AINAS N°16 . 3/2022

aínas N°16 . 3/2022

Tutto passerà. Le sofferenze, le angosce, il sangue, la fame, la peste.

Sparirà anche la spada, ma rimarranno le stelle, quando sulla terra sarà sparita persino l'ombra della nostra presenza e dei nostri atti.

Non c'è uomo che non lo sappia.

E allora perché non rivolgiamo il nostro sguardo verso le stelle? Perché?

(Michail Bulgakov, La guardia bianca)

aínas W W W . A I N A S M A G A Z I N E . C O M

AÍNAS Nº16 . 3/2022 www.ainasmagazine.com info@ainasmagazine.com Direttore Bianca Laura Petretto Condirettore Giorgio Giorgetti Responsabile Comunicazione Mariagrazia Marilotti Grafica Gabriele Congia Consulente informatico Maurizio Atza In copertina l’opera è di Ronald Companoca: El hacedor de nubes . Detail, olio su tela, 2021 © Aínas 2022 La traduzione, la riproduzione e l’adattamento totale o parziale, effettuati con qualsiasi mezzo, inclusi la fotocopiatura, i microfilm e la memorizzazione elettronica, anche a uso interno o didattico, sono consentiti solo previa autorizzazione dell’editore. Gli abusi saranno perseguiti a termini di legge. is aínas faint is fainas . gli strumenti fanno le opere AÍNAS nº16 © 3/2022, reg. n° 31/01 Tribunale di Cagliari del 19 09 2001, periodico di informazione trimestrale, cartaceo e telematico. Iscrizione n° 372004 al Registro della stampa periodica Regione Sardegna, L.R. 3 luglio 1998, n° 22, ART. 21.

ISSN 2611-5271 Editore e Direttore responsabile Bianca Laura Petretto, Cagliari, Quartu Sant’Elena, viale Marco Polo n. 4

Un ringraziamento speciale a Guido Festa Progettazione e costruzione di “GLOVE BOXES” e prototipi per la ricerca farmaceutica e nucleare www.euralpha.it

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AÍNAS Nº16 5 chapter I . the special 6 navegantes eternos . ronald companoca 7 edwin rojas 14 il mago dei simboli . jurij jakovenko 19 gerard polderman 22 a spiritual verticality . li chevalier 29 background of the project . roman knerr

33 chapter II . crossing 34 francesco cubeddu 38 pittografie di volo 40 gérard petit 42 regarder de la terre 43 giovanni bernuzzi

47 chapter III . the new code 48 meu museu é o mundo . elidayana alexandrino

51 chapter IV . portraits 52 testament statements . jennifer b. thoreson

63 chapter V . pataatap 64 Cristina Córdova

75 chapter VI . swallow 76 il nuovo sole . giorgio giorgetti

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NAVEGANTES NOCTURNOS (DETAIL) . Ronald Companoca olio su tela, 2021

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I THE SPECIAL

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navegantes eternos

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RONALD COMPANOCA El realismo mágico o fantástico nos revela un mundo en donde lo racional es reducido para dar paso a escenarios donde los personajes cuentan historias increíbles, donde no es posible medir el tiempo ni el espacio y la realidad es sueño y el sueño es una realidad.

Ronald Companoca, artista Peruviano, nos invita a recorrer con sus pinturas a esos universos imposibles, conocer a sus personajes misteriosos, navegantes eternos, magos y alquimistas, que despiertan al niño interior que llevamos dentro y nos sumergen en nuestros recuerdos, en esos instantes mágicos que solo el corazón sabe reconocer y que de alguna manera delatan nuestra maravillosa capacidad de soñar.

Un personaje se asoma por detrás de un cielo recién cultivado.

Otros raptan a la luna en un barco de papel dorado y al son de una serenata. Otro, el más osado, navega entre las nubes montado en un elefante que arroja burbujas de arlequines sobre nuestras cabezas. Si estas escenas nos parecen extrañas o sacadas de un fantástico sueño, debemos primero acercarnos a la obra de Companoca e ir adentrándonos a su mágico mundo lleno de fantásticos sucesos en donde sus personajes son protagonistas de diferentes historias que van hilando toda su obra. Son personajes eternos, con un caminar también eterno cual escenas de un teatro lleno de misterio y de fantasía.

El espectador también se ve envuelto por ese constante misterio que fluye en cada uno de sus lienzos y que lo hace partícipe y lo convierte en uno más de sus personajes. Companoca no sólo pinta estos sueños sino que los hace realidad. Los concretiza sobre el lienzo a partir de un juego de señales y códigos que, junto a su impecable técnica pictórica y a las luces certeramente ubicadas, van dando forma a una fantasía poética que cautiva y atrae.

Nos encontramos Ronald Companoca con su impecable técnica pictórica, hace que seamos partícipes de una propuesta que denota un increíble manejo compositivo y una refinada y certera paleta de color.

Su mundo es la pintura y la pintura es su vida, es así como logra cultivar el cielo.

