The translation of the review by di Antonino Contiliano titled “L’artista G. Cuttone in India. Non solo “tra” noi.” is reproduced here.
The artist G. Cuttone in India. Not just "between" us
Not only between us (neighbors) but "between" us and others (even far away), the pictorial instances of Giacomo Cuttone's canvases, like ferried sails (in terms of common semio-cultural and political transduction), arrive between the pages of Indian magazine "Litterateur Redefining world / October 2020" and return to their homeland, the Mediterranean routes. Redefine the world - "Redefining world" - in fact it is the common idea that the voice and letter of "Litterateur" (by the writer and publisher Shajil Anthru, Trivandrum Kerala - India) and the signs and semiosphere of the researches and expressions of painting by Giacomo Cuttone intend to translate and carry on in a historical reality which is completely different for shared purposes and ends. And it is no coincidence that the cover image of the Indian magazine "Litterateur Redefining world / October 2020", in differential allegorization, emblematizes - according to the writer - the overall meaning of the co-operation of the two artists (the Indian Shajil Anthru and the Sicilian Giacomo Cuttone) with the painting “The enigma of the hand” (acrylic on canvas 80 × 80 of 2028) by the Sicilian artist Giacomo Cuttone.
In the semiotics of signs of different geo-etho-political origins, the "differences" between the worlds of origin do not in fact prevent cultures (proximate and distal) from "translating" the common need to "redefine" the "meaning" of co - the existence of forms of life in an alternative, plural world (there are in fact several voices and translations that enliven the pages of "Litterateur Redefining world / October 2020"
The first pages of the magazine are dedicated to the works of Cuttone, to his exhibitions ("Lavatoio Contumaciale" by Tomaso Binga, Rome), to the works, such as the graphics, which intertwined art and poetry (as a single verb-visual), or paintings that, interpreting / translating) accompanied poems (by the writer) and collective poetic texts (edited by the writer), or by Giacomo Giannone, or by Francesca Incandela, or the book with Gianmario Lucini ("The song of children lost ", Ed. CFR, Piateda, 2013). The magazine also reports photos that show him with different subjects and authors known and frequented by him. Among these there is a photo in company with Leonardo Sciascia. It cannot be said that Giacomo Cuttone's painting remained “among us”. Thanks to traditional newspapers and magazines (we remember Stefano Lanuzza's “Molloy” and Salvatore Vecchio's “Spiragli”), it was already circulating outside the home. Today, without borders, he travels through the pages of electronic newspapers ("Spiragli", "Retroguardia", "Argo", "The Dreaming Machine" ... Even the historic Roman (paper) magazine "Fermenti"). The latter, signed by the writer, trying to grasp the est-ethical-political commitment and together with the artistic invention, by our artist Cuttone, hosted several works.
Extrapolating from a recent critical note of ours (for the catalog of the National Exhibition "Researching contemporary art" in Agrigento, in which he participates with "The Satyr and his reflection", "Portrait of Sicily 4", "The slow passage of time" , “Good luck”), the fact that the painter Cuttone dialogues and translates the events of our time is unavoidable in order not to remain a prisoner of the pockets of dominant powers. The chromatic pulsations of the works of the Sicilian artist, Giacomo Cuttone, in fact, establish critical thrusts and a logic that filters and mixes the high, the low and the infra-medium of the expressions that tell us the reality in processual movement. "The current that coagulates the present of the past and the future. As if to say the intersection that clusters the dis-running of forms in the amazement of the instant that knows of the invisible, while, tearing the umbrellas of the protective shelters of the beliefs and conventions of the neoliberal world, the stylized pulsations sting the seeing and project together the thought of the oblique gaze ”, that is the proposition of other cultural-political identities. The identity of the cultures are not homogeneous. They always carry the innovative signs of the re-generative and re-creative creation of dynamic and transformative encounters.
Further readings from the original publications can be from the links provided: