places, from the microscopic landscapes repainted on religious holy pictures to the ethereal drawings of the “Boschi (Woods)” and the disturbing inorganic wax sculptures of the “Cuori (Hearts)”, are accompanied by diary passages written during the artist’s travels from 1985 to 2007.
Andrea Fogli, Diary of Shadows
texts by J.Hoet, G.Lonardi Bontempo, E.Weiss, P.Weiermair, B.Corà
Kerber Verlag -Incontri Internazionali d’Arte, Bielefeld 2006
P. 168, col. & b/w; German/English/Italian / [link]
The “Diario delle ombre (Diary of Shadows)” was published on the occasion of the exhibition of the entire cycle of drawings at the Marta Museum in Herford curated by Jan Hoet in 2006.
The book includes 365 drawings made by Andrea Fogli between 2000 and 2006. They are collected into a sort of intimate “diary”, in which pages are metaphorically filled by the artist with his own particular “visions”. Dreams, nightmares and unconscious images are mixed with everyday images that fuse to create delicate and shapeless figures – or, as the tile says, “shadows”. It`s a living universe of animals, plant shapes, mythic and fantastical figures, humans, landscapes. The subject of these drawings has never predetermined, but has appeared at the end of a long series of rubbing out and changes. The title-sentences, written under the just finished drawings, has no other meaning but the try to understand either who or what appeared there on the sheet, as if were suggestion of a dream, which wishes to tell us something. The drawings are carried out each in a different day of the year and they are ordered according to the months. The time cycle evoked is a continuous interchange between the everyday time (clock time) – filled with personal events – and the cyclic time of nature, the universal time of history and the “metaphysical” time of art.
As Jan Hoet points out in the introduction, the “Diario delle ombre”, as central point of all the artist’s work, “joins together two very different phenomena – a tentative closeness on a sensory level, and a melancholy, paradoxical shapelessness; one could even call it a dreamlike terror forever contained in the view of the artist and the beholder, and a sort of tender style conveyed from the artist’s hand movement to the beholder’s imagination “.
Andrea Fogli, La stanza nuda
texts by the artist
Edizioni Corraini, Mantova 2004
Pages80, col.; Italian/English / [link]
The book, like a “diary of the figures”, collects “writings, drawings and clays” from 18 August 2003 to 18 April 2004. In this book, in addition to 16 drawings from the cycle “Diario delle ombre”, are presented for the first time the “argille (clays)”: transposition into sculpture of the animated and metamorphic world of the “Diario delle ombre”, starting point of the subsequent sculptural research on the human condition and its psychic dimension which will culminate in 2019 with the beginning of the great cycle of the “365 Figure” in terracotta.
Andrea Fogli, Scala reale
texts by P.Weiermair, T.Trini, G.B.Salerno
Edizioni Diagonale, Roma 2002 / Galleria D’Arte Moderna Bologna
Pages 160; Italian/English
The book, published on the occasion of the first huge artist’s public solo exhibition, curated by Peter Weiermair in the spaces of Villa delle Rose of the Galleria d’Arte Moderna in Bologna, collects the main series of works from 1990 to 2002: a labyrinthine path in 8 “rooms / paragraphs” between drawings, sculptures, installations, photographs and videos, accompanied by the important critical contributions of Peter Weiermair, Tommaso Trini and Giovanbattista Salerno and by a detailed “critical biography” written by Alice Rubbini that documents the whole first phase of artistic research starting from the first exhibition in 1985 at the Ugo Ferranti gallery in Rome with which the artist will work for over twenty years.