Edwin Rojas

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SIGEL Jurij Jakovenko 15,3 cm., etching, 2008 ph. Irina Varculevich

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TEATRO DEL CIELO DETAIL Ronald Companoca olio su tela, 2021

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TEATRO DEL CIELO DETAIL Ronald Companoca olio su tela, 2021

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EL RELOJERO Ronald Companoca olio su tela, 2021

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Ronald Companoca olio su tela, 2021

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POSEIDÓN Ronald Companoca olio su tela, 2021

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SEAMAN Ronald Companoca olio su tela, 2021

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EL JINETE MÁGICO Ronald Companoca olio su tela, 2021

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◀ EL SUEÑO DE NOE

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il mago dei simboli

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JURIJ JAKOVENKO Toen wij de eer hadden Jurij Jakovenko tegen het einde van vorige eeuw in de westerse kunstwereld te introduceren, heeft hij onmiddellijk de aandacht getrokken van meerdere ervaren liefhebbers van grafische kunst.

Met ons verbaasden deze kenners zich over het feit dat een zo jonge kunstenaar in staat was dermate diepzinnig en intrigerend werk te creëren. Werk dat is doorweven met geheime tekens en symbolen, die soms doen denken aan de magische wezens die ook voorkomen in middeleeuwse miniaturen.

Als bij een goochelaar worden symbolen en tekens gemixt met lijnen en facturen, met licht en schaduw, totdat een beeld ontstaad dat associaties oproept met composities uit de tijd van renaissance en manierisme.

De composities als geheel zijn zeer harmonisch en tegelijkertijd zijn de personages heel expressief.

Sommige werken doen denken aan muziek, met kleine details die het beeld van een snel veranderende melodie oproepen.

Het is steeds intrigerend en spannend om te doorgronden wat de kunstenaar met zijn composities te vertellen heeft.

In het voorjaarsnummer van 2000 schreef de bekende Nederlandse recensent Jos van Waterschoot in het tijdschrift “ Exlibriswereld 1/2000 ” over zijn werk als volgt: “Het grafische werk van Jurij Jakovenko maakt vanaf het eerste moment een grote indruk. Door zijn voorstelling, vormen en kleuren heeft hij de toeschouwer onmiddellijk in de ban van zijn wonderlijke vertellingen.

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Hij verhaalt over zonderlinge mensen, vreemdsoortige dieren en sprookjesachtige landschappen. De mensen die hij ten tonele voert geeft hij snavels in plaats van oren, een vis als hoofd of de elegantie van een middeleeuwse hoofse minnaar.

De dieren die op zijn prenten rondzwermen lijken af te stammen van de monsterlijke wezens die de schilderijen van Jeroen Bosch bevolken.

Zijn landschappen roepen herinneringen op aan de prenten en visioenen van Goya.

“Luc van den Brielle, bekend nestor van de grafiek-recensenten in de Benelux, schreef in het tijdschrift “Boekmerk 2/2001” van de Belgische Exlibris Vereniging Grafia: “ Grote kunst bedriegt niet. Ze wordt geboren uit geest en hand van de ware kunstenaar die er een sterke en alle stormen trotserende eik van maakt en die niet toelaat dat ze ooit door enige twijfel wordt overschaduwd.

Grote kunst overtuigt en na een eerste kennismaking blijft ze in hart en geest aanwezig. Dergelijke indrukken hebben we ervaren toen we het werk van de WitRussische kunstenaar Jurij Jakovenko voor het eerst hebben gezien.

In zijn werk is duidelijk merkbaar dat Jurij Jakovenko over een geheel eigen beeldtaal beschikt en dat zijn indrukwekkende beheersing van de grafische technieken niet tot starheid leidt, maar ondergeschikt blijft aan de levendige creatieve krachten van de kunstenaar.

Door hun hoge artistieke niveau en door de sterk persoonlijke interpretatie van de door verzamelaars aangebrachte thematiek, behoren enkele Jakovenkoboekmerken nu reeds tot de hoogtepunten van het hedendaagse exlibris.

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WYN Jurij Jakovenko 17,5x13,5 cm., etching, 2008 ph. Irina Varculevich

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ARCANO N.11 Jurij Jakovenko 20x12,5 cm., etching, 2013 ph. Irina Varculevich

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ARCANO N.14 Jurij Jakovenko 20x12,5 cm., etching, 2013 ph. Irina Varculevich

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ARCANO N. 6 Jurij Jakovenko 20x12,5 cm., etching, 2013 ph. Irina Varculevich

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◀ ARCANO N. 3

Jurij Jakovenko 20x12,5 cm., etching, 2012 ph. Irina Varculevich

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ARCANO N. 2 Jurij Jakovenko 20x12,5 cm., etching, 2012 ph. Varculevich Irina

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van de eenentwintigste eeuw aan de opbouw van een solide toekomst beginnen.”

