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2020

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containerofartandculture

CECI EST MON SANG Elise Thibaut

THE SARDINIAN CARNIVAL Rita Pinna

QUANTUM ART Carmen Basile

“PUBBLICITÀ: MODA E GUERRA. LE PAROLE IN COMUNE” Fabiana Gabellini

STELLA CAVIART CURATOR AND THESSALONIKI CULTURAL AREA REPRESANTATIVE

ENOARTE Elisabetta Rogai

for Club of UNESCO

IL RACCONTO

PROGETTO RE-MAKE

Bruno Agostinelli Architetto

LE FORMICHE NEL PRATO DI NEVE Giovanni Casalegno


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No. 01 Febbraio 2020 ISSN 2378-3281

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GRAPHICS AND ART DIRECTION

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Carmen Basile, Jingjing Shi ( Tonny) Chief executive officer ArtBank Stella Chaviaropoulou “Stella CaviART” ( Artist painter, poetess, Curator and Thessaloniki Cultural Area Represantative for Club of UNESCO, Art, Literature & Science of GREECE) Marcello Mariano, graduated in law, works in the legal and photographic sector (copyright) MUSIC

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© Copyright All rights reserved All rights reserved. Any use, in whole or in part, of the contents included in this portal is prohibited, including the storage, reproduction, re-elaboration, diffusion or distribution of the contents themselves through any technological platform, support or telematic network, without prior written authorization to Vincenzo Viva (arch. love.magazine.byviva@gmail.com) The quotes or reproductions of pieces of works made on this magazine are for the sole purpose of criticism, discussion and research within the limits established by art. 70 of Law 633/1941 on copyright, and mention the source, the title of the works, the names of the authors and other holders of rights, if such indications appear on the reproduced work. For any corrections and reports, please send an e-mail to the address (arch.love.magazine.byviva@ gmail.com)

Massimiliano Morelli ARCHLOVE MAGAZINE WRITER (short

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/archlovzine @archlove_magazine /archlovzine

stories)

Cover illustration: Roberta Cavalleri @ZenCaos Creative Retro cover photo: Paolo Lo Pinto


ArchLove is a new art and culture magazine, created on cultural exchanges between nations. A new showcase for artists, galleries, writers who want to show their work and ideas. ArchLove will in fact create various artistic, literary and culinary competitions and for the various areas drawn within it. It has the possibility through the YouTube channel, to present events, interviews and backstage of photoshoots. ArchLove presents the greatest internationally renowned artists, leaving space to strangers but of great value. All this through jewel cities with a strong cultural potential up to the ancient cuisine, starting from Italy. Multilingual magazine that allows a different approach to its reading. Our strength are the images, which create sensations and immersion in the cultural world.

ArchLove Magazine is Art, Writing, Literature, Music, Dance, Fashion, Sport, Theater, Cinema, Design Architecture, Cuisine, History, Socio-culture, Events and Entertainment.


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Franco Crocco -

- Fragile

tecnica mista su compensato, cm 100 x 70, 2019

Figlio d’arte, nato a Roma nel 1964, ha svolto gli studi presso l’Istituto Statale d’Arte di Ciampino (Roma) con Gastone Primon e all’Accademia di Belle Arti di Roma, dove è stato allievo di Enzo Brunori e Duilio Rossoni. L’incontro con Enzo Brunori, artista umbro esponente di spicco, seppur solo ideologicamente, del Gruppo “Astratto-Concreto” teorizzato nel 1952 da Lionello Venturi, è stato decisivo per la sua formazione ed evoluzione artistica in ambito astratto - informale, dopo un lungo percorso figurativo. E’ docente di Discipline Pittoriche presso il Liceo Artistico “Paolo Mercuri” di Ciampino (Roma), e titolare del Corso di Pittura Materica e Sperimentale presso la “Scuola d’Arti Ornamentali” del Comune di Roma. Sue opere sono presenti in numerosi musei comunali e spazi istituzionali. Ha esposto, tra l’altro, al MACRO Testaccio IT

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di Roma, in numerose Fiere e Gallerie d’Arte in Italia e in Europa. Una sua opera è stata acquisita dal MAC - Museo di Arte Contemporanea di Pernambuco “Teresa Costa Rego” di Olinda (Brasile). Fa parte del gruppo di artisti di ORLER Style Channel – Arte Accessibile ed è presente in collettive del Gruppo e in alcune televendite. E’ stato presente all’Esposizione Universale di Milano – Expo 2015 nel Padiglione delle Imprese Unite della Repubblica Popolare Cinese (CCUP Pavillon) nell’Art Contest “The Qualities of China”, con la sua ultima produzione legata al ciclo


- - Latest News

tecnica mista su compensato, cm 75 x 75, 2016

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degli “accumuli” ispirata al tema “Nutrire il pianeta”, al termine del quale l’artista è stato premiato e selezionato per una mostra itinerante in Cina nel 2016. Nel 2016 partecipa a “Art Innsbruck 2016”, “Montreux Art Gallery – 12ème Salon d’Art Contemporain”, al 16° Premio Nazionale d’Arte Città di Novara. Nel 2017 espone alla rassegna itinerante in Russia “Lungo la grande via della seta” presso la Galleria Nazionale Belyaevo a Mosca con l’Associazione Qualitaly, e alla Caelum Gallery a New Jork. Nel 2018 partecipa, tra l’altro, con la Gallery Art Studio all’Art Fair Shopping “Carrousel du Louvre” a Parigi. Nel 2019 espone alla Rassegna “La grande bellezza – Uno, nessuno, centomila” presso il Centro d’Arte Kunsthaus Burg Obernberg (Austria). Partecipa inoltre alla Rassegna d’Arte Contemporanea curata dal Prof. Aldo Maria Pero in occasione della 58a Biennale di Venezia presso il Padiglione Nazionale del Bangladesh a Palazzo Zenobio. Tra le gallerie di riferimento si segnala la Farini Project di Bologna, dove ha esposto le sue opere in numerose mostre collettive, presentato tra gli altri da Giorgio Gregorio Grasso e Vittorio Sgarbi. La ricerca di Franco Crocco si è evoluta seguendo la sperimentazione informale, concepita soprattutto in relazione ad una produzione pittorica che predilige linee espressive autonome e in continuo aggiornamento. La possibilità di combinare fra di loro tecniche assai differenti, in una persistente e costante volontà di

aggiornamento, ha permesso all’artista di esplorare campi spesso inaccessibili e senza l’esigenza di arrivare ad un lavoro compiuto. L’alternativa tra un’opera definita ed integra ed un’elaborazione non compiuta è spesso risolta in una sorta di work in progress in cui si vuole riservare un posto di primo piano al processo, all’evoluzione della forma più che al risultato. In questa prospettiva l’opera si riempie volontariamente di molte opere e della loro continua revisione. La recente produzione di Franco Crocco alterna opere nelle quali il richiamo alla natura, ed in particolare alle stagioni, risulta essere sempre più evidente, ad altre in cui l’artista introduce frasi o parole significative tese a rafforzare un tema specifico, spesso di carattere sociale o legato alla contemporaneità. Il colore, con la sua forte valenza espressiva, rimane il protagonista assoluto delle sue opere. Negli ultimi anni le sue esperienze legate all’insegnamento, ed in particolare presso la sezione femminile della Casa Circondariale di Rebibbia (Roma), lo hanno portato ad elaborare una nuova serie di opere cicliche ispirate alle leggi della Gestalt ed agli accumuli, con l’utilizzo di materiali di riciclo per un’arte eco-sostenibile chve evidenziano un notevole impatto visivo, spesso con tematiche dal forte contenuto sociale. In questo contesto si inserisce il progetto “Avanzi di galera”, che ha visto la collaborazione attiva di detenute ed ex detenute di Rebibbia, che si è concluso nell’ottobre 2019 con un workshop presso il Museo february 2020

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MACRO di Roma. Attualmente sta sperimentando la fluid painting e la Resin Art, essendo sempre alla ricerca di nuovi stimoli creativi.

Between sign, meaning and signifier, the corporeality of EN drawing is non-drawing (a non-figurative) but metaphorical matter. Light is - in itself - the color or rather the refraction of hot and cold, black and white. In Franco’s artistic work we find the cleanliness and balance which, by joining together, give form to what is the painting “in itself”. The figures that can be captured, like the lines, are nothing but the study of years. The control and rationality in some works are almost fundamental, even if it comes out of the unconscious through them, “The unthinked” which becomes touchable.

Mastery of the use of color, mastery of transparency, color that remains clean: it is the play of color over color.

From a serenity and apparent calm pictorial effect and materiality, or its own interior, is mirrored: the self in continuous mutation and continuous research, this makes appreciable those moments that are shown in the creation of the work, which in some cases is the matrix of what will be. “I call matrix, the support that can be canvas or various materials” Like a matrix some of Franco’s works appear so meticulous and precise even if

they do not have a “focus point”, the combinations of cold and warm colors are time, relating to nature, to the sensations that on the whole give vibrations like a speaking voice: emotions, feelings and strength. Granules (life, strength, a grain in the sand, sand creates the desert, the immensity of space. Opening, I see everything and nothing) that form light and shadow, together they give continuity, opening the space of the support itself. Franco is research mixed with the sense of teaching, linked to the concept of the non-figurative which reflects its expression. I tend to relate and observe the artist as a critic, this means comparison, but at the same time observe. The artistic work is in the artist like any created picture, which becomes itself a subject. Resin: heavy and feminine molecule, plastic properties… effective and pictorial regeneration, hard paint, density consistency and tactility. Resins play an important role in the ecological relationships of the plant and plant ones. They are the same materials that speak and show themselves. vDuality between heavy materials and the visual result, which is light, vibrant and energetic like water… where there is materiality and transparency. It is here

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- Thanks for the silence

tecnica mista su tela, cm 150 x 150, 2015

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Franco Crocco

that his research lines cross. Because color in itself is research. The artistic work must be research and harmony, the final work is nothing other than the act of creation itself and I believe that the material used is a point of study for his work and throughout the process The same materials have chemical weight, symbolism, the recycling of used and thrown objects that through the work can revive, but at the same time they narrate the past… or what has been. Two distinct strands are created that join together. Experimentation and teaching, nature and recycling, which goes beyond “the appearance of the vacuum to lose.” The artist relates to the outside by telling the inside, what is beyond appearance, giving the viewer the freedom to confront their feelings. Here the visual perception

enters, debunking the myth that colors are used as a jet, because there is the contrast between instinct and rationality where the symbolism of the same color enters which creates a form, this form, creates matter. But maybe it’s just an ‘optical illusion, or visual stimuli. These visual stimuli are related to the concept of image which today is overcome by the various daily inputs, where we are bombarded with images. Franco’s painting creates the factor X where the eye, feeling lost, creates the input to think, to touch, to play with the feeling, leaving: space, emptiness, where there is no longer a fixed point and the mind must immerse yourself and play with colors, to create, to be able to understand and admire. Moods linked to the conception of the pleasure of color.

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Marica Petti

IN THE NEXT ISSUE, we will

present AVANZI DI GALERA “If we don’t smoke we will go crazy ...” Project by the artist Franco Crocco, presented at MACRO ASILO - Museum of Contemporary Art in Rome #avanzidigalera “Hope obliges us to live” Cit. Pupil of the Women’s District of Rebibbia -

- Abissi del mare

tecnica mista su compensato, cm 84 x 64, 2017

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Erika Azzarello

Erika Azzarello was born in Catania, where she lives and works. She makes oil painting and drawing with several mediums. Her works appear as dreamlike in which fiction and reality meet, meanings shift, realism and abstractism fuse. By rejecting an objective truth and global cultural narratives, she creates with daily, recognizable elements, a situation in which the viewer is confronted with the conditioning of his own perception; by referencing romanticism and symbolism, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate poetic images that leave traces and balances on the edge of recognition and alienation. EN

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When, for the first time, a novice approaches the Fine Arts and EN painting, one of the first impulsive reactions that his/her perception will certainly reveal is the spontaneous distinction between that which is instantly classified as “the recognizable� and that which is endless and vague defined as abstract. That it’s unable to decipher or can readily relate to a personal load of experiences. The world of pictorial communication is basically at the origin of this also.


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- Gravity

120x90, oil canvas, 2016

- - Natura Mater 1.19

olio su tela, 90x90, 2018

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Two trails dug like very deep furrows‌ A cultural and philosophical conflict. In my modest opinion, Erika Azzarello shows how at times the bitterest of enemies, or erroneously classified as such, i.e. Realism and Abstractionism, are able to come to an unusually profound and interesting agreeement of complicity. Her approach to painting comes very close to this possible unwritten alliance. From her hand comes a signal that is halfway between a caress and a punch, between a perfectly realistic story and a sublimation of its possible abstraction. The artist’s painting, in many successful works, completes that impervious trail that exists, at times

- - - Erika in her studio

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unjustly, between two visual-communicative systems that at first glance seem to conflict with each other: a perfectly realistic story and its intimate perception. Azzarello faces these two aspects, brings them close to each other, complements them and gives them as one to the forefront on canvas. Thus giving a rare perceptive completeness to her expressionism, halfway between hard reality and profoundly scathing feeling.

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All this through the diverse and rich medium of painting, be it in its technique as well as its contrary: th heart. (Renato Iannone – Architect, graphic & interior designer, iodesign FCA founder)

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Erika Azzarello

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- Natura Mater 2.19 olio su tela, 120x100, 2019

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Patrizia Simonetti -

Artist Patrizia Simonetti lives and works in Rome where she attended the Free Academy of Fine Arts of Rome “Rome University of Fine Arts”. She studied human drawing and did her study, training and practice of colors with several roman and international artists. EN

At the beginning of her career as a painter, Patrizia attends the painting school of Contemporary Art ‘Romacreat’ in the heart of Rome under the supervision of Maestro Oliviero Leonardi. During this experience, Patrizia improves oil on canvas painting skills and starts developing the intensity of line and color with all its infinite variations of tonalities that are still present in all her paintings. Another important learning experience is with painter Marta Cilento, a pupil of Maestro Beppe Assenza, who will guide

- L’infinito

tecnica mista, cm80x80, 2019

her to experiment water color painting techniques and to deepen the study of colors through the use of several techniques. It is in this period that the lightness of her chromaticisms, playing with light and shadow, leads to the creation of delicate and nuanced paintings that are drawn on papers and canvas and originate from a speculative reflection on the meaning of life. She deepened her painting skills in Italy and abroad in seminars on colors held by Donald Hall, director of the ‘Free School of Antroposophic painting of Bozen’ and in several conferences on visual and fine arts organized by the Antroposophical societies of Sweden and Switzerland,

EMAIL

simluna2009@gmail.co m SITE

www.patriziasimonetti.com

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where she also had the possibility of refining her creative and artistic sensibility.

- Il grande bianco olio su tela, cm110x110, 2018

She then attended the school of artist Sandro Trotti (honorary Professor at the academy of Beijing, Guangzhou and Hubei), attending his lectures that helped refine some stylistical aspects of her painting stylein a moment of artistic change. She attended an engraving school and attended the formation of Arteterapia in the Psico&Art school of Rome. She is also a sculptor. Patrizia Simonetti’s paintings help give expression to solitude, to the melancholy that comes with her existential research but also to the joy and delicate sensibility that she uses to search for the true and authentic beauty that guides every thing and feeds her painting style with brilliant and bright colors. This beauty is an expression of a great vitality and freedom from any expression conditioning. Her style is characterized by multiple colors and lines traced with care by the artist and drawn on paper and canvas, with expanded gestures, soul conditions and deep emotions that aim to express the

existential condition of human beings. Also her drawing of the human figure, when it is represented, is surrounded by lines and colors inserted on the canvas in order to remember that our human existence is not detached from the world that surrounds us but is united in order to develop a harmonious relationship between us and the world. She participated to several personal and group expositions in Italy and abroad and she received several awards and prizes for her artistic work.

Powerful, sensuous pictorial abstractions by the Artist, which EN extraordinarily emerge from full-bodied, commanding strokes that masterfully crawl onto the surface of the canvas, eternizing the Artist’s profound interest for disintegrating forms and transfiguring them through dense, shiny colour tones. The Artist Patrizia Simonetti’s excellent mastery of colours is beautifully revealed by the deep and strong tone contrast -

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Patrizia Simonetti

between the enveloping passion of red, the algid purity of white and the captivating darkness of black, skilfully enhancing each specific luministic quality by means of an expert and superb pictorial exploration aimed at achieving – through chromatic dematerialization of shapes and disintegration of volumes – its own dazzling glorification. (Giorgio Palumbi, Art Critic)

Nelle opere dell’artista Patrizia Simonetti osserviamo una IT magnifica distribuzione cromatica funzionale ai suoi lavori, che opera come collegamento visivo tra due ragioni- creatività e poesia - riassumendo un senso di fusione e stabilendo relazioni armoniche, articolate con naturale fluidità. La successione astratta delle sue opere in forte relazione tra spazi, forme e colori ,agisce da elemento dinamico visivo proiettandoci oltre ogni perimetro e lasciando l’occhio del fruitore a godere perfettamente dello spirito dell’espressione di un’identità altamente creativa; un perfetto dialogo tra

intenzione e materia. L’artista pittrice e scultrice, nelle sue opere mette in rilievo un recupero di grande interesse del territorio interiore intimo e profondo, che da luogo a seduzioni trasparenti e luminose di grande sensibilità. Tutto questo da la misura di Patrizia Simonetti : opere visive che si elevano, generando in chi le osserva affinità con esse e dinamismi interiori. Gli elementi semantici dei suoi lavori regalano linguaggi di altissimo livello, nascono dal nucleo originario accrescendosi con maestria e tracciando un percorso molto significativo, capace di integrare con - forza e ragione- e con una generosità e ampiezza costruttiva di uno stile anticipatore di tutto, e allo stesso tempo complementare ad una tecnica pittorica di grande sommità, che coglie e suggerisce percorsi avanguardistici. L’effervescenza di questa artista si traduce in opere dal risultato che a mio parere evidenziano una delle artiste che testimoniano al meglio l’arte contemporanea odierna.

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(Antonella Iannilli Scrittrice)

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- Sesta sinfonia

olio su tela, cm100x100, 2019

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Solveig Katharina von Leidenberg - Frau mit Regenschi (detail) Abtönfarbe mit Zeitungsabrissen auf Papier, 59x41 cm, 2019

LEBEN DE

1970 geboren in Daun, Deutschland

LIFE EN

1970 born in Daun, Germany

1991 Praktikum in Fotostudio (“Studio f”, Daun)

1991 internship at photo studio (“Studio f”, Daun)

1991 – 1996 Studium Lehramt an Grundund Hauptschulen, Schwerpunkt Kunst

1991 - 1996 studied teaching at elementary and secondary schools (specializing in art)

1996-1997 Referendariat in Kaiserslautern (Schwerpunkt Kunst)

1996-1997 traineeship in Kaiserslautern (focus on art)

seit 1997 Lehrerin an Grundschulen since 1997 teacher at elementary schools seit 2016 Aufnahme künstlerischer Tätigkeiten (Malerei und Objekte)

2016 beginning of artistic activities (painting and objects)

AUSSTELLUNGEN EXHIBITIONS

2019 Ausstellung in Galerie KM9, Trier (Deutschland)

EMAIL

vonleidenberg@web.de SITE

villavonleidenberg.blogspot.com PINTEREST

www.pinterest.de/vonleidenberg/ FACEBOOK

/solveigkatharina.vonleidenberg

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2019 exhibition in gallery KM9, Trier (Germany)

ÜBER MEINE KUNST ABOUT MY ART

Schwarz, Weiß, erdige Töne, diffuse Formen und Figuren - das macht meine Kunst aus. Strukturen, Texturen und Farben verdeckt meist ein heller Schleier wie eine Wand aus Geschichten, die sich dahinter verbergen.

Black, white, earthy tones, diffuse forms and figures - that’s what makes my art. Structures, textures and colors are usually obscured by a bright veil, like a wall of stories hidden behind it.

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- Mothman Ikarus

Abtรถnfarbe mit Kohle auf Papier, 59x41 cm, 2019

- -Toter Vogel

Abtรถnfarbe, Kohle und Papierfetzen auf Papier, 59x41 cm, 2019

- - -Torso III

Abtรถnfarbe mit Kohle auf Papier, 59x41 cm, 2019

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Gutierrez Cano -

- Die kleine Familie

Oil on canvas, 60cm x 80cm, 2014

- - Die kleine Familie

Oil on canvas, 60cm x 80cm, 2014

Gutiérrez Cano Fredy Alberto, es nacido en la ciudad de Medellín departamento de Antioquia, Colombia, un 18 de julio de 1961, es el segundo de cuatro hermanos, sus padres Ángel Maria Gutiérrez Madrid y Maria Lilian Lara Cano, toda una familia de antioqueños. Gutiérrez cano desde temprana edad se interesa por las artes plásticas, destacándose en sus estudios primarios por su buen dibujo y creatividad, en los estudios secundarios se decide a incurrir en el arte de manera definitiva y abandona los estudios académicos secundarios para dedicarse al arte de la pintura, vocación esta que alterna con sus prácticas de natación ya que fue nadador e instructor de natación por más de 10 años. Su formación artística la realiza de manera autodidacta con paciencia y disciplina logra ES

EMAIL

fredgutierrez1961@gmail.com FACEBOOK

/GUTIERREZCANOplasticartist

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entender, aprender y transcurrir en el arte de una manera personal y acertada, aparte del arte en este periodo solo le entusiasma aprender idiomas y estudia francés e inglés para ampliar sus conocimientos y expectativas culturales. Gusta de la música clásica siendo su artista favorito BACH. Desde su comienzo en las artes plásticas su paso es marcado por un estilo singular, propio autentico, original el cual día a día crece a través del tiempo por su labor comprometida. Siendo buen dibujante


nunca gusto de quedarse en lo figurativo y académico su paso a la abstracción es de esperarse por su naturaleza creativa e innovadora, y desde entonces con convicción y decisión firme solo desea estar, vivir, permanecer y trascender en el arte que es su hábitat natural.

GUTIERREZ CANO es un artista plástico autodidacta, desde su ES niñez muestra su inclinación por el arte pictórico y muy tempranamente decide que ese es su camino, por lo tanto se interesa en aprender de los grandes y pone su mirada en tres grandes artistas de la plástica mundial, los cuales vienen a hacer sus ayos de una manera especial e involuntaria: PIET MONDRIAN; su geometría abstracta, ANTONI TAPIES; su informalismo y minimalismo abstracto. JASÓN POLLOCK: el tachismo abstracto. Bajo la sombra de estos tres grandes artista GUTIERREZ CANO se sumerge en cuatro vertientes del arte para aprender de primera mano lo que es la geometría, el minimalismo. El informalismo y el

tachismo, luego viene la parte de engendrar y gestar todos los conocimientos deseados y adquiridos en el proceso de aprendizaje, y manifestar con luz propia un estilo una técnica, la cual logra desde su comienzo, marcando diferencia con maestría, haciendo un camino propio, serio bien fundamentado, el cual hoy en día le hace ser reconocido en el ámbito internacional como un gran artista plástico, genuino,talentoso,del cual cada día por su disciplina y talento se puede esperar mucho más. De estas 4 vertientes nació un gran artista GUTIERREZ CANO, quien supo con sagacidad y maestría conjugar en un solo estilo una técnica personal, maravillosa y genuina.

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LEONEL ESTRADA Artista plástico-curador-escritor-promotor de arte-organizador de las bienales de Arte en Medellín, 1968-1970-1972-1981.y del festival internacional de Arte ciudad de Medellín 1997.Creador de Arte Actual Diccionario de términos, conceptos y tendencias del arte.

