{"id":335,"date":"2026-05-11T17:12:09","date_gmt":"2026-05-11T17:12:09","guid":{"rendered":"https:\/\/www.francoaccursiogulino.it\/?page_id=335"},"modified":"2026-06-18T16:59:23","modified_gmt":"2026-06-18T16:59:23","slug":"clandestinus","status":"publish","type":"page","link":"https:\/\/gulino.meteorawebhosting.it\/en\/clandestinus\/","title":{"rendered":"Clandestinus"},"content":{"rendered":"<div data-elementor-type=\"wp-post\" data-elementor-id=\"335\" class=\"elementor elementor-335\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7498fa6 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-column-slider-no wpr-equal-height-no e-con e-parent\" data-id=\"7498fa6\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-777146a elementor-widget elementor-widget-html\" data-id=\"777146a\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-5f66915 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-column-slider-no wpr-equal-height-no e-con e-parent\" data-id=\"5f66915\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-868487b elementor-widget elementor-widget-text-editor\" data-id=\"868487b\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p class=\"translation-block\">\"In his works stowaways are at the core of reflection which besides being based on the topicality of refusal, rejection, suspicion, becomes existential and ontological. Gulino's stowaways come from Mexico and Libya; they are passengers on rickety boats, which are already blocked before departure, but also those who go through life. Non-aligned, rebels\". (Laura Anello, <span class=\"titolo\">Quegli emarginati dell'esistenza<\/span> in <span class=\"titolo\">Giornale di Sicilia<\/span>, luglio 2011)<br \/><br \/><\/p><p class=\"translation-block\">\"From his small window over a world which is too big, Gulino observes the sea lapping on the shore, islands sinking together with man, and lives personally the sufferance of those who cross our seas in search for a new life, those who are called stowaways, just like daylight thieves, <i>sans papiers<\/i> and therefore with no right to be human. This is where art has to intervene to transform smoke into wings, twisted cemeteries of boats in the flat tracks of memory, made eternal through painting\"  (Valentina Di Miceli in the catalogue of individual exhibition entitled <span class=\"titolo\">Ecce clandestinus<\/span>)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>&#8220;Nella sua opera i clandestini sono al centro di una riflessione che attraversa s\u00ec l&#8217;attualit\u00e0 dei rifiuti, dei respingimenti, della diffidenza, ma che diventa esistenziale, ontologica. Gi\u00e0, i clandestini di Gulino sono quelli del Messico e della Libia, sono i passeggeri dei barconi ormai bloccati gi\u00e0 alla partenza, ma sono anche quelli che attraversano la vita. I non allineati, i ribelli.&#8221; (Laura Anello, Quegli emarginati dell&#8217;esistenza in Giornale di Sicilia, luglio 2011) &#8220;Dalla sua piccola finestra su un mondo troppo grande, Gulino osserva il mare lambire la terra, le isole inabissarsi insieme agli uomini, vivendo sulla sua pelle la sofferenza di chi attraversa i nostri mari in cerca di una vita possibile, di quanti sono chiamati clandestini come ladri del giorno, sans papiers e quindi per questo senza licenza di esseri umani. Ecco che allora deve intervenire l&#8217;arte, a trasformare il fumo in ali, i contorti cimiteri di barche nei solchi piani della memoria, eternizzata attraverso la pittura&#8221;. (Valentina Di Miceli in Catalogo della mostra Ecce clandestinus, 2010)<\/p>","protected":false},"author":1,"featured_media":656,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-335","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/pages\/335","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/comments?post=335"}],"version-history":[{"count":10,"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/pages\/335\/revisions"}],"predecessor-version":[{"id":1314,"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/pages\/335\/revisions\/1314"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/media\/656"}],"wp:attachment":[{"href":"https:\/\/gulino.meteorawebhosting.it\/en\/wp-json\/wp\/v2\/media?parent=335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}