A short biography of Kadmo

  • Bookmark and Share

NUGAE, GKP' Portrait by Gianni Blanco

Giorgio Kadmo Pagano is a painter, sculptor and architect (La Sapienza, Rome, speaker Filiberto Menna). He trained at the night University of the club-bar Prive' in Via dell’Oca in Rome, with Gino De Dominicis, Jannis Kounellis, Emilio Prini, Vettor Pisani, Alighiero Boetti and Luigi Ontani... with whom he shared for years also the same gallery, the  Pio Monti’s one, in Via Principessa Clotilde, where he have his solo exhibition in 1979. Night University, one of the Prive ', which passed everyone who came to Rome to exhibit, from anywhere in the world: from Buren to Kosuth, from Merz to Sol LeWitt, to Rotella.

His first exhibition is  during the International Meetings of Art -Incontri Internazionali d'Arte -  in Rome in 1977, with the installation “Art has no limits and no artist owns its perfection” -  L'arte non ha limiti e nessun artista ne possiede la perfezione -. Meetings where he returned in 1989 with the opera “La tablo del la Unio” (The Union Table). Soon he persuaded himself that without a "Julius II" no "Michelangelo" will never have the possibility to enforce and to make see his talents, the quality of his artistic thought.

GKP has not, almost never, made a solo show similar to the previous. His exhibitions are always spaced over time - often years - influenced by his insights, his travels, his studies:

- He use, as support for his works, the fanfold paper and printed specifically, when facing the electronic processing in architecture and Fortran;

- Invents a calligraphic-pictorial meditative technique - conceptually similar to that of the Sand Mandala - sacred art form created by Buddhist monks of Tibet - studying Religions and philosophy of India and the Far East;

- Uses calligraphic arabesque, deepening the Quran to the Academy of Islamic culture in Rome, where he exhibited at the end of studies, in 1980, the work Mohammed and Nietzsche.

Think also new ways of thinking about the painting, beyond the "square" and invents the “tensotele”, or use angles for shelving - angolari - as frames for the paintings rather than the classic wood ( show in La Salita, Rome); uses the fanfold paper and the airbrush to create large works pasted on aluminum plates; marine plywood, chipboard, formica, or wood especially treated to produce shaped works; metal plates and metal for inventing secular icons, which, unlike those of sacred Byzantine tradition, have faces and bodies worked on foils cantilever (copper, brass, lead) which handles then chemically to tack in other colors, but if he paints Oil, the techniques, from primer to the achievements of the colors, are pulled out by the Treaties of painting the most serious and reliable, from the Renaissance up to the Little Treaty of painting technique of Giorgio De Chirico.

In 1979 he comes to the conclusion that, for the European art, free and not colonized, the only resource that can represent the "Julius II" is the United States of Europe: the only federative entity that, pursued linguistically and culturally, could lead to macroeconomics necessary for creating works of great impact.

The bet is that this can not be accomplished through a War of Independence, as it was for the formation of the United States of America and the military-political role of George Washington, but political-cultural. Relying on a mystical of culture and nonviolent tools just starting from Art. So his work, even with their obvious differences and connotations linked to thinking art in Italian, it is located in continuity with that of Joseph Beuys, as the issue of post-war European art is above all, and yet unfortunately, free Europe and European art since the war. Free it from that servile, miserable and helpless settle Atlantic and beyond the Channel phenomenon, that makes Italy and the European Union today, the realm of intellectual and artistic mediocrity. In this sense, the opposite of Beuys, GKP is for the revival of culture and not of Beuys rebirth of agriculture, romantically linked to a thought where is absent a geopolitical idea of ​​the world.

This conviction stems articulation of him thought and creativity that, not being able to exclude the Italian society in decline in which he operates, must be open to media vehicles with a lower risk of interpretation: this is the case of the essay “Art and criticism from the crisis of Conceptualism to the foundation of European culture” - Arte e critica dalla crisi del Concettualismo alla fondazione della cultura europea - , written between 1983 and 88, largely the result of the graduation thesis in architecture with Filiberto Menna, published in 1990 by Inonia Ed. Rome; is the case of many texts and articles including, to name but one related to theories of art of the 80s, “Transavantgard, daughter of the crisis or just the poverty of ideas?” published on the Avanti! 23 March 1981.

Soon he realizes that even this is insufficient. The society is increasingly in decline and shows increasing lack of vital energy as, also, marked ability to being colonized; at the mercy of a ruling class, intellectual, artistic, more and more interested in their own particulare (effect of a genius loci transavantgardistic degenerated), epigonic of followers, unable to think of innovation and creativity to the heights necessary to continental European society as a whole.

He decided then, in 1989, to welcome the invitation of Giordano Falzoni, artist of surrealist beginning,  known at the Fabio Sargentini Galley and one of the founders of the "Esperanto" Radikala Asocio, to candidate himself for the role of Secretary of this association constituting the Radical Party Nonviolent, Transnational and Transparty. Role still held and important for the action of "sculpture of collective thinking" which has become indispensable in this time in history.
Around 2002, he consider appropriate to use the name Kadmo (registering the domain www.kadmo.eu).
Since 2005 he is particularly commited because Italian art, language and culture not disappear. In this regard, in 2014 it leads a long hunger strike of 50 days, in the car in front of the Ministry of Education University and Research, in order to avoid that the people who are predisposed to preserve and revitalize the knowledge and the arts in italian language, pursue instead the linguistic and cultural genocide and colonization of the English-speaking country. Imminent, in 2015, the publication of the new book by Giorgio Pagano INTERNATIONALIZATION OF AND IN ITALIAN LANGUAGE. By the Government of Italy to the Government of Italianity: a new development model.

free to

(C) Giorgio Kadmo Pagano