Inmiddels zijn we een kwart eeuw verder en hebben we Jurij zien groeien als mens en kunstenaar. Hardwerkend en uitermate creatief, heeft hij zijn ironie en filosofisch diepdenkende instelling behouden. In zijn werk herkent men nog steeds zijn unieke interpretatie van het onderwerp en het spelen met geometrische vormen en liefde voor symbolen, terwijl hij in recenter werk toont dat hij meer figuratief werken uitstekend met symboliek weet te verenigen.

Jakovenko heeft een voorkeur voor het werken aan series zodat hij zijn ideeën over een reeks van werken kan verdelen.

Techniek: Alle werken zijn met liefde voor detail en precisie in de plaat geëtst, bij het afdrukken soms met bescheiden gebruik van kleur, soms ook met de hand in aquarel gekleurd.

Mede door zijn werklust en universele kijk op thema’s die mensen boeit blijft zijn werk veel gevraagd en heeft in deze 25 jaar geresulteerd in een groot aantal succesvolle projecten.

Bijzonder intrigerend en succesvol is de in 2014 uitgekomen Tarot serie, waarin hij door de verscheidenheid van onderwerpen zowel zijn fantasie als ook zijn technische meesterschap duidelijk kon tonen.

Gerard Polderman

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◀ ARCANO N. 4

Jurij Jakovenko 20x12,5 cm., etching, 2012 ph. Irina Varculevich

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ARCANO N. 5 Jurij Jakovenko 20x12,5 cm., etching, 2013 ph. Irina Varculevich

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DAG Jurij Jakovenko 16x15 cm., etching, 2008 ph. Irina Varculevich

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a spiritual verticality

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LI CHEVALIER . background of the project Gustav Mahler discovered in 1907 a collection of Chinese poems published in German by Hans Bethge: “Die Chinesische Flöte” (The Chinese Flute). The composer was particularly struck by six texts, four of which written by Li Bai. He felt an urge to articulate these poems, dating back to the 8th century, in a new symphonic work: it was to become “Das Lied von der Erde”, or “The Song of the Earth”.

A century later, it is this title that Li Chevalier uses to present a series of experimental paintings in ink on canvas. By plastically reactivating the dialogue between the Austrian composer and the Chinese poet, she inserts her own subjectivity into a subtle art of going beyond, crossing geographical, technical, material and immaterial borders, as her work flourishes between stable boundaries. This rare tripartite exchange covers a double dimension, a transcultural and transdisciplinary horizontality intersecting with a spiritual verticality.

A transcultural and transdisciplinary alloy Mahler’s “Song of the Earth” emerged at a particularly sinister period in his professional and personal life. He was mourning his daughter, facing the discovery of his own heart disease, and was forced to resign from the direction of the Vienna State Opera. In arranging music around poems, he found a bittersweet consolation: “The Song to Drink from the Sorrows of the Earth” (Li Bai), “The Lonely in Autumn” (Qian Qi), “The Farewell” (Meng Haoran & Wang Wei… Li Bai in his work particularly enjoys mixing elation and sadness, which finds a scathing echo in Mahler’s existential crisis. This poetic-musical corpus notes the evanescence of earthly beauty, sending its inhabitants back to the most categorical finitude. Moreover, the musicologist Theodor W. Adorno considers that Mahler finds in these Chinese poems a “costume” allowing him to address the feeling of uprooting and constrained otherness accompanying his Jewish identity.

French painter, born in China, former singer of Peking Opera, Li Chevalier divides her life between two continents and has been confronted to Western culture since her youth. It is thus through this Euro-Asian confluence that she reinvests the pictorial tradition of her country of origin, drawing a sensitive chord between visual art and her passion for music. Who says passion, says pathos and therefore suffering: the historical dramas which marked China and her childhood condemn her pictorial universe to answer fatally and in echo, to this melancholic and romantic tone of the Song of the Earth: by singing the pain, she enchants it.

In Chinese painting, landscape genre is a major art, turned towards nature, but nature always and forever as a theater of the soul state. Straddling two cultural backgrounds, Chevalier’s modes of pictorial expression become entangled, and create a new language, turned towards the other, a harmony that transcends borders and paradoxes. In half-tones, on the threshold of monochrome, the artist constantly negotiates the tension between the sobriety (one could say modesty) of oriental art and the exalted lyricism of European (post-) romanticism. Li Chevalier finds refuge in an in-between, exclamations become suggestions, violence is contained.

By reappropriating the exceptional fluidity of ink and applying it on canvas, a theoretically incompatible European artefact, she opens a new field of aesthetic and sensory exploration, without ever abandoning one or the other culture.

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I HEAR THE WATER DREAMING (DETAIL) . Li Chevalier fotografia e mixed media, 2019

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It is thanks to an extra-European inspiration that Gustave Malher’s “The Song of the Earth” marks the apogee of post-Romanticism; by revisiting it, Li Chevalier tends her brushes towards the ideal muses of poetry and music, offering us landscapes of the soul that reach a sonic dimension.