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- Andalusische Landschaft

Oil on canvas, 40cm x 50cm, 2019

- - E-Lady

Oil on canvas, 60cm x 70cm, 2016

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Melissa Giowanella - Self portrait .5

Melissa Giowanella is a brazilian artist who works with theater, photography and cinema. As an actress she found in the photography new possibilities to create and execute experimental projects. Her photographic work’s main focus is the study and the development of self-portrait language. It earned her selected and awarded works in contests and collective exhibitions. EN

FACEBOOK

/mgiowanella INSTAGRAM

@giowanella

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The artist brings to her photographic work the experience acquired in the

theater and cinema areas. By blending the consistency and the dramatic aspect of the theater to the visual narrative style of the cinema, her self-portrait work approaches the dark side of the human being not with the intention of portrainting it in a negative way but suggesting that by accepting the shadow within us, we all would be able to build up our light.

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- Andalusische Landschaft - - Self portrait .5 - - - Self portrait .5

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This one is out of a serie about men and their favourite animal/hobby This was made in a closed mental hospital which is now a kind of museum. This is the one I made for 100 year anniversary of womens right to vote in the Netherlands. I made the dresses in the background myself of posters and flyers of political organisations.

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Once someone told me you have to focus on one aspect of phtography and make sure you’re the best. But what if your body tells you you running out of time like mine. Then you have to choose and i have choosen to do whatever I want. So my photography is different every day and depends from the moment and the way I feel. EN

If I am not able to go out I sit behind my computer and create and design using my phantasy. In better periods I like to work together with others on projects like Transmission for the dutch Amsterdam Museum. A project about trangender people. As a member of EffeOttoeMezzo I will make pictures at the beautiful annual show of Sepulchrum, a fantastic group of artists. But as the bills need payment you’re not always able to choose what you what you want to do and you need to find a 22

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ArchLove Magazine

Zen van Bommel

compromise between your own artisis values and the wishes of your client and till now I always managed to keep both sides happy. And I think that’s the most important part of what you do, be happy. You don’t have to be the best but you have to enjoy what you do. Another important aspect for me is to support social organizations, if I feel that they are doing a good job I am willing to do some free photographing for them, like for Animal Rescue, Gay Monument or Childrens Help organisation. Together we can make life a bit easier. Well, that’s it, the story of a normal dutch female photographer.

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The right space for your creativity

Find more details about your next coworking spot near Milan: cowtreviglio.it

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MAN -

Great Goddess and Golden man

FACEBOOK

/エセム万

INSTAGRAM

@moesemu

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2005 * solo exhibition at Vanilla Gallery [ 万 rhythm] (Tokyo : Ginza)

2010 * group exhibition at Konrin Gallery [BEYOND 2010] (Tokyo:Nishi-azabu)

2006 * Korea Young Art Biennale 2006 (Korea:Daegu)

2011 * PNU Art Center Exhibition (Korea:Pusan)

2007 * GWANGHWAMUN International Art Festival (Korea:Seoul) * UIWANG International Placard Art Festival (2012 / Korea:Uiwang)

2013 * Korea Namboo International Contemporary Fine Art Festival (Korea:Daegu) * solo exhibition at Gallery - i [FASCINATION] (Korea:Seoul) * Asia Contemporary Art Show in Hong Kong (China:Hong Kong)

EN

2008 * Sustainable Art Project Pusan (2012 / Korea:Pusan) * the 7th Goyang International Contemporary Art Festival (Korea:Goyang) 2009 * solo exhibition at Gallery - i [ANTI LOGOS] (Korea:Seoul)

2014 * solo exhibition at tattoo studio : Pine Tail [TRURE LANGUAGE] (Ishikawa-ken:Kanazawa) 2015 * group exhibition at GINZA


MITSUKOSHI [Hyakumangoku Chaos] * group exhibition at SHIBUYA SEIBU [Beauty of prayer] * Koube Art Marche

GARDEN (Tokyo:Minami-aoyama) * ADF Art Gallery Project Vol.3 Rempah [Rempah Art collection] at GARDE GALLERY (Tokyo:Minami-aoyama)

2016 * solo exhibition at Gallery Rempah Rempah [IMPACT] (Ishikawa-ken:Nonoichi) * Plus + Ultra

2018 * solo exhibition at Gallery Rempah Rempah [LABYRINTH]

2017 * the 32th kanazawa . Kaga . Noto exhibition at HANKYU UMEDA HEAD STORE : produeed by Gallery Rempah Rempah (Osaka:Umeda) * special event at MITSUKOSHI department store (Taiwan:Tainan) * special event at Pacific SOGO department store (Taiwan:Taipei) * [kanazawa Newly arrived Art & Craft 2017 by Rempah Rempah] at SPIRAL

2019 * solo exhibition at Gallery Rempah Rempah [PLEASURE AND PAIN] (Ishikawa-ken:Nonoichi) * “Outrageous” craft exhibition at Gallery Rempah Rempah [KAOBI] curated (ishikawa-ken:Nonoichi) * solo exhibition at ASUTARUTE - shobou (book store) [SPIRAL RECALL] Kyoto:Nakagyou-ku

- - - Daughter of Janus

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MAN

2005年 * ヴァニラ画廊個展「万rhythm」(東 京:銀座) JA

2006年 * 大韓民国ヤングアートビエンナーレ 2006 (韓国:大邱)

2007年 * 光化門国際アートフェスティバル (韓国: ソウル) * 義王プラカードアートフェスティバル ( 〜2012年 / 韓国:義王)

2008年 * サスティナブル・アートプロジェクト釜山 ( 〜2012年 / 韓国:釜山) *第7回高陽国際現代美術祭 (韓国:高陽) 2009年 * ギャラリー・アイ個展「ANTI - LOGOS」(韓 国:ソウル)

2010年 * 金輪ギャラリーグループ展「BEYOND 2010 」(東京:西麻布) 2011年 * PNUアートセンターエキシビション (韓国: 釜山) 2013年 * 大韓民国南部インターナショナル現代美 術展 (韓国:大邱) * ギャラリー・アイ個展「FASCINATION」(韓 国:ソウル) * アジア現代アートショウ香港 (中国:香港)

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2014年 * タトゥースタジオ : パインテイル個展 「TRUE LANGUAGE」(石川 : 金沢)

2015年 * 銀座三越グループ展「百万石カオス」 * 渋谷西武「祈りの美」 * 神戸アートマルシェ (全てギャラリールンパルンパ取り扱い)

2016年 * ギャラリールンパルンパ個展「IMPACT」(石 川:野々市) * プリュス+ウルトラ (ギャラリールンパルン パブース)

2017年 * 阪急うめだ本店 : 第32回金沢・加賀・能登 展 ギャラリールンパルンパ企画「奇想の工 芸マーケット」(〜2018 /大阪:梅田) * 新光三越台南新天地店催事(台湾:台南) * 太平洋SOGO忠考店「夏の日本展」(台湾 台北) * 東京南青山スパイラル・ガーデン 「kanazawa Newly arrived Art & Craft 2017 by Rempah Rempah」 * ADF Art Gallery Project Vol.3 GARDE GALLERY : Rempah Rempah Art collection (東京:南青山) 2018 年 * ギャラリールンパルンパ個展 「LABYRINTH」(石川:野々市)

2019年 * ギャラリールンパルンパ個展「PLEASURE AND PAIN」/ 同時開催 : 万キュレーション工 芸展「カオビ」 * アスタルテ書房個展「SPIRAL RECALL」(京 都:中京区御幸町)

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A Triple

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Giuliana Bellini -

I DON’T TELL A REALITY,I AM REALITY. Jellyfish should not see what they are but what they represent. ES Regeneration process adaptation to change, metamorphosis and synergies that pass from the polyp as a birth to the “medusa” adult phase A phase, this, linked to its origins or the octopus, therefore the energies that are exchanged between what it is … To what it was. Without denying anything, living in the present through a real identity. Community and association, water as a source of life, in the same way death is a way to be reborn. Nowadays jellyfish is the representation towards a behavioral metamorphosis with respect to the environment and the human race. Giuliana’s art is an idea and a position taken on a degenerative

- Museo del mare, Genova

situation that is not only aesthetic but also educational. Research that passes through specific materials that have a fundamental link with the earth like copper, but also through deadly materials created by man. The real meaning of the word Medusa is: (in Greek: Μέδουσα, Médousa, which means “protector”, “guardian”, from μέδω, médō, “protect”). And again, we can think of Post-mortem, here we create, in fact, a strong dualism between life and death. A death as a passage, it rises from the ashes. And this is the concept, the jellyfish itself creates a trans differentiation, that is rejuvenates to create a new life process.

EMAIL

simluna2009@gmail.com SITE

www.patriziasimonetti.com

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The transformation of cells belonging to one of the three embryonic sheets into cells of another embryonic sheet. The same natural world’s (like a personification!) rigenerative process where there are self-combustions to be reborn from the ashes. A clear and very simple process, which as far as the man studies … ignores him, destroys himself in the name of progress, which results not only as a practical regression, because of the positions taken by the so-called “pharmaceutical companies” that do not admit a research and experimentation, but also to speak metaphorically about viruses that are released free and sadistically, in parallel a mental closure that results in the world as freedom and protection. Is the system damaged by a virus? Has culture really fallen?

Between knowledge and information a mental battle is created, only a personal self-realization is triggered, which leads to a collective depression. Break up and reorganize the scheme and the visual language. It is here that the mind becomes a sponge, a vital cell full of the indefinable that has become visible. Inhale, exhale: life. Water, life cycle, water, jellyfish habitat. The human by his hand is extinguished the non-human is reborn.

What is the usefulness of art? The Nothing. Its purpose is the overcoming of man.

At the same way, I put the accent on the responsibility concept where the object concept no longer exists (therefore nature and animal or non-human) but exists “the subject”. Man has proclaimed himself supreme leader with power of life and death over what he considers non-human. Therefore, it is justified to talk about what the human post will be, that something that will be born post-human to the reconstruction of a sort of civilization, which is born through a new “community” a society made up of cellular forms, which modify them to adapt to the planet… After the destruction. Perhaps a defined apocalyptic scenario is hinted at, but terribly real. Where “irony of fate” the water level rises, nations are at risk of extinction (like the famous Atlantis, drowned). Not only that, the “catastrophe tourism” exists and is constantly growing: for every flood, for every super fire, there are those who take pictures, selfie with a map. Obviously nobody asks why? The only thing that matters is being there. Now in appearance without any personality, we merge with the mass. 28

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Nature in secular meditation does not create because it is absolute perfection. Represents order and chaos Nature is vital rhythm, it means listening to a living organism, superior to us, in continuous metamorphosis. Biorhythm and memory tracing. Man becomes the superfluous that vanishes for the unity of existence. Marica Petti

CURRICULA

Giuliana Bellini nasce a Castel d‘Ario (MN) nel 1950, vive ed ha lo studio a Milano. IT

1974 - attestato professionale di ceramista, presso la scuola Cova di Milano, 1982 - 1986 - frequenta il corso di pittura presso l’Accademia di Belle Arti di Brera a Milano sotto la guida del prof G. Ortelli si diploma nel 1986 con una tesi in incisione su A. Burri , sotto la guida della prof. A. Occhipinti, 1987 – segue il corso di Tecniche incisorie nei corsi estivi presso la Scuola di grafica internazionale di Borgholm , Svezia, 1993 – 1996 – Segue i corsi di aggiornamento “Libro d’Artista”, “Serigrafia”, “Xilografia”,


Giuliana Bellini

“Bulino”, “Tecniche Avanzate e Sperimentali”, pressol la Scuola internazionale di Grafica a Venezia e si iscrive all’E.N.A.P., 2003 – segue il corso “Grafica Illustrata” nei corsi estivi internazionali di Urbino, 2006 – Si diploma al biennio di specialistica in Grafica presso l’Accademia di Belle Arti di Brera, Milano 1990 – 2008 - insegna Tecniche Incisorie presso i C. F. P. del Comune di Milano 2015 pubblica il saggio IPOTESI ATTORNO AL SENSO DI ESTINZIONE edito da Albatros.

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PROSSIME MOSTRE

SALONE DELLE FESTE TERME DI CASTROCARO (FC) Collettiva di incisioni 18 gennaio al 23 febbraio 2020 SASSI DI MATERA Collettiva dove porto una scultura tra la primavera e l’estate 2020 La mostra sarà prima allestita a Milano presso ex fornace nel dicembre 2019

Espone in Italia e all’estero dal 1974.

IN THE NEXT ISSUE, we will pre-

sent “IL CARO ESTINTO” Project created by the artist Giuliana Bellini.

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The transformation of a work, through death and rebirth to new life.

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- Premio della giuria, biennale

genova 2019

- - Attestato do merito prima biennale internazionale di incisione e scultura, Premio Celommi Termao, 2019 - - - Segnalazione d’eccellenza per la categoria incisione della giuria ufficiale Art Expression Novara, 2019

Casa dei Carraresi a Treviso

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- Andalusische Landschaft

Oil on canvas, 40cm x 50cm, 2019

- - E-Lady

Oil on canvas, 60cm x 70cm, 2016

- - - Die kleine Familie

Oil on canvas, 60cm x 80cm, 2014

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Helmut Plümacher

geb. 1951 in Düsseldorf. Wohnt in BurgwaldWiesenfel 1974 Abschluß des Studiums der Sozialpädagogik und staatliche Anerkennung DE

Anschließend mehrjährige Berufsausübung mit dem Schwerpunkt Kreativitätsförderung. 1977 Beginn der freiberuflichen künstlerischen Tätigkeit Malerei, Grafik, Objekte

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Ausstellungen ab 1975 ca. 30 Einzel und Gruppenausstellungen in Düsseldorf, Köln, Neuss Frankfurt/ M., Wülfrath, Burgwald, Cadaqués, Frankenberg und Rosenthal Unter anderem »  Ausstellung in der Galerie “Bilderkeller im Karmeliterkloster”, Frankfurt/Main »  Winterausstellung Theater am Dom, Köln »  Gruppenausstellung “Kunstasstellung Neuss” »  Gruppenausstellung “50-Tage-Ausstellung” BBK Düsseldorf »  Jahresausstellung Düsseldorfer Künstler

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»  Große Düsseldorfer Kunstausstellung,

Kunstpalast am Ehrenhof »  Kunstausstellung Neuss »  Edition Nr. 10, Stadtanzeiger Neuss Mensch und Umwelt, BBK Villa Engelhard, Düsseldorf »  Jahresausstellung Düsseoldorfer Künstler, Ehrenhof »  Atelierausstellung, Burgwald-Wiesenfeld »  Beteiligung “Mini Print International”, Cadaques/Spanien »  Einzelausstellung Galerie “Bilderstube”, Frankenberg »  Beteiligung Jahreskalender heimischer Künstler »  Ausstellungsbeteiligung “Bilder aus Cadaqués”, Rosenthal, Galerie Haver Radierwerkstatt m. Manfred Drechsel, Kulturherbst 96 »  Einzelausstellung “Neue Werke” im Komturhaus Wiesenfeld Seit 2010 Veröffentlichung meiner Arbeiten auf verschiedenen Internetplattformen wie: Facebook, Deviantart, Pinterest, Vagallery, Callas-Bremen und Touch of art.

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Христос. Дорога слез 2019 год 40x50см бумага, ручка масляная, карандаш акварельные, Стас Грузинштерн Суета суёт 2008 год - 20x30 бумага, ручка, карандаш акварельный, Стас Грузинштерн Весенняя меланхолия 2017 год - - 40x50см бумага, ручка масляная, карандаш акварельные, Стас Грузинштерн

Stas Gruzinshtern

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Меня зовут Станислав. Я родился и живу в Украине. С ранних лет меня покорил мастерство великих Пикассо, Дали, Босха и Дюрера. Эти гиганты искусства повлияли на моё творчество и определили мой дальнейший путь. RU

Мне 45 лет, и большую часть моей жизни с удовольствием и без сомнений я творю свой арт. Являюсь художником самоучкой Арт - искусство стало для меня не просто хобби но и смыслом моей жизни. Думаю направление моего творчества есть сююреализм.

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Jorge Soto García -

Del otro Universo 3

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Artista chileno formado en la carrera de Bellas Artes de la Universidad Arcis, Santiago de Chile, y en la escuela de Bellas Artes de Valparaíso, donde obtiene una licenciatura y un magister en arte. Lo que mueve sus obras de manera conceptual es el manejo de las articulaciones, manipulaciones por medio de ciencia y la política. Hay una línea persistente en crear nuevos mundos subterráneos donde converge la aguda y real visión del mundo. ES

El cáncer existencial, las enfermedades terminales, la modernidad en contra de la sensibilidad, la arquitectura de la opresión, la pérdida de identidad a través de los años, el destierro, el desamparo, la soledad, el sistema que olvida que nos entierra y nos reemplaza, los descuento de los éxitos y de las miserias, 32

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las amputaciones, las prótesis, ciudades convertidas en gueto, las esclavitud del consumo, la farmacéutica, el horror sin salida. Ha expuesto en Nueva York, Miami y Alemania. Realiza presentaciones itinerantes de su obra. Actualmente se encuentra preparando un documental que hablara de toda su obra y trabaja en su taller en Chile. Chilean artist trained in the Fine Arts career of the Arcis University, Santiago, Chile, and in the school of Fine EN


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- Desde el otro lado

Grafito y acrílico sobre papel

- - Alzheimer oleo sobre tela - - - Dibujo mas Aguada acrilicaa

Arts of Valparaíso, where he obtained a bachelor’s degree and a master’s degree in art. What moves his works in a conceptual way is the management of joints, manipulations through science and politics. There is a persistent line in creating new underground worlds where the acute and real worldview are converging. Existential cancer, terminal illnesses, modernity against sensitivity, the architecture of oppression, loss of identity over the years, banishment, helplessness, loneliness, the system that forgets that

buries us and replaces us, the discounts of the successes and miseries, the amputations, the prostheses, cities turned into ghetto, the slavery of the consumption, the pharmaceutical, the horror without gateway. He has exhibited in New York, Miami and Germany. Making itinerant presentations of his work. He is currently preparing a documentary that will speak about all his work and he is currently working in his studio in Chile.

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Jerome Royer

Intrication XXVII acrylic on canvas, 100cm x 81cm

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My paintings are the result of a quantum meditation. With my brush, I create a link between the structure and the disorganization EN

With my knife, I create a universe where dialogue between form and color. I transform reality, it’s an incessant journey between figurative and abstract. My work is mainly based on the portrait, I study it, I modify it and I mix it with the unreal. In the end, I change its state to the image of a quantum leap. We could say that my paintings are my Quantum representation of our universe. I practice boxing, meditation and tai chi chuan, these 3 practices are different but complementary, they contribute to my balance. It’s the same with the 34

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painting, I use, the acrylic for its strong and strong side (boxing), the Indian ink for concentration work and instantaneity (meditation) and the watercolor for this lightness of movement (Tai chi chuan) “… It’s an encounter between color and volume but at that moment we are already dreaming, we are already carried away” G. Lecurieux Lafayette (Hypnotherapist-NLP Practitioner) From an early age, Jerome Royer has always had a knack for art. At school, whether it was just a doodle on a notepad or a full‐blown project in art‐class, students and teaches often praised him for his natural skill. But to Jerome, art was never anything worth pursuing. It was an amusing hobby, but nothing


that would take him anywhere in life. Little did he know how much of an impact this natural talent would have on his life. As a young adult, Jerome continued his studies in hopes of becoming an architect Despite his final exam’s result which urged him to become an artist, he took the more practical path and eventually found what he thought was his dream job, designing buildings. It wasn’t until he was 38 that Jerome decided to immerse himself in art. He began to post his doodles and caricatures on his instagram page, and surprisingly received positive feedback from not just his friends, but strangers from all over the world. These compliments gave him the confidence to continue creating and try different techniques with his art. It was soon enough that Jerome, with absolutely no previous experience in painting, decided to try watercolor for the first time and instantly fell in love. Since then, Jerome has tried many different styles of art but his passion will always lie with watercolor. -

“We will have the fate we have deserved it.” (Albert Einstein) Jerome is a strong believer in fate. In retrospect, every hardship he experienced was just a sign pointing him in the right direction. All along, deep down he knew he was destined to be an artist. Martial arts, specifically aikido and tai chi chuan, have been very important in his artistic development. He wields his brush with a steady hand and uses the movement and energy to bring his paintings to life. He throws the paint to dry movement, he slid his brush to the canvas with light, he listens to his heart. His faith in humanity leads him to put man at the center of his work. His works are figurative and abstract mix. His philosophy is that art requires the balance of Ying and Yang. Jerome’s desire is to continue to express himself through his paintbrush and hopefully touch or inspire the lives of others.

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- Esprit terre 6

acrylic and ink on canvas, 81cm x 100 cm

- - Intrication XXVIII

acrylic on canvas, 81cm x 65cm

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Frédérique Longré Née en 1971, Frédérique Longrée est une artiste plasticienne Belge. Ses œuvres ont été exposées, entre autres à Bruxelles, Genève, Rotterdam. Elle est artiste résidente à la Galerie Parcus, à Berlin/Munich, et vient d’entamer une collaboration avec la galerie Ubique, située à Dinant (Belgique). FR

Un recueil intitulé « Passengers », qui reprend une sélection de ses œuvres paraîtra cette année aux éditions Caedere, à Chartres : https://editionscaedere. wixsite.com/catalogue Elle collabore régulièrement avec des poètes et des musiciens dont elle effectue les couvertures de livres ou de disques. D’autres œuvres peuvent être vues sur le site Artsy

ARTSY SITE

www.artsy.net/artist/frederique-longree EMAIL

frederique.longree@gmail.com

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Frédérique Longrée explores every single and changing nuance as if she would tell us that time overwhelms us and that it passes on us like a swallow that nests on the eaves: it goes out, enters, comes and goes, but always under our eyes. In the beautiful and delicate series “Faces” we see female faces that sometimes observe us other cultured in a modest repose, as absorbed in a placid and nocturnal torment and from whose

eyes comes out a thoughtfulness lightened by the subtle plot of a past that seems to pose everywhere the his dusty load of memories … An unstoppable consumption in which the anxiety of becoming is effectively told – in spite of the title – is the heart of “Le temps n’est pas l’ennemi”. Thin cracks, dense chaps depart from the faces like a ferocious design warped by a ‘craquelure’ stubborn as ruthless and determined to spoil the appearance, so the skin flaps seem to leave the cheeks still young of the subjects as “exfoliated from a primigenial beauty, as flower petals torn “ … Here, in this specific episode of her creativity, Frédérique Longrée photographs mummies, bodies from whose conservation we learn how tenacious is the attempt of the man to “steal from time how much time he has stolen from us”. Where memories are not enough, man tries to give himself an eternity released from his cycle; so if memory itself yields under the blows of time – again time is the adversary of man – man provides to preserve his wrapping, the now empty container of a memory transmigrated everywhere and, perhaps, dispersed … Frédérique Longrée proves skilled in the exploration, her research is tenacious and well directed in describing the most dramatic experience of the life of every man.

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Markus Morch

- The MXM Fragments of consciousness

. Wishful Acrylics, Alcohol ink, Mixed media, Pens on canvas

- - The MXM Fragmented dreams

. How could you Acrylics, Alcohol ink, Mixed media, Pens on canvas

My name is Markus Morch and I am an abstract and contemporary painter. I am from Norway and based there. I am 21 years old and I have been painting since I was a child. I have always had a passion for art and although my style is always changing and evolving Ifeel like I have made my own signature work style. My pieces and art has a big emphasis on contrasts, details, patterns and structures that catch the eye. I will work with anything from acrylics and oils to all kinds of materials i find to give the impression and feeling I want to portray I also want my art to give an expression to the viewer in some way and tell a story. I also have a thing for the theatrical and I want everything I do to amaze the one who watches it in some way. My way of doing this is having a certain focus point somewhere in the piece that EN

- - - The MXM Fragments of consciousness

. The need to survive Acrylics, Alcohol ink, Mixed media, Pens on canvas

in my own mind needs to be perfect. My philosophy to this is that if i put all my time in making that one single detail perfect then everything else will fall into place and enlighten that one detail. Making the painting even better and give a bigger expression and experience to the viewer. My way of working and philosophy on a new piece is simply this. If a person looks at my painting a second time and can’t find something else that leaves an expression in them. Then I have failed at my job. Being able to live of my art has always been a dream of mine, and in the process I try to leave an impression on the ones that view my art.

