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What to do on May 1st in Turin, exhibitions: from Pompeii to author’s shots

A great Labor Day classic is to go and explore the museums in Turin, on May Day, on Sundays, which offer an unusual opening. In addition to the permanent collections, there will be an opportunity to admire the beauty of the numerous temporary exhibitions that offer imaginative journeys between the past and the present. Starting with the Foundation of the Museums of Turin that will adhere to the continuous schedule from 10 to 18. Palazzo Madama with “Invitation to Pompeii” You will welcome visitors by allowing them to enter the houses among the most representative and luxurious rooms of the first century. The protagonist is a rich collection of more than 120 works, including tapestries, statues, jewels, bronze, glass, and decorative items, presented to the visitor in an itinerary between home spaces such as the foyer, the triclinium, the parisley with the garden, and a reading, and ending with the dramatic representatives of some of the victims. Organized jointly by the Archaeological Park of Pompeii and Palazzo Madama, it is organized as an immersive 360-degree visit in the last days of Pompeii’s life.

Author shots
La Gam just openedWorld Press Photo GalleryTrack with 134 shots from the world’s most important photojournalism competition. This year’s winning works were chosen from among 64,823 nominees, including photos and open formats, by 4,066 photographers from 130 countries. These are signed works by major global newspapers, such as National Geographic and BBC, Cnn, Times, Le Monde and El Pais vying for the title in various categories of the photojournalism competition. Also present”Carlo Levi120 years after the artist was born with 30 paintings and other curiosities, the “Unlimited Collection. International Art Since 1990″ which focuses on 56 works, many of which are rarely shown.

May 1st in the family: from Dante to puppets, from games to an afternoon at the theater

Franca Cassin



For photography lovers who haven’t visited yet, don’t miss the exhibition featuring 250 Snapshots from Vivian Meyer, one of the main proponents of so-called street photography. Straight from the title of “Inedita”, the exhibition that arrives in Italy after its first stop at the Musée du Luxembourg in Paris aims to tell unknown or unknown aspects of the mysterious human and artistic story of Vivian Mayer, an artist known on the international scene starting from 2007, when a collection was discovered His photographs a few years after his death, which occurred in 2009. On the occasion of the exhibition in the rooms of the Chiablese, there is also an unpublished collection of shots made by the artist in Turin in 1959, as well as in a presentation of Vivien Mayer’s personal belongings. The exhibition, curated by Anne Maureen, is curated by diChroma Photography in collaboration with Royal Museums, Ares in Turin, John Maloof Group in Chicago and Howard Greenberg Gallery in New York. The exhibition is supported by Women In Motion, the Kering program to highlight the role of women in arts and culture.

Among fabrics and flowers to brilliantly celebrate (even outside of Turin) Labor Day

Franca Cassin



Looking to the east
Mao will, as usual, provide a glimpse into the East. Starting from the chance of admiration”kakimono. Five Centuries of Japanese Painting. Perino groupIn the presence of 125 paintings, precious fans and colored lacquer. In addition, in the rooms there will be a photo exhibition “Belief in the Body in Southeast Asia”, curated by Eva Rapoport. Also evidence is the precious Japanese kika in the “Buddha’s Robe”.

sexy sunday
The National Film Museum, from 9 to 20, will open its doors to visitors not only to its rooms, but also “Dario Argento – The Show”, the exhibition dedicated to the master of suspense who has filmed several films in Turin. Special occasions for the occasion will be welcomed: at 10 and 15 there will be a tour “Discover the Museum”, a guided tour at 12 will be in English. In addition, at 10.20, 14 and 16.30 Thanks to the “Climb at the foot of the dome”, attendees will accompany the itinerary from the ground floor to the panoramic balcony at a height of 85 m along the hollow stairs of the dome to discover architectural wonders and unseen places in the mole.

Automotoretrò and automotoracing
In Lingotto until May 1 there 39th version of Automotoretrò and 12th version of Automotoracing: The wonderful Turin fair dedicated to historical motorsports, which since 1983 has presented a selection of the best jewelry of the past on two and four wheels. Today it has over 1,200 exhibitors and over 67,000 visitors from all over Europe, with a consolidated presence from France, Switzerland, the UK, Spain, Germany, Austria and the Netherlands. Automotoracing has instead become a reference point in Italy since 2009 for all fans of racing cars, motorcycles, customization, tuning and racing.

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Positive and sustainable art: in Venice the new phase of the CIP Land Art Project

Sustainable development is a global challenge that includes all components of society, from public institutions to private companies, passing through to individual citizens, from which there is no escape. Each of us is invited to contribute by adopting a responsible lifestyle before the Earth reaches the point of no return. With this in mind, in 2015, the United Nations developed and signed the 2030 Agenda, a program of action for people, planet and prosperity, consisting of 17 goals related to the three dimensions of sustainable development (economic, social and environmental) and able to address a wide range of issues, Such as poverty, inequality, climate change, environmental protection, access to water and energy, justice and peace, the right to education, and patterns of production and consumption.

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World Earth Day, celebrated on April 22, one month and one day after the vernal equinox, provides an important opportunity to reflect on the problems affecting the planet and to significantly promote awareness. On the Day dedicated to Our Planet, which this year coincided with the opening of the 59th Biennale Arte, the Lavazza Group, always attentive to the values ​​of sustainability, presented in Venice the new stage of the Art of the Earth Around the World project, Beyond the walls. Initiative created by #EmbracingVeniceallowing the audience to admire from the exclusive perspective of the North Arsenal’s Torre di Porta Nuova balcony, Saype’s monumental work, painted on a 300 m² grass carpet with 100% biodegradable dyes designed by the artist himself.

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In the center of the huge representation placed on a pontoon, a typical Venetian boat, two hands are represented stretching towards each other and shaking each other, in a fist that conveys trust and mutual assistance. Support for the Saype project is part of the path that the Lavazza Group has for some time been committed to drawing attention to the fragility of existence on Earth and emphasizing the protection of the environment through artistic languages.

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In fact, the Turin-based company believes in the idea of ​​“positive and sustainable” art, which is not an end in itself, but is able to raise awareness among the people it addresses and promote encounter and dialogue between intellectuals from different fields, with the aim of awakening the collective conscience of the need to work for the good Change.

