ESSAY

The Unpredictable Breath of Nagual Sculptures

In a brief text from 1989 entitled Nagual Art, William S. Burroughs reminds us that in the books by Carlos  Castaneda, Don Juan makes a distinction between two different universes: Tonal and Nagual. The Tonal universe is the daily universe of cause and effect, which is predictable because it has already been recorded. Meanwhile, Nagual is an unknown, unstable universe, open to the future. In order for Nagual to be fully realized, the doors must be opened wide to chance. The magical thinking in Carlos Castaneda’s work distinguishes the duality inherent in the order of things: one is Tonal, which is a recording of reality, almost a statistical confirmation, and another, Nagual, which derives from the eruption of randomness, capable of opening up to new and unpredictable forms of reality.READ MORE

Sculptures where Everything Flows

There has always been a creative tradition which passes from one discipline to another, without ever settling for a particular theoretical context, but which never loses sight of certain artistic experiences which have made this kind of expressive transmigration their linguistic identity. Sculpture and architecture have, in particular, always kept up a dialogue, both because they are close relatives – space and time are intrinsically linked to these two disciplines, to a much greater extent than any other field of design – and because the cultural background of the artists in question very often involves both professional areas. It may be written in the book of fate, either expressly or hidden between the lines of memory and thought; but in this case it is on the contrary evident, from every point of view. READ MORE

Space Time Architecture

Gianluca Ranzi


Three elements stand out in IAG’s work and they perfectly fit together: space, time and architecture.Isabella Angelantoni Geiger is an artist who lives and works in Milan, where she was formed; a city where, as shown by Boccioni, form lives in the continuity of space and where tradition and artistic research are related to ‘Space and Time’, from Futurism, through Lucio Fontana until Luciano Fabro.The Isabella’s creations  move in the same direction but adds a new organic sensibility linked to a certain ambiguity and instability of the form itself.Here it is as poised, unstable, and requires a constant search for equilibrium and balance. The work in some way remains open just as slyly and subtly seems to never come to sedimentation and find “peace.” On the contrary it seems to be fitted with a vital push the door to grow and sometimes to implode.Consider sculpture as an organic process is one of the merits of Isabella Angelantoni Geiger, so forms and templates are developed in space without ever to close, in a process that ‘not all’ and that alludes to infinity and multiplication, as it occurs in Brancusi and Fontana.READ MORE

THE PLACES OF THE INVISIBLE

Manlio Della Serra


For your ears only (x & y).

Word / City

y: Cities are a ‘weaving’ of relationships, exchanges, things, objects, people. That is the only way to live that is worth living. I grew up in Milan and returned after many years. Man is made to live in the city.

x: Someone said: “In the beginning is the relationship”. Are we sure?

Word / Invisible

y: «The essential is invisible to the eyes». The most important things are invisible: your soul, love … relationships between people and things. In the city it is the emptiness of public spaces.

x: The emptiness of the infinite possibilities …

Word / Border

y: I do not consider it as a ‘limit’, a line, something that divides. For me it is more a grey area, a place where two forces interact. A commingling (a combination of more things/blending?)

x: We are often reminded that it is important to give yourself a limit to overcome it.

Word / Journey

y: It always makes me think of life. I have a project in my mind that has been linked to travel and life. I struggle to think of something else. I love traveling, but one of the good things about travel is when you are back home.READ MORE

Isabella Angelantoni, like an impatient spider in an unfinished frame

If the cities Marco Polo visited were never the same as those imagined by the Emperor, those presented by the artist Isabella Angelantoni are even more distant than those described by Italo Calvino.

The book serves as a backdrop of words offered to a “donna faber”, who by her very nature is more able to build a city than to discover one  in order to protect its poetic and existential metamorphosis.  The artist’s delicate “settlements” have nothing to do with archeology or conquests, instead they are like a lovely game of mirrors reflecting the creator/creation, a concept which has previously been interpreted by Didone/Cartagine, Bouctou/Timbouctou, Partenope/Naples. Isabella is like a modern-day Sherezade, and she has taken “that” book, year after year, map after map, stretching it out in her memories and gestures until it becomes a tenuous graphic framework, or a rhythmic and symbolic warehouse, from which she can use new narrative tools to guide us towards a necessary materialism.  Isabella has produced a collection of work about memories of the future,  evoking Buckminster Fuller and Polynesian Mattang, Mirò and unfinished tapestries, Oskar Schlemmer and shoots of twining plants, Harry Kramer and tracks left in the sand.READ MORE

Isabella Angelantoni

M.Giuseppina Malfatti


Morris and the Preraffaelites, Jheronimus Bosch, oriental tales, a dreamlike fantasy world emerges from the pen of Isabella Angelantoni Geiger, who creates disturbing but fascinating images with elegant and secure lines. They are childhood memories, they are small stories told by themselves that are bound by harmony, beauty, but also, sometimes, a hint of cruelty. They wink at stories already sung, echoing distant motives. Desire and nostalgia seem to guide the careful hand that barely lifts up from the page in order to express hope and existential pain.
Isabella is also an architect and her compositions are small in order to highlight the search for structure, like Ariadne’s thread in the labryinth, as if construction is necessary in order to clarify her sense of doing.READ MORE