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Elisabetta Rogai -

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Per l’artista fiorentina il vino è EnoArte. Elisabetta Rogai, l’artista fiorentina che vive in armonia il suo essere artista in simbiosi con la natura usando il vino come strumento di arte, due mondi e modi del vivere quotidiano. IT

E in questo vivere, bere e nutrirsi d’arte si abita il mondo, si codificano i linguaggi e i comportamenti, si costruisce l’identità, non solo personale ma anche collettiva. In fondo il vino e l’arte contraddistinguono le immagini, danno identità ai popoli e nazioni ma anche le industrie, l’economia e il lavoro.

E l’Artista crea, il pennello corre veloce, imbevuto di vino, usato come colore, come anima per definire ritratti che hanno il potere di sospendere il tempo, rendere immortale un’espressione, un modo di porsi, un soffio di vento, il battito di un respiro sospeso costruisce un volto di donna, irreale e sensuale, un corpo, una spalla, le mani, un ricciolo ribelle, tutto avvolto da un senso leggiadro mentre veli impalpabili di seta accarezzano un corpo, che non ha timore di mostrarsi, si svela quasi a diventare una iconica statua. I capelli, una cornice leggera, senza peso, per dare regalità ad una donna consapevole del suo fascino, della propria femminilità, ebbra di vino con il corpo svelato in ogni sua movenza, dalla più eterea alla più languida, pronta a donare la sua bellezza al tempo attraverso il ritratto dell’artista, un battito di ciglia per ogni volto che svela infinite emozioni, come infinite sono le sensazioni che ognuno è in grado di provare davanti al cavalletto dell’artista, quasi un mettersi nudo, svelarsi, confessando le proprie emozioni.

Dunque queste due industrie culturali, arte e vino, producono non solo immagini simboliche e desiderabili ma anche lavoro per milioni di persone che si dedicano allo sviluppo delle stesse. Per lei il vino interroga il corpo, il territorio, la natura e il paesaggio, e nelle sue mani il vino diventa anche gioco e creatività, performance, gesto e teatralità proprio come l’arte.

- Brunello di Montalcino

Una posa, due pose, tre, mille, ma è solo un istante rivelato, quello che serve all’artista per rubare l’anima al soggetto, lo lascia libero di scoprirsi e riscoprirsi nel proprio intimo, lasciando libera la parte definita anima, mostrandola al mondo, le mani e gli occhi, l’abbinamento della pittura ad olio con il vino, l’uso del vino per definire i sogni, le etichette che raccontano storie di castelli incantati, come i volti della gente, viaggi con la proiezione nei tempi dello stupore, delle illusioni, del dolore ma anche della gioia e dell’amore, l’artista ne ruba i sogni, ferma istanti di sguardi, di “incontri”, le sue donne non sono illusioni ma suggestioni…

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www.elisabettarogai.it

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Lollo by Carmen Basile

“Kilroy was here”, but “Lollo” too. “Kilroy was here”, because talking about graffiti, posters and photos EN found in San Lorenzo - Lollo in fact -, everywhere on the walls of buildings, sidewalks, even on road pavements. Kilroy was a graffiti artist - very famous, so famous as to observe his own history of reaching us - that appeared in places of the Second World War frequented by British and American troops. The graffiti, almost certainly born as “Chad” in the United Kingdom before the Second World War; was a creation of the comic book artist George Edward “Chat” Chatterton. The design and the slogan merge over the past years due to the influence of 40

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the Americans on the British. The Chad comic was very popular and can be found drawn around the United Kingdom with the inscription What, no …? or Wot, no …? (What? Missing …?), It was satire on rationing and lack of means. What is the association? Simple, deductible, almost trivial. The walls of Lollo speak, describe, remember experiences, stories and tales of a neighborhood, known for the bombing suffered on 19 July 1943 which killed four thousand people in the San Lorenzo district alone. The houses of San Lorenzo still “dance” in our times when buses pass on the Tiburtina, enough to make one think of an earthquake, if one is distracted.


The houses, walls and sidewalks of San Lorenzo are steeped in history, including the recent one, from the 1970s to today; very different historical phases alternated with different elements and characters. The seventies of the last century characterized by student struggles, to the eighties, nineties with a totally different atmosphere that however kept “Lollo” in the limelight and always present in the life of young people of different generations. Unfortunately and recently, even very negative and atrocious episodes have made him famous, which shouldn’t occur, never! They even became famous, for different reasons, some streets, some bars, some

restaurants or pizzerias; In short, San Lorenzo is an intersection of lives, generations, cultures, idioms, always! And those graffiti, or posters, or photos that we can observe on the walls of San Lorenzo do nothing but show and describe the moods, facts, situations, emotions of people who live and resist any event. Among those graffiti there are some works by young artists who have already become known for their skill and creativity, I’m talking about Alice Pasquini, Sten and Lex and others.

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PHOTOS: Marcello Mariano

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In 2020, Artbank has 1,000 contracted artists worldwide and 5,000 contemporary artists from China. In 2020 Artbank will bring its artists to exhibit and / or as cultural exchanges, in different nationalities: United States, Germany, France and Italy.

art, he deals with raising awareness and showing various aspects such as eco-sustainability and awareness of an animal identity such as that of gender and against violence.

ArtBank in his staff has famous art critics: Gu Chengfeng, Chen Xiaoxin and Shi Banghe psychologists and so on. It also exhibited famous works such as Picasso, Dalì, Fu Xiaoshi, Zhu Xinjian and other world-renowned masterpieces, over 300 participating artists.

Cultural exchange between east and west.

EN

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ARTBANK 网站

www.china-artbank.com ARTBANK 邮箱

ArtBank is a strong artistic, social and cultural container. Having within it a very strong cultural potential. Through

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1917090099t@gmail.com ARTBANK 微信公众号

tonnyart 或 Artban k


2020.01.25

and is public at any time, choosing the deepest images, using art to tell the truth.

Unfortunately, because of the epidemic that hit China, everything has been postponed. On the other hand, “maybe” it will continue on a telematic level: “310 Virus” online exhibition: The topic of creation is “biovirus”. It will be EN

The presentations focus on topics such as viruses, life, biology, human stupidity, etc. Material forms painting, manuscript, photography, digital…

310 virus The dramatic situation, communications are difficult. Many artists left voluntarily. Self-isolation. The artists engaged in the 310 Virus event, and in that of the masks: pears-isolated. “隔梨”用口罩做媒介,大家在口罩上画 画。或者在口罩上做创意,应该会很好玩. It is in constant motion. We don’t know anything else. The works have been put up for sale, the proceeds will go to those who fight the virus.

to use) anyone can participate, a journalistic diary created by artists who recount in their sensitivity the serious contemporary problems. The #diariogiornalisticodartista for obvious reasons, tells to start China and 310 Virus. #diariogiornalisticodartista in close collaboration with ASS. VOL. NO PROFIT CDQ AREA VERDE. To participate send your works, thoughts, poems and anything else to the e-mails 310virus@gmail.com instagram @etrom_mirror

EtroMirroR Ed. decides to create #diariogiornalisticodartista (this is hashtag

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Contemporary art is a product of “persistence” by “Tonny” Shi Jing jing

The critics have too many definitions of contemporary art, and some even say that contemporary art is just an illusion of human conception. Previous modern art was quoting, referencing, using, embezzling and trying to share a utopian confidence; contemporary art did not have this burden. In the decades after World War II, especially after 1970, a group of artists stood out. Everyone is working hard in diversification. Art is no longer a single path, but there are many effective paths. It feels different from the art movements recorded in past art history, leading to inconclusiveness. It is precisely because of its uncertainty, non-fixed style, non-historical nature, and precisely because it pays attention to the present, that the emergence of new things immediately leads to a focus shift. This is the new ecology of contemporary art. When the art world is unclear and it is difficult to define contemporary art, we have a deep understanding of its eternity 44

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because of the common exploration of biological sociology. We have gradually derived today’s unique definition of contemporary art through several public accounts. Any definition of contemporary art will be shifted because of its uncertainty. When we see this, we can only find the cornerstones in the underlying logic: “Contemporary art is the product of” sustainability “ This issue illustrates this point in four sections One: Human development is getting slower and slower Two: Social changes caused by continued infancy Three: Contemporary art comes from life in a state of continuity Four: How do artists create contemporary art in the face of “sustainability”


《ArtBank》

Human development is slowing down The term juvenile persistence was pioneered by American biologist Stephen Gould and is an important theory of biology. It refers to the phenomenon that a species retains the characteristics of juvenile or even fetal period until after juvenile or even adulthood. Juvenile status is a core feature of human evolution and has been driving the evolution of all species in the world. Juvenile continuation plays an important role in the evolution process. After multiple generations of evolution, it can cause certain organisms to maintain the juvenile state in mature individuals and form new varieties. This process is due to genetic mutations or interactions between genes. Caused. For example: non-flying birds, that is, the larval nature of ordinary birds, can not fly to mature stage; For example, human juveniles continue to say that humans have no body hair and large heads, and retain fetal characteristics, and are curious and interested in learning to retain childhood characteristics; For example: some races retain the characteristics of lactase that can break down digestive lactase throughout life; For example, many types of pets, such as dogs, retain the characteristics of playfulness, intimacy, and other characteristics of their ancestor wolves, while losing the ferocious and killing characteristics of mature bodies. Modern genetic science has found that persistence of juveniles is a unique phenomenon occurring in human evolution. Domestic and foreign research teams such as Kunming University of Science and Technology, the First Affiliated Hospital of Kunming Medical College, and the University of North Carolina in the United States have collaborated to build the first transgenic rhesus monkey model carrying a copy of human genes in the world, and successfully obtained 8 F0 generations. And 3 F1 generation transgenic monkeys. Tracking brain development

through MRI brain imaging analysis, they found that transgenic monkeys had significant neural cell and neural network maturation delays.

Giuliana Bellini

Compared with close relatives and non-human primates, humans are slower and slower in development

Social changes caused by continued slowdown We all miss our childhood, because childhood means liveliness and fun, innocence and enthusiasm, fearlessness and energy. We already know that “juvenile persistence” is the engine that promotes evolution. It allows us more time in our lives to live like children and have stronger learning and creative abilities. We will find that the slow-down state of leaders among countries leads to the ups and downs of state-to-state relations. Leaders also show a passion for a world of self-planning and a state of naive longing for technological innovation. You can understand this kind of “juvenile state persistence” as a slow state of benign innocence. The slowdown of juvenile behavior is very obvious in the United States. American culture cannot understand and accept any other culture, but it is younger in imagination. In terms of color, form, product and narrative, etc., the link triggers the human youth and nature. In the part of “Persistent State”, whether it is fast food or pop music, young culture such as lifestyle can be understood by other cultures. Juveniles also made Americans consider the United States Constitutional Maggies to be the gods of the nation. Americans now dare not repair their heritage, lest their ignorance will damage the constitution they have conceived with wisdom. Deep in the consciousness of Americans, he looks like a child compared to the founding fathers. Signs of maturity: responsibility and responsibility, perfect self-cognition system established through perception, february 2020

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meticulous logical thinking system construction, less and less curiosity, more and more adherence, and only choose the path to successful life that you know . Newton discovered the law of gravity, generalized binomial law, calculus, optics at the age of 22, and gave a complete account at the age of 62. At the age of 20, Einstein made bold conclusions about the fundamental connection between the nature of light and time and space. At the age of 30 published four papers on the photoelectric effect, Brownian motion, special theory of relativity, mass and energy relations, and subsequent works in Einstein’s year were all extensions and proofs based on his young conclusion . Kant was a teacher and researcher who was curious about natural science before the age of 53. He started philosophical research after the age of 53, and the logical thinking system he established brought a revolution in philosophy. It can be seen that the meticulous logical thinking that forms virtual thoughts can only be realized in a mature state. This era of electronic products is a dark age. It seems to make it easier to obtain information, but the explosion of information brought about by it is due to the imperfection of self-cognition logic and shrinking its world. Information becomes knowledge is a precise logical thinking process of human beings’ false existence. Acquiring information does not mean acquiring knowledge. The more imperfect information of self-cognitive logic will only lead to the lack of knowledge. Only by letting the soul of young people nourish the knowledge of the new, make its potential take root, and actively pursue this kind of self-knowledge of knowledge, the information increment of this era is of value.

Contemporary art comes from life in a state of “sustainability” Everyone knows that “art originates from life and is higher than life”, but the real 46

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underlying logic of art is driven by the needs of life. Contemporary art focuses only on the present. Italy is the earliest developed country in glass use. Chinese architecture has always used paper-filled windows because its wooden structure cannot bear the weight of glass. China has always used porcelain because it drinks green tea and hot wine. The church building in Italy can fully bear the weight of glass, and cold water and red wine can be used for glass. The demand has led to the vigorous development of the glass industry. Households have mirrors, As a result, art buyers constantly compare the portraits they have painted for themselves in front of a clear and undoubted mirror, and constantly put forward precise requirements. Only then must the artist study the anatomy, thus laying the foundation for classical art. The European economy collapsed in the early part of the First World War. The people were boring. The government and the people needed fictional fantasy with more aesthetic art to realize the expectations for a better future. The Impressionism, which emerged with the help of optics and tin tube pigments, promoted the history of art and became an important genre one. The current information age has brought about a complete rupture of current people and history and tradition, and has lost the burden of thought. With the abundance of peaceful life and medical development in the world, human life is getting longer and longer, and the “juvenile state” at the genetic level has led to the growing of youth. In such a multifaceted evolution, it is no longer possible to define who is young and who is by age. Are middle-aged people, who are older, today with uncertainty of maturity today “The” juvenile state persistence “slowing state is the only solid state manifestation of human beings. Contemporary art is the contemporary artist ’s perception of contemporary things. Critics and collectors use works to judge whether an artist is young or middle-aged. When we see a 20-year-old college student still painting realistic or impressionist works, we give him The


《ArtBank》

evaluation is to enter the rigid mature period in advance. When we see that the 60-year-old is still experimenting with new art, we will say that his artistic life is in a healthy “juvenile state”. The “childhood” of the society as a whole has slowed down, and art is also immature and childish. Contemporary art that dared to think and do is born and germinated in such an ecological environment.

How do artists create contemporary art in the face of “sustainability”

importantly to maintain a pure and honest heart. Second, don’t expect you to create works of art that will not be surpassed by future generations. That’s just a map of your over-maturity that confirms your success in your mind. The more perfect your actual cognition, the more it will distort the world, and get farther and farther away from the public. It is only possible to keep pace with the times by keeping the “young state lasting”. It is not an effective way to treat your work as a game of your childlike innocence.

Six guiding directions can help artists face a society that is “sustained in its infancy”.

Third, do not blindly summarize and collect the existing materials. But you need to keep thinking, continue to exercise your brain cells, and provide the “juvenile and sustained” physical function from various aspects.

(In the previous issue, everyone was very supportive of the six rules of artistic creation. In this issue, we will refine the unique rules of contemporary art based on the six rules.)

Fourth, establish a deductive self-thinking model framework. “Sustained state” allows everyone to maintain an optimistic and confident state for a longer period of

Juvenile persistence” slowing down is human solid state Humans are less likely to form mature thoughts before the age of 60 Contemporary art is the product of the slowdown of “infancy” Without big world turmoil Contemporary art will exist forever Artists will continue iteratively in faster elimination First, discard worship of the previous master of art. “Continuance of juveniles” will lead to two states of predecessors, a kind of fear of children. It is deeply impossible to surpass the predecessors, and any string of changes will defile the predecessors’ wisdom; The other is fearless, but this requires you to have a strong professional ability, and more

time. Artists need to benefit from themselves. People with high self-efficacy are more resilient. They can also show their true dispositions and the true nature of the world through the creative process of their works. Fifth, stay curious. It ’s the benefit of the slow down of “juvenile state”. Do n’t pretend to be mature, do n’t pretend to february 2020

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understand everything. Pretend will only make you grow older and faster. The more mature you are, the worse your mental tolerance, Unable to criticize and criticize, and the younger the mind is, the stronger the self-healing ability is, “It doesn’t matter if you don’t like my work, I’m still me”. Not pretending that we can spend more time in our lives living like children, the benefit is: have a stronger ability to learn and create. Six, full of imagination. “Continuity of juvenileness” is a new milestone in human evolution, and this is the underlying logic that contributes to contemporary art. The philosophical ideas of great wisdom in modern times have begun to have no vitality, and high-speed scientific discoveries are being introduced, which proves that the more perfect the logical thinking structure, the more it will distort the world! We are beginning to wonder if it is possible to be extremely stupid with extreme wisdom? Full of imagination, keep questioning everything and be a veritable contemporary artist.

Artbank has a longterm perspective As director, I would like to point out that in February together with ArtBank with the entry of the new year (Chinese New Year) the exhibition Gender selfishness “Sex therapy in 2020” should have started: “It is undeniable that you have the right to take control of your life and your body. Arthur Schopenhauer. The “Sex Therapy” exhibition of 2020 focuses on the concept of “gender selfishness” to call the world artists, on a very delicate theme. The body and its identities, sexual minorities, rape and violence, interpersonal relationships and acceptance of one’s identity. Gender egoism means appropriation of the pleasure and identity of others, which is unacceptable, violating the freedom of others, of being oneself with the re-appropriation of one’s own body. The body should 48

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not be considered as an object, therefore as a battlefield, where anyone can act against their will, outraging and bullying it, but as an identity. Awareness of one’s gender identity and its representation to the world. Art in this case has the right to affirm and show the dignity of the body and of all possible genres. Cultural egoism cannot and must not be an excuse to mortify and violate both the mentally and physically the body of others. An identity is represented which, regardless of one’s sexual orientation, falls in love, creating a strong bond beyond appearances. This project, which passes from Schopenhauer’s philosophical ideology up to modern psychologists and art curators, who through artistic communication will discuss a gender identity that must be regained and educated” Unfortunately, because of the epidemic that hit China, everything has been postponed. On the other hand, “maybe” it will continue on a telematic level: “310 Virus” online exhibition: The topic of creation is “biovirus”. It will be and is public at any time, choosing the deepest images, using art to tell the truth. The presentations focus on topics such as viruses, life, biology, human stupidity, etc.

.

Material forms painting, manuscript, photography, digital …


AeRoGraphicArt Personalizzazioni ad aerografia e tecnica mista su commissione. Realizzate a mano su tutte le superfici ad eccezione di vetro e silicone.  Specializzato in programmi come Photoshop ed Illustrator, esperienza come come scenografo teatrale, direttore di scena, macchinista. Tra i suvoi maestri di aerografia: Mario Romani, Giorgio Guazzi, Claudio Mazzi. Iscritto all’associazione A.I.R. (Aerografisti Italiani Riuniti).

Tel/ WhatsAapp +39 347/ 8105785 Email aerographicart.info@gmail.com Facebook /aerographicart/ Instagram @aerographicart/ Web www.aerographicart.com/t

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Tan Jun - New Tricked Picture / 新捣练图

布面油画 Oil on Canvas, 30x120cm, 2018

“from the Chinese pictorial tradition to the present day” Combination of classic and contemporary. A creative process that should be studied within academies. The artist Tan Jun brings back the image and the thought. EN

Unfortunately, we cannot enter everything within this issue. Our intent is to later create a video for the artist. Thanks to a magnificent file received by the artist himself. Where, you can approach, both to painting and to the history of the country, traveled by dynasties to the present day.

IDEA ARTIST

Sometimes artistic exploration is an adventure, and the destination is this process. On the way, you can see the beautiful scenery and paths in different directions. So the trade-off becomes so important. When I look back, I see … Classical inverse Flow into the river 古典逆 50

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流成河 有时候,艺术探索是一次探险,目的地就 是这个过程。险途中,可见旖旎的风光, 还有不同方向的小路。于是,取舍变得如 此重要。而当回望时,却见...

- This work is taken from Zhang Xuan’s “Training Pictures” in the Tang Dynasty. It uses stick figure drawing to try to express the beauty of the working women in the ancient times. Background is irregular. Light brown is a combination of classic and contemporary.

This work is inspired by minimalism and introduces the brush and ink technique of Chinese painting. Cancel the face content and leave it white, because the face of ancient beauty paintings all painted one The appearance, and leaving a blank can lead people to imagine its beauty, but also have a vague sense of vicissitudes. At the same time, the gestures and clothing of ladies are sketched in simple sketches.


《ArtBank》

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The dry pen method vividly expresses the shape of the pleats. On the whole, this painting is an exploration of the contemporaryization of classical subjects, that is, the classical presentation in the eyes of contemporary people - - Artistic Conception Analysis 1 “Alone orgy”

Lady or scribe, dancing or moaning alone in a blank space This is what Confucianism calls “depending on benevolence and playing on art” … Taoist pastimes. Infinite space is opened in an instant ...

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- - - This work is based on Dunhuang frescoes. The softness and elegance of the flying sky are in sharp contrast with the geometric tetrahedrons surrounding it.

- - Untitled - - - Flying burst illustration / 飞天炸裂图 Oil on canvas, 50x100cm, 2019

The white light on the left sprayed out, giving the whole picture a bursting atmosphere. 4 The yellow bird flew through the forest like time.

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Scraping the lines of the flowers and leaves with a painting knife can just show the feeling of time passing. - - - - Time / 布面油画

Oil on canvas, 50x40cm, 2019

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Yimei Art

- - - - Lying on Anglo-Chinese Boundary 2018, Shen Zhen

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Yimei, full name Yimei WANG, Photographer, performance artist and poet. Lives in Shanghai. Lying sometime somewhere To contemporary artists, art is an open thing, open to objects, to nature, to society and culture, even open to politics. Meanwhile, to express this openness, artists need to convert the art language into an art form. And this conversion should possess its individual logo. EN

In many of my performance photographs, I intend to express the concept of Harmony between nature and man, the greatest human idea ever to be expressed again and again and in the better way. @Yimei WANG, Shanghai, 2019

YIMEI SENSATIONS AND IDEAS ABOUT ART

EMAIL

emaystudio@icloud.com INSTAGRAM

@Shanghaiyimei

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- Many people often ask me why I like to lie down. First, I think an image which invokes questions tends to be an

interesting one, or can be a good piece of artwork. Then I say to them that the places I choose to lie down are not the bed or sofa, which are private places. The spots I choose are usually public ones, such as squares, parks, riverbanks, museum halls, etc. - - Take “Yimei Prague� as an example, this photograph was shot in 2016 on the famous Prague Square, where people just played, talked or leisurely walked. I thought to myself, I can also play as others do, but just in a different way, a bit dramatically. So I lay down, sometimes rolled my body. While my performance was under way, some people were looking at me nearby and appeared a bit surprised. I later found such scenario is intriguing, with tourists in parallel with myself in same time and space. Or the scenario is of integration of realistic and surrealistic elements owing to my surrealistic intervention in the daily scenes.


《ArtBank》

- - In the same manner, I did the lying performance in 2018 on the Tiananmen Square. The big difference is that the Prague Square is very open to the public for entertainment and sight-seeing while the Tiananmen Square is a most politically sensitive venue, where any movement by tourists is highly in surveillance. Even so, I did it. - - - - Obviously I want to challenge myself in bravery, which is one of my answers to the audience’s question. Another tentative answer is that I intend to present an anti-common behavior, because, lying in bed or sofa is a common daily behavior, while when you transfer your common daily behavior to the public space, the effect would be a rather provocative one. This is art I want to do, in an unconventionally posture. Or this is the performance art I want to perform, as art of performance is itself a conceptual art, with anti-common behavior as one of its chief characteristics.

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- - - -

- End of the World

2016, Sweden

- - Yimei Prague 2016&2019, Prague - - - On the Tiananmen Square

2018, Beijing

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Yin Xunzhi He comes from Hei Long Jiang province China. 30 years ago,joined the ranks of independent artists by carrying the painting equipment traveling around the world.I have workd hard and hard and never slacked off for decades long . EN

Now I have made great achievements. in the year of 2016 I have been invited to participate in the international european contemporary art biennale exhibition.I spoke to the world as an independent chinese artist. 54

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I have artworks more than one thousand pieces now and widely collected by collectors ,art galleries and cultural institutions at home and abroad. There is an end to life but no end to art. I think it should be freedom of thought and it should be independent of art.I have been working hard all the time.