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A commitment expressed in different expressive and visual ways, starting with the iconic calendar, but also supporting exhibitions and creating real creations. Among these, urban art has a special place, one example of which is the “TOward2030” project, which since 2018 has seen the production of murals inspired by the 17 United Nations Sustainable Development Goals, and has touched cities such as Turin in Italy. in the UK. Pioneering in the field of visual arts has prompted Lavazza to establish partnerships with leading institutions, such as the Peggy Guggenheim Group in Venice, as well as ensure its support for the Milan Triennale, Camera (Centro Italiano per la Fotografia) in Turin and some of the most important global events dedicated to art and thought.

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In recent years, in particular, the exhibition “Nazione delle Piante”, an immersive exhibition based on the theories of Stefano Mancuso hosted in the framework of the Broken Nature of the XXII Triennale di Milano in 2019, and “Rural, future”, a unique installation have been supported Held at the Solomon R. Guggenheim Museum in New York. Finally, in 2021, the collaboration with MUSE – Trento Science Museum was born with the opening of the renewable exhibition of sustainability and the Goal Zero Area, the beginning of a synergistic path between the two realities found in Goal Zero designed by Lavazza, a joint work to spread the message of the 2030 Agenda to the wider possible audience.

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Moreover, the day-to-day work of protecting sustainable development by the Turin-based company has deep roots and has seen a strong acceleration in the past 20 years. In 2004, with the birth of the Giuseppe and Berkeley Lavazza Foundation, the group identified programs to support the communities in which it operates and currently implements 31 projects, benefiting more than 130,000 coffee growers in 19 countries and 3 continents. In 2015, the first sustainability report was released on a voluntary basis, and with the aim of being able to transparently see the commitments made, in 2021, Blend for Better was created, a platform that communicates Lavazza’s concern for sustainability and outlines the current situation. In the field of corporate social responsibility to produce premium quality coffee in a responsible manner.

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An interview with Micol Forte about Maria Lai, the artist who spun the threads

Maria Lay She is an artist who, based on direct life experience, specifically from her Sardinian tradition, transforms the knowledge of ancient gestures into a whole value relating to transcendence, the sacred, and radically spirituality.” Observation comes from a very reliable source, Micol Fortethe person running since 2000 A collection of modern and contemporary art from the Vatican Museumsa first class collection where names like Van Gogh, Picasso, Carrà, De Chirico, Chagall and Matisse stand out with a really cool room, Fontana, Burri, to name a few.

In addition to being a highly sensitive and attentive scholar, the Roman art historian edited the book “Maria Lay. Healing the pain. weaving hopePublished in a joint edition by 5 Continents Editions and the Maria Lai Foundation (2022, p. 96, E., €25.00, with photographs by Giorgio Dettori). It is from the tone of voice of the telephone conversation, and not only from his words, that Micol Forti conveys an infectious enthusiasm for the subjects which concern the existence of all of us, and above all, towards a unique artist.

Born in 1919 in the village of Ullasai in Ugliastra in Sardinia and died in Cardedo in 1919, knitting threads of different shapes and situations create a profound, unpredictable and poignant art. If his most famous worksTie yourself to the mountainWhen, on September 8, 1981, he found a way to “connect” the inhabitants and places of Ulasai with an endless blue thread, the artist produced a very large body of work of which, among many episodes, he made an accurate and heartfelt compendium of an exhibition held in the museum Maxxi of Rome From June 2019 to January 2020″Maria Lay. Hold the sun in the handThere are two Sardinian institutions dealing with his cultural and material legacy: Art station – Maria Lai Foundation and theMaria Lai Archive (You will find all the links at the bottom of the interview).

Forte, in the book captures the dimension of the sacred in Maria Lai’s work beginning with The Way of the Cross. How does the discourse fit with such a unique artist?

A work of art that is deep and complete is always sacred: it questions who we are, it investigates to know ourselves and the surrounding world, and artistic inquiry goes beyond merely describing reality. This is even more true in Maria Lai regardless of the fact that she has created works for sacred themes such as “The Way of the Cross”, Children’s Beds, “Christmas of War”. She began from direct life experience, and specifically from the traditions of her land, from such inferior materials as bread dough, thread, wood, and sewing, and the activities of the peasant world from which she came. Through his research, he transforms the knowledge of ancient gestures into a whole value relating to transcendence, the sacred, and spirituality in radical terms. In addition, Maria Lai has dealt with topics of a sacred nature many times, both on an individual level for herself such as nativity scenes, and with clients as in The Way of the Cross, and measuring herself against the request of the liturgical context.

Reading his text, a question arises among others: why does this thread so fascinate us today? Among other things, the artist also sewed works on paper and using a sewing machine on paper should not be too easy.

It is part of the great poetic power that was in his hands, in his mind, and in his heart. Maria Lai transforms everyday materials such as cloth, needle, thread, clay or clay, in a poetic reference: artistic creativity transforms something everyday into something unique.

In our hands, thread certainly does not become a work of art.

exactly. This is what distinguishes the artist. The leitmotif in Maria Lai’s work and its aesthetic reflection is that a work of art must start from a concrete experience and must belong in everyone’s life, and must not be created by something elusive or alien, I know? , Marble from far east.
Sewing for Maria has very specific roots. She was born in 1919, in Sardinia, on an island still associated with pastoralism, with the peasant world: although she was a wealthy bourgeois family, she came from a culture with strong ancestral roots. Tailoring relates to her an act of identity and at the same time the freedom of the female world.

Would it not be restrictive to define it as a feminine art? You do not describe it in these terms in your article.

of course not. It is a predominantly female work in our Western culture while in other cultures it is a predominantly male work. But it is linked to one of the greatest acts of women’s freedom: weaving, sewing and embroidering in Sardinian culture belong to a world between dreams and freedom, between the creation of one’s life and the fate that awaits them.

As he points out in the book, tradition plays a major role in the artist’s work.

Maria Lai refers to very wonderful myths of the ancestral Sardinian culture, in which female deities are at the origin of sewing: it is about the ability of women to bring a world different from men still associated with hunting, to the land. Tailoring in the Sardinian tradition relates specifically to an act of liberation and belonging to a field that transcends reality, transcends everyday life, and creates something that did not exist before. For her it also becomes a space to investigate meaning. The stitching of the image of “Via Crucis” goes hand in hand with the stitching of her books where there are no real words, it is imitated with threads. It also becomes a way to build new horizons of meaning. Those threads that sew the Stations of the Cross Trail become long cascades of tangles that descend behind the scenes.