Touching the depths: a spiritual verticality?

If Li Chevalier’s “Song of the Earth” extends beyond Mahler’s work and covers other types of moods, she revisits the romantic power by always remaining below the threshold of implosion.

In Li Bai, the companion of melancholy is drunkenness, containing a form of duplicity. First, it is a fleeting escape route that blurs the absurd and the nausea. The cruel clarity of existential unease is diluted into the comfort of the spirit mist, as is the watery fluidity of the ink. On the other hand, the effect caused by the encounter with a work of art can also be akin to the ecstasy of the alcoholic refuge.

It is the diffuse intensity of China ink that is then the most subtle messenger of this timeless anxiety.

Li Chevalier’s painting technique carries, in itself, a metaphysical vertigo since it is a reconciliation with the restrained tradition of a country which saw the birth and suffering of countless painters throughout the throes of the Cultural Revolution. Her journey joins Mahler’s questions about uprooting, disenchantment, loneliness.

She regularly includes almost figurative motifs, a question mark, an empty chair, a lonely figure marching through the desert, indicative of a past or future presence, mixing nostalgia with desire. A form of resignation mocks the ambition to live indefinitely through her works and subscribes to the sentence called by Mahler: “dark is life, dark is death.”

If the search for meaning cannot lead to a tangible solution, the reflective process remains essential. Hence Victor Hugo: “The man who does not meditate lives in blindness, the man who meditates lives in darkness, in both cases we only have the choice of black ...”.

The art of contemplation encourages us to become aware of our place, Any but entire, within an immense macrocosm. The artist and the observer-spectator come together in an emotion that remains in suspense, in front of the precipice, in front of Olympus, a combination of the tragic and the sublime.

Roman Knerr

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SOUND OF THE TREES Li Chevalier fotografia e mixed media, 2021

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SILENT WOODS Li Chevalier fotografia e mixed media, 2021

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RACHMANIOFF ISLE OF THE DEATH Li Chevalier fotografia e mixed media, 2021

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French Artist born in China in 1961, graduated from Byam Shaw London Central St. Martins College of Art & Design and gained her Post graduate degree in philosophy at Sorbonne University Paris. Li Chevalier has been living and working in various continents and countries between Europe, Asia and the Middle East.

Ink experimental ink painting The major area of research of Chevalier is semi-abstract ink painting on canvas.

She reduces to maximum the use of brushes, magnifying expressionist quality of water lyricism, explores fluidity, the subtlety of ink and wash, avoids realistic representation however without pushing her art to total abstraction. She adopts naturally curved shapes rather than hard edges. The transparent grey and fluid brush strokes, suggestive of cascading water, which is simultaneously controlled and uncontrollable, can be seen as a metaphorical language for fate.

To extend all the possible expressive power of ink painting, Chevalier works on canvas rather than on rice paper, integrating a textured surface (pigments, mineral chips, sand, paper collage and calligraphy). Other experimentation led her to the diversification of formats, from small to monumental, from rectangular to square.

Finally, a scenic touch allows her ink paintings to occupy the whole exhibition space, approaching the spirit of installation.

Symbolism and landscapes of soul To the opposite of French Garden which is a “truth” based on rationalist expression of mathematical reason, the spiritual garden Chevalier tends to create could be compared to the virginal nature of the Payne spirit cherished by Western romanticism: intuition is preferred to intellectual order; spontaneity prevails over geometric proportion. Her landscape of soul expresses a “philosophical astonishment”.

Instead of an onto-theological assertion, the artist depicts “Toris”, spiritual gates of Japanese temples, or a scholar’s bench at the summit of a mountain, inviting the viewer to afford a short spiritual retreat. The Christian cross witnesses the irresistible human impulse toward transcendence. The artist claims to be profoundly contemporary but wishes to offer an alternative to aesthetic nihilism.

Between music and visual art At the age of 15, she was chosen by the Chinese army opera troop to be trained in singing. The music remains her passion alongside her professional practice as a visual artist. She was soprano in the choir of the Orchestra de Paris under the direction of Arthur Oldham and Semyon Bychkov.

She has collaborated with the musicians of the Paris Opera since 1991 and staged numerous visual – musical art events. Music is one of the recurrent themes in her works, notably: her monumental installation “Cantabile per archi”, tribute to Latvian composer Peteris Vasks, was presented at the China National Opera in Beijing, in collaboration with musicians from Paris Opera and China Symphony Orchestra in 2013. ◀

RACHMANINOV THE ISLE OF THE DEAD Li Chevalier fotografia e mixed media, 2020

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DOPO LA PIOGGIA . Francesco Cubeddu fotografia aerea, 2021

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II CROSSING

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PROFILO VAGO Francesco Cubeddu fotografia aerea, 2020

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LA MANO DEL GIGANTE Francesco Cubeddu fotografia aerea, 2017

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RETE NEURALE Francesco Cubeddu fotografia aerea, 2013

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IL GATTO Francesco Cubeddu fotografia aerea, 2017