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Quantum art this unknown… by Carmen Basile

It is no longer unknown, it has its own audience, some admirers, others disregard its foundations; especially those who apply the same evaluation parameters (with these last words I have already antagonized QuantumArtists) for any work of art.

years ago, there was a first article with national circulation, in an online monthly magazine, which more or less exhaustively described the characteristics of this movement, new in Italy but not in the world, and the quantum knowledge that inspires it.

They do not want to hear about “abstract or concrete forms” (where the adjective “concrete” - in this case - is used in the sense of “drawn from reality”), or of another type, the work is transformed according to the eye of the beholder, and many other little things.

Some Italian artists boasted of having created and founded the movement from scratch, in fact, however, this is not the case; even early examples are found in Japan and, even before 1977, in Italy.

EN

We continue in order though; in Italy the origins of this particular artistic trend can be seen in the 1980s more or less; through unofficial channels several artists joined it and only in 2010, exactly ten 56

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An artist of Quantum Art is characterized not by the ideals of cooperation, by safeguarding biodiversity, or by the intention of creating and elaborating his own works for the achievement of peace in the world (objectives which other artists not belonging to the movement of


Quantum Art); the “Quantum” are such because they are inspired by concepts of quantum mechanics, principles such as consciousness / knowledge, entanglement, delocalization, Hilbert spaces, quantum leap, etc. etc. for the creation of their works. It is these concepts that we will talk about, trying to make them more usable. Quantum Art anticipates and prepares cognitive change; quantum artists are looking for new elements of inspiration, new reference models that want to overcome the old mechanistic concepts and propose the new consciousness / knowledge also through the choice of new materials that can best describe what are the basic elements of the Quantum Art. The entanglement (Correlation → Interlacing → two initially interacting particles A and B can be linked, even if at a great distance, so that any change in the quantum state of one of the two can also be observed on the other) leads to valorisation empathic sensitivity understood as a complex form of intelligence. It is therefore the entanglement that also underlies that relationship of harmony between the observer and the observed object. There would be a lot more to say about entanglement, but we will do it if the opportunity presents itself. Quantum Art is also characterized by the artistic interpretation of Hilbert spaces. Hilbert spaces have a linear structure in a vector space, it is therefore possible to speak of distances, angles, orthogonality. These spaces are therefore, from an artistic point of view, three-dimensional and complementary to the spaces that the observer visualizes. These spaces have the function of “openness” and push

the observer to ask questions and amplify the problems of knowledge. “Consciousness creates the material universe, not the other way around.” (Lanza) As mentioned, another basic concept of Quantum Art is Consciousness that exists outside of time and space, is able to be everywhere, in the human body and out of it. Quantum Art is also characterized by the artistic interpretation of Hilbert spaces. Hilbert spaces have a linear structure in a vector space, it is therefore possible to speak of distances, angles, orthogonality. These spaces are therefore, from an artistic point of view, three-dimensional and complementary to the spaces that the observer visualizes. These spaces have the function of “openness” and push the observer to ask questions and amplify the problems of knowledge. “Consciousness creates the material universe, not the other way around.” (Lanza) As mentioned, another basic concept of Quantum Art is Consciousness that exists outside of time and space, is able to be everywhere, in the human body and out of it. It is “non-local”. Consciousness resides (Stuart-Penrose) in the microtubules of brain cells: primary places of quantum processing. Our experience of consciousness is the result of quantum gravity effects in these microtubules. And I prefer to end like this, expand and better define the concept of consciousness and therefore of knowledge is something to be devoted to further pages, trying not to “weigh down” the concepts and describing what the microtubules are and where they are located.

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Quantum and Mediterrano in the classical world by Carmen Basile

Quantum Art, Physics and Quantum Mechanics, but there had to be a correlation with the past, even far away; there is no error in this thought, in fact the existence of the “founding philosophers of atomism” confirm the thought, and EN the temporal link in the multiverse, between Quantum and the culture and art of the Ancient or Classical Mediterranean, which if you prefer.

was made up of two parts: atoms and emptiness.

Let’s go with order.

Democritus is known for his famous atomist theory considered one of the most “scientific” visions of antiquity. Democritean atomism was in fact taken up by Epicurus, but also by Roman philosophers and poets, and - even - in the late Middle Ages some philosophers referred to, as well as thinkers of the Renaissance and modern world.

Aristotle, Leucippus, Democritus, Lucretius, Plato, Epicurus were recognized as “Spiritual Fathers of all modern Physics” and founders of Atomism. “Atomism” identifies the philosophical culture of Ancient Greece with an ontological character: from ontology - a fundamental branch of philosophy and metaphysics in particular - which studies the “Being” as such and its “categories” (category = activity, condition or quality attributed to a subject) fundamental. Literally “Ontology” means “discourse on being”. Atomism therefore is a natural philosophical orientation, of an ontological character, based on the plurality of the elements that constitute physical reality. Leucippo, master of Democritus, involved his pupil and founded “Atomism”; they theorized that the natural world 58

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Of the two philosophers, certainly, Democritus was the most prolific, even among the Presocratics; his pupil was Nausifane who later became a master of Epicurus. Some of the works of Democritus were: “Little cosmology”, “On nature”, “On the forms of atoms”, “On words”.

It’s not a coincidence that Democritus is considered “father of physics” and Geymonat (Ludovico Geymonat - May 1908/ November 1991 - Italian philosopher, mathematician and epistemologist) says that “the atomism of Democritus had a decisive function, in the XVI and XVII century, for the formation of modern science.”. As Geymonat explains: “Democritus did not at all start from the sensible to reach the atom, but on the contrary he started from the atom (admitted on the basis of a postulation of reason) to account for the sensible” and therefore the Aristotelian reading, that accuses atomism of


“reducing all reality to the sensible”, is groundless. Democritus, in the opposition between being and non-being, replaced that between atom and void; that is to say that the atom constituted being and emptiness referred to not being. The atom was therefore the original, fundamental element of the universe, as well as a metaphysical foundation (metaphysics = science of absolute reality, which seeks to give an explanation of the prime causes of reality regardless of any data of experience) of physical reality.

However, scientific thought has been forgotten for over a millennium in the western Mediterranean; although it was taken over by Islam, then it was also forgotten by Islam for a long time. Only in the seventeenth century, in Europe, was it rediscovered and finally deepened. To try to make a first, and entirely temporary, list of ideals that could accompany the fundamental “concepts” of Hellenistic origin, to approach Quantum (Lucio Russo), and to define the overall “Mediterranean model”, we can summarize in this way: the “Mediterranean model” had

The reality of the atoms constituted for Democritus “the archè”, therefore the immutable and eternal being. Atoms were conceived as indivisible original particles, that is primitive and simple, homogeneous and compact quantities. Democritus therefore admitted the existence of something - the atom - but also that of a “not something”, the emptiness precisely, the nothing understood as empty space. The emptiness thought up by Democritus did not indicate the existence of non-being, but the lack of matter, which coincided precisely with space. Full and empty they were seen as two original principles to which the existence of all things can be traced: one referred to the other, necessarily implied it, since reality was the result of their synthesis. The atoms thought by Democritus possessed movement as their intrinsic and spontaneous characteristic: they moved eternally and spontaneously in the void, meeting and colliding. The becoming of the cosmos and of nature and the multiplicity of entities were due precisely to this incessant movement from which everything was formed and then disintegrated. The punctual character, however, of scientific ideas is (it seems) true in absolute terms: science was born in the Mediterranean, in the Hellenistic period and on the developments of the discovery of the “power of reason” by the Greeks.

to consist of strong scientific and cultural ideals, as well as a lively critical spirit; no idea and no behavior could be accepted or rejected based on the ipse dixit; a Mediterranean ideal was to pursue the unity of knowledge. And again: it was and is “Mediterranean” the ideal that gives a value to the knowledge itself, regardless of its immediate practical usefulness. It is a Mediterranean ideal to pay attention to the fundamental problems and the lines of intersection between the various cultures, or rather, between the different articulations of culture. Respect for history is a very strong Mediterranean ideal. Finally, the cultural and non-technical vision of the scientist’s work is a Mediterranean ideal.

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The technique is a means of acquiring knowledge. It is not an end.

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Η ΤΕΧΝΗ, ΟΙ ΠΡΟΣΛΗΨΕΙΣ ΚΑΙ ΑΝΤΙΛΗΨΗ ΤΗΣ ΑΠΟ ΣΤΕΛΛΑ ΧΑΒΙΑΡΟΠΟΥΛΟΥ/ Stella CAVIART Καλλιτέχνιδα, Εικαστικό, Ποιήτρια, Επιμελήτρια Διεθνών Εκθέσεων.

Λέγοντας ΤΕΧΝΗ, θεωρώ έναν συγκεκριμένο τρόπο ζωής, ακόμη και στην καθημερινότητά μου! ΤΕΧΝΗ για μένα είναι από την πιο απλή της εφαρμογή καθημερινά, τηρώντας μιαν Αρμονία, Ισορροπία, Πρωτοτυπία, Χάρη, σε όσα κάνω, έως την πιο σύνθετη και πολύπλοκη, το να δημιουργώ συνθήκες και έργα τέχνης. Η πεζότητα της καθημερινής ζωής με τους γρήγορους ρυθμούς της, την βιασύνη και το στεγνό πέρασμα από γεγονότα και βιώματα, μου αφήνει μια πικρή γεύση. Μια αίσθηση, πως τίποτα δεν αξίζει… τίποτα δεν έχει σημασία συναισθηματικά ή, ως έργο. Έτσι, προσθέτω μικρές «πινελιές» σαν σε έναν πίνακα που δημιουργώ, με το να επιλέγω και να βάζω ας πούμε σε προτεραιότητα όσα πρέπει να κάνω. Ανάλογα με τα όσα νοιώθω την κάθε μέρα, επιλέγω από το πιο επιφανειακό, πχ. Το ντύσιμο με χρώμα και στυλ, έως, πιο κάτι σημαντικό, το να πράξω με τρόπο καλλιτεχνικό ό,τι χρειάζεται. ( Τάξη, μεθόδευση, παρατήρηση, αρμονική τακτοποίηση και επίλυση προβλήματος και λύσης). EL

Για μένα η ΤΕΧΝΗ ρέει στην καθημερινή μας ζωή, σε κάθε τι που κάνουμε, από το σπίτι έως την εργασία μας. Τότε, φαίνονται τα αποτελέσματα, πιο όμορφα, πιο σωστά, πιο ολοκληρωμένα. Γιατί, στην έννοια ΤΕΧΝΗ, περιλαμβάνονται πολλά περισσότερα από όσα νομίζουν όσοι δεν ασχολούνται μαζί της. Περιλαμβάνονται ΕΡΓΑΣΙΑ ΜΕ ΤΑ ΠΑΡΑΠΑΝΩ 60

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ΓΝΩΡΙΣΜΑΤΑ, ΔΙΕΚΠΕΡΑΙΩΣΗ, ΚΙ ΑΠΟΤΕΛΕΣΜΑΤΑ ΠΡΑΚΤΙΚΑ ΜΑ ΚΑΙ ΠΙΟ ΟΜΟΡΦΑ ΚΑΙ ΞΕΧΩΡΙΣΤΑ! Στην Ελλάδα, η ΤΕΧΝΗ περνά κρίση! Φυσικό επακόλουθο από την οικονομική κρίση που γνωρίζει τα τελευταία χρόνια σε πολύ υψηλό επίπεδο. Κόντρα όμως σ’ αυτό το γεγονός, οι καλλιτέχνες κάθε κατηγορίας, πέρασαν στην αντεπίθεση! Δημιουργούν πυρετωδώς! Ζωγραφίζουν και συμμετέχουν συχνότερα και πιο δημιουργικά σε καλλιτεχνικά δρώμενα! Μουσική, Θέατρο, Καλλιτεχνική Φωτογραφία , Χορός έχει προχωρήσει πέρα από εμπορικούς σκοπούς, σε βαθειά κοινωνικούς, με γενναιόδωρες προσφορές και δράσεις. Ο Έλληνας δημιουργός, αν και βιώνει απογοητευτικά μεγέθη στερήσεων υλικών, προσπαθεί να προάγει την ΤΕΧΝΗ, με τα μέσα που μπορεί, φέρνοντας ένα υπέροχο αποτέλεσμα πρωτοτυπίας, σύνθετης μορφής δημιουργημάτων και μία ανθρωπιστική προσέγγιση προς ομοίους του καθώς και προς το ευρύτερο κοινό. Ο Έλληνας δημιουργός, τραβά το δικό του δρόμο, μόνος μα και με την συγκινητική στήριξη όλων, αναδεικνύοντας γι άλλη μια φορά, τις ρίζες του με αισιοδοξία, γενναιότητα, πάθος και ερωτισμό, που κάνει και σαφές, τον καλλιτεχνικό, φυσικό μανδύα που μοιράζεται με το Αιγαίο, το Ιόνιο και την Μεσόγειο!

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The art, the calls and capture of it. By Stella Chaviaropoulou / Stella CAVIART. Artist, Painter, Poet, Curator of International Art Exhibitions.

By saying ART, I consider a certain way of life, even in my daily life! Art for me is from its simplest application of everyday, observing a Harmony, Balance, Originality, Grace, in whatever I do, reaching to the most complex actions, in order to create conditions and works of art. The infertility of daily life with its fast pace, rush and dry passage of events and experiences, leaves me with a bitter taste. EN

A feeling that nothing is worth… nothing matters emotionally or as a creation of art. So, I add little “touches”, like to a painting of mine I create, by choosing and putting as a priority what I have to do. Depending on what I feel every day, I choose from the most superficial, for example dressing in color and style, to, more importantly, doing what is needed in an artistic way. (Order, method, observation, harmonious arrangement and problem solving). For me, ART flows into our daily lives, in everything we do, either at home or in our working place. Then, the results look more beautiful, more correct, more complete more fulfilled . Because, in a sense of ART, there is much more to it, than those who don’t deal with it. INCLUDED WORK WITH THE ABOVE FEATURES,

TREATMENT, IN A PRACTICAL WAY,ON ONE HAND, AND MORE BEAUTIFUL AND OUTCOMES, ON THE OTHER! In Greece, ART is in crisis! A natural consequence of the economic crisis it has been experiencing at a very high level in recent years. Against this fact, however, the artists of every category went on the counterattack! They create feverish! They paint and participate more often and more creatively in artistic events! Music, Theater, Art Photography, Dance, has gone beyond commercial purposes, deeply social, with generous offerings and actions. The Greek creator, while experiencing frustrating amounts of material deprivation, tries to promote ART by the means he- she can, bringing a wonderful originality, complexity of creations and a humanitarian approach to his peers and to the general public. The Greek creator is pulling his own path, alone, but with the support of everyone else, at least on the level of morality. This way, it’s highlighting once again his roots with optimism, bravery, passion and eroticism, making clear, the artistic, natural cloak he- she may share with the Aegean, the Ionian and the Mediterranean Seas and regions!

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Pocket art Studio

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Pocket art Studio was born in May 2018. Located in the heart of Rome near the Marcello theater, Portico d’Ottavia, Campo de’ Fiori and Piazza Navona and serves as Barbara Berardicurti’s art studio. Occasionally, exhibitions of other artist members are held or it is granted to associations of artists for group exhibitions. EN

An artist that does not tire of searching herself, with the aim of achieving this goal by questioning herself EN during her trips illustrated in her works. Her life is a permanent and indispensable departure. First thought goes to Gaugin:” some people have a purpose in their life” Extract of the critics of the journalist Ferdinando Bassoli

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By their seductive silence the works of Mrs Berardicurti indicate us that the only way to penetrate the primitive world explored from time to time, is to remain alongside. Otherwise you have to retreat to leave in that place precisely what, to be revealed, has to be necessarily spalled. Extract from critic of Luigi Manzi (Poet) That’s why the enigmatic eyes and the harmonious figure are of direct to the viewer causing a sense of dismay in atmospheres almost unreal in which figurative narration take on a symbolic significance that reaches the existential dimension of the author, between dream and reality in just one expression of memory and human intellect. Here is the value of Barbara’s Berardicurti paintings, the image of woman is not just aesthetic beauty where the visual impact becomes charm of harmony, but language of the spirit. This makes us becoming open to a passage in the direction of the dreamy imagination of the artist in the clarity of her feelings.

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FACEBOOK

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The Blank Contemporary Art

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The Blank is a cultural association born with the aim of spreading the passion for contemporary art in Bergamo and its province. In nine years of activity, The Blank has grown to the point of becoming the main Italian cultural network for the promotion of Contemporary Art and the territory, recognition received in 2016 by I7 / MAXXI - National Museum of the 21st Century Arts in Rome. EN

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The Blank’s activity is divided into several projects, among which the main ones are: ArtDate, Residency, Educational, “Meetings - cinema and contemporary art”. ArtDate is the main event organized by The Blank, a weekend dedicated to art during which all the members of the network inaugurate and witness a plurality of collateral events, including inaugurations of exhibitions, talks, performances, opening of collections private houses, historic houses and artist studios. Il pubblico a cui si rivolge il Festival è ampio ed include dagli esperti del settore ai curiosi ai più piccoli, ai quali vengono dedicati una serie di appuntamenti ideati dal dipartimento educativo di The Blank, sotto l’etichetta The Blank Kids. What started the activity of The Blank Contemporary Art was, of course, the love for the city, a love that turned out to be shared by other artistic realities based in Bergamo and its province. Thus, in an attempt to unite and with the ambition to create a single platform that contained and connected the most significant public and private Bergamo realities, what today could be called the main cultural network in Italy was born. The basic idea on which The Blank arose was to fill an empty space, which is the literal meaning of the term. Bridging a deficiency, but also emphasizing what you already have, are the keys to the format adopted by the association, i.e. the blank page on which


to write (or draw). The Blank was born as a map, as a guide to discover the city. Over time and with the commitment of all, it has gradually turned into a contemporary artistic reality in itself, increasingly richer and heterogeneous.

was to unite realities that could benefit from each other, united by the goal of promoting Contemporary Art in the area. The idea of ‘party’ and therefore of inclusion, participation and sharing has always been inherent in the Festival.

Bergamo is a very rich city: it is home to important buildings, also UNESCO heritage, which overall enhance and characterize it. Sumptuous churches and splendid buildings are the potential locations for an event or exhibition organized by The Blank. Another point in favor of Bergamo is that it is a place of traditions and, consequently, has a certain identity, very much felt by those who live there. This identity is perhaps less strong on the contemporary: here The Blank intervened and intervenes, in an attempt, partly successful and partly in progress, to increase the city’s interest in contemporary art and to make it an international attraction.

Over time, the return of the Festival, in terms of attendance and positive feedback, has increased more and more. A result that is not at all obvious and the result of precise planning and strategy.

To emerge, it is important to collaborate and support each other. ArtDate, the weekend dedicated to Contemporary Art in Bergamo, fully embodies this spirit. During the Festival they inaugurate numerous public and private institutions and there are a number of collateral events, including studio visits, extraordinary openings of historic houses and private collections, concerts, conferences and performances. The program covers all time slots of the day and involves different targets: from the artist to the collector, from young people to the mature public, from professionals to general and curious spectators. As I said, it is during ArtDate that the spirit of the association is manifested in the most heartfelt way: in this context the Bergamo realities collaborate with each other by animating the whole territory with a series of events, all united by the same will, that is to discover and exchange views on Contemporary Art. During ArtDate, The Blank offers an efficient sponsorship service to galleries, collectors and individual artists. Let’s say that within the network there is the motto “union is strength”: we all work together to bring further value to the city. I remember that the purpose of The Blank

For years The Blank has been collaborating for the realization of exhibitions and events with various territorial institutions, not only closely linked to the artistic and cultural context, but also, for example, social and health. The rampant example is the project, which ended in the creation of a site-specific and permanent work, which involved the artist and musician Lorenzo Senni and the Papa Giovanni XXIII Hospital in Bergamo.

- KIDS LAB (photo by PaoloBiava) - - Installation view,

Nathalie Djurberg and Hans Berg - Rites of Passage, Porta Sant’Agostino (Bergamo), 2019 (Photo by Antonio Maniscalco)

- - - Opening (photo by PaoloBiava)

The Blank organizes large events of national and international relevance, promoting social growth, integration and participation through Contemporary Art. It also promotes access to artistic heritage for young people and people at risk of marginality, for whom the LISten project is representative. LISten Project was born last year, in 2019, and as a first step it provided the training of cultural mediators who became real staff members. During the

SITE

www.theblank.it

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Studiovisit (Photo by Paolo Biava) -

ninth edition of ArtDate they supported the people responsible for educational activities, making workshops and guided tours accessible to both adults and deaf children, thanks to the use of the Italian Sign Language. The most important national museums such as the Accademia Carrara in Bergamo, the GAMeC - Gallery of Modern and Contemporary Art of Bergamo, the MAMbo - Museum of Modern Art in Bologna, took part in the training project of cultural mediators in LIS. ‘HangarBicocca and the Castello di Rivoli Museum of Contemporary Art. The Blank Residency is another of The Blank’s macro-sectors. Born in reference to the idea expressed by the German and untranslatable word Heimat, which describes a feeling of attachment to a specific local and / or social context, TB Residency aims to offer the artist a ‘second home’, in which being able to feel at ease, having all the comforts we can afford. The Blank Residency allows first of all to develop a specific project presented during the application. We try to make available to the artists all the knowledge we have in the area and which can often be useful and stimulating to develop certain projects. The Blank is very grateful to all the artists he works with, for which he continues to follow and promote their work through their own communication channels. Bergamo likes the artists it hosts because it combines historical and contemporary culture. And it is precisely in support of the city of Bergamo that The Blank was born, of which it became the vehicle of its identity. Those who are dealing with it for the first time appreciate the association’s human

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and family approach. We move on a double track: we pay close attention to young artists, to whom we offer residences and publications, and to those of international weight, to bring big names to interface with a rich and varied context such as that offered by Bergamo. In fact, it is also thanks to The Blank that Bergamo is today a reality that artists from all over the world know and where they know they can have a base of support. The Blank is a means and not an end, if not that of “creating” and “supporting” in favor of the relationship between art and territory. Usually, once the residence is over, the artist exhibits the work or works that he created during the period at The Blank on a specially dedicated evening, or an exhibition is held in a host space that will then remain open by appointment, giving thus a wider visibility and giving the possibility to carry out study visits or other. Other times it was decided to end the residence with a dinner, contextualising it in The Blank Kitchen: this project involved many international artists in the conception and realization of a meal that could be in line with their artistic work and / or their own thought . The result? Informal dinners in which enthusiasm predominates and in which the normal rules of being at the table fail. The possible distance that separates the artist and the public is completely non-existent here, being all invited to sit at the same table and share a meal, perhaps exchanging two words with those who didn’t know each other before. What is created is an even more friendly atmosphere than what is already inherent in the association. The last Kitchen took


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- - TBKitchen Anja Puntari - Clement Chammah (Photo by Maria Zanchi)

- - - TB Benefit Andrea Mastrovito (Photo by Maria Zanchi)

place recently in Bologna, and featured Irene Fenara, who chose to do it in the morning, which is why we could call it The Blank Breakfast. The project that we have been carrying out for years in support of our initiatives is The Blank Benefit. In this case, as happens in every usual gallery, The Blank acts as an intermediary between the artist and the buyer for the sale of a series of works created specifically for and in support of the association. The last artist to participate in the Benefit was Giuseppe Stampone, who presented a new series created with Bic, Sale pens, which has as its theme the commodification of art, which he compared to the big fashion brands. It is therefore a criticism of the mechanisms concerning the market and the art system itself.

The next events that we would like to point out are the reconfirmed annual collaboration with the Bergamo Film Meeting which will take place in conjunction with their Festival, now in its 38th edition, and which will take place from 7 to 15 March 2020. In the case of collaboration with the Bergamo Film Meeting, we select an artist who we think best expresses the union between art and cinema, on and with whom to create a personal exhibition. To conclude, the last appointment not to be missed and to be marked on the agenda is, I talked about it before, ArtDate 2020, the highlight of The Blank. The theme of this edition is still a secret, but we plan to reveal it over the course of this summer. However, we can reveal the dates: we are waiting for you from 12 to 15 November.