Micol Forte, Director of the Collections of Modern and Contemporary Art at the Vatican Museums

Speaking of threads: what tied the Christian religion to the most important art of its time was broken in the modern era and in the contemporary era, a “divorce” has occurred, but with the new millennium this thread appears to be rewinding itself, art is no longer understood as a mere propaganda tool. One should remember the opening of the Vatican Pavilion at the Venice Biennale when Antonio Bolucci was director of the Vatican Museums in 2013. Do you think this is true or false?

His observation is correct at any age. Thinking of Italy, I recommend, many Madonnas from the “400 and” 500, many paintings from the “600 or” 700, are workshop works without a special sense of holiness. However, since the end of the nineteenth century and more clearly in the twentieth century, the separation seems to manifest itself but is more nominal than real because the great artists of all sides and ideologies have always confronted themselves with the sacred, they have always aware of the need of the one who has doubts. Because this is what a great artist does: he raises doubts, offers ways that are not answers but are possible.
No great artist has ever distanced himself from the sacred in a priori way. I find the word “divorce” excessive, and I prefer “tortured love” because all great love is because it is real: it was a much more complex relationship, the result of a radically changed society. It happened in part because art lost references, interlocutors, and on the other hand, the Church matured a distrust in the ability of contemporary art to become an expression of the sacred. But the one who denounced it and uttered a key word was Paul VI, that is, the founder of the group I run. After a reversal that began in the 1930s, very young, at first as Archbishop of Milan and then as Pope in 1964, nine months after his election, the art world called to the Sistine Chapel and said: Sorry, we preferred the art of painting, a labor of little cost and worthless, to being able to listen To you, to assign your role as poets and prophets. In that duo, ‘the poet’ and ‘the prophet’, Paul VI identified two central features of every art of all time and contemporary art in particular: the ability to change form, and to synthesize something the artist himself might not be aware of, namely existence. The other and elsewhere can be called, and I use these two terms with a capital letter, which are the heart of the Christian and Catholic message.

Maria Lai worked in the church, for example with Via Cruces.

Performed for three churches: one for Cagliari partly dispersed, the church of Olasai is in the church, the church of San Paolo a Cardo was rejected by the citizens in 2008 and part documented in the book: it is a summary, a fine work of stones and strings, with the stations of the cross in the Ogliastra Sardinian, the language of his childhood. Maria Lai faces ecclesiastical clients as Matisse, Lucio Fontana, Mario Ceroli, Léger and other greats, and the refusal of one of them in Via Crucis underscores the complexity of the process of renovating our churches.

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Due to a legal dispute between Maria Lai Archive and the Stazione dell’Arte – Foundation, in order not to incur fines or possible legal action, we refrain from publishing photos of the exhibition that took place at the Maxxi Museum in Rome: we regret that because our photo gallery does not convey an idea of ​​the liveliness and diversity of the exhibition. Artist’s work. Those who wish will be able to search for other images, for example the sources we publish the links below.

Click here for the collection of modern and contemporary art in the Vatican Museums

Click here for book details

Click here to watch the 2019-20 exhibition at Maxxi “Maria Lai. Hold your hand in the sun

Click here for Art Station – Foundation

Click here for Maria Lai’s archive

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Arezzo and its environs: agricultural and artistic landscapes

Our traveler directs the navigator towards

Aretsu

, preferably on a motorcycle or vintage spider, with the stereo tuned to one of Jovanotti’s albums, to heighten the excitement of the exclusive journey you’re about to take (the perfect slow drive is on a Giulietta, on a Beetle, or on a Spitfire, it’s almost impossible to find, info www.classiccartour.eu); At the entrance to the city, he will meet Guido Darizo, or Guido of Monaco, to welcome him into the monolithic square within the walls, before entering old Arezzo. The imposing statue created in 1882 by the sculptor Livorno Salvino Salvini, depicts the monk in Benedictine robe holding his right hand over the telephone containing the Hymn of Saint John, in Latin, from which the beginnings of the verses took the names of the musical notes (later replaced by do – re, mi, fa, sol, la, si). His hometown can be visited by going to

Tala in the Casino

where a documentary and educational museum has been created, with an interactive music track, ancient musical instruments and illuminated manuscripts coming from

La Verna Monastery.

Desire to stay in the tangle of streets

The historical center of Arezzo

Our traveler arrives at

Diocese Museum of Sacred Art

(Modas Museum) which is located within an unusual area

bishop’s palace;

It is a precious treasure of artistic testimonies that narrate the religious and cultural vitality of the region. Three majestic wooden crosses, among the oldest in Tuscany, works by local painters, a rare terracotta attributed to Bernardo Rossellino, a separate fresco by Bartolomeo della Gatta, the core of Vasari’s work and a large tondo dating from 1557, originally a sky-canopy. In red silk, the Madonna della Misericordia then depicted a collection of precious goldsmiths and sacred backdrops, including the polished “Salaam of Siena,” a French-made, early 15th-century collection. On the noble floor of the Bishop’s Palace, you can admire the frescoed halls and reception rooms, with the prestigious Episcopal Picture Gallery with works dating from between the 16th and 19th centuries, and not to be missed, the Popes’ Chamber, a room that has hosted Popes from all ages, even John Paul II and Benedict XVI Emeritus.

In the

garden alley

Meet hometown

Francesco Petrarca,

Today it is a museum and home to the Academy of Letters, Arts and Sciences, as well as a library that brings with it ancient books, rare and unique texts, and a large coin collection with 500 coins minted 2,400 years ago.
A few more steps and our traveler arrives at

Basilica of San Francesco;

Behind the magnificent 13th-century crucifix hanging above the high altar, the gaze opens upon one of Tuscany’s greatest artistic jewels: the frescoed Basilica of Bacci by

Piero della Francesca,

He was executed around the middle of the 1400’s on the “Legend of the True Cross”.

room

the view outside the city,

Halfway between Arezzo and Florence, beside the slight mountain curves of which old dwellings often turned into reception structures, you can see strange blond reliefs, suggestive vertical walls, modeled on atmospheric factors by eroding debris, mud and sand millions of years ago: they”

Valdarno rocks

The genius was intrigued all his life

Leonardo Da Vinci

(Already wrote about it in Leicester Manuscript), to the point of being photographed in

The landscape behind the Mona Lisa,

In the’Annunciation In the baptism of Christ as well as in the paintings Santana and the rock maiden, Shrouded in fog and an aura of mystery. The most distinctive rocks are found in the village area

Castelfranco di Sopra,

On the road to the Zulfina water.

Back in the south, in the agricultural spirit of Tuscany, in green spaces that smell of orchards, wine, extra virgin olive oil and wheat, the village of Arezzo lies just outside of Arezzo.

Capolona

The path immediately becomes gastronomic in the Terramira (Wonderful Land, www.terramira.it) by Chef Filippo Scapecchi. Our traveler stops at the privileges of the territory: Chianina meat and game, river fish and country herbs, farm eggs and seasonal fruits, almost of local origin because the constant search for quality ingredients – says the chef – should bring the aroma and flavor of that wonderful land that is the countryside of Arezzo. Even the house, warm and romantic with a view of the Arno, in the historical center of the city, with the recent renovation has preserved the old authentic atmosphere; To see the mastery in the kitchen, you have to sit at the coveted ‘Chef’s Table’, the counter placed in front of the kitchen, where the dining experience is taken face to face with Chef and Sommelier Lorenzo Scapicci.

A few minutes to return to Arezzo in the area

Forum portal

to the beautiful Renaissance Palazzo Bruni Ciocchi, also known as

della dogana palace

, now home to the National Museum of Medieval and Modern Art, which can be considered among the most interesting in Tuscany for its richness and diversity of works: the amalgamation of numerous collections and collections of art from different origins, in a chronological and geographical sense. , has produced a unique museum, the emblem of the cultural history and artistic development of Arezzo. The large, elegant colonnaded courtyard of Pietra Serena could have been the parentage of Bernardo Rossellino, although the stylistic references are more in line with Brunelleschi; At the rear of the building there is a hanging garden with a Renaissance design.

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“Dance Lesson” by Edgar Degas, a painting that looks like the picture

Edgar Degas (July 19, 1834, Paris – September 27, 1917, Paris) is a painter famous above all for his dancers. But what distinguishes these characters that Toto? On the occasion of the anniversary International Dance DayLet us discover together the wonderful modernity that Degas presents in art through the famous painting.dance lesson(1873-1875, oil on canvas, 85 x 75 cm, Musée d’Orsay, Paris).

Degas' 5 most famous works

Most of the artist’s works are attributed to the Impressionist movement. Among his favorite subjects are common people and dancers

Dance lesson “Degas, an example of a photographic cut

Among the biggest Impressionists Of all time, Edgar Degas is part of what we can consider a subject to say the least conventional resistance compared to the others. While his colleagues were painting outdoors and immortalizing the “passing moment”, he preferred to paint his paintings in the studio He gave his subjects something unbelievable perspective cut.

dance lesson

and here in dance lesson‘, we find one of his greatest virtues: Degas was able to give The illusion of the great momentApproximately photoshoot Although everything was made of Accurate weighting. As the color spreads with Large areas and synthetic brush strokes It does not describe materials and sizes, but evokes them.

International Dance Day, Edgar Degas works to celebrate it

International Dance Day is celebrated on April 29th. Among the painters who were inspired by dance, we remember Edgar Degas and his famous paintings

Scene and themes

The scene that Degas filmed takes place in it Ballroom dance at the Paris Opera On the rue Le Peletier. Here the painter was only able to get to it thanks to a friend of his conductor who gave him a pass. In this work he chooses Degas At any point in the lesson And in this case, it captures the moment when a young dancer is preparing to perform exercises in the center of the hall under the watchful eye. Mr. Jules Perot.

dance lesson

arranged in Semicircle Meanwhile, the other dancers, returning from an exhausted one, are exhausted and take advantage of it A moment to rest. The first dancer we notice is that with a red bow She is surprised at her hair as she blows the air with a fan; At her feet we also find a watering can and a small dog.

dance lesson

To her left, sitting at the piano, we find a dancer with yellow bow which instead He rubs his back nervously His left hand grimace annoyance. Then the other dancers perform More different actions: Indeed, there are those who straighten their hair, those who laugh, those who stay with their arms folded, those who stretch their legs, those who adjust their uniforms, earrings, and ribbon.

dance phrases

Today worldwide is celebrated as International Dance Day, in honor of one of the oldest arts in human history

dance lesson

Image stories and environment building

The shot Degas used dance lesson“No less than innovation, because it gives the image a great photographic cut with a stretch recovery that goes Progressivethus giving great value feeling nature to the scene of the accident. In fact, if you note well, he uses a very interesting device: the artist Cut off the vanishing point on the horizon line (which goes perfectly to the right outside the work) and leads the viewer’s eye out of the canvas thanks to the arrangement of the lines that make up the cow.

dance lesson

To dazzle a lot of this painting is above all building environment. Although the truncation of the visible escape path does not allow a peek into the rest of the room and the environment appears to us without doors or windows, The feeling of claustrophobia does not pass. In fact, to avoid the feeling of a closed and oppressive environment, Degas uses a means big mirror in the center of the room.

dance lesson

The mirror reflects the right side of the hall where the little dancers are dancing, which the viewer has blocked by the end of the painting. In this glimpse reflected We can actually glimpse the rest of the hall and notice that there is one in the adjacent wall big window Who is filtering files? natural light And through it we can see the sky of Paris and its buildings. This “trick” for deceiving perspective and vanishing point is fixed in the painter’s work; We can actually find it in works like “booze“,”dance class“and the”The Ballroom of the Opera Theatre“.

booze
Absinthe, 1875-1876, oil on canvas, 92 x 68 cm, Musée d’Orsay, Paris
dance class
Dance Lesson, 1871, oil on canvas, 85 x 75 cm
The Ballroom of the Opera Theatre
Foyer Dance at the Opera Theatre, California. 1872, oil on canvas, 32 x 46 cm, Musée d’Orsay, Paris

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“Exstasis” is back in Palermo, a display of projections in the Basilica of Santa Caterina

After the success of 10,000 spectators two years ago, ‘Exstasis’ video set returns in 4K remastered version, a multimedia and immersive display by Odd Agency on the walls and among the mixed marbles of the Basilica of Santa Caterina, in Piazza Bellini in Palermo. It is one of the most important dates of the program “Invisibilia – Sacred Words, Images and Sounds”, events and meditations dedicated to the promotion and use of the art born of prayer, promoted by the Archdiocese of Palermo with the University, Biondo Theater, Massimo Theater, Scarlatti Conservatory, Academy of Fine Arts and the Convent of Santa Caterina d’Alessandria The Quattrocanti Multiethnic Orchestra, and the Pulcherrima Res Cooperative.