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CROSSING

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CROSSING

FRANCESCO CUBEDDU . pittografie di volo La fotografia di Francesco Cubeddu è un omaggio alla terra, un segno di rispetto per la vita e la sua bellezza. Il punto di vista è l’altezza: “Tutto quello che utilizziamo per delimitare lo spazio a terra, visto dall’alto, perde il suo significato, - racconta Francesco Cubeddu - dalla prospettiva aerea i muri, le recinzioni, i corsi d’acqua si trasformano in linee, curve, figure geometriche in bianco e nero e a colori che formano immagini pittoriche. Veri e propri quadri che l’uomo ha creato in modo del tutto inconsapevole, con le sue attività legate alla terra. Un effetto inaspettato del suo sfruttamento che insieme alla natura con le sue stagioni, i suoi sui ritmi, i suoi eventi meteorologici fa apparire la superficie terrestre come una tela sulla quale sono dipinte immagini in perenne cambiamento. Dall’alto scopriamo che la terra è un unico organismo”.

Francesco Cubeddu è un fotografo che da una visione alta dipinge la realtà restituendo opere che lui chiama quadrografie, ibridi estetici tra puzzle di territori, pittura e fotografia. Oltre alla macchina fotografica usa il paramotore che al contrario dei mezzi aerei più raffinati, consente di volare immersi nell’aria con una visione del mondo che scorre sotto i piedi. Cosi il sogno di Icaro si avvera e lo sguardo del fotografo diviene natura, pittura fotografica che nasce in volo per offrire a chi osserva dalla terra una visione unica e originale del pianeta in cui viviamo.

Francesco Cubeddu nasce e vive nell’isola di Sardegna, in Italia. Escursionista, pilota di parapendio e paramotore dal 1992 si occupa di fotografia aerea con particolare predilezione per i siti archeologici e il territorio della Sardegna e crea le sue opere fotografiche in volo.

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Francesco Cubeddu fotografia aerea, 2017

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L’ANNEGATO Francesco Cubeddu fotografia aerea, 2017

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◀ I COLORI DEL SALE

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CYPRÈS CHAUVE (DETAIL) . Gérard Petit © fotografia pittorica, 2021

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CROSSING

GÉRARD PETIT . regarder de la terre Gérard Petit è un fotografo professionista che vive e lavora in Francia. Pubblica in riviste internazionali per illustratori e fotografi. Ha sperimentato differenti tecniche e la serie “guardare dalla terra” è una sorta di documentazione sui ritmi della natura e dell’umanità narrati attraverso fotogrammi acquerellati.

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Sono un animo semplice. Amo il mare e la mia città di acque sotterranee, il sole e la luna, la notte che diventa mattino e di giorno dormire all’aperto, sulle panchine, sentendo l’aria leggera scuotere appena le foglie, l’azzurro del cielo che si muove a poco a poco in lontananza, come per non farsi cogliere, e gli uccellini, i rumori dei bimbi che giocano, il leggero fruscio del ghiaino…

La bellezza è il mistero e la luce, il miracolo chi la dona.

(Giovanni Bernuzzi, Andante con bici)

Gérard Petit © fotografia pittorica, 2021

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LA CABANE DES VIGNERONS Gérard Petit © fotografia pittorica, 2021

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◀ SUR LA PLAGE

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◀ LE REPAS DES PIGEONS Gérard Petit © fotografia pittorica, 2021

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AU LAVOIR Gérard Petit © fotografia pittorica, 2021

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JOUR DE MESSE . Gérard Petit © fotografia pittorica, 2021

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III THE NEW CODE

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THE NEW CODE

meu museu é o mundo

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ELIDAYANA ALEXANDRINO A ideia de que cada um de nós tem um “museu imaginário” torna se fundamento para o processo criativo de Elidayana Alexandrino (Paraíba, 1986), artista visual, educadora e curadora independente. Suas proposições alertam sobre a predominância da imagem como construção histórica e, ao mesmo tempo, instigam à leitura dessas, sem enunciações, pressupostos ou hierarquias. “Ouvir as memórias que contam as imagens” é conceito-chave e interpretá-las a partir de percepções pessoais é atributo da relação obra-público. À primeira vista d´olhos, as escolhas de Alexandrino parecem indistintas. Ledo engano! As imagens que lhe atravessam como mulher, jovem, negra – e aqui, o adjetivo “educadora” é de forte peso – interpelam o eixo hegemônico do “mundo da arte”. Sua seleção de imagens tenciona as estruturas excludentes porque desperta referências e questionamentos. E essas provocações presentes na série Narrativas que se encontram (2015), por exemplo, tendem à descolonização do olhar. Isto porque as obras trazem a fusão entre épocas, povos e realidades diferentes, mas, com o olhar aguçado, guardam relações profundas e perturbadoras.