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Il Cantiere Art Gallery

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Il Cantiere Art Gallery si presenta nel panorama artistico trevigiano come una ventata d’aria fresca; parliamo infatti di una galleria d’arte innovativa che rende accessibile a tutti la bellezza dell’arte contemporanea. La diffusione dell’arte avviene in modo spontaneo: il cliente viene messo a proprio agio al punto tale da stimolare in lui una naturale curiosità nei confronti delle opere che lo circondano, delle quali chiederà informazioni e modalità di acquisto: non parliamo solo di conoscitori di questo mondo ma anche di veri e propri neofiti che, in una comune galleria, sarebbero imbarazzati anche solo a chiedere il valore delle opere o ad essere avvicinati da un gallerista. IT

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La ricetta è l’unione di un cocktail bar con piatti da degustare comodamente nei salotti presenti in ogni angolo della galleria, circondati dalla bellezza delle opere d’arte che vivono le pareti. Il Cantiere nasce nella primavera del 2018 all’interno di un loft industriale di 400 mq interamente rimodernato per offrire un’esperienza unica al pubblico. Il Cantiere ART Gallery è un luogo di continuo cambiamento: le attività svolte al suo interno sono infatti molto varie e spaziano dai vernissage ai concorsi per artisti, dai corsi di pittura alle conferenze. Si organizzano anche eventi privati e aziendali che uniscono entrambe le anime della galleria. Il cantiere ha sposato alcuni artisti che espongono permanentemente le loro opere, tra essi ritroviamo Paolo Socal, Paolo Forte, Stefano Bernardi e Paola

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Benzoni, artisti che popolano il nuovo panorama contemporaneo. Le altre pareti sono dedicate alle nuove proposte che a rotazione, grazie alle Call For Artists e alle collaborazioni con altre gallerie e concorsi vengono riallestite con nuove opere. Tutte le opere esposte in galleria riportano un cartellino identificativo con autore, tecnica e prezzo; in questo modo si cancella quella parete di imbarazzo che ci porta ad indugiare nel chiedere il costo dell’opera che tanto vorremmo alle pareti di casa nostra. La brillante idea di una galleria d’arte di questo tipo, probabilmente l’unica sul territorio italiano, è nata grazie agli sforzi di tre giovani veneziani che hanno saputo aprire una galleria d’arte in uno spazio innovativo per poi adeguarla alle esigenze che leggevano nei clienti che man mano hanno iniziato a popolare questo magico luogo. Il format è risultato vincente: al Cantiere ci si sente un po’ come a casa, grazie alla bravura e alla professionalità di tutto il team, sempre pronto ad ogni nostra esigenza. The Cantiere Art Gallery presents itself in the artistic panorama of Treviso as a breath of fresh air; we are talking about an innovative art gallery that makes the beauty of contemporary art accessible to everyone. The spread of art occurs spontaneously: the customer is put at ease to the point of stimulating in him a natural curiosity towards the works that surround him, of which he will ask for information and methods of purchase: we are not only talking about connoisseurs of this world but also of real neophytes who , in a common gallery, they would be embarrassed even to ask the value of the works or to be approached by a gallery owner.

The recipe is the union of a cocktail bar with dishes to be enjoyed comfortably in the lounges in every corner of the gallery, surrounded by the beauty of the works of art that live on the walls. The Shipyard was born in the spring of 2018 inside a 400 square meter industrial loft entirely renovated to offer a unique experience to the public. The ART Gallery Shipyard is a place of constant change: the activities carried out inside it are in fact very varied and range from vernissages to competitions for artists, from painting courses to conferences. We also organize private and corporate events that unite both the souls of the gallery. The shipyard has married some artists who permanently exhibit their works, among them we find Paolo Socal, Paolo Forte, Stefano Bernardi and Paola Benzoni, artists who populate the new contemporary panorama. The other walls are dedicated to the new proposals which, thanks to the Call For Artists and collaborations with other galleries and competitions, are rearranged with new works in rotation. All the works exhibited in the gallery bear an identification tag with author, technique and price; in this way, that embarrassment wall is eliminated which leads us to linger in asking for the cost of the work that we would like so much on the walls of our home. The brilliant idea of an art gallery of this type, probably the only one in Italy, was born thanks to the efforts of three young Venetians who were able to open an art gallery in an innovative space and then adapt it to the needs they read in customers who gradually began to populate this magical place. The format was a winning result: at the shipyard it feels a bit like home, thanks to the skill and professionalism of the whole team, always ready for our every need.

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- Stefano Bernardi - Hendrix - - Paolo Socal - Tandy - - - Paola Benzoni

- Old man smile

- - - - Paolo Forte - Sailor skull

SITE

cantieregallery.com

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Ghost Galerie

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Ouverte en avril 2018 avec une première rétrospective de l’artiste américain DONDI WHITE (1961-1998). GHOST galerie présente, sur plus de 200m2 ouverts sur un jardin paysagé, les artistes fondateurs du post graffiti old school et de l’avant garde new-yorkaise des années 80-90. FR

DONDI WHITE, RAMMELLZEE, FUTURA (2000), AONE mais aussi DAZE, LEE QUINONES, LADY PINK, – pour ne citer que quelques grands noms – côtoient des artistes tels que RICHARD HAMBLETON, RICK PROL, JOHN FEKNER ou encore MARTIN WONG … Un voyage dans le temps qui ne serait être complet sans la présentation - au cours de chaque exposition ou accrochage - de photographies et de documents d’époque mettant en lumière ces années oubliées : photos de trains (whole car), portraits d’artistes, flyers ou encore archives personnelles des artistes. GHOST, en présentant des oeuvres emblématiques de cette culture New-Yorkaise (certaines toiles et dessins ayant été exposés dès les années 80, dans des musées reconnus), souhaite ainsi souligner l’influence majeure et unique de ces artistes (malgré la réticence et résistance de certains critiques influents) et démontrer l’importance et la place majeure et fondamentale de cette création dans l’art contemporain. Ouverte sur rendez-vous, GHOST ne se veut en aucun cas élitiste mais souhaite uniquement pouvoir partager avec tous visiteurs - collectionneur, amateur ou curieux - l’histoire de cette culture, de ce mouvement.

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We are Italian artists, we make unique jewelry in bronze, silver and gold. The method of processing the materials we use is the result of a study handed down from generation to generation to preserve the quality and exclusivity of the final product.

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Any type of jewel can be customized on request.

The Outsider Collector

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- The ring: Thomas Shelby, by Peaky Blinders film series, silver 624 - - The necklace: Arthur Shelby, by Peaky Blinders film series, silver 624

EMAIL

theoutsidercollector@gmail.com

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- Amsterdam . Mercato dei fiori Nikon d40, 200iso f/9 t 1/320

The beautiful flower market in Amsterdam is located one of its characteristic canals and makes the whole street that runs alongside it full of colors and scents

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special Photography photos by Itzel Cosentino

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In this shot I wanted to capture various aspects typical of the Dutch city. The bicycle parkings linked everywhere in the city, the houseboats on the canal and the characteristic crooked buildings that fill the city. One of the cities where I left my heart and would like to return again.

Parcheggi Nikon d40, 200iso f/7.1 t 1/200

Amsterdam

Ombre Nikon d40, 200iso f/8 t 1/250

Bicycles are the preferred form of transportation in the Netherlands. In this photograph I wanted to portray the shadows of a typical Dutch parking lot.

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from Europe

Dublino Nikon d5, 800iso f/5.6 t 1/2000

I shot a whole day for this beautiful city, crossed by the river with a very old part and another completely modern area. This was my first shot on arrival, the skyscraper next to the ancient building with the dome, the river and the typical Irish gray sky.

Dublino

People NIkon d5, 800iso f/5.6 t 1/125

Every now and then, walking around the center and along the banks of the river in Dublin, you will find bronze people, sculptures that recall important people and events in the city. These were the Statues of Famine, in memory of a great famine of 1845.

Dublin is a city full of contrasts. A city where you can find the typical Gothic church next to the glass and iron skyscraper and a little further a colorful pub. I shot it for a whole day and I was very impressed by these unusual combinations.

Contrasti

Nikon d800, 800iso f/4.5 t 1/2500

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Parigi One of the most beautiful churches I have seen in Paris, its stained glass windows have impressed me deeply and the light that entered from these huge colored windows made everything magical.

San Chapelle Nikon d40, 800iso f/4.5 t 1/100

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Parigi Dall’alto Nikon d40, 200iso f/14 t 1/160

Paris was a city that fascinated me greatly. All its neighborhoods have their own beauty, and looking at it all together from above, the roofs, the chimney pots of the chimneys with the Eiffel Tower rising in the horizon. A city where I will definitely return.

I was returning to the Louvre during the blue hour, when I took this shot of one of the bridges that cross the Seine, a beautiful river.

La senna Nikon d40, 400iso f/4.2 t 1/8

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As soon as you arrive in London you cannot fail to admire Big Ben in its majesty and architectural complexity. In this shot I wanted to represent it in a somewhat unusual way, with a perspective from below accompanied by the beautiful street lamps of the square below.

Big Ben Nikon d40, 400iso f/7.1 t 1

Londra The last time in London I found myself at the right time in the right place, and I met the changing of the guard with the greeting ceremony. Beautiful horses ridden by men in uniform with fantastic cloaks. in this shot one arrives and one leaves with the public of tourists like me fascinated by the scene.

Cambio Guardia Nikon d40, 400iso f/4.8 t 1/400

I love animals and these profile portraits both to the horses and to the knights of the royal guard had struck me. Beautiful black horses in contrast with the red cloaks of the guards and their golden headdresses. Beautiful scene.

Profili Nikon d40, 400iso f/7.1 t 1/250

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from Europe

La Casa Danzante NIkon d5, 500iso f/5 t 1/2000

A crazy building

Praga A night photo taken on Charles Bridge, one of the few times to photograph this Prague monument without too many people passing through it. In the background the castle and in the foreground two of the beautiful statues that characterize this beautiful bridge.

Ponte Carlo Nikon d5, 5000iso f/5.6 t 1/5000

The river that runs through Prague is full of life in spring, pedal boats of all shapes and colors, boats, swans, the meadows on its banks full of people sunbathing. In this shot also the Charles Bridge teeming with people and the Prague Castle.

Moldava NIkon d5, 500iso f/5 t 1/8000

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HallgrĂŹmskirkja Nikon d5, 400iso f/8 t 1/400

Reykjavik Church, Lutheran place of worship in the Icelandic capital, seems to want to touch the sky. Fully stretched upwards, with its 74.5 meters it is the fifth tallest architectural structure in Iceland.

Reykjiavik

Reykjavik is a city full of colorful, beautiful and very characteristic houses throughout Iceland, with pitched roofs and coverings that help keep houses warm in a country where winter is very cold.

ColoriNikon d800, 500iso f/4.5 t 1/4000

In this shot I wanted to capture various aspects typical of the Dutch city. The bicycle parkings linked everywhere in the city, the houseboats on the canal and the characteristic crooked buildings that fill the city. One of the cities where I left my heart and would like to return again.

L’Harpa Nikon d5, 400iso f/8 t 1/500

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Miriam Carino di Cristina Vannuzzi

I miei occhi dal backstage al centro del mondo. Miriam Carino, HM Make Up Italy, nel mondo del fashion, dei media, della tv, dello spettacolo, eventi, nel mondo dell’arte, la sua è una presenza costante, indispensabile, per carpire segreti, immagini, vibrazioni, sfumature. IT

La vista, dal concetto orientale, è considerata la base di ogni conoscenza, in realtà l’occhio, per Miriam Carino, figlia d’arte, è il centro del suo mondo, guarda, vede, osserva, usando il linguaggio del tempo per esprimere il suo talento, per stupire, il suo è un imprinting ai personaggi, che diventano tali, come tele d’artista.

Luciano Carino fondatore di HM Make Up Italy

SITE

www.hmmakeup.it

PHOTOS: Carlo Di Santo STYLIST: Francesco Amato

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Quello del make up eseguito da Miriam è un mondo di colore, di tecnica, di fantasia, un “mood del fiabesco” come risposta a un mondo sempre più complesso e difficile, un magico mood come riflessione della consapevolezza delle proprie azioni attraverso la sartoria, lo spettacolo, la sfilata, il film. Miriam è approdata giovanissima al mondo del fashion seguendo la scuola del padre, Luciano Carino, famosissimo stilista del make up, fondatore di HM Make Up Italy, fornitore ufficiale RAI, un full immertion nelle evoluzioni della moda e nelle contaminazioni design, dai brand che rileggono la lezione del

tailoring e interpretano il nuovo lusso del guardaroba. Miriam è diventata presto art director di collezioni, sfilate, il suo è un dialogo continuo con gli altri mondi dello spettacolo che definiscono il suo vero e proprio linguaggio visivo, onirico, colorato e ironico. L’ importanza del backstage degli eventi, tutto un mondo che lavora da dietro, da Rai, Mediaset, Sky, ShowLab, brand famosi, passerelle, usa le sue mani per costruire, su una tela bianca di un volto, un mondo diverso, ricco di fascino e di fantasia con evidenti e dichiarati richiami allo spirito che ogni donna vorrebbe avere, con un senso di leggerezza nel modo con cui si pone di fronte alla modella in attesa, mentre la osserva, in attesa dell’ispirazione ed è grazie a tale leggerezza che costruisce strutture articolate e complesse come pensieri, composizioni ardite come sogni, il volto che lei ha sempre sognato. Ultimo lavoro di Miriam Carino come art director, lo shooting della nuova campagna 2020 del brand Hanna Moore Milano dell’imprenditore Gianfranco Unione per la Milano Fashion Week di febbraio, gli occhi di Miriam al centro dello spettacolo dell’uomo, il suo occhio ci stupisce, raccontandoci la vera bellezza che non ci basta mai.

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Carlo Di Santo di Cristina Vannuzzi

Il segreto e’ negli occhi di chi guarda. Fotografare la moda, ingegno creatività, utopia….Oggi la fotografia si può definire arte ed è diventata assolutamente indispensabile alla riuscita di un brand, di una collezione, sfilate, e lo shooting è basilare per “comunicare” tutto quello che lo stilista vuole; per questo, avvicinandosi la stagione delle Fiere di moda in Europa e nel mondo, a Firenze il Pitti, a Milano la Milano Fashion Week, White, la New York Fashion Week, Tranoi a Parigi, la Moda U.K., la Ciff di Copenaghen intervistiamo il fotografo esperto di moda Carlo Di Santo, durante lo shooting delle collezioni del Brand Hanna Moore Milano per la Milano Fashion Week del prossimo febbraio 2020.

essere informato sulla moda, le tendenze, il trucco, i materiali, il disegno, la luce.

Carlo Di Santo ci spiega:

Ma anche sogni fantastici fissati nei volti, ai quali io voglio rubare le emozioni che un abito offre, un colore, il fruscio della seta, colli come petali di un fiore per incorniciare il viso, spacchi nell’abito dove si intravede la ricerca della luce attraverso le aperture, le pieghe, i dettagli, in quel momento, durante uno shooting, “la mia donna” diventa interprete, mostrando le spalle, la nuca, le gambe, le mie non sono illusioni ma suggestioni, stati naturali dove si perde l’individuo per ritrovare il mistero dell’esistere…..come dice Antoine de Saint-Exupéry nel Piccolo Principe “Il segreto è negli occhi di chi guarda”.

IT

Dalle foto tradizionali in bianco e nero al classico cheeeeeeese il mondo della fotografia è cambiato, dall’usa e getta della Kodak all’ormai usuale telefonino che fotografa, l’IPod, la fotografia è oggi un mezzo che esprime lo spirito del tempo, ci evidenzia i cambiamenti sociali e culturali; particolarmente la fotografia di moda, con l’era della industrializzazione, è diventata parte integrante della moda, è la moda, destinata a promuovere il prodotto stesso, per cui lo stesso soggetto che fotografa la moda è deve

La modella non è un oggetto e nemmeno una natura morta ma, insieme al fotografo, interpreta la moda, vive l’abito, lo scatto di una foto ha un tempo brevissimo e deve esprimere quello che il creatore, lo stilista, vuole trasmettere. Il mio è un viaggio con la proiezione nei tempi dello stupore, delle immagini, mentre butto il mio sguardo su quello che vedo, nei sogni che rubo: oggi tutto è superficialità e non posso ridurre il mio viaggio alla semplice definizione di scatto di foto, ma istanti di sguardi, di “incontri”.

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COLLEZIONI: FW 2020 – SS 2020 – Beachwear

2020 Hanna Moore Milano

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Interventi “gentili” di chirurgia estetica di Cristina Vannuzzi

Secondo il Dr. Simone Napoli oggi il trendy è farli il più possibile naturali e soft. Interventi anti-età ma con effetti “gentili”, che si focalizzeranno prevalentemente sul volto, una delle parti del corpo in cui gli effetti dell’invecchiamento si vedono di più e si sente quindi una maggiore necessità di mitigarli. IT

La chirurgia estetica è un settore in continua evoluzione e sulla quale vengono fatte continue ricerche. Per questo i metodi, le tecniche e le tecnologie utilizzate oggi sono sempre più specifiche, delicate, non invasive e permettono di tornare subito, o comunque presto, alla normale routine di tutti i giorni. Nel corso del tempo poi l’affinarsi delle tecniche della chirurgia estetica e una maggiore attenzione e rispetto della bellezza più autentica hanno portato pazienti e professionisti a optare per soluzioni estetiche che siano meno eccessive, più naturali e quindi autentiche. L’obiettivo principale è quindi migliorare l’aspetto delle persone, non certo trasformarle in persone diverse.

E’ proprio di questi giorni la notizia sui media della donna americana che ha affrontato 37 interventi chirurgici per avere “il seno più grande” in assoluto, la novella Barbie, ed è anche per queste, chiamiamole, bizzarrie che è giustamente cresciuta la tendenza a evitare gli 88

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eccessi, come le famose labbra “a canotto”, il seno enorme e sproporzionato rispetto al resto del corpo o gli zigomi gonfi che sembrano delle palle da ping pong o di aver subito una scazzottata piuttosto che un semplice “ritocco”. Sono tutte operazioni che alterano la bellezza di una persona e sicuramente non in meglio. Sarà questo il trend degli interventi di chirurgia estetica nel 2020 secondo il Dr. Simone Napoli chirurgo plastico estetico, per ridurre i segni del tempo…intervenire per rendere la paziente il più possibile naturale. Le labbra, per esempio, a nessuna piacciono sottili, ma, mentre oltreoceano il ritocco si fa “self made” con CandyLipz il discusso apparecchio gonfia labbra efficace solo per un paio d’ore, le italiane restano tradizionaliste. E realiste, per interventi sempre più discreti per riattivare i tessuti, e non modificare per avere le cosiddette labbra a canotto: questo è l’obiettivo della medicina estetica di formazione italiana, soprattutto nell’area delle labbra. Migliorare la qualità e il tono della pelle, della stanchezza che appesantisce l’espressività del viso, ma senza per questo ricorrere necessariamente al bisturi, bensì a tecniche mediche micro-invasive. alla medicina estetica e piccoli trattamenti estetici. La medicina estetica, infatti, è di aiuto anche in tutte quelle situazioni che compromettono il fisiologico equilibrio del corpo (post-gravidanza, sovrappeso, cellulite, esiti di acne, insufficienza venosa), per ritrovare e migliorare la propria immagine corporea. I grossi numeri sono sempre legati ad interventi di mastoplastica, rinoplastica e liposuzione - spiega il Dr Napoli - ma

abbiamo visto un incremento della richiesta di interventi soft al viso per limitare gli effetti dell’invecchiamento, come lifting, mini lifting (quindi settoriali), e blefaroplastica, la chirurgia per sollevare le palpebre, una tendenza che ci aspettiamo sia confermata nel 2020. Si da’ una prevalenza di attenzione al volto perché le altre parti del corpo sono ritenute in qualche modo più ‘allenabili’ spiegando che il focus sul viso include anche un’altra zona critica, quella del collo, dove il passare degli anni può lasciare importanti segni. Ma da qualche anno – prosegue il Dr. Napoli - si registra una notevole tendenza, l’uomo ha scoperto la chirurgia estetica: il 30% dei pazienti che vengono negli Studi medici sono uomini, ben consapevoli che il ritocchino è una esigenza e non più un capriccio. Sono sempre di più le persone che ogni anno si affidano al chirurgo estetico per sistemare qualche dettaglio del proprio corpo con il quale non si sentono a proprio agio. Un trend ampiamente confermato dalle statistiche, infatti secondo un recente studio dell’Isaps (la società internazionale di chirurgia plastica ed estetica) il nostro Paese è settimo al mondo per il numero di interventi di chirurgia estetica. E l’attenzione (a volte maniacale) all’aspetto esteriore non è più una prerogativa femminile. Gli uomini che ricorrono al bisturi sono infatti il 12% del totale. Un dato che arriva a toccare anche il 30%. Gli interventi più richiesti dalla clientela maschile sono trattamenti, come ad esempio, quello con la tossina botulinica per le rughe, che durano 8 o 9 mesi e non lasciano segni. Non sono paragonabili come durata ad un lifting o a un vero e proprio intervento chirurgico, ma funzionano bene per un paio d’anni.

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SITE

www.simonenapoli.it

Dr Simone Napoli specialista in chirurgia plastica e chirurgia estetica


BALOSSA di Cristina Vannuzzi

Una storia che inizia da una semplice camicia bianca. IT

Parla Indra Kaffemanaite, stilista.

Mi sono immaginata una moderna “player”, una protagonista contemporanea e globale del mondo, una donna che si esprime nei suoi outfit, una donna colta, raffinata, curiosa, che non ha età, è dinamica, agile nel pensare, appassionata, e volendo, anche romantica. Della moda non le basta sapere quale sarà la palette della stagione, ma vuol conoscerne i protagonisti, i meccanismi, le lavorazioni e le materie prime per esserne un fruitore consapevole, attento ed esigente, colto. La camicia bianca è sempre la base del concetto della mia player Balossa, che, partendo dalla camicia bianca, immacolata, prende luce e ombra dai tagli, ma si fa particolare dalle frasi sulle maniche, come indossare parole che un innamorato vuol dire … dai tagli, dalle diverse lunghezze, dai colli, dai rever. La Player alla quale mi sono ispirata si nutre di passioni e sfide e lo mostra nei suoi outfit, indicando femminilità a 360°, mostrata senza pudore, fragilità senza sacrificare un concetto deciso, unico nella sua concezione glamour per incontri di culture diverse di abiti che sembrano un battito d’ali rubato al vento, il bianco ma anche il nero, il non colore che emoziona, leggero e iconico, il presente che narra il passato, la fantasia e i colori che rubano suggestioni su una donna con la quale creo una sorta di gioco di trasfigurazione ispirata dalla fantasia. Una giramondo instancabile, la mia Player Balossa, perfetta nei suoi outfit di tendenza, mostrando la doppia anima del Brand, sapientemente mixata,

perché la sua regola è quella di vestirsi in modo personale, capi in grado di trasformarsi, rimanendo unici e mutevoli allo stesso tempo. La mia Player esprime il concetto del lusso dell’estrema semplicità, capi che dominano il tessuto, la materia che si fa leggerissima, esalta la linea, le pieghe, gli orli asimmetrici, i tagli sono basilari in quanto creano emozioni nel far parlare le immagini, la mia donna trova una nuova sensualità, mostrando particolari, braccia, collo, spalle, un ricciolo ribelle, attraverso tagli e pieghe, e dal gioco di chiaroscuro creato dalla luce del colore emerge finalmente il volto di una nuova donna, moderna, contemporanea, esaltante, la sensazione contemporanea e multifunzionale che contribuisce a rendere unico lo mio stile Balossa. Indra Kaffemanaite aggiunge … I capi della mia Player sono iconici, basilari, unici, le mia donna ideale ha imparato, non solo a vestirsi, ma ad interpretare la moda, servirsi della moda, usare la moda per conquistare maggiore attenzione e diventare protagonista. Ma il mio è un progetto sociale, infatti porto avanti nella produzione, da tempo, una grande attenzione al tessuto, particolarmente al cotone, fibra che si trova dovunque, dalla biancheria di casa ai tessuti per l’abbigliamento, io uso rigorosamente cotone organico, selezionato per processi attenti all’ambiente, secondo i principi Detox di Greenpeace, i tessuti non vengono trattati chimicamente nel processo di fabbricazione, e rappresentano un segno consapevole e responsabile di solidarietà per il mondo che ci circonda!