And so, after the forced cessation of the epidemic, the rain falling from the roof, the lights showing new visions and the sounds that surround the viewer to another dimension, return.

Exstasis returns from today (Friday, April 29), 8.30pm for five daily shows from Friday to Sunday, every half hour until 10.30pm. The initiative is organized by the Odd Agency in collaboration with social cooperation Pulcherrima Res, CoopCulture and VmAgency di Vincenzo Montanelli.

Exstasis, a project that reached the final stage at the prestigious “Video Map Awards” in Lille, an international Oscar that rewards the best immersive experiences, is a thrilling story and at the same time one in which technology does not isolate ourselves or make us slaves to chance, but on the contrary From that, they bind us together, and bring us in touch with mystery and wonder. Video mapping, this time proposed with innovative 4K technology, in which projections break up the static nature of the church’s very rich decorative device, removing materials and moving church walls and marble, moving statues placed on the edge of the church nave with light and color. Improved video technology, with high-resolution images and a more detailed sound system, with sound spatialization to allow the viewer to experience a more immersive experience: the show returns with a completely renewed version from a technological point of view, always in the name of the avant-garde of the creative group.

“Exstasis is an invitation to have an immersive experience of the mystic: the refined art of the Church of Santa Caterina that leaves you, alone, breathless, and connects you with the history of secluded monastery life with the story of the five degrees The mystic life of Sister Evelyn Underhill, immersing you in a dimension of From spirituality through the play of projections that lead to the light of Easter. Exstasis indicates how we can today have a religious experience in a modern language that knows how to read and reinterpret the beauty bequeathed to us by our fathers.”

“It is probably Exstasis who has managed to touch the emotions of our audience, perhaps because it represents and embodies the universal aspiration to approach the absolute, the magical, the indescribable – say from the Odd Agency – so it is an honor to offer Palermo and its visitors once again the first immersive experience to be conducted in the city, especially now that our way of promoting cultural heritage and landscapes has become a model appreciated and a tradition.”

“We were really impressed by the creativity of Odd at the UNESCO sites in Zisa and Monreale, and the immersive experience of Anima Mundi in the Botanical Garden – says Letizia Cacuccio, General Manager of CoopCulture – and the mission of a large company like Coopculture is also that supports the cultural proposals that come to us from young actors and active adventurers in the area: so we will be there with the passion that sets us apart.”

Exstasis, schedules and tickets

From Friday to Sunday: 5 performances in the evening, at 20.30 / 21 / 21.30 / 22 / 22.30.

Tickets: €8 (full price), €5 (discounted university students, under 18 and disabled), €22 (families of 2 adults and 2 people under 18), free (under 5 and a disabled companion) ). Online and on site until two hours before the show on the CoopCulture Arena. For information: www.exstasis.it, [email protected]

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The Altar of the Annunciation of Titian was opened after restoration work

The first discovery dates back to last summer, during the first steps of the restoration: the inscription in human figures has remained hidden for centuries, “Titianus pinxit MDXX” (artist’s signature and date of delivery of work) visible in the lower right. And yesterday evening, April 28, the Annunciation of Titian, a precious heritage of Treviso Cathedral, was revealed in all its rediscovered beauty.

Many people, art lovers, citizens of Treviso, not just civil and military authorities, have given themselves a “space of beauty that is renewed”, as defined by Don Paolo Barbisan, Director of the Diocesan Office for Cultural Heritage. The restoration work was presented by Luca Magoli, art historian for the censorship of antiquities, fine arts and landscapes for the metropolitan area of ​​Venice and the provinces of Belluno, Padua and Treviso, restorers Francesca Valescini, Roberto Saccoman and Alberto Nardi, Vice-President of the organization “Save Venice” that funded the work.

Majuli, who conveyed his regards from the superintendent, thanked the Archdiocese and the Venice Rescue Fund and emphasized that it “was a necessary restoration, leading to a substantial revision of the last – albeit correct – intervention carried out 40 years earlier. There were many concerns as it interfered with a uniform picture found in the All handbooks of art history. Significant results will allow a critical re-reading of one of Titian’s most important works. “

Titian 2-2 Alphabet

The works that started last year on June 3, 2021 and lasted nearly a year with some slowdown moments, also due to the pandemic, involved a team of four restorers and with the support of the “Save Venice” organization, and in particular through the generous contribution by Christopher Todd Page of a total amount amount of 69,000 euros. Save Venice is an American non-profit organization, dedicated for more than 50 years to the preservation and restoration of Venice’s artwork and architecture, which has also transformed its outlook and commitment on the mainland since last year, and in particular in Treviso. The work from 1520 is preserved in the Malerello chapel of Treviso Cathedral, where the restoration work was carried out, so that this year visitors were able to observe the work of professionals from a “window” that opens onto the construction site.

“This intervention – recalling Don Paolo Barbisan – brings wonderful news to working knowledge and marks the beginning of the necessary strengthening of the cathedral church, giving the harmonious dialogue between Lombard architecture and the art of Titian and Pordenone rise to one of the most exciting places in the city.” The Mayor of Treviso, Mario Conte, thanked those who worked on the restoration and those committed to promoting and making known the city’s treasures, such as the volunteers of the “Open Churches”, noting the importance of sharing the path and purpose.

Nardi noted the numerous interventions of the ongoing “Save Venice”, including the Assumption, also by Titian, in the Frari Basilica in Venice, and others in the Scuola Grande di San Rocco or the Basilica of Torcello, and the commitment to promoting painters who worked in Venice, such as Giulia Llama and Rosalba Carrera.

Valescini restores the part depicted, and Roberto Sacuman for the wooden support, illustrates the situation at the time he took up the work and the subsequent steps, from removing the repainting done over the centuries, to removing the altered paint and restoring torn parts and cracks up to work on the containment structure.