A série tem mais de 600 imagens e nasceu quando a artista trabalhava na Pinacoteca do Estado de São Paulo – um dos mais reconhecidos museus brasileiros. No acesso diário ao acervo, a associação dessas imagens museais com outras presentes em livros e redes sociais tornou-se repertório visual diverso. Porém, ao empregar a junção fotográfica e, incluir autorretratos e retratos de familiares, a artista voltou à sua própria história. Um álbum de família tão incomum às populações afro-brasileiras. Nessa junção, ela expôs o roubo das memórias ocasionado pela diáspora negra no Brasil. Justamente, a memória – tema tão caro à contemporaneidade. Assim, o rosto da artista busca por ancestralidade na escultura egípcia ou em retratos étnicos – como ela mesmo diz, parentes distantes. Alexandrino denuncia a incompletude e exige reparação histórica.

Nesse ponto, merece destaque a série Espelhamentos (2020), que dentro de Narrativas que se encontram, envolve questões sobre a memória e a identidade, sendo o espelho aquele que especula (especulum, espelho), os autorretratos feitos a partir do uso do celular mesclam-se às formas orgânicas e transformam-se em fractais. Flores, galhos e folhas integram-se ao rosto da artista – simbiose entre mulher e natureza. E essas colagens digitais e GIFs compõem padrões assemelhados às estamparias de tecidos africanos (de novo, a ancestralidade ecoa).

Desse modo, ao lidar com as imagens do mundo, Alexandrino através do fragmento e da citação evoca a memória, a identidade e as novas narrativas – nesse exercício ela liberta o “passado aprisionado” na fotografia porque dá às imagens autonomia, a desvincula do seu criador e do seu contexto histórico social; ao espectador dá a possibilidade de outras interpretações àquela imagem. No fundo, ela é uma colecionadora de imagens e, simultaneamente, propositora de curadorias coletivas.

Nesse sentido, a artista compartilha suas obras por intermédio das plataformas digitais. Para ela, as redes sociais são como museus, galerias e arquivos vivos. Elas facilitam a mediação, o compartilhamento e o feedback entre o público e a artista. Daí sua produção fotográfica ou nato digital nos dizer tanto sobre o cotidiano, natureza, corpo, identidade e memória.

Alecsandra Matias de Oliveira Historiadora e Crítica de Arte

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CAMINHOS (AUTORRETRATO) . Elidayana Alexandrino collage digitale, 2021

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HAIR CLOAK (DETAIL) . Jennifer B. Thoreson fotografia . performance, 2010-2017

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IV PORTRAITS

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PORTRAITS

testament statements

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JENNIFER B. THORESON Testament is a collection of twelve intricately staged photographs. Through sculpture, installation, and representational human subjects, I am exploring the spiritual labor of bearing weight, submission, futileness, and persistence.

To create the work, I sought out a house that reminded me of my childhood home, rented the house for one year, and transformed it into a freighted sanctuary for constructing photographs.

I fabricated sculptural objects for each image, using materials such as wool, linen, clay, human hair, and beeswax. The materials borrow symbolic language from the Bible, and create alter-like, fleshy masses. I imagine the house as a gateway, the silent space just before crossing over. The

LITTLE BABY Jennifer B. Thoreson fotografia . performance, 2010-2017

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CANCER Jennifer B. Thoreson fotografia . performance, 2010-2017

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INSEPARABLE (DETAIL) Jennifer B. Thoreson fotografia . performance, 2010-2017

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PORTRAITS

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people in the photographs are in the final phase of bearing weight, moments away from finally laying it down. I am seeking the moment of relief, and relishing in the moments just before it occurs.

In my work, I revisit themes of human fragility, pain, and eventually, recovery. I am attracted to vulnerability, to peeling back a skin that reveals something precious, dark, and insistently tender. I am compelled by the moments where people are on an edge, barely laced together, befriending disaster, remembering something, or exposing something.

I am curious about how relationships survive, why they dissolve, how people love one another, and how such love is expressed. In this work, I am investigating heavy burdens and how we carry them. I am interested in the spiritual labor of bearing weight, submission, futility, and persistence.

To create the work, I rented an empty house for a year, and transformed it into a makeshift sanctuary, a freighted space for constructing photographs. I chose the house because it was sentimental, and felt very much like my 1980’s family home. It had a wornin, gentle quality, and I felt connected to it the moment I walked through the door. In the photographs, each room is meticulously styled with textiles, objects, and colors, and patterns that I remember from my childhood.

In this exhibition, each room includes photographs, textile works, and sculptural objects. These pieces reference specific moments of understanding and awareness in my personal spiritual journey.

If you look carefully, you will see each stage of a sheep’s wool, and it’s evolution from the animal’s dirty fleece to finished woven cloth. Wool is shorn, picked, washed, carded, spun into yarn, dyed, and finally woven into a functional woven or felted textile.

I like to know and feel the moment where people fall apart, and saturate my work in it. I want to push at a breaking point, and hold out hope for restoration.

These photographs are representations of quiet, ultra-still moments of raw humanness; the phase just after a laboring, aching fall and at the point when renewal inevitably begins.

