RENZO CANTARELLI

Renzo Cantarelli uses the pen name (José María Bargas) for some books (for example plays and novels) and he uses his family name (Renzo Cantarelli) for the Art and Scientific books. Renzo Cantarelli is born in in Sant’Ilario d’Enza (RE) in 1946, but he preferred to live in Piacen-za. He is a teacher and an artist the founder and leading figure of the artistic and cultural Movement “Hyperavantgarde” (literary). His first works dated 1962 are still impressionistic. In 1963, he meets Giorgio Morandi and his painting in Vezza d’Oglio. From 1968 to 1970 he lives and works in France as an Assistant Lecturer of Italian Literature and there attends the world of art and stays in Paris (Rue Saint André des Arts, Quartier Latin) and in Reims. The 1970 marks the beginning of his activity as a teacher and artist. In 1972, while in Asti, he founds an artistic cotery (literary clique). From 1973 to 1976 he is living most the time in Mentone (France) where he is looking for the right light to express on the painting: heere he meets Le Corbusier. He goes on working on how to use the colours. His first expositions are in 1981. From 1982 to 1988 he takes part in several collectives and he is working on a new concept of art. After a period of “anxiety in the impasto” (1963-70), of a “catalytic and meditative pro-cess” (1970-80) and of “wandering questions” (1980-88), in 1988 he publishes the Manifesto of the Hyperavantgarde and he founds its Movement. In 1993 he presents the Hypera-vantgarde in the U.S.A. (Artexpo in New York) in Apulia (Taranto), in Sicily (Favara - AG and Bagheria - PA) and he exhibits in the Breton city of Lorient (France) where he gives a press conference with Slaivy C. Bigs.

In 1994 he exhibits in Piacenza, he presents the Hyperavantgarde at the Gallia Hôtel in Milan, at the Art New York Fair International and at the Art Asia Hong Kong International Fine Art & Antique Fair. He writes the short story “White Lands” wich describes the giving rise to the Art of the Hyperavantgarde as a fairy story and awards a prize at the XVII edition of the National Literary Competition “La Primogenita”. In 1995 he takes part in the International Exposition Miami Beach Convention Center, in the Biennal Exhibition of the Emeral Coast in Sassari and in the Biennal Art in Malta. In 1996 he exhibits at the “Palazzo de’ Perugini” in Spoleto during the Festival dei Due Mondi and in Figueras (Spain).

He publishes the volume “The Hyperavantgarde - An Artistic Aesthetics between the Past and the Future” that awards the special prize “Porta dei Leoni” by International Academy of Micenei in 1997. Afterwards he publishes the volume “The Phoenix Flight - Beyon the Aavntgarde” and he writes the novel “Lorèn the Hyperman” which theorizes the philosophy of precariousness as the way out from the false hope of human certainities. Later, he exhib-its at the MICAM in Milan, at the GDS in Düsseldorf and at the Best Collection LTD in Hong Kong.

In 1998 he publishes the volume “Aesthetics - The Artistic Event - The Yyperavantgarde” and writes the novel “The Gallian Myth” in wich he deal with the myth of Absulute and its unfea-sibility. He is the invited to exhibit in the International Exhibition of Contemporary Artists in Taormina and in 1998 in Artivrea c/o The Adriano Olivetti Center and in the Showroom of Contemporary Artists, in Florence.

He writes the volume Eventologia della Creatività. He is elected town Councillor in Piacenza. In 1999 he founds the H. A. G. Private Gallery and with other people the Cultural Association “From the Historical Background to the Hyperavantgarde”. He is invited to exhibit in the IV Grand Prix International de la Côte d’Azur Nice and the International Biennal in Florence. In the university circle the Hyperavantgarde is the matter (degree thesis) and appears in uni-versity books on History and Contemporary Art.

The artistic and cultural Movement “IPERAVANGUARDIA” was born in Italy at the end of 1980: The art of Iperavanguardia is the SCIENCE OF CREATIVITY and its language represents the visuali¬zation of a biological content.