The bulldozer presents itself today with an unusual brightness, rich colors and bright shades that “modify” its space. Moreover, modern technologies made it possible to “read” the drawing, which “everything is by Titian” – said Valescini – and to entrust the work with certainty to Cadore. It was believed, in fact, that the Annunciation could have been partly by the hand of the master and the rest to be the result of assistance, including that of the disciple Paris Bordon of Treviso.

At the end of the interventions, the unveiling of the work and the prayer of blessing of Bishop Michel Tomasi, preceded by a reflection on the Annunciation. Citing the famous thirty-third canto of Dante’s Garden, where he addresses the poet Mary, the bishop asserted that the ordained scene is “the moment in which all this arose, which we can think of with the gaze of Titian: the central moment in all scriptures. The centerpiece of the history of salvation, where it became Daughter of Zion, the Virgin, mother of the Savior, mother of his God.She meditates on a divine glimpse into the inexhaustible depth and novelty in human history, the model of all hope towards a renewed life, despite difficulties and burdens.Life in its daily and often narrow texture always opens once From the perspective of the faith of the disciples of Christ, in those who profess to be children of God and accept Mary as a gift, the angel’s proposal to Mary is the same that the Word offers to each of them, and this represents this moment , that every time it is celebrated in the liturgy, in this and in all the churches, what is experienced when existence is read as “yes” in connection with the calling of meaning and fullness. We also, when we say yes “perceive the unthinkable, and every story in The gospel is waiting to become a body in us” (S. Fausti)”.

restore altar display -2

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In Feltrinelli comes Manga Mania, all dates for the event

Below is the press release that reached the editorial office:

From April 28 to May 25 in Feltrinelli throughout Italy and online

manga mania

#MangaManiaInFeltrinelli: A month of previews, presentations, workshops, proposal reading and miscellaneous editions to explore literary and artistic images of the rising sun.
And today, April 27, at Piazza RED Gae Aulenti in Milan, presented Niko Miakawa, the Italian-Japanese artist who created the image for the show.

Wednesday 27 April 2022 – Manga lovers this call for you! From April 28 to May 25 at More than 100 Feltrinelli libraries in Italy and online at lafeltrinelli.it and IBS.it it’s up manga mania: an entire month dedicated to the literary and visual universe narrated by master Mangaka, famous Japanese cartoonists, through a rich calendar of previews, presentations, workshops, bibliographical proposals and products exclusively thereFeltrinelli.
a’Initiativein its first version, which is classified In line with that interest thereFeltrinelli for many years retained the multiple expressions of pop culture It was born with the aim of exploring one of the most interesting literary phenomena of recent years, capable of capturing and conquering the transversal masses, which has established itself in the Italian publishing market reaching significant market sizes.
Data from AJPEA, the National Association of Japanese Publishers, in fact, show that in 2020 the manga industry revenue is about 4 billion 845 million euros, an increase of 23% over the previous year. A success driven in recent times by titles that have also been deserted from Japan, such as demon slayersAnd Tokyo Avengers And Jujutsu Kisensets an increasingly popular trend: just think that one of Italy’s best-selling manga titles, My hero academy (Star Comics) In 2020, it touched 100,000 copies and in 2021 it was the first three bestselling manga in Feltrinelli bookstores demon slayersAnd Hanako-kun. The Seven Riddles of Kamumi Academy And My hero academy.
In this context, MANGA MANIA becomes an essential element chance to meetAnd deepen And Discovery From the Japanese literary genre and fiction to many of the Feltrinelli bookstores. A real exhibition with a defined visual identity and a rich calendar: VisibleFirst of all, it was commissioned by the Italian-Japanese artist Nico Miyakawa Who worked on able style Raise the complexity of Japanese culturewithout profiling, by juxtaposition Letter the iconic figures of the rising sun; This style has become a graphic sign that characterizes the entire composition of the library network, from shop windows to interior spaces, entrance and sector.
“Participation in the Manga Mania project was not just a pleasure, but a real honor – explain Nico Miyakawa As an Italian-Japanese, I grew up with a passion for comics from an early age. Simple and everyday entertainment, so engaging that it became an inspiration in my career as an artist. Guided by a smooth and natural creative process, I searched the drawings for symbols and memories capable of representing my idea of ​​Japan and the wonderful culture of manga.”
In addition to, Wednesday 27 April From 18.00 in the outside of the library RED in Piazza Gae Aulenti in Milan The artist will be the protagonistMANGA MANIA Opening Ceremony through a live performance During which he reproduces the visual image of the exhibition live, transforming it into a real work of art.
From May and then initially with meetings dedicated to manga and anime culture. Among the events scheduled in bookstores all over Italy: MilanIn the Piazza Feltrinelli Piemonte The book will be presented on Saturday 7 May midnight pub (BAO Publishing) by Abe Yaro, on which the original Netflix series was based Midnight Restaurant – Tokyo Stories. The event is being held in partnership with Gastronomia Yamamoto in Milan who will distribute boxes of bentoboxes for the occasion containing main dishes of traditional Japanese cuisine, while on May 13 there will be an interesting roundtable on manga and women’s comics, written by Star Comics. to BolognaIn the Feltrinelli piazza RavegnanaThe meeting on this topic will be held on Friday, May 6th manga queeragain by Star Comics, while the young animator on Thursday, May 19 Elisa Meniniwho translates Japanese stories and legends into comics, gifts Nippon Monogatari (Oblomov). in Verona, In Feltrinelli on Via Quattro Spade Wednesday May 18 Maurizio Yorio (Kerio 1984) presents his book My grandfather was an otaku, too.
Among the initiatives to also report are the workshops dedicated to drawing and story manga, edited respectively by manga academyAnd International School of Caricature And BD versions, which will take place at Feltrinelli in Turin, Milan, Genoa, Padua, Rome, Florence and Lecce. And for those who won’t be able to track appointments in person, at Twitch channel By Lucca Comics & Gamesin partnership with the festival, schedule virtual meetings such as enough corner With Kafkiana, Dario Moschia, Sidonia and Cavernadeplaton who will discuss the manga scene in Italy and again Daniel Dacci’s live broadcast who will explore the topic of the Far East and the Eastern world.
In addition, throughout the month of the exhibition, several exclusive products were specially produced by the publishers who joined the initiative. starting from Coconino Which suggests unpublished two volume box set by Thirteen grudge nights to BD versions That revive bookmarks and postcards by Neverland Promise Anyone who bought from Feltrinelli libraries in that period, as well as a different version of the manga itself. Bao Publishing Presents the exclusive version of the variant of Hin Kai Bang While Dennett one of Border 66 Volume 1, also available online at the websites lafeltrinelli.it and IBS.it.
Fans and beginners of the manga genre are invited to delve into and discover, in all Feltrinelli libraries in Italy and on the sites lafeltrinelli.it and IBS.it, thematic tables and bibliographies with more than 300 personalized reading suggestions.
Program of events, broken down by cityto