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SITE

www.balossashirt.com

CLOTHING: Balossa STYLING: Indra Kaffamanaite

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A Firenze la fucina della creativita’ di Cristina Vannuzzi

Pitti Immagine edizione ‘97. A Pitti Immagine Uomo , edizione ’97, la mostra si trasforma in una straordinaria passerella dei talenti internazionali, 1.200 marchi provenienti da tutto il mondo per una continua scoperta, tra abiti tech, impulsi green e forme innovative grazie a venti nuovi arrivati da tutto il mondo capaci di dare un tocco di novità alla kermesse fiorentina. IT

Intervista ad Alessandra Faggioli -

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Ma vincente rimane sempre il made in Italy, una fucina di creatività con i suoi maestri artigiani per uno showcase sull’eccellenza sartoriale al Four Season Hotel, dove lo scouting della 12° edizione del Salon of Excellence, di DeGorsi&Partner - Aleksandar Djordjevic e Cris Egger - intercetta giovani stilisti, nuove collezioni eseguite a regola d’arte, una lezione di stile, sfila la nuova eleganza, impeccabile, arricchita da dettagli audaci espressa da Sartoria Chiaia di Gennaro Annunziata, dal Calzaturificio Ducal di Marialisa Sani, le cravatte di Tom Viola, il camiciaio Alessandro Siniscalchi, le calzature e borse da uomo e donna di Viola Milano& Faggioli Atelier e il marchio del lusso di IVJ Gioielli.


Le camicie di Alessandro Siniscalchi, lo stilista ci racconta le sue camicie, il suo è un punto di vista anarchico, attraverso varie forme di lettura, nel rendere possibile e unica la camicia bianca che, vero e proprio paradigma dello stilista, evidenzia i suoi elementi progettuali più innovativi e le sue, infinite e seducenti, interpretazioni, mai banali ma ricche di osservazioni negli particolari dagli accenti iconici di una camicia, la mosca, il fessino, il cannoncino, gli orli, i tagli, il carrè e il sottomanica, le pieghe… un mondo che lo stilista Siniscalchi osserva, rispetta, stravolge il “fior di camicia” come si diceva, curandone ogni dettaglio, particolare, asola, bottone, un nodo, una piegatura….un papier de musique per uno stile vissuto, candide architetture di colli e polsi, con riferimenti storici per una grande struttura teatrale che è in sintesi una grande lezione di stile. Gennaro Annunziata – Sartoria Chiaia - Un uomo che veste un “nuovo formale” dove la tradizione e l’innovazione rimangono le uniche guide e la qualità, in tutte le sue accezione, la prospettiva da seguire, e dunque una continua e nuova scoperta. Un Brand che fa sì che l’italian style prodotto in Campania sia diventato nel mondo sinonimo di fashion and luxury, esortando il visitatore a osservare la sua ispirazione che ha avuto le sue fonti in arte, storia e magia unica aprendosi al contemporaneo senza abbandonare quella formidabile aura di eterna bellezza che l’ha resa celebre nel mondo. Una passerella ideale con la sua

preziosità nella Cappella del Four Season Hotel interamente affrescata, per il brand fiorentino Ducal di Marialisa Sani, dal 1937, le sue sono calzature importanti, che enfatizzano l’importanza della lavorazione hand made, un omaggio al fatto a mano, l’artigianalità che rappresenta uno scambio di culture attraverso il tempo e lo spazio, grande conoscenza dei materiali, pellami, cuciture, lavorazioni, sensibilità individuali, dunque il nuovo nella tradizione. Da una “bottega” fiorentina l’accessorio irrinunciabile che non può mancare nel guardaroba di un uomo per completare uno stile di vera eleganza.

- IVJ Gioielli - - Aleksandar Djordjevic e Cris Egger - - - Faggioli Atelier, dettaglio

Atelier Faggioli, un caleidoscopio di colori per la pelletteria dove la creatività è coniugata con i maestri artigiani del made in Italy, calzature e borse per uomo e donna, non stupisce che la borsa da donna sia, ancora oggi, l’accessorio femminile (oggi sdoganato anche dall’universo maschile) più desiderato al mondo. E per finire IVJ Gioielli, brand disegnato dallo stilista toscano Mirko Fiorentini e prodotto in Italia, perfetto partner per il Salone delle Eccellenze di DeGorsi&Partner, tennis sfolgoranti di brillanti bianchi che si abbinano a tennis in brillanti neri, raffinatissimi, parure di orecchini e gioielli, il made in Italy della migliore oreficeria artigiana per la linea classica che si sposa alle creazioni più fantastiche e sognanti.

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Faggioli atelier a Pitti uomo ‘97 di Cristina Vannuzzi

Gennaio 2020. Quest’anno Pitti Uomo si propone come il Congresso delle Nazioni Unite della Moda, con 36.000 visitatori, oltre a circa 24.000 buyer, di cui il 45% provenienti dall’estero, con il tema Show your flags at Pitti, il set design curato da Alessandro Moradei, dove ognuno dei 1203 brand presenti – di cui 540 esteri con 265 tra nomi nuovi e rientri – porta alta la bandiera del proprio heritage, per celebrare il nuovo formale della moda maschile. IT

Senza l’emozione nessun abito vive, nessun accessorio veste, nessuna tendenza è reale, desiderabile, glamour, contagiosa… Le tendenze della moda internazionale a Pitti Uomo 2020, per la settimana della moda, secondo le griffe internazionali in scena in questi giorni alle fiere del fashion puntano sugli accessori, in particolare borse, scarpe, cappelli ma con materiali innovativi, dal dandy all’uomo che veste all’avanguardia, alle nuove tendenze per la donna.

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- Palette colori

Modelli e colori da uomo

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Modelli e colori da donna - -

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E da questi contenitori meravigliosi di Pitti Uomo 2020 escono, come fosse il cilindro di un prestigiatore, i talenti più veri, nuovi, enfatizzati, segnalati dal Salon of Excellence, di DeGorsi&Partner dove Aleksandar Djordjevic e Cris Egger, sempre alla ricerca di brand di lusso emergenti, sono in esposizione al Four Season Hotel, location piena di glamour che si adatta perfettamente al Brand Faggioli Atelier che incanta il mondo della moda con l’ arcobaleno di colori delle sue creazioni in pelli esotiche. Dal mondo delle griffe, da quello che si è potuto vedere al Pitti 2020, arriva un

importante segnale, anche la figura maschile è entrata prepotentemente come consumatore nel mondo della borsa di pelle, consumiamo meno ma meglio, educhiamo il consumatore, spingendo sulla cultura del prodotto, in termini di qualità e pregio, rispetto dell’ambiente, delle leggi, delle persone. E Faggioli Atelier ha perfettamente compreso che, anche se l’abito può essere low cost o meno appariscente, sono proprio gli accessori, le borse e le scarpe che rimangono il vero accessorio fashion, l’uomo che mostra la sua Bag da lavoro e calzature di altissimo livello e la donna che si riappropria della propria femminilità, con borse e calzature, “ritorna sui tacchi” e torna ad essere l’oggetto del desiderio che fino dal Medio Evo è sempre stata. In Italia, specialmente nel settore conciario, le aziende sono impegnate a portare avanti con successo la manualità e l’estro dei maestri conciari italiani, i maestri d’arte, fondamentali nella moda, che con il loro estro, sono senza concorrenza per livello qualitativo e Faggioli Atelier rappresenta un esempio, in quanto si scorge che quella stessa passione è riletta in chiave contemporanea mantenendo vive quelle radici con una cifra stilistica moderna. Faggioli Atelier sceglie con estrema cura i pellami, i modelli e le strutture delle borse, ma anche i dettagli quali chiusure, borchie, cuciture e tracolle di alta gamma, caratterizzati da un attento processo di realizzazione dove artigiano vuol dire mani e cervello, la tecnica viene dopo, ma prima di tutto far fare alle mani quello che il cervello pensa, crea, decide, sogna…


successivamente, si pensa alla ricerca del pellame migliore, la concia, i colori vegetali, le metallerie, tutto il mondo di accessori che ruotano intorno all’oggetto finito, un mondo di “cultura” del lavoro, il nostro artigianato unico ed esclusivo, che tutto il mondo ci invidia. Gli accessori di Faggioli Atelier sono fatti da artigiani italiani, “maestri” nella costruzione delle scarpe e delle borse, tacchi, tomaie, pellame, tutto di altissima qualità per donna e uomo che seguono l’evoluzione della moda, in una continua ricerca del nuovo e del bello, sottolineando dettagli che fanno subito moda e rendono il marchio icona per ogni fashion victim: una passerella di scarpe dai colori inaspettatamente vibranti e bon ton, la bellezza maschile e la femminilità esasperata di Faggioli Atelier, nuovo brand nato dall’azienda di famiglia che opera nel settore delle pelli pregiate sin dal 1994, gestito dalle figlie Alessandra e Nathalie Faggioli.

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Sono state proprio le sorelle Faggioli, forti dell’esperienza maturata in azienda per 15 anni al fianco del padre, a realizzare la nuova collezione di pelletteria e calzature di lusso. Come affermano le sorelle Faggioli “L’attenzione al dettaglio e all’alta qualità caratterizzano l’intero processo della nostra produzione con una ulteriore particolare attenzione alle tematiche attuali sulla certificazione delle concerie italiane e sulla tracciabilità dei pellami per assicurare la maggior trasparenza ai clienti per una moda che è, ormai, diventata un must”.

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The precious Fabiana Gabellini outfit for Lorena Baricalla shines at Monaco WSLA

by Francesca Fortini

Great enthusiasm has characterized the 4th Monaco World Sports Legends Award, held in the prestigious Hotel Fairmont Monte-Carlo, conceived and produced by Promo Art Monte-Carlo Production. Among the champions awarded this year: Nasser Al-Attiyah, Mario Andretti, Loris Capirossi, Ana Gabriela Guevara, Connie Henry as “WSLA Best Values” and Ferenc Puskas as “WSLA Posthumous Award”. EN

The fascinating Ambassadress and Master of Ceremonies Lorena Baricalla has, as always, shown her great talent, her unparalleled beauty and experience in the entertainment world by presenting, in 5 languages, the extraordinary Gala during which, in addition to the Award Ceremony, there were various moments dedicated to entertainment and, of course, to her superlative artistic performance. The international étoile, for her extraordinary show, wore a stage costume specially created by the young fashion designer Fabiana Gabellini. A golden outfit by the great scenic effect, which has highlighted even more her seductive and graceful femininity, composed of a pleated silk satin maxi cape with a sparkling sequins dress, draped on one side, by the unparalleled brilliance. A very special look that Lorena Baricalla interpreted with great class and elegance, perfect to wear on an International fame stage. Sequins, since the ‘30s, thanks to their brightness have always been considered perfect for embellishing dresses and many icons from the entertainment world prefer a glittering effect for their stage costumes. In the 1950s, Marilyn

Monroe and Jane Russell launched this trend by wearing a red V-neck dress covered in sequins for the musical comedy film “ Gentlemen Prefer Blondes”, but it is above all in the field of music that this accessory has become an essential trend for the stars. Diana Ross, Liza Minnelli, Barbra Streisand, Beyoncé and Miley Cyrus are just a few of the names of yesterday’s and today’s celebrities who have chosen sequins as an accessory for their stage costumes.

- Fabiana Gabellini and Connie Henry - - Fabiana Gabellini, Lorena Baricalla and the corps de ballet

- - - Fabiana Gabellini and Vittorio Grigolo - - - - Fabiana Gabellini and Lorena Baricalla

The Haute Couture outfit by Fabiana Gabellini for Lorena Baricalla seems made to dream: it’s art, play, inspiration, it’s the demonstration of a great creative and sartorial skill. The majestic cape, like the corolla of a flower, is narrow to the waist and with a very wide and voluminous skirt, six meters long, fabulously elegant. Under the cloak, the brilliant sequins mini dress, totally handmade, is perfect for giving on the stage a dazzling glow, for a hyper-feminine and glamorous style. The star Lorena Baricalla has chosen two original dresses from the collection “Art to Wear” by Fabiana Gabellini also for the Media Day: a one of a kind creation, taken from the work Rosso Valentino by the painter Paola Zannoni, in red silk embellished with lightweight black feathers; a V-neck dress, in very soft leather, with sequined sleeves in the 2020 Pantone shade, the Classic Blue. The wonderful creations by the talented fashion designer have been very successful in Monte-Carlo, a symbol of extreme luxury, great charm and sophistication just like the outfits signed Fabiana Gabellini Made to Measure.

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PHOTOS: ©Saverio Chiappalone PRESS OFFICE: LA REVE PR & ADV

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The “workmanlike manner”fashion by Fabiana Gabellini by Francesca Fortini

Spring 2020 Collection. In Fabiana Gabellini’s collections there is no boundary between fashion and art because both worlds are united by creativity. The young fashion designer from Cattolica, since the founding of her homonymous brand in 2012, has shared the phrase of the famous playwright and writer Oscar Wilde: “Either you are a work of art or you wear it”. Young and determined, with a remarkable background, in 2017 she created “Art to Wear”: a project in which the protagonists are the paintings of contemporary artists printed on silk and used for the realization of her Haute Couture creations in Limited Edition. We by ArchLove Magazine met her for an exclusive interview: EN

Fabiana, artists and fashion brands have been collaborating since the 60s, first of all Gianni Versace who broke all barriers, as well as Yves Saint Laurent who dedicated an entire collection to modern art, how did your project Art to Wear come about? “My project Art to Wear was born from my passion for Art that I wanted to represent and tell through the language of Fashion making it accessible and usable, creating dedicated dresses, taken from the works of some italian and international artists.”

PHOTOS: ©Paolo Lo Pinto STYLIST: Dalila Belli HAIR & MAKE-UP: Giorgia Baldassarri e

Brunella Anna DESIGNER: Fabiana Gabellini MODELS: Valentina Missori, Noemi Cassaro, Susanna Giovanardi LOCATION: MAAM Rome

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Some of your Art to Wear creations have already been worn for prestigious red carpets in Hollywood and Monte-Carlo, how did you experience this exciting “adventure”? “My dream is coming true thanks to so much determination and tenacity, of

course my path has allowed me to develop these skills by creating tailored and modern outfits suitable for women from the world of culture, art, fashion and entertainment. What are the characteristics that a work of art must have to fascinate you so much as to convince you to turn it into a dress? “The Work of Art must make you dream, create desire, happiness that translates into the possibility of being worn with elegance and class.” Just like the paintings, your creations are one of a kind, how is Fabiana Gabellini’s woman? “The woman from whom I draw my inspiration is feminine, determined, self-confident, loves to appear with refinement, to be different from other people.” In 2019 you opened your first boutique in Cattolica, is this the first step of a short-term international expansion plan? “My project aims to create more flagship stores that will enhance my brand in Italy and abroad and, of course, I hope that this can happen in a relatively short time.” In September your first book “Pubblicità: Moda e Guerra. Le parole in comune” has been published and presented at the book stores in the major Italian cities. When and how did the idea of being not only a fashion designerbut also awritercome about?


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“I have always been fascinated by writing, my book in fact was started many years ago and completed now … I like to write about Fashion, Art, Psychology, current and interesting issues that shake the consciences of a university audience, from teachers to students, arriving with simple words to all curious people, to those who want to approach the communication and advertising sector that, today as yesterday, is extremely important! You presented in Rome a capsule collection dedicated to Spring 2020, what inspires it and what kind of woman is it ideally dedicated to? “It’s an ensemble of urban-chic style garments, I wanted to combine tailoring elegance with functionality through clothes that are easy to wear in everyday life, albeit with an original touch and, sometimes, a bit eccentric. The capsule collection is cheerful and jaunty, it is dedicated to a woman who loves life, who prefers lively and extremely up-to-date looks.” Fabiana Gabellini’s fashion is original, trendy and always looks at the fashion style of the season. The Spring 2020 capsule collection interprets the current lifestyle in the best possible way with taste and creativity, playing with the volumes and embellishing the garments to obtain a glamorous but. at the same time, urban style. 100% Made in Italy

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creations, designed and made in Romagna, representing modern girls: dynamic and with the desire to live new and fun experiences. A mix of looks with a casual mood in a combination of refined colors and original details. Oversized and super comfortable outfits, some of them taken from the paintings by the artists Leonardo Nobili and Paola Zannoni, representing the heart of an excellent street style. A collection that reveals extraordinary balances between tradition and innovation, reinterpreting in a contemporary key the woman of the third millennium, projected into a crazy world in which she lives intensely without ever losing her femininity. An eclectic style, which is able to capture in different contexts the spark of what is desirable to wear, which combines heterogeneous inspirations. The Fabiana Gabellini Made to Measure capsule collection, through the classic rules of dressing, allows itself some exceptions, opening the way to new contemporary aesthetics. The key word for this Spring is comfort. The garments have a soft line creating a feeling of freedom and beauty. The images, skillfully taken by the famous international photographer Paolo Lo Pinto, become an expression of fashion and highlight the mood of the capsule collection. Taken at the MAAM in Rome, in a deliberately unusual context, the photos are a glimpse of real life, fragments of a daily life and an ordinariness that becomes special through the captivating outfits by Fabiana Gabellini Made to Measure.

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FABIANA GABELLINI

Graduated as an “Expert in Fashion and Costume”, she continued her studies at the Carlo Bo University in Urbino, obtaining a degree in “Fashion Design” and, in 1999, immediately began prestigious collaborations with famous fashion brands: Alberta Ferretti, Jean Paul Gaultier, Moschino, Ozbek. Fabiana has also created the costumes for the opera season at the Rossini Theatre in Pesaro, presented her collections at Milan Fashion Week, Cinecittà, Altaroma and at the Gam Museum in Milan, collaborated with the Ada Danze Antiche Association for a tribute to Isadora Dunkan. She has also participated in 3 editions of the Art & Music event in Rome created by the great artistic director Michele Spanò. In 2019, Fabiana Gabellini opened her first flagship store in the heart of Cattolica, in Via Matteotti 26, an exclusive boutique where family tradition blends with modernity.

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“Pubblicità: Moda e Guerra. Le parole in comune” by Francesca Fortini

The first book by fashion designer Fabiana Gabellini published by Linea Edizioni. The first book written by Fabiana Gabellini, a young fashion designer from Cattolica, entitled “Pubblicità: Moda e Guerra. Le parole in comune”, published by LINEA Edizioni, is already on sale in the best Italian Book Stores. EN

A fluent and interesting book in which the author explains her opinion about the advertising world and the similarities between a war strategy and a business strategy: both have the same starting point as well as the same final goal. From the 18th century until today, advertising has changed considerably and with it all the components of the game, starting with the communication channel. Radio, television and, above all, the spread of Internet use have contributed to the exponential increase in advertising messages that bombard us every day. Advertising is a form of communication that companies use to achieve multiple goals, ranging from increasing sales to improving the image of their products and the fight against competition. The importance of advertising, or rather of commercial communication as it is most frequently called, is there for all to see; it has become one of the most important components of the consumer and welfare society. Companies persuade their customers not only through a better quality offer but also through the communication of an image of the products that, in the eyes of consumers, distinguishes them positively from those of their competitors: advertising and promotional activities in general are powerful weapons in the competitive battle between companies. Contrary to what people think, advertising has origins as remote as the war, Fabiana Gabellini sets the example of the first slogan that dates 100

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back to the days of ancient Rome, to the Emperor Constantine, In hoc signo vinces is the phrase that accompanies the symbol of the cross: a short and powerful message completed by an image. The book is an excursus in the history of advertising, in the communicative art of the greatest creatives: from Andy Warhol to Giulio Pasolini, from Duchamp to Man Ray, from Giorgio De Chirico up to Cindy Sherman. Among the most famous names, of course, we find the great photographer Oliverio Toscani, master in the art of provocation and very important innovator. For more than five decades, campaigns for brands like United Colors of Benetton and his editorials for prestigious magazines like Elle and Vogue have profoundly changed the way to advertise in the fashion world. Toscani has created iconic advertisements combining social criticism with simple and striking images taken from real life. Images that strike to lead us to deep thoughts. His photos have often been censored and boycotted and, even nowaday, are considered controversial. In 2007, for example, the advertising campaign “No anoressia-Nolita”, which showed a naked girl with a skeletal physique with the aim of drawing attention to food diseases often due to the beauty models proposed by fashion, was much discussed. In 2013, then, in a political context marked by continuous tensions of Islamophobia, the Italian brand Diesel by entrepreneur Renzo Rosso chose to portray a model with western features, with tattooed arms and back, make-up on her eyes and a face covered by a burka made in jeans fabric. “I’m not what I seem to be” was the phrase written on the campaign launched by the well-known multinational clothing company,


arousing the indignation of Muslims and feminists. In fashion, the differentiation between the various modes of communication has a meaning only and exclusively if it is perceived in a strong way, having, in essence, the purpose of selling emotions more than the product. While in the past positioning was based on the product, without distinguishing it from the brand, today the brand represents the focal point of the fashion companies strategies.

The book was presented in the major Italian book stores and through prestigious events in which, in addition to the author, VIPs: Demetra Hampton, Mario Longobardi, Tiziana Amorosi d’Adda, Antonietta Divizia, Antonella Squillaci, Maria Grazia Golfieri, Anna Silvia Angelini, Elisabetta Viaggi, Sabina Tamara Fattibene, Michele Spanò, and speakers of great importance participated: Tommaso Torri, well-known journalist for the newspaper Rimini Today, graduated in Cultures and Techniques of Costume and Fashion at the University of Bologna and with a further degree of Specialization in Systems and Communication of Fashion at the same University; Riccardo De Palo writer and journalist for the cultural pages of the newspaper Il Messaggero; Francesco Ferracin, writer, screenwriter, film producer and collaborator for several International and Italian magazines including Vogue Italia.

Advertising and fashion are a fascinating combination in which advertising takes on artistic value and presents the characteristics of a cultural product. Advertising that can be considered as an expression of creative genius, where elements of marketing and whimsical imagination come together to influence each other. While it is morally acceptable to create campaigns that focus on major social issues, it is not permissible to use these issues for purely economic and commercial purposes. When fashion intelligently marries provocation, it is a joy for the eyes and an explosion of healthy inputs for the brain. When, on the contrary, the taste not so much perverse as desperate for the shock effect is realized in a superficial way, here are things like those that at the last Paris Fashion Week involved and, we could say, overwhelmed, a Korean brand. Fabiana Gabellini in her book “Pubblicità: Moda e Guerra. Le parole in comune” analyzes these phenomena and through these engaging pages provides us with an antidote, a warning and a training for the crafty interpretation of the messages of advertising and fashion.