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PORTRAITS

I was raised in a devout Southern Baptist household in rural Texas. My family’s belief system was the firm, unwavering foundation of our home; every aspect of daily life was rooted in our faith. As a child, I was unusually tuned in to the suffering of those in bible stories-the violence, emotional trauma, and physical pain people endured. As I matured, I began to keenly observe and internalize the suffering of those around me, particularly those within my church.

I was profoundly interested in how people processed and survived trauma and grief, and how gracefully they endured emotional pain. Even now, I tend to bury myself in the suffering of others; I am often empathetic to a fault.

Matthew 11:28 reads: ‘Come to Me, all who are weary and heavy laden, and I will give you rest.’ To this day, this verse both comforts me and haunts me. I find hope woven into it, but also frustration and unfeasibility. I suffer from anxiety and find it nearly impossible to lay my own burdens down. In this work, I am probing into these furtive areas, investigating the management of pain in relationship to faith and deeply rooted belief systems.

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To create the work, I sought out and rented a small house, and worked exclusively within it over the course of one year. The house itself is a direct reference to the home I grew up in; I wanted to re-activate and re-imagine the space where my understanding of faith is rooted. For each photograph, I fabricated site-specific installations and sculptures using biblically symbolic materials such as sheep’s wool, clay, and human hair. All twelve photographs are intricately staged and constructed within the rooms of the house, together with human subjects and sentimental objects from my 1980’s childhood home.

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FATHER DAUGHTER Jennifer B. Thoreson fotografia . performance, 2010-2017

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◀ COCOON Jennifer B. Thoreson fotografia . performance, 2010-2017

PORTRAITS

FAMILY PORTRAIT (DETAIL) . Jennifer B. Thoreson fotografia . performance, 2010-2017

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PORTRAITS

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RUBBER ARMS Jennifer B. Thoreson fotografia . performance, 2010-2017

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◀ SOULMATES Jennifer B. Thoreson fotografia . performance, 2010-2017

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PATAATAP

CRISTINA CÓRDOVA Cristina Córdova is a contemporary artist and sculpting instructor whose work is collected around the world.

Native to Puerto Rico, Córdova completed her BA at the University of Puerto Rico, and received her MFA from the New York State College of Ceramics at Alfred University.

She is featured in the permanent collection of the Smithsonian American Art Museum; the Everson Museum, the Mint Museum of Craft + Design; the Museum of Contemporary Art of Puerto Rico; and the Mobile Art Museum, among others.

She is the recipient of numerous grants and awards, including NC Arts Council Fellowship Grant, a Virginia Groot Foundation Recognition Grant, several International Association of Art Critics of Puerto Rico awards, and the prestigious United States Artist Fellowship award. Her work is widely published in all major ceramics and arts media, including the cover of Ceramics Monthly, and was featured by Craft in America, on PBS, in their episode on Identity.

Cristina has taught and demonstrated around the world.

Her residencies, workshops, and classes include Harvard University, the University of California, the University of Nebraska, the University of Georgia, the University of North Carolina School of the Arts, Ceramistas de Reñaca in Chile, the Australian National University in Canberra, Gaya Ceramics in Bali, Penland School of Crafts (NC), Haystack Mountain School (ME), Santa Fe Clay (NM), Odyssey Center for Ceramics (NC), and Anderson Ranch (CO), among others.

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ARCO (DETAIL) Cristina Córdova ceramic and steel, 2014

HERMOSO NAUFRAGIO Cristina Córdova ceramic and steel, 2009

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PATAATAP

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◀ PASEANTE Cristina Córdova ceramic and steel, 2008

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DUELO Cristina Córdova ceramic and steel, 2008

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PATAATAP

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Cristina Córdova ceramic, 2014

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STUDIO IMAGE Cristina Córdova Fotografia di Chad Weeden

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PATAATAP

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ABRAZO Cristina Córdova ceramic and steel, 2010

EL REY . DETAIL Cristina Córdova ceramic, wood and steel, 2010

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PATAATAP

◀ ALEGORÍA CRIOLLA Cristina Córdova ceramic and framed polyptych, 2017

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LA PERSISTENCIA DEL VERDOR Cristina Córdova ceramic and framed polyptych, 2017

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ABRAZO . DETAIL Cristina Córdova ceramic and steel, 2010

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DON TANCREDO (DETAIL) . Coderch & Malavia 181x48x48 cm., bronze on wood base, 2015

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VI SWALLOW

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il nuovo sole

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Quando ho cominciato a fare lo chef a domicilio, avevo una grande ambizione: stravolgere il modo in cui la gente ha sempre guardato la ristorazione.

Pensaci: da piccolo ti nutrono i tuoi genitori, poi arrivano le mense scolastiche, i sacchettini delle merende, ancora le mense universitarie, i bar, i bistrot, i pub, i ristoranti, le trattorie, il cibo d’asporto… Ognuno di questi luoghi, pur diversi all’apparenza, possiede un denominatore comune: un menù che qualcuno ha preparato senza sentire il tuo parere.