Milan – therePiazza Feltrinelli Piemonte
May 7, 5.00 pm
Presentation of the book “Midnight Pub 5” written by Yarrow Abe in collaboration with Gastronomiya Yamamoto with Aya Yamamoto, Brisco Oliva and Michele Fuchini-Bau
Reservation required on [email protected]

May 11, 6:30 p.m.
Presentation with Kitsune Yoru on “Immortal Soul 3” (SHOCKDOM)

May 13, 6:30 p.m.
Meeting on the topic of Manga and Comics for Women (STAR ​​Comics)

May 15, 6.30 pm
Workshop “Manga Storytelling” with Vincenzo Filosa
By International School of Comics – J-Pop

May 18, 4:00 p.m.
Crunchyroll
Free preview of two episodes of the internationally successful animated series

Milan – thereFeltrinelli Buenos Aires
May 20, 6:30 p.m.
Workshop “Face Building and Expression Management in the Manga Technique”
by manga academy

Rome – thereFeltrinelli Marconi
April 28 from 6:30 p.m.
Introducing “The Thirteen Nights of Hate” (Kukunino) by Kazuo Kamimura. Talk to Livio Talini

May 19, 6.30 pm
Workshop on face building and expression management using manga technique
by manga academy

May 20, 8.30pm
Sohiro Maru titled “Heaven” with Coconino

Rome – thereFeltrinelli Libya
May 6, 6:30 p.m.
Workshop “Manga Storytelling” with Midori Yamane
Edited by J-Pop International School of Comics

May 13, 6.00 pm
Tommaso Scotti presents “The Death of Mr. Mihara”

May 18 and 26, 4:00 p.m.
Crunchyroll
Free preview of two episodes of the internationally successful animated series

Naples – thereFeltrinelli Square of the Martyrs
May 2 from 6.00 pm
Presented by “Victa” (Coconino) by Luca Terry

May 12, 6.00 pm
Meet AlexViva from “Megaris 2” (SHOCKDOM)

May 18 and 26, 4:00 p.m.
Crunchyroll
Free preview of two episodes of the internationally successful animated series

Genoa – thereFeltrinelli via Ceccardi
May 9, 6.00 pm
Workshop “Manga Storytelling” with Stefano Zanchi
By International School of Comics – J-Pop

May 13, 6.00 pm
Presentation with Chiara Bracalli for “Banana? Banana!” (shock)

May 18 and 26, 4:00 p.m.
Crunchyroll
Free preview of two episodes of the internationally successful animated series

May 24, 6.00 pm
Presentation with Talita Riberi on “ZaraX2 2 (SHOCKDOM)

May 25, 6.00 pm
Workshop on face building and expression management using manga technique
by manga academy

Bologna – thereFeltrinelli piazza Ravegnana
May 6, 6.00 pm
An interview on the topic of Manga Queer with star cartoon

May 19, 6.00 pm
Elisa Menini presents Nippon Monogatari (OBLOMOV)

Florence – thereFeltrinelli via Dei Siritani
May 13, 6.00 pm
Presentation with Mara Marseille and Francesca Calabro on “Somwhere We Fents” (SHOKDOM)

May 17, 6.00 pm
“Manga Storytelling” workshop with Alessio D’Uva
By International School of Comics – J-Pop

May 19, 6.00 pm
Workshop on face building and expression management using manga technique
by manga academy

Lychee – thereFeltrinelli via Templari
May 5, 6.00 pm
Elena Toma presents “1, 2, 3 arrows” (chokdom)

May 10, 6.00 pm
Workshop on face building and expression management using manga technique
by manga academy

Padua – thereFeltrinelli San Francesco
May 13, 6.00 pm
“Manga Storytelling” workshop with Stefano Tamiazzo
By International School of Comics – J-Pop

libraries thereFeltrinelli
They have always been places to share and disseminate knowledge, with a strong focus on the widely distributed book intended for all people looking for new ideas, catalysts, and insights.
They have a wide presence on the national territory, which includes a total of 113 points of sale. Feltrinelli Libraries organize more than 3,000 cultural events each year and have over 200,000 titles.
I am a leader in Italy in the book, music and home video sectors.

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“They destroyed everything after the exhibition,” Lewitt’s daughter is opposed to preserving the artworks but the museum ignores: It is an angry dispute. Expert opinion (including Sgarbi)

Conceptual art leads to discussion. It has been happening for more than half a century. And the last sermon sermon takes place from the beginning of April to Ravenna Where, about the work of the American artist Sol Lewitt Stay at the local and civic level art museum Hot nerves. But let’s go in order. After 30 years of oblivion, the March (short for Ravenna Museum of Art) presents a New layout Who is the pinnacle of excellence Wall Drawing #570Lewis’s work. He has spent the past three decades in deposit Because the author himself did not want to display it. But the museum decided to go ahead because of the director Maurizio Tarantino He claimed that he obtained the consent of the heirs. There though: A few days ago, Sophia lewittThe artist’s daughter wrote Email to Mar In which she clearly indicated that I job boards In the question they had to be destroyed Once the exhibition is over. Obviously the sea has the opposite opinion and at this point they start to appear Many other “contributions” As for history: A former councilman claimed that LeWitt thought Ravenna’s work was so Already destroyedwhile the Romania courier reveals that I Wall Drawing #570 There are two types: in addition to the Ravena (first installed in 1988), there is another one that is owned by a collector in San Francisco. Unfortunately, this is the last to be indexed among official business of the artist, as evidenced by Sophia Lewitt in the form that he sent to the curator of the Mar Gallery, and the fact that Lewitt considered a copy Wall Drawing #570 2005, then Revision as well In 2010 (but not by the artist, considering that he died three years ago) to return it to heroriginal appearance Which he had in 1988. In short, for Mar it would be a real case to stay with match in hand.