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PHOTOS: ©Walter Karuc - ©Daniele Cama

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Palm Springs International Film Festival by Francesca Fortini

Robert De Niro and Martin Scorsese Charlize Theron - -

The 31st Palm Springs International Film Festival opened with a star-studded Gala A star-filled shining red carpet characterized the annual Gala for the opening of the 31st International Film Festival in Palm Springs, California. EN

Once again this year, Hollywood’s most famous stars traveled to the desert to kick off award season in style. The night kicked off with Cynthia Erivo, in Schiaparelli Couture, receiving the “Breakthrough Performance Award” for “Harriet”; Joaquin Phoenix received the “Chairman’s Award” for “Joker”; Antonio Banderas received the “International Star Award”, Actor for “Pain and Glory”; Laura Dern, in Erdem with Pomellato jewellery, received the “Career Achievement Award” for “Little Women” and “Marriage Story”; Zack Gottsagen received the “Rising Star Award” for “Peanut Butter Falcon”; Quentin Tarantino received the “Director of the Year Award” for “Once Upon a Time…in Hollywood”; Jennifer Lopez, in Richard Quinn, 102

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received the “Spotlight Award”, Actress for “Hustlers”; Jamie Foxx received the “Spotlight Award”; Charlize Theron, in Dior, received the “International Star Award”, Actress for “Bombshell”; Adam Driver received the “Desert Palm Achievement Award”, Actor for “Marriage Story”; Renée Zellweger, in Jason Wu, received the “Desert Palm Achievement Award”, Actress for “Judy”. Closing out the night, the famous director Martin Scorsese who received the “Sonny Bono Visionary Award” for “The Irishman”, presented by Robert De Niro. Among the many other guests, the gorgeous Salma Hayek, in Gucci, also attended the night. The elegant gowns, the impeccable tuxedos, the dazzling diamonds, the electrifying thrill of the flashes and, of course, the greatest stars in the world have, as usual, made the Gala extraordinarily glamorous and magical just like the cinema!

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- Jennifer Lopez - - Laura Dern and Charlize Theron - - - Salma Hayek and Antonio Banderas - - - - Quentin Tarantino and Greta Gerwig

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DebbyDG di Gabriella Chiarappa

Il tubino evergreen: eleganza senza tempo. DebbyDG è un giovane brand che nasce dall’idea creativa della stilista Debora Di Gallo, il suo stile unisce la tradizione e il rinnovamento, l’approccio sartoriale di stampo classico fa rima con tagli e volumi decisamente moderni, il passato viene riproposto in chiave contemporanea: in questo caso parliamo di una mini capsule collection, puntando sulla semplicità e l’eleganza, uno stile che rinnova l’espressione del classico tubino evergreen. IT

Il tubino infatti è un capo che ogni donna dovrebbe avere nel proprio guardaroba in realtà racconta il processo di emancipazione femminile e di “ribellione”, partita da Chanel e proseguita con tutte le più importanti maison di moda. La giovane designer abilmente in questo caso realizza una collezione dal piglio disinvolto e sofisticato, in cui i tagli lineari e trasversali si abbinano a rouge d’effetto, 104

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promuovendo un’immagine elegante e sofisticata. La filosofia del brand si basa su due colonne fondamentali: la creatività e la qualità del made in Italy, che danno vita a collezioni dalla forte personalità della donna contemporanea. Lo spirito disinvolto e ricercato, le forme nette e pulite sono il risultato dell’accurata selezione dei tessuti e degli accessori che concorrono a creare un’immagine fresca e versatile senza tralasciare il gusto di atmosfere sofisticate, per permettere alla donna che indossa i capi di DebbyDG di emozionare ed emozionarsi. La tradizione incontra l’innovazione, l’approccio sartoriale di stampo classico crea armonia con tagli e volumi decisamente moderni, il passato viene riletto in chiave contemporanea.

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La donna moderna e chic di: Leonidé Mon Leonidé Mon è un giovane brand che nasce dall’idea creativa di Leonida Monti, una donna che ama la bellezza femminile in ogni sua forma. Leonida oltre a essere una brillante fashion designer si distingue per essere una biologa nutrizionista, la sua attenzione infatti è rivolta alla cura del corpo di una donna a 360° gradi, la sua creatività parte da un discorso di bellezza non solo esteriore, ma di benessere psico – fisico. La giovane designer ha già iniziato a far parlare di se, il suo stile decisamente “chic e ricercato” ha catturato l’attenzione di molti, ed è pronta per affrontare nuove sfide. Una stilista decisamente attenta, dotata di un intuito particolare dovuto probabilmente anche alla sua professione primaria di nutrizionista, che le ha permesso nel tempo di entrare in armonia con il suo corpo e di riflesso con l’abito, che lei ama definire “seconda pelle”. IT

La donna di “Leonidé Mon” è decisamente chic, raffinata e di tendenza, la tradizione sartoriale fermamente (made in Italy) si fonde con la modernità e con la ricerca attenta nei tessuti e nei colori, in questa collezione si ispira ad una donna chic e dinamica, che non rinuncia mai alla comodità e all’eleganza, un mood che si

di Gabriella Chiarappa

identifica in uno stile decisamente unico. Per questa stagione invernale, una strepitosa capsule con abiti dallo stile moderno, decisamente parigino, che evidenziano la donna che ama la bellezza femminile, in ogni sua forma, per garantire un unico risultato, semplicemente irresistibile. L’eleganza non è certo una qualità che si può emulare semplicemente indossando un determinato capo, ma è anche vero però che ci sono degli elementi chiave che ricorrono sempre nei look parisienne e che in questo caso ritroviamo in linea con la filosofia di Leonida. In modo particolare questo stile lo ritroviamo nella collezione fall/winter 2020 dove si evidenzia, la ricercatezza nei tagli, nei tessuti e nel gioco di colori. I colori usati sono principalmente il grigio, il nero con qualche variante marrone cammello e verde militare, perfetta inoltre l’armonia con gli accessori (scarpe, borse, cappelli e occhiali). Leonida non ama seguire le tendenze forzate, il suo intento è quello di creare capi che conducano la donna a differenziarsi dalla massa, ama trasmettere attraverso ogni sua creazione i due volti che una donna dovrebbe avere “romantica e ribelle”, “dolce e sicura di sé”.

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CLOTHING: Balossa STYLING: Indra Kaffamanaite AGENCY: Le Salon de la Mode FASHION DESIGNER: Leonidè Mon PHOTOGRAPHER: Abraham Caprani MODEL: Mayara Zago MUA: Lili Tugui HAIR STYLIST: Adriana Gheorghita

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THAT’S CIOCIARIA Welcome to Italy Anagni is an Italian town, in the province of Frosinone in Lazio. Anagni is linked to the events of Pope Boniface VIII and to the episode known as the “slap of Anagni”. The slap of Anagni, sometimes also referred to as the outrage of Anagni, was an episode that occurred in the Lazio town of Anagni on 8 September 1303 against Pope Boniface VIII. It is actually not so much a materially given slap, but rather a

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moral outrage, even if the legend attributes to Sciarra Colonna the act of slapping Boniface VIII. According to Rendina in his “The Popes - history and secrets” another legend would have it that it was Nogaret who slapped Boniface VIII with his iron glove. This event is one of the conclusive acts of the serious conflict that had arisen for years between the Pope and the King of France Philip IV, called “il Bello”, to define the possible supremacy of spiritual power over the temporal one, as desired by the Pope himself. february 2020

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IL VINO ROSSO DEI PAPI Rome- Cesanese wine is a wine of very ancient origin, for the Romans it was CAESANUM, for the popes, in particular for the Anagnini ones, it was RED “Il ROSSO�. The Roman emperor Nerva was very impressed by the goodness of this wine and had his own villa built near the vineyards cultivated with this grape. In the Middle Ages, with the advent of the Anagnini popes, i.e. originating in the city of Anagni, such as Innocenzo III, Alessandro IV, Gregorio IX and Bonifacio VIII, this wine grew in importance in the papal court, it is said that even Frederick II of Swabia, when he went hunting, he used to bring this wine to taste it with the game he hunted.

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Se’ tu già costì ritto, Bonifazio? Di parecchi anni mi mentì lo scritto.

EUROPE

ITALY

Dante Alighieri, Inferno, XIX

LAZIO

RURAL CIOCIARIA If there is a land to visit, on our voyages of discovery, this is certainly Ciociaria. A historical region south of Rome and north of Naples and almost completely falling within the Province of Frosinone. Protected by the chains of the Ernici and Mainarde mountains towards the east and by the Lepini, Ausoni and Aurunci mountains towards the west. From the Prenestini mountains to the north and the Matese mountains to the south. Land with a strong rural vocation so as to be defined, in the different historical periods, Terra di Lavoro and Terra di Campagna. The rurality in southern Lazio, after the brief industrial period, returns to being an identity for the populations who reside there, and above all for the realities that inhabit the interior and mountain areas, extraordinarily custodians of nature landscapes, history and traditions, of archeology, of hermitages and sanctuaries, of still uncontaminated religiosity and architecture. A land where agriculture, pastoralism and breeding, crafts, wellness and food and wine are expressed with great and intense authenticity. The tourist experience is basically an engaging relationship with the places and people who inhabit the places chosen as a tourist destination. Here then is the invitation to get to know this wonderful territory: rural Ciociaria. The protagonists of the local communities will welcome tourists: the shepherd, the farmer, the

CIOCIARIA

craftsman, the cook, the housewife, the historian, the sportsman etc. real people in their daily lives that will make you feel, even if in time, protagonists of that same story that you have chosen to live. The itineraries of the Rural Tourism cross the Ciociaria in all its extension, also relating in a very functional way with a more general tourism: cultural, thermal, archaeological, religious, sporting and naturalistic. The tourist destinations that we present are some already known, others still little known, explored and for this reason we could define them more authentic and spontaneous. RES Ciociaria network of solidarity economy will guide your knowledge in this area, and the meeting with its people. A social promotion association committed to caring for and implementing a manifesto of values where “the common good is the best profit of all”. february 2020

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THE WHEAT ROUTE Wheat, as well as representing a source of income, is a symbol of family unity for rural Ciociaria. In recent years, the countryside has regained a new vitality and so several farms, interested in an abundant land recovery project, have returned to cultivating and producing indigenous varieties of great nutritional value. An important story is being written in the recovery of ancient grains such as Senatore Cappelli, Frassineto, Saragolla, Gentilrosso.

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- Il pane fatto in casa da maria pia - - Galline felici su campo di grano - - - Intorno al grano e il divertimento dei bambini - - - - Pane appena sfornato

Momenti di pausa durante la semina -

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THE ROUTE OF LEGUMES A wonderful history of rural Ciociaria is represented by the cultivation of legumes, some of which are produced in areas located at 800 meters above sea level and for these reasons defined as

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real heroic agriculture activities. This is the case of the Fagiolone di Vallepietra grown in the municipalities within the Regional Natural Park of the Simbruini Mountains.

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THE OIL ROUTE The hills and pre-montane areas of Southern Lazio offer olive trees an extraordinary climatic condition to produce quality extra virgin olive oil. The dominant cultivars are Leccino,

Le pause durante la raccolta -

Moraiolo, Itrana, La Carboncella, Rosciola, Marina varieties which are allowing numerous farms to achieve international success and recognition.

Gli Uliveti di Vallecorsa - Teli per la raccolta - - -

- Il fagiolone nelle fasi di essiccazione naturale al sole

- - La cottura tradizionale del fagiolone - - - Semina di Comunità , l’aiuto degli amici

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THE WINE ROUTE Some areas of the Ciociaria Historical Region have turned into wonderful wine-growing landscapes. In Upper Ciociaria, along the ancient Roman road Prenestina in the various municipalities, the Cesanese red wine and a white wine the Passerina del Frusintate are mainly vinified. While in the geographical area, formerly called Terra di Lavoro, Cabernet, Maturano and other recently rediscovered grape varieties are grown. The landscape with the vineyards and the welcome offered by the various farms represent an interesting experiential journey.

- Vigneti della Campagna di Roma - - Degustazioni sul mar Tirreno

Listen to Ciociaria,friend. You fugitive on foreign roads that always go elsewhere ‌ L. De Libero

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ADV 1/2

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Farro Zero

Via Alfonso Rendano 31, Roma, Italy

Perche’ Farro Zero? IT

Il pane come la pizza fanno parte ormai della nostra cultura. Noi

Why Farro Zero? Bread and pizza are now part of our culture. We want to keep the origin of the tradition using the oldest spelled for our doughs ancestor of wheat, the cereal used by the Romans. EN

From us you can find naturally leavened spelled bread like round and sliced ​​spelled pizza, giving you proof that healthy bread and pizza with non-industrial flours can be eaten today with taste

vogliamo mantenere l’origine della tradizione utilizzando per i nostri impasti il farro integrale, il piu antico antenato del grano, il cereale utilizzato dai Romani. Da noi potete trovare il pane di farro a lievitazione naturale come la pizza di farro tonda e al taglio, dandovi la prova che pane e pizza sani con farine non industriali si possono mangiare tutt’oggi con gusto.

FARRO ZERO È ALL’INTERNO DI: . Le guide La pecora Nera “le tavole, le pause golose e la spesa di qualità”

il punto di vista critico sull’enograstronomia del Lazio 2020, con 4 pecore ( stelle) . Excellence – Food Innovation VII edizione 2019, Roma Premiati per la categoria “Le migliori pause golose”

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Pesariis The Country of Watches di Angélique Gagliolo

Nestled in the Carnic Alps there is a small and charming village known as the country of watches. It is Pesariis, located in Val Pesarina, in the municipality of Prato Carnico in the province of Udine. EN

The small village is a real architectural jewel, thanks to its narrow streets and typical houses of the early ‘600, very well preserved. The name Pesariis seems to derive from the toponym “in villa de Pesargis” which in turn derives from the weighbridge of the customs, to which the merchandise passing through the nearby Lavardet pass was subject, link between Carnia and Cadore Walking in Pesariis is like taking a journey through time and returning to how you lived in a peasant village (recently the old wash house was renovated, where women once went to wash the laundry), all at the rhythm of the ticking of watches. For the narrow streets of Pesariis, in fact, there are monumental reproductions of original watches: the carillon clock, which uses bells capable of matching the 118

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musical notes and reproduces completed musical pieces (the Ave Maria at 12.00 is not to be missed); the water turbine clock; the water-based one with tilting vessels; the clock of the planets; the checkerboard clock; the clock with water tanks, which thanks to a predefined flow of water fills every single tank in an hour, and then goes on to the next, until the twelve tanks are filled, which finally, with a mechanism, are empty them all at once, and then resume the slow filling; the giant vane clock; the giant perpetual calendar clock; and finally the planisphere and nocturnal clock, which serves to read the time of night, and indicates the stars that are in the sky at that time. If this visit to the open air were not enough, you can enter the Pesaro Watchmaking Exhibition which collects the centuries-old testimony of the artisan tradition of watches in Pesariis. The collection, which boasts elements of all kinds, is cataloged by technological phase.


The artisan tradition of watch production was born in 1725, at the foundation of the Solari factory (then known as the ancient and award-winning tower clock factory), producer of most of the clocks and display boards, which we see in the railway stations and airports of all over the world, from Los Angeles and New York, to Paris and Tokyo. Solari products are famous all over the world: the Cifra 3, the smallest direct reading clock still in production, with the palette roller system created by Remigio Solari patented in the 1960s, is exhibited at MoMa, Museum of Modern Art from New York. There are documents that testify to the great production of watches since the early eighteenth century. Since 1725, in fact, watches have been produced for civic and bell towers. The tradition of clocks, however, seems to have been present in Pesariis since the early 1600s: in fact, an iron wall clock was produced here, very similar to that produced in that period in Germany,

where the technology was very advanced. The origins of this knowledge are unclear, there are two hypotheses. The first claims that a Genoese pirate of the surname Solari took refuge in Pesariis and here began the production of watches. The second maintains that the cramârs (carnici specialized in the trade of fabrics and spices, which crossed the mountain borders, carrying the goods on their shoulders inside the crame, wooden chests of drawers equipped with shoulder straps), had returned to their homeland with the knowledge learned in Germany on watchmaking world. Finally, we recommend a culinary stop in the premises in Pesariis, where, in addition to tasting the typical dishes with traditional flavors, you can admire the historic buildings from the inside, with the narrow stone stairs and the vaults on the ceilings, or the re-enactments of less remote historical periods, but still always suggestive.

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The Sardinian Carnival di Rita Pinna

In Sardinia, as in Italian Magna Greece, Dionysian rites were practiced, strongly linked to nature, lunar cycles and seasons, land and water. In this excursus of history and traditions I will try to explain one of the oldest customs in the whole Mediterranean. EN

The Sardinian Karrasecare. The origins of the Sardinian carnival date back to at least 3,000/3500 years ago. Since then, these ancient traditions have undergone a systematic demolition by the invading peoples and by the most bitter enemy: Christianity. The latter, as his custom, tried to incorporate the pagan tradition into its customs and sanctifications, manipulating the parts most contrary to its principles, completely emptying the ritual sense of Karrasecare (Sardinian carnival) Recently the tradition of the Sardinian Carnival masks has returned to talk about itself, leading many scholars and folkloristic associations to claim the anthropological and ethnographic interest of this rare archaic event. In Sardinia, Carnival is an arcane moment. Legend, fear and tradition, which is expressed in a climate of dramatic celebration. Traditional masks become anthropomorphic, becoming goat, deer or bovine from time to time. Reflecting in a grotesque key the relationship between man and nature, which has always been the companion of an agro-pastoral civilization that shows itself in all its manifestations in propitiatory dances, linked to the rhythms of nature and the cult of pre-Christian divinities, representing the most authentic expression of the soul religion -spiritual of Sardinia. Other behaviors of 120

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the agro-pastoral life in the traditional masks of Karrasecare are also found in the poses that the figures have in the parades, in clothing, and in the fatal and dramatic atmosphere of the representation of the submission of animals to man or their death at the hands of the master. The same word, or “Karrasecare” means “carre’e secare”, where the term “carre” would indicate human flesh, so the term “carrasecare” would give meaning back to the ancient Dionysian rite proper, where kids, calves or deer were torn to pay homage to the child Dionysius, torn to pieces by the Titans. The cults of Mother Earth dedicated to Dionysus, Demeter, Diana, often linked to the cycles of nature and the seasons, or of the waters and more importantly than fertility, were slowly suppressed by the Christian movement that finding an indigenous saint or martyr , was attributed to him a miracle connected with the cult that was professed in the sacred, but pagan place, and superimposed it on the original. Then came from nowhere, saints who had performed miracles related to the rains in the wells or in the sacred sources of the ancient Sardinians, or prophets who treated diseases where the idolaters, they believed, could be healed; and other saints capable of saving from the floods or drought the harvests where Ceres and related deities were venerated. Certainly in Sardinia the overlap with Christianity occurred centuries later than in other areas of Europe and


especially in a lighter way. It is for this reason that ancient traditions can be found much clearer and more precise than the rituals that were done thousands of years ago. The masks of the Sardinian carnival change from country to country, but retain a series of features that unite them, almost all of which have a unique origin. An archaic, violent cult linked to the fertilization of Mother Earth and the Dionysian sacrifice.

a dance made of rhythmic jumps, aimed at making as much noise as possible, trying to remember the sounds of a large approaching flock. The issohadores are instead humans, also with their faces altered and dehumanized by mysterious white masks, dressed in red jackets and white pants. The mamuthones try to escape from the issohadores who, armed with laces, occasionally catch one, who writhes and complains.

Sardinia risked the forgetting of these traditions in the period of the great wars. The young men were forcibly removed from their countries and countryside to go to fight. Many young people did not know the soul-spiritual traditions from the elders and the Karrasecare (carnivals) were gradually abandoned. Luckily, in recent decades, attempts have been made to reconstruct at least the apparent form of those ancient lost rites, but some scholars have recently been looking for the true archaic cults of this fabulous Karrasecare.

Once this was a real ritual that had its roots in the agro-pastoral world where the captured mamuthones were victims of a sacrifice linked to the prosperity of the flocks and crops.

In fact, for some years there has been an evolution of parades in traditional masks throughout Sardinia, in which tourists never fail to participate. Among the masks we mention the mamuthones and the issohadores of Mamoiada, the best known Sardinian Carnival. The former have anthropomorphic masks of black wood, colored with coal. They have sheepskin and heavy bells on their back, which announce their arrival from afar. The mamuthones in the carnival parades march solemnly, performing the steps of

In Ottana we have other important masks in the Sardinian carnival tradition, which always have in common the agricultural and pastoral world: the boe, merdĂšle and Filonzana. The boes are the representation of oxen. They have large sheep or goat coats, a band of gigantic bells of consistent weight (30-35 kg) and beautiful bovine masks with carved leaves at the height of the cheeks and with an eccentric star-shaped forehead symbol, the sense of which remains secret. The mask is equipped with almond-shaped eyes, the pronounced snout and the long horns, straight or curved inwards. MerdĂšles are a different version of issohadores but always play the same role. Wearing the same skins as the boes, they have black velvet trousers and a handkerchief of the same color on the head. They wear very disturbing anthropomorphic masks, black as embers, deformed february 2020

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and grinning as if they were old shepherds consumed by fatigue. On their shoulders they wear a brown tanned leather bag: “sa taschedda”, where they put “su smurzu”, or lunch. They walk with difficulty holding on to a stick known as “sa pilacca”, spreading gloomy complaints from behind their masks. The boes are often yoked together and pushed by zirogne (ox nerve whips) by merdùles, who interpret their human masters. The boes can kick, get mad, drop on the ground. When this happens, the merdùles kneel and calm down “on boes”, caressing and encouraging him so that he gets back on his feet and starts his work of plowing the soil in a primitive ritual of fertilizing the earth. The two figures that close the Karrasecare procession are the merdùle that carries “s’orriu”, a cork drum covered with cowhide that inside has a long rope that is rubbed by the hands, greased with merdùle fat. This produces a dark and low sound that serves to calm the boes, making them more gentle and collaborative. If the boes continue to get mad, the most terrible character of the Karrasecare from Otano intervenes: the Filonzana. This mask depicts an old woman, all dressed in black like Sardinian widows with a skirt and small shawl and hump. He wears black muncadori (the handkerchief) on his head and a mask made of black 122

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pear-colored wild pear wood. The wild pear is sacred to a whole series of deities such as Persephone, Zeus Katactonios and Kronos-Pluvio, widespread throughout the Mediterranean although with other names. No carnival mask is impersonated by a woman, and therefore also knows Filonzana is a man who moves in a graceful and dangling way. He carries with him a spindle and large scissors. Filonzana is the mask that weaves the thread of life, an enigmatic, terrifying and dark figure. In the ancient world sa Filonzana had a very powerful sacred value. She was the mistress of destinies in the Hellenic tradition. A sacred figure who, if not respected and feared properly, cursed and brought misfortune, famine and death to those who did not prostrate themselves at his feet. In an archaic agro-pastoral world as it was, and still is, the Sardinian one, the superstition and benevolence of the gods played (and still happens) a very important role, and Filonzana was their ambassador in the world. Today the carnival parades are mostly for pleasure and fun, but what if some ancient rites dedicated to the Sardinian Pantheon still existed in some communities?

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On April 25, the pro Loco Vallermosa organizes the “Mountain Festival” and in conjunction with the event on April 18 at 18.00, Rita Pinna’s book “Is Sennoris de sa Luxi” will be presented in the municipal library.

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2020 Towards Tokyo and the five circles by Massimiliano Morelli

Olympic year, 2020, which brings the Games back to Tokyo fifty-six years after the first time, the Olympics which for the fourth time lands in Asia after Seoul 1988 and Beijing 2008. Olympic year, which closes a fouryear period of sacrifices and hopes, sweat and tears. EN

Dreamlike journey of those who dream of the podium, expectations to turn into reality, with all due respect to a blindfolded Goddess who, as in ancient Rome (remember kings and emperors in the presence of the lion and the slave on duty?) Is ready to the thumb towards (or less), to accompany the athletes towards the most unexpected of the victories or the least expected of the failures. Stories that intersect with each other, with the hope that fair play and ecumenical success can win “the important thing is

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not to win, but to participate” dictated by Baron Pierre de Coubertin on the day he gave “a” to birth of the Olympiad of the modern era. The Italians dream, who brush up on the Tricolor on these monumental occasions, and who are able to take to the streets for a goal canceled but not for … who knows … yet another increase in excise duties, or the ax of gabelles, or Equitalia or any other piece of daily life capable of putting people on the ropes. Like a punched boxer about to go to the mat, like that Dorando Pietri who at the finish of a dominated marathon fell to the ground and saw the Olympic medal vanish.