I piatti son quelli, non si scappa. Belli o brutti, banali o straordinari, raffinati o rustici, quelli sono, decisi da un altro che non sei tu. Ti va bene, bene. Non ti va bene, quella è la porta.

Cambia, quando puoi. Oppure accetta il minor male e fattelo andar bene.

A me non andava più bene. Per la prima volta, mi ero messo dall’altra parte della cattedra e volevo cambiare tutto. Se fossi stato io il cliente, per una volta nella vita avrei voluto un cuoco che fosse tutto mio, che seguisse i miei capricci e non la sua volontà o i suoi interessi. Poiché mi accingevo a diventare un personal chef, volevo diventare davvero personale: non la mia cucina, ma quella del cliente. E sai che cosa ti dico? Che non è stato facile! Non lo è tuttora. Perché per ogni tipo di rivoluzione occorre tempo. Occorre che la gente si abitui al cambiamento. «Non potrebbe propormi un menù di mare?». No. «Se potesse farmi qualche esempio con relativi prezzi…». No. All’inizio, ero ancora molto giornalista: intervistavo le persone al telefono, non le mollavo finché non riuscivo a comprendere i loro gusti, i loro sogni. Se erano pantofolai o avventurieri, se amavano la tranquillità o il rischio, se il gusto del dolce sovrastava l’amore peccaminoso per l’amaro, se la succulenza di una bistecca al sangue fosse più gradita della sapidità di una fetta di salame o viceversa… Trovavo (continuo a trovare) tanta reticenza, come se rivelare il proprio rapporto con il cibo fosse confessare qualcosa di troppo intimo da squadernare.

Poi, con il tempo, ho affilato le armi. Mi sono costruito un piccolo questionario che ogni volta propongo e che, come in una sfera di cristallo, vedo riflessi i gusti e desideri del mio cliente. E su quelli costruisco le proposte. Per me è diventato tutto più semplice e per il cliente meno fonte di ansia e di pudore.

Ma non basta. Perché il mio sogno resta sempre quello: spostare il cliente dalla sua orbita di comodo e trasportarlo al centro del sistema. In modo che io possa ruotargli attorno. In un’epoca di chef primedonne, io faccio il contrario: spengo ogni mia luce in favore del nuovo sole.

E così non mi basta seguire i tuoi gusti. Sono a disposizione dei tuoi desideri. Come quella volta che un gentilissimo signore mi chiese se potevo ricreargli l’intero pranzo di nozze per l’anniversario di matrimonio. Lui aveva conservato il menù e così abbiamo potuto lavorarci sopra, piatto dopo piatto. Di storie così, dopo sei anni, sono ormai pieno. Come quella volta che, per San Valentino, il premuroso maritino mi spinse a imbandire, nell’ora scarsa di una pausa pranzo d’ufficio, antipasto, primo, secondo e dessert.

La mia piccola, grande, rivoluzione copernicana. Che ancora si fatica ad accettare, perché le abitudini del menù imposto sono dure a morire. Ma ho speranza. Un passo alla volta, riuscirò a far capire che la vera arte, in cucina, più che nella creazione sta nell’interpretazione.

Giorgio Giorgetti – 77 –

SWALLOW

Il visionario capolavoro di William Blake, Il Matrimonio di Cielo e Inferno, e una scelta di lettere e altri suoi scritti su Arte e Visione. Completano il volume le conversazioni con Blake nelle memorie di Henry Crabb Robinson e i ricordi di chi lo conobbe raccolti da Alexander Gilchrist nella prima biografia di William Blake, pictor ignotus. Traduzione e cura di Giovanni Bernuzzi.

Il Matrimonio di Cielo e Inferno di William Blake è la prima novità 2022 di Happy Hour Edizioni, collana di classici moderni e contemporanei con in copertina un’opera di artisti internazionali presenti su Ainas Magazine.

L’opera in copertina è El patίbulo de los locos (tecnica mista su tela, 2021) di Alejandro Robles.

Happy Hour to the Happy Few Edita da Bianca Laura Petretto e diretta dallo scrittore e poeta Giovanni Bernuzzi, che l’ha creata nel 2010, Happy Hour Edizioni pubblica pochi titoli all’anno realizzati con estrema cura editoriale e grafica, puntando sulla qualità etica ed estetica di una proposta innovativa con vocazione internazionale.

Catalogo: https://ainasmagazine.com/happy-hour-edizioni/

Sullo sfondo un dettaglio dell’opera “Herbier d’automne ” di Gérard Petit ©

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N. 2 . DETAIL Jurij Jakovenko 40x30 cm., etching, 2019 ph. Irina Varculevich

REGARD AUTOMNAL DETAIL Gérard Petit © fotografia pittorica, 2021 Finito di stampare nel mese di marzo 2022

ISSN 2611-5271 € 35.00

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