For a wordreference on the Iperavanguardia Aesthetics and Art, look at the following vol-umes:

-L’Iperavanguardia un’estetica artistica tra passatismo e futuribilità

-Il volo della fenice - oltre l’avanguardia

-L’arte d’Iperavanguardia l’arte come scienza dell’interiorità

-Estetica – l’evento artistico

-Cantarelli the Hyperavant garde

-Nel futuro della memoria - il Romanzo e il teatro di Iperavanguardia

The books of the Iperavanguardia poetry:

-Bienvenidos a Canarias turistas un sueño os espera

-Fotogrammi – Poesie di Iperavanguardia

-Fotogramas – Poesías de Iperavanguardia

-Photogrammes Poésies d'Iperavanguardia

On the scientific theory of Iperavanguardia, look at the following volumes:

-El cerebro cuántico del universo

-Biologia molecolare del pensiero estetico .

-Il DNA dell’Iperuomo

With its artistic gesture, the HYPERMAN takes the sequence structures of genome and trans-fers them in its work of art, where we visualize the landscape of the Collective Unconscious.

For a wordreference on the Iperavanguardia philosophical theory, look at the following vol-umes:

-Eventologia della creatività

-Ory Zurk la filosofia dell’Iperuomo

-L’Iperuomo

The HYPERMAN takes the difficult task of recovering the content of our inner life running though the way of biomolecular creativity with a probing of the COLLECTIVE UNCONSCIOUS (ADN). The Iperavanguardia work of art contains some FUNCTIONAL SYSTEMS: the linguistic system, the space system and the temporal system (plays and novels of Iperavanguardia un-der his pen name José María Bargas).

The plays of Iperavanguardia:

-Da Zuzù ristorante dell’inconscio

-Il mito di Gallyan

-Su la maschera

The novels of Iperavanguardia:

-I giorni del cobra

-Salèm l’arabo

-Il guerriero di Korak

-Kikì la gabbiana

-Il principe che visitò l’abisso

The Iperavanguardia has a difficult language. For this there is the glossary of the Iperavan-guardia.

-Glossario d’Iperavanguardia

The IPERAVANGUARDIA answers the following questions:

Where does the artistic gesture that becomes the object of art come from? What is the bio-chemical material of art? What are the verifiable, controllable and repeatable mechanisms that transform an artistic expression in object of art? Is there a biological and biochemical way of creativity? And, if so, where is it? What is it? Could we know it well? Can we go through it more whenever we want it? What are the bio-molecular mechanisms of control that allow and guarantee the coherence between the idea and the artistic expression, between the idea of departure and the final object of art? What is the biochemical destiny of the artistic gesture, once the artistic gesture has been burned, in one way or another, in the object of art?

What are the biological and biochemical ways of the artistic sensory emotions and lyrical aes-thetic emotions? What are the biochemical and anatomical pathways of taste, beauty and the sublime?

The artistic production is the result of the work of “The Neurochemical and Biological Cycle of Art”.

The "poetic" is the language of the Hyperman who, with the lens of his creative genius, ana-lyzes the future in his continuous and chaotic present in order to synthesize it with the lens of the remembrance, so to plan his past.

The action is the dynamic container of the Hyperman who lives in the "action of the action". He does not live in the action, but he lives in the action that determines it.

In the "action of action", the speed of human life is part of the immutable. And the precari-ousness of “the now” transforms itself in the duration of “the always”.

Through the "action of action", he enters in the future of the memory and can live his future in his continuous present.

So, his past always is his present.

Where?

In the collective unconscious and in the individual unconscious of the DNA.

He is the Critic of Iperavanguardia Art. Now he is the the Member of the Comité Español de Historia del Arte Departamento de Historia del Arte University of Granada – the Member of SEyTA Sociedad de Estética y Teoría de las Artes Facultad de Filosofía University of Sevilla – the Member of the IAA International Association for Aestetics.