With a big slice of world inside, and quite an amount of cultural experiences, along with an unstoppable curiosity that did not set limits to his studies, Claudio Fiorentini is an authentic cultural mediator. A promoter of the arts who embraces a wide range of viewpoints, capable of interacting with different opinions, of understanding the many ways and customs that constitute the engine of contemporary culture.
His literary work is composed of novels, short stories and poetry. His published works, to the date, consist of eight novels, five sylloges, a collection under the pseudonym Pasquinate and a collection of short stories, along with his presence in several anthologies. His paintings, or rather para-paintings, as he loves to define it, is a continuous pursuit of abstract expression forms, with “poor” materials, with a different tactile texture. Indeed, touch is the key to grasp the sense of his physical pursuit of balances, starting from the manipulation of the base, that only when perceived they can transcend into the painting with the help of the brushes.
“You must be faithful to your dreams, otherwise they come back and hold you to account”, quoting one of his writings, sums up his modus vivendi, which allowed him to put together his professional life, artistic life and family life.
In his world extended to the whole world, he organized and participated to exhibitions, meetings and art fusion events, and became tireless promoter of other authors’ works through reviews, presentations, art festival, radio shows, prestigious juries and various other events.
In Rome he contributes to the Cultural promotion Centre Polmone Pulsante and is vice-president of Alberoandronico Association.
Today he resides in Madrid, where he owns the Art and Culture promotion Centre Captaloona Art and is curator of all the activities that take place there.
Just don’t tell that to dreams: dreams, you know, are gossipy.
The first poems by Claudio Fiorentini are born in Mexico, land of his adolescence. In the beginning he engages in free verse and sonnets, until his return to Italy, when he approaches avant-garde poetry, participating for almost ten years to the movement called Metasymbolism, together with Francesco Maria Mecarolo and Gabriella Di Francesco. His first publication, Da comunque Uomo, is a 33 lyrics sylloges of clearly metasymbolic inspiration.
In time, his poems become more dialoging, though never giving up the mystic and metaphysical aspects, typical of Metasymbolism, intrinsic to the profoundness of the verse never ending pursuit. In 2010 he is included in the Anthology L’evoluzione delle forme poetiche, edited by Ninnj Di Stefano Busà and Antonio Spagnuolo, and soon after publishes Incauta magia del mentre, poetry and photography book, in which the metasymbolic characters blur, to return to a less avant-garde poetry. In 2015 publishes Grido, the beginning of a road toward a dialog poetry that finds its apex in Sinfonia, in 2017. In 2018 publishes, under the pseudonym Anonimo Monteverdino, a collection of sonnets and pasquinate in Roman dialect, stinging satire with the typically Roman irony with which he targets personalities of the time. In 2019 publishes I colori dell’iride, a sylloge that takes its inspiration from a small poem where who speaks are the colors.
After several novel and short stories collections tries, in 2002 Claudio Fiorentini publishes his first novel Ovvero le porte del mare, defined by several critics “fable novel”. In 2004 publishes Io parlo Jazz, written entirely under the influence of jazz and inspired by a dream. The novel in 2015 became a theatrical play.
In 2007 publishes Il faro di Bighlise, telling the affairs of a spaced out gang meeting at the lighthouse to listen to the old lighthouse keeper talks. In 2008 publishes La stella e la sua luce, which later became a screenplay, where he imagines a fierce commando made of cultured people working mercilessly to boycott reality shows. In 2011 publishes Il misterioso caso di Via Delia da Gilal-Gulta, a metaphysical crime novel that gives ample space to a true mockery of our society.
In 2012, he publishes Captaloona, perhaps his most emblematic novel.
In 2015 publishes the short stories Piricotinali col ruspetto, a gallery of stories with an undercurrent of a deep wacky humor. In 2016 publishes Fermata del bus, a short novel targeting the modern man’s manias, dealt with the fierce humor characteristic of Fiorentini the storyteller.
Fiorentini arrives late to painting and, like all the other roads he travelled, his approach begins with a dream. However, if the dream is the starting point, poetical discipline is the indication of the path. Experimenting continuously and with “poor” material, searching with touch and then with the brush for new abstractions, is the mark of the artist. The pursuit of a balance in the surface, where touch outlines the base, the matter, where the hand blends paper, glue, sand, plaster, paint, fabric and more, determines the creation of the work that, only if the base has its own language, is colored with Claudio Fiorentini personal style. Being a poet, he likes to define his works Pictorial Poems. His works, mostly untitled, a part of several series: Khaos, Digging into Khaos and Rain of Khaos. With this denomination, which is also evolutionary, the artist aims to convey the sense of his pursuit, something that cannot be locked in a title.
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