Shortly before Easter the matter reached the city council and only a few days ago the local press announced message relationship Between Mar and Sofia LeWitt where the latter, as written, reveals the will of Ravenna’s version of the work must be destroyed. However, Mar’s leaders seem to be thinking in the opposite direction. This happens even though some are prepared to swear that Sol Levite after the end of the 1988 exhibition (I travel to Italy, was collective) expressed the desire to destroy the work, even if in the absence of written testimony for this, everything becomes complicated. Then the manager March Bruno Bandini He didn’t feel like destroying the work, as well as Sol LeWitt’s expected return to Italy in 1992 – also to cover it once and for all with a layer of white lead. Wall Drawing #570 – did not happen. Today the work is being inventoried, and successive museum directors have always been Obligation to preserve – as conservatives by law – but the first time one tried to display it again, a ruckus broke out.

Now how do you get out? There is already someone asking about Tarantino’s chief director and curator of the show, Georgia Salernowho have chosen at the moment the way of silence. But outside the Romanian capital, how do you comment on the story? Christina acidinepresident of the Academy of Painting Arts in Florence and former supervisor of Polo Museale Fiorentino, has no doubt: “In my opinion will be destroyed. For if the artist expresses this will and is accepted at that time, there is no doubt. Conservatives are, but they are works made by agreeable artists. Because if the artistic gesture is completed by destroying the work, it must be destroyed.”

Onofrio KutayaThe Director General of Contemporary Creativity at the Ministry of Culture prefers not to make judgments “because I do not know the documents related to the subject, and after that because the sea does not fall within the ministerial jurisdiction,” while the art critic Vittorio my little boy It is believed that it is “a relic, because the artist died. So it is Exhibition It must be treated as such. It also cannot be displayed, but it must be considered an artifact. Destroying it would be against nature And no one can choose an artist who no longer exists. Everything can change only if there is a contract. Failing that, work must be maintained.”

In the end Laura LombardiNabil’s signature Art magazine and teacherBrera Academyhas clear thoughts: “The will of the artist must always be respected, without condition or reservations. However, if the artist had left clearly written what this will is, it would have been easier for everyone to get to the gist of this story. And if there was no document or written testimony, As for me, the girl has the right to demand that the work be destroyed.”

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ART Home

“They destroyed everything after the exhibition,” Lewitt’s daughter is opposed to preserving the artworks but the museum ignores: It is an angry dispute. Expert opinion (including Sgarbi)

Conceptual art leads to discussion. It has been happening for more than half a century. And the last sermon sermon takes place from the beginning of April to Ravenna Where, about the work of the American artist Sol Lewitt Stay at the local and civic level art museum Hot nerves. But let’s go in order. After 30 years of oblivion, the March (short for Ravenna Museum of Art) presents a New layout Who is the pinnacle of excellence Wall Drawing #570Lewis’s work. He has spent the past three decades in deposit Because the author himself did not want to display it. But the museum decided to go ahead because of the director Maurizio Tarantino He claimed that he obtained the consent of the heirs. There though: A few days ago, Sophia lewittThe artist’s daughter wrote Email to Mar In which she clearly indicated that I job boards In the question they had to be destroyed Once the exhibition is over. Obviously the sea has the opposite opinion and at this point they start to appear Many other “contributions” As for history: A former councilman claimed that LeWitt thought Ravenna’s work was so Already destroyedwhile the Romania courier reveals that I Wall Drawing #570 There are two types: in addition to the Ravena (first installed in 1988), there is another one that is owned by a collector in San Francisco. Unfortunately, this is the last to be indexed among official business of the artist, as evidenced by Sophia Lewitt in the form that he sent to the curator of the Mar Gallery, and the fact that Lewitt considered a copy Wall Drawing #570 2005, then Revision as well In 2010 (but not by the artist, considering that he died three years ago) to return it to heroriginal appearance Which he had in 1988. In short, for Mar it would be a real case to stay with match in hand.

Shortly before Easter the matter reached the city council and only a few days ago the local press announced message relationship Between Mar and Sofia LeWitt where the latter, as written, reveals the will of Ravenna’s version of the work must be destroyed. However, Mar’s leaders seem to be thinking in the opposite direction. This happens even though some are prepared to swear that Sol Levite after the end of the 1988 exhibition (I travel to Italy, was collective) expressed the desire to destroy the work, even if in the absence of written testimony for this, everything becomes complicated. Then the manager March Bruno Bandini He didn’t feel like destroying the work, as well as Sol LeWitt’s expected return to Italy in 1992 – also to cover it once and for all with a layer of white lead. Wall Drawing #570 – did not happen. Today the work is being inventoried, and successive museum directors have always been Obligation to preserve – as conservatives by law – but the first time one tried to display it again, a ruckus broke out.

Now how do you get out? There is already someone asking about Tarantino’s chief director and curator of the show, Georgia Salernowho have chosen at the moment the way of silence. But outside the Romanian capital, how do you comment on the story? Christina acidinepresident of the Academy of Painting Arts in Florence and former supervisor of Polo Museale Fiorentino, has no doubt: “In my opinion will be destroyed. For if the artist expresses this will and is accepted at that time, there is no doubt. Conservatives are, but they are works made by agreeable artists. Because if the artistic gesture is completed by destroying the work, it must be destroyed.”

Onofrio KutayaThe Director General of Contemporary Creativity at the Ministry of Culture prefers not to make judgments “because I do not know the documents related to the subject, and after that because the sea does not fall within the ministerial jurisdiction,” while the art critic Vittorio my little boy It is believed that it is “a relic, because the artist died. So it is Exhibition It must be treated as such. It also cannot be displayed, but it must be considered an artifact. Destroying it would be against nature And no one can choose an artist who no longer exists. Everything can change only if there is a contract. Failing that, work must be maintained.”

In the end Laura LombardiNabil’s signature Art magazine and teacherBrera Academyhas clear thoughts: “The will of the artist must always be respected, without condition or reservations. However, if the artist had left clearly written what this will is, it would have been easier for everyone to get to the gist of this story. And if there was no document or written testimony, As for me, the girl has the right to demand that the work be destroyed.”