{"id":16793,"date":"2023-02-09T14:08:35","date_gmt":"2023-02-09T13:08:35","guid":{"rendered":"https:\/\/sanmarzano.wine\/?page_id=16793"},"modified":"2023-05-24T10:10:25","modified_gmt":"2023-05-24T08:10:25","slug":"agostino-iacurci","status":"publish","type":"page","link":"https:\/\/sanmarzano.wine\/en\/tramart\/agostino-iacurci\/","title":{"rendered":"Agostino Iacurci"},"content":{"rendered":"

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The third edition of TramArt<\/a>, the San Marzano project that since 2021 has been telling the story of the privileged union between art and wine, sees Agostino Iacurci interpreting the Tramari label, which, thanks to its simple, geometric and linear design, becomes, year after year, the ideal canvas for well-known artists.<\/p>\n

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Agostino Iacurci moves away from the sharp, geometric lines that characterised Paul Kremer’s previous editions (ed. 2021) and Matt Kleberg (ed.2022), and gives the wine a rich and colourful bouquet of flowers.<\/p>\n

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The image developed by the artist ‘resonates’ with the tasting experience<\/strong>, not in the technical sense of representing the scents and aromas of the wine bouquet, but through the energy and vibrations of the colours themselves that are juxtaposed.<\/p>\n

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The original canvas is entitled ‘Bouquet’ and recalls the theme of still life and garden painting, timeless classics of the pictorial repertoire, and is part of a new cycle of works by the artist that abstracts the stylistic features and clich\u00e9s of the classical world, which he reappropriates and reinterprets in a conscious process of personal research.<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row el_class=”artista_row”][vc_column][vc_empty_space el_class=”spazio-sezione-artista”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content” equal_height=”yes” content_placement=”middle” el_class=”artista_row”][vc_column width=”2\/3″ el_class=”testo-artista-aicurci”][vc_row_inner content_placement=”middle”][vc_column_inner el_class=”colonna-artistia-iacurci” css=”.vc_custom_1682499520183{padding-left: 5% !important;}”][vc_custom_heading text=”The artist” use_theme_fonts=”yes” el_class=”linea-azienda” css=”.vc_custom_1684155262726{margin-bottom: 20px !important;}”][vc_column_text]<\/p>\n

Iacurci uses various media, including painting, murals, sculpture, drawing and installation. In his artistic practice, often site-specific in nature, he collects heterogeneous materials, reworking and manipulating them. The result is visions and environments in which cultural stories, personal memories, literary references and vernacular tales are freely associated and narrated.<\/p>\n

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Iacurci has exhibited in solo and group exhibitions including: Alien Horti Picti, Robert Grunenberg, Berlin (2023); Of my abstract gardening, Ex Elettrofonica, Rome (2022); Hortus, IIC, Prague (2022); Premio Termoli LXII, MACTE, Termoli (2021); Tracing Vitruvio, Musei Civici, Pesaro (2019); Talent Prize 2019, Mattatoio, Rome (2019); Gypsoteca, M77 Gallery, Milan (2018); Trompe- l’oeil, Celaya Brothers Gallery, Mexico City (2017); Biennial of Urban Art, V\u00f6lkinger H\u00fctte, European Centre for Art and Industrial Culture (2017); Cross the streets, MACRO Museum, Rome (2017);16th Cairo Prize, Palazzo della Permanente, Milan (2015).
\nSince 2009, he has created monumental murals and installations for public and private institutions, including: The garden of Alabu, Aalborg (2023); Cote-des-Neiges Mural project, wall painting, Montreal (2022); Ludwigs- Hack-Museum, Ludwigshafen (2021); Life is Beautiful, Las Vegas (2021); Principal Place, London (2020); Yakutsk Biennale, Yakutsk (2017); Distrito Tec University, Monterrey (2016); Govind Puri Metro Station, New Delhi (2016); Istituto Mario Penna, Belo Horizonte (2014); Fubon Art Foundation, Taipei (2012).
\nHe participated in residency programmes such as ISCP (International Studio & Curatorial Program), New York (2020-2022), and Plop x Cob Residency, London (2021).
\nIacurci received the New York Prize, sponsored by Mibac, MAE and Italian Academy-Columbia University (2020), and the Cantica21 Prize, Italian Contemporary Art Everywhere (2021).
\nHe has collaborated with international brands and publishers, including Apple, Adidas, Herm\u00e8s, Herman Miller, La Repubblica, Penguin Random House, Starbucks, The New Yorker.<\/p>\n

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The label paper: Fedrigoni LIGHT WS BARRIER FSC\u2122<\/strong>
\nThe TramArt project is supported for the third consecutive year by Fedrigoni Self-Adhesives. LUCE WS BARRIER FSC\u2122<\/strong> is a premium self-adhesive paper made mostly from natural fibres. Its main feature is the development of an elegant filigree effect with hot stamping and embossing. In addition, the high grammage makes it perfect for high-quality product labels using embossing and debossing. The Barrier treatment guarantees the stability and premium appearance of the label even after immersion in water and possible temperature changes. Tramari Agostino Iacurci’s label paper is an FSC-certified product, made from raw material from environmentally friendly, socially useful and economically viable forest management.<\/p>\n

The printing of the label: Tonutti Tecniche Grafiche<\/strong>
\nTonutti Tecniche Grafiche, a company that has specialised in printing premium labels for the wine market for almost eighty years, once again took part in the project. “For the past three years we have been involved in the printing of TramArt labels, a consolidated appointment with San Marzano, which surprises us year after year with the magnificence of the projects presented,” says Managing Director Maria Teresa Tonutti. “We have the honour of combining the graphics with the meticulously chosen materials to create an iconic label that conveys naturalness and materiality To enhance the artist’s creativity, a natural paper printed in four-colour process with offset technique was chosen. It was challenging to maintain harmony between the texts and graphics by striking a perfect balance between cyan dominants and pinkish hues. The logo in semi-glossy patent leather shines through the flowers in the bouquet, giving, together with the bronze-gold foil, a particular elegance to what to call a label seems almost reductive!<\/p>\n

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