Special Olympic games Tokyo 2020

It was 1908, the boy from Carpi crossed the finish line first, supported by the race judges who had rescued him after seeing him stagger several times, exhausted by fatigue. But because of that help he was disqualified. And the images and the story of his arrival went around the world and in any case gave him to the history of athletics. Here, the Olympic Games retain their charm intact more for stories like this than for records and gold medals, and the one hundred and twenty-four years that separate Athens 1896 from Tokyo 2020 are drenched with similar stories. Stories like that of Emil ZĂĄtopek, who won four gold medals and then ended up working in a uranium mine; Lasse Viren, the first to win double gold in the 5000 and 10,000 meters in two editions in a row; Livio Berruti who wins gold in the

200 meters in Rome in 1960 and Pietro Mennea who emulates it twenty years later in Moscow; and again Ondina Valla and Nino Benvenuti, Mohammed Ali and events that would have had nothing to do with the five circles. The Atlanta bomb in 1996, the boycotts and “Black September, movement affiliated to the Organization for the Liberation of Palestine by Yasser Arafat, who in 1972 broke into Munich in the building of the Israeli athletes: the commandos immediately killed two people and seized nine more. And in the release attempt, which took place at the Furstenfeldbruck air base, all the abducted athletes, five terrorists and a German policeman died. Olympic year, 2020, with the expectation of those who still get excited when the tripod lights up and cry when that fire is put out, waiting for a new edition.

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The Luxellar The Luxellar are an Italian rock band formed in Milan in 2014. It is a duo composed by Sergio Calcagnile (vocals, various percussions, harmonica) and Luca Galimberti (guitar and vocals).They met during a search carried out on the “Villaggio Musicale” website in which they both tried to form a group in order to play acoustically. The first meetings for the rehearsals and the relative first recordings were made in Sergio’s cellar, the place where theirun published songs were created and arranged. EN

Initially the duo was called Megapixel, but later they decided to changeit to Megapixels and then finally with Luxellar. The name Luxellar consists of a fusion of the names Luca, Sergio with the English word cellar whose meningis cellar. From 2014/15, the year of their musical birth, until 2018, they managed to perform in many clubs and squares in Milan, including the legendary Zelig in the “Zelig on mic” program (in which several artists performed in sequence in a musical and stand-up kermesse) receivingparticular feedback especially from the public. Around 2016/2017 Sergio, aka Sir j, began to delight with another passion, writing, managing to reach the goal of publishing three books, one of fiction and two of horror genre, for each of which the Luxellar they began composing their songs. Thanks to this recent activity, the duo also began to offer their unreleased songs live during or before the presentation of the books, promoting a new situation often very appreciated by the Milanese public. In 2018, following a presentation of the book at the Milan juvenile prison, Cesare Beccaria, they proposed some passages during the meeting, obtaining the favorable response from both the prisoners and the management staff, such as to

make the event a reason for meeting perpetrated over time. In the current year, they were contacted for the purpose of a recording production which reproposes part of the unpublished pieces of the duo. The style of Luxellarisnot comparable to currentItalian musical groups, asitis a rock genre with different pop contamination and in some cases with reggae peculiarities, in some cases also trespassing in songwriting. It is simply a Luxellar style. The duo also has the political and social issues of the country very much at heart, so much so that some songs are committed from a humanitarian point of view, composing the songs with absolutely original texts, never taken from already existing subjects, in order to always create some thing original and never taken for granted.

THE INTERVIEW

Who are Luxellars and how are they born and what kind of music do you play? Sergio, Luca: We are a duo composed of Sergio Calcagnile in art Sir j, vocals, percussion and harmonica and Luca Galimberti, in Indianino art, vocals and various guitars. We were born in about 2015, following a research on “Villaggio Musicale”. After several meetings we met and the agreement was immediate, coming to find a harmony also from a personal point of view. Both with the same family situation and above all with a very similar reducation. Everything was confirmed when we started playing around clubs where people liked our performances. The chosen music was of the pop type, then february 2020

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it became a pop rock and then established itself as a pure rock with some pop contaminations, perhaps coming to create a style … Luxellar! What are your sources of musical inspiration?

musical tastes, even if maybe I, personally, taken right from the hair, I would also try to make a song of this kind, while the other sif formulated and adapted with a rock contamination, why not? What are your future plans?

L .: my sources of inspiration are related to blues, metal or rock, jazz, reggae, pop, songwriting, folk and pizzica. I’ve always been very selective, but in the end my musical tastes are quite varied. S .: Instead I listen to a bit of everything in reality, from classical to song writing to rock to punk and so on, a mish-mash of influences. I am absolutely attracted to any musical genre, and I also like current genres, except perhaps for trap.

L .: The future project in the immediate future is a record. Although we are overage (perhaps more Sergio than me … heehee …) we have had the great fortune to meet and meet a record producer who believed in us and in our pieces, willing to invest in our creativity. And today as today, despite not having participated in X Factor or Amici, the so-called forges of artists (alleged) … it is really a lot of stuff to be noticed even only via social media. Why is your name Luxellar and what does it mean?

What are the themesyoudeal with in your texts? S .: Let’s say they are somewhat variable texts. They range from ironic / funny songs to thosethat are a bit busy and then touch on social issues of common interest such as violence against women. In any case, however, thereis a feature that unite sall the pieces. The fact that these are indistinctly stories, narrated in musical form but essentially stories. How do you relate to modern musical genres (rap trap and reggaeton)? S .: Let’s say that the second type of genre is difficult to place among our 128

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L: Actually, we called each other differently. Our name was initially Megapixel. Then they made us think that it was a super used name both in the music field and elsewhere and therefore we tried to change it, first in Megapixels, butitdidnot convince us, and then we arrive data name of pure invention, which does not could take anyone. A name thatre presented the two of us in the places where we were born and raised: a cellar in Sergio’s house. Since the cellaris called cellar in English, we have joined part of our initials and … voila, the name was served. LUXELLAR: But be careful … it took us months to get there, it wasn’t easy at all. Your first album istitled”Born in the cellar” why? S: Because as mentioned above we started to see each other and sing together for rehearsals right in my ramshackle cellarat home, many times in the cold, other times without light, with the stuff piled over the head that sometimes fel l to the ground and we who we had to avoid them so as not to hurt ourselves. A constructive disaster!


Are you a rock duo because choosing a duo and not a traditional band? S: Actually the initial idea was of an acoustic duo, which then evolved over time as a rock duo. And we are very happy in two even if we are aware of the fact that in a future project worthy of respect, a full band will be necessary for live shows. Butat the moment we prefer to act in pairs, with various collaborationscertainly. We both believe that too many heads can ruin balance and amalgam. And this consideration is dictated above all by the respective past experiences. What do you think of the emerging italian scene? L: Thereisn’tmuchemotionallyaround. Thereis a lot from a technical point of view. Crazy singers, well-trainedmusicians… butvibrations… zero cross-section! A thought on what the future of Italian music will be L .: Actually we would be happy if there was a return to songwriting. Italian music has disappeared making room for the American influences of reggaetton, of trapas we said before, and much more. Our originalità is unfortunately outdated. My hope is that we can go back to listening to those genre seven if updated in the 2000s. In your first album there are songs in italian and english why this choice? L: Webelievethat the CD periodis now over. Therefore the current distributionis the online one despite the reappearance - amateur - of vinyl. But in factitis an amateur reality. Therefore an indexed online distribution could surely find greater results but above all some more fun. L. and S : We thank you very much for this interview and we say only one thing: follow us, because the cellar … could make you drunk!

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INTERVIEW: Daniele Borgia PHOTOS: Alessandro Andeatini LABEL: EtroMirroR

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Edizioni EtroMirroR

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C’è un ragazza che legge

SYNOPSIS

10 mini-stories in A4 format for ten images. The book is designed as an art catalog. There is a girl reading 10 unpublished mini-stories by the writer Giovanni Casalegno. Different girls, different places, different lives, different dreams. They are all here, in very few pages. They give pieces of reading, pieces of life with their simplicity and elegance. EN

This book was born almost by chance, from a simple “read and tell me what you think”, through a relationship between writer and publisher. This is because, from a simple exchange of ideas and considerations, the way to go was born or rather reborn. In a moment of stalemate, a synergy of artistic forces was created, between the writer and the artists participating in the text. Not only that, thanks to the imagination and a sheet, a relationship between various nations was triggered, a relationship that goes beyond language and culture. The girl who reads is a push that gives life to utopia: it is the dream of making culture, it is the hope that art will not die. Through this simple, “chilling” reading, because it is clean, almost classic and partly nineteenth-century, we can approach a modern image. The first story is set in the Tate Gallery. As an initial idea, in fact, the painting by Theodore Roussel (1847-1926) Girl Who Reads, 1886-87, was to be the cover.

A journey into the past to enter the present and move into the future. But something has changed in the journey, in the reading and in the image, we have chosen a revisited path of the past or, “Roberta Cavalieri’s” Monet Re-reading“, from Giovanni’s words” it’s perfect! she is looking down, as if reading, she is concentrated, thoughtful, she is sweet, there is the division between shadow and light and many other suggestions “ A past that must not be forgotten, but only set aside to live the present, to savor the taste of the new artistic identity, full of facets, brush strokes, pixels and many life experiences that appear through the writing and the image.

The idea that ignited the first flame for these small stories was a book: Woman Who Read are Dangerous (Abbeville Press, 2016), which provoked suggestions and seductions. Each story was born from crosses with memories, desires, other books, other paintings, other places and this chain of short stories was born that turn on a light on weak and strong women, sad and fierce, dreamers and in love, girls who chase life or they run away from it, but a book always keeps them company. Each story refers to the next, which in turn takes cues from the previous ones and anticipates other stories yet to be written. The reading girl never wants to quit, the reading girl will never die.

Erika Azzarello, with Gravity.”With the transformation fall and get up, believe and dream” ARTISTS:

Thierry Lair (france) his works? They bring the gaze to a new reading, the image in transparency is the representation of what appears beyond the background. The graphics are curated by the digital illustrator Roberta Cavalleri, her is in fact the cover image of Monet’s Re-reading. It will be present with modern digital art, with the past and its reinterpretation, with the photographic retouching of the author from old to new.

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AUTHOR: Giovanni Casalegno PUBLISHER: EtroMirroR Ed. Musicali LANGUAGE: Italian PAGES: 44 COVER: soft ISBN: 9788831261012 PRICE: € 15

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SYNOPSIS

A horror story? A nightmare? A vision? This long story is a journey into a house (real, symbolic, fantastic?) That immediately fascinates the protagonist-narrator and invites him to enter. The visit goes through nine doors and nine rooms: it is a succession of enchantments and wonders, they are different from each other, each with different characteristics of attraction. Having made the first lap (real? Dreamed? Invented?), The desire to repeat the journey and renew the emotions and pleasures just experienced is so intense as to induce the protagonist to want to start again. And so on two more occasions a path is repeated which is constantly different from all expectations and takes on all the contours of a hallucination, which intensifies in a narrative eddy that grabs the reader and leads him to share the delirium.

AUTHOR: Giovanni Casalegno PUBLISHER: EtroMirroR Ed. Musicali ARTISTS: Itzel Cosentino, Marko blesac

(Croatia)

LANGUAGE: Italian PAGES: 82 COVER: soft ISBN: 9788831261029

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Le 9 porte della casa rossa A book designed as an art catalog. Three artists: different cities and nationalities. They mix, change, create thought, art. Completely different artists, in their art yet united in the play of words of the writer Giovanni Casalegno. The exhibition and the book itself is a metamorphosis, a continuous change and synergies. Nothing is stopped and everything moves. From possible errors and oddities arises art and exchange. It is a solo show that divides and unites two worlds of figurative arts, which slip into the red veil of creativity. EN

Marko Beslac: bodies and not. A heart that beats like the hands of a deformed, stationary clock, which starts only through a beat of wings. It penetrates this “suffocation� of Itzel Cosentino, a red veil that covers it. Red as life, you can think of the game of life that suffocates us or of a passion that is not kept in awe. The red (I. Cosentino) that breaks the play of bodies that is the bottom of a

ruined wall. (M. Beslac) With the silence and melancholy of an empty chair. Of the fear and suffering of the past. Of the desire to find that person close (a specific person who is not known to us) is a metaphor and a metamorphosis. Where the bulb par excellence is light. Idea! Here a brain that thinks, demonstrating its identity. A path that passes from a modified digital photo. Portraits of men and women. Across cities to end up in your self-portrait. In this color game of non-color. Opaque and shiny but always dark, strong that vibrates with the lights and the play of shadows of gray and blue, the bright red of suffocation enters. Two different identities, two different artists, who perhaps manage to tune in. Through a strange metaphor, a story that tells the writer Giovanni Casalegno in his book the 9 red doors.

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Tacco e punta Giuliana, tacco e punta! “The “one hundred thousand” lives of Giuliana Salce the story of a woman like so many more than an extraordinarily successful athlete”. More than the story of the athlete, the author tells the behind the scenes of a Pirandellian life, “one, nobody and one hundred thousand” style, bringing to light more or less well-known facts of a woman like many others, amidst violence suffered as a child, harassment suffered during the first marriage, anorexia, bulimia and doping remnants that involved the “lady of the Italian march” first as a victim, then as the first accuser. Life and passion, disappointment and revenge, “Tacco e punta Giuliana, tacco e punta!” Is the cross-section of the existence of a woman, who has become a character despite herself, in which every woman can be mirrored. It is the confirmation of a series of complaints carried out to get rid of a burden, to get out of the web of a series of existential dramas, to offer a way out for those who have lived, or still live today, similar moments without having the courage to admit them not even to one’s self. For the occasion, although for many it could be a “stylistic” choice for many questionable. An “Soul” artistic project

will be inserted where Giuliana Salce will tell her story in a different way through a photograph and a technical sheet “…people are told in an intimate and personal way, going to show to an audience, what the subjects represented would not go out of their own free will…” Marcello Mariano.

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AUTHOR: Massimiliano Morelli PUBLISHER: EtroMirroR Ed. Musicali ARTIST FOR SOULS I: M. Mariano PHOTOGRAFER: P. Corrias LANGUAGE: Italian PAGES: 138 ISBN: 9788831261005

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New Releases

SYNOPSIS

The 2000s, in a city in Sardinia an archaeologist makes an exciting discovery that will take her and her grandchildren on an adventure full of twists and turns in an inland village: Villacidro. Strange deaths and bizarre incidents will lead to the unveiling of a series of secrets that Villacidro has kept since time immemorial. Giants, Janas and unusual presences will fight to the last in the meanders of the Linas massif one of the oldest lands in Europe dotted with waterfalls and forests, lakes and rivers. 5184 BC A tribe in contact with gods sets the stage for modern history. In a crescendo of twists and action, a group of kids will come to discover the origins of the world known to them.

Is Sennoris de Sa Luxi Is Sennoris de sa luxi is a text created in the photographic catalog format, tells a story and presents Villacidro. Through legends and reality. Of its origins and its history. Including its language (southern Sardinia) deliberately inserted.

from 2009 to 2014. Vice-president of the Valderoa sports club at its foundation in 1999. Currently director of the Ente Mauri Foundation.) In the preface.

This work was created to show Sardinia in a different and unknown way to most people. It will have the participation of Giuseppe Marras (Component of the group of archaeological documentation at the UTEV of Villacidro.

The photos of the bishop’s palace that Monsignor Angelo Pittau made available for the first presentation of the book Is Sennoris de sa Luxi

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WRITER AND PHOTOGRAPHER: Rita Pinna PUBLISHER: EtroMirroR Ed. Musicali GRAPHIC DESIGN AND DIGITAL ART: Roberta

Cavalleri @ZenCaos Creative LANGUAGE: Italian PREFACE: Giuseppe Marras POST PREFACE: Cenzie Loparco ISBN: 9788831261036

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Public presenter of novels and poetry books (among the authors: Davide Mura, Efisio Cadoni, Pibiri, Cristiano Dotto, Angelo Pittau, Stefano Zecchi, Mario Baudino, Massimo Onofri, Oscar Cabriolu, Salvatore Capra, Salvatore Sanneris, Franco Gioi, Emilio Podda, Anna Steri, Giorgia Garberoglio, Pierpaolo Chia. President of the Giuseppe Dessì Foundation and member of the jury of the Dessì prize

The afterword by Cenzie loparco, already participating in the first edition. We are talking about 60 photographs including captions from Villacidro and surroundings. In addition we will have the artistic works on the digital art by the illustrator Roberta Cavalleri, owner of ZenCaos Creative Agency, who will take care of the entire graphic project and realize the double cover art.

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Asfissia di emoglobina A different book of poems. A book from the end to the beginning, from right to left. Created on the contrary and breaking the concept of book itself. “… Straight to the heart. Roughly, without tortuosity. With his gaze firmly planted on the ground and his legs immersed in a salvific mud. “ EN

Hemoglobin asphyxiation: blood, the foundation of life, no longer receives oxygen, finds no more stimuli, feels inadequate, wrong, heretical compared to daily injections of artificial substances given by force in a beautiful container. All security is liquefied, walls are broken down and bridges are created in the name of the wealth of sharing, evanescent dialogue is sanctified, and instinct, an integral part of man, the main root that anchors us to the ground and reminds us

where we come from , is put to the sedan; too problematic, too compromising. Better to align towards an entropy that harmonizes in mediocrity, eliminating the extreme motions of the soul. Something not too far from the “new world” that certain authors described, but without violence, without trauma, walking voluntarily towards the abyss, with eyes turned towards the wonderful holograms kindly granted by the technocratic octopus… The author deludes himself that he wants to make decadence a rebirth. EtroMirroR reinforces its illusion, because reality arises from an illusion.

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AUTHOR: D.Longrave PUBLISHER: EtroMirroR Ed. Musicali LANGUAGE: Italian

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SELF project

The Self & EtroMirroR project is dedicated to all writers who publish themselves, that is, on self published platforms. The writers remain independent, however, having a publishing house that supports them in advertising, dissemination, placing them in circuits from which they would be excluded. It remains an innovative project and out of the editorial scheme. For this reason, there will be another type of editorial contract. EN

It is specified that the C.E. does not ask for compensation in money and as all the texts of EtroMirroR are highly selected. Among the self texts we have:

L’uomo che misurava il tempo di Angélique Gagliolo. In this issue, you can read the writer in her article Pesariis the city of clocks, to which the aforementioned book is dedicated There are incredible stories that are born in the most banal way. This story too was born in this way, in the most banal way, but it will be a great story and the beginning of a legendary adventure of a brave man and many people who will be lucky enough to meet him on their way. We are at the end of the 1700s and a foreigner arrives at night, in the middle of the storm, in a small mountain village in the Carnic Prealps, but he 136

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will bring with him great news and a new way of life. Spano Solari is a mysterious man who builds strange gadgets to measure time. To the normal distrust that accompanies all small communities in front of foreigners, there will be added the mystery for this person’s past and his bizarre habits. What is its secret?

The writer Rita Pinna who in the magazine tells the Sardinian carnival (and not only) with her three books: Il Segreto degli Alagon: Quando i sogni uccidono. In 1544, James of Alagon was called by King Philip II to defend Sardinia from the raids of the Ottoman pirates. He defeats them near Desulo and takes possession of their treasure. The future Marquis of Villasor finds among the precious objects an artifact that the enemies believe to be divine: a simple urn, which, however, releases enormous power. In modern-day Cagliari, a young woman and a doctor are connected through their dreams. The two end up at the center of an affair made of ambushes, murders and threats: a brotherhood seeks the urn by any means, and Viola is the only one capable of controlling its power. Also, something happens on the verge of human understanding: divine creatures descend to


Earth to claim what once belonged to him.

La solitudine degli dei Thirteen thousand A.C. a ship docks in the cliff under a fortress. All the inhabitants, except women and children, are found dead covered in blood and flies. Nowadays an archaeological expedition works under the castle which was the residence of Violante Carroz. The mystery deepens when some soldiers of the nearby Military Base stop the excavations. Legends and Sardinian folklore mix with fantasy / thriller surrounded by fantastic places to really visit.

AUTHOR: Angélique Gagliolo PAGES: 96 LANGUAGE: Italian FORMAT: Kindle Format SOLD BY: Amazon Media EU S.à r.l. ASIN: B079HPKVG3

AUTHOR: Rita Pinna PRINT LENGHT: 74 LANGUAGE: Italian PUBLISHER: Independently published (5

settembre 2018) ISBN-10: 1720099014 ISBN-13: 978-1720099017

Ribelle Fresh, simple stories, no modern and non-modern virtuosity. They talk and tell about ideas, facts, special and causal encounters. At each word, you can glimpse a grain of sand of what the writer might be. An almost melancholy vein like the force that appears veiled. All feelings and emotions play at: “I see and do not see, I read and do not read”. The same possible images represented are turbulent, almost stormy, ready to explode. Unreal silence that leads you to continue reading, because a strong personality asserts itself. A woman like many women. That tells of life and sometimes impossible, unreal but not for this reason false appearances. The zen goat with whom I go to dinner is enough.

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AUTHOR: Rita Pinna PRINT LENGHT: 52 LANGUAGE: Italian PUBLISHER: Independently published (27

maggio 2018) ISBN-10: 1983013021 ISBN-13: 978-1983013027

AUTHOR: Rita Pinna PRINT LENGHT: 62 LANGUAGE: Italian PUBLISHER: Independently published (8

febbraio 2019) ISBN-10: 1796437824 ISBN-13: 978-1796437829

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Le formiche nel prato di neve

IL RACCONTO

di Giovanni Casalegno

Il muro nascondeva l’altra metà del sole ed io mi chiesi se stesse spuntando o morendo. Albe e tramonti in quegli anni erano uguali e le stagioni non modificavano la mia pianta umida di malumori senza risposta. Sapevo invece troppo bene dove andassero ad affondare le radici di quella pianta nefasta, sapevo che avevano raggiunto le rocce dove scorrevano le vene del sangue malato, sapevo che attingevano alla sorgente del rimorso dove confluivano tutte le mie incapacità di agire. Avevo perso tutto per non aver compreso al volo la gravità di quanto stava accadendo e per la mia inedia paralizzante. Non lo avevo ucciso quando ne avevo avuto la possibilità. Quel pomeriggio quando lo vidi scendere dall’auto e fermarsi al mio richiamo con quel sorriso indisponente sotto il suo naso di aquila avrei dovuto usare l’arma che avevo portato con me per affrontarlo e invece esplose la stasi: la mia voce vigliacca riuscì a soffiare soltanto vaghe minacce, pericolose come lo scoppio di un soffione. Persi l’istante e poi fu tutto troppo tardi. Un’altra occasione per spegnergli quel sorriso beffardo non giunse mai più. La mia vita finì in un gorgo di uffici e di calcoli che non tornavano mai e aprivano altri baratri senza uno spiraglio di luce. Mi parve di essere stato lanciato nella tromba delle scale e di scendere girando e osservando un vortice intorno che mi avvolgeva e mi avvitava verso un buco nero che avrebbe ingoiato tutta la mia esistenza. Non riuscii più a risalire e distribuivo le colpe a me stesso, inetto e vigliacco, e al mio ex socio, da allora nemico e soggetto di ogni mio sogno di vendettta impotente. IT

Il sole a metà oltre il muro mi illuminava ancora il tavolo di una stanza rimasta

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vuota dopo la mia fuga dai creditori e anche dalla paura di vedermi davanti allo specchio. Non ero più tornato in questa casa, dopo il sequestro non potevo più tornarci. Avevo portato via tutto ciò che mi interessava, troppe schegge di ricordi che mi fecero soltanto del male, ma che in seguito ringraziai d’aver avuto il coraggio di affrontare. Mi diedero soltanto quattro ore di tempo, con un mastino spelacchiato e gibboso che mi incalzava. Portai via tutto, ma soltanto due o tre giorni dopo mi resi conto della dimenticanza. Come avevo fatto a dimenticarti? Ricordo benissimo perché. Ti avevo trascurata ormai da tempo, da quando avevo abbandonato ogni mia illusione di poter trasformare tramite il tuo intervento le onde del mondo in segni di senso. Ero illuso che tu potessi essere l’antenna per recepire i segnali. Ma tu non hai avuto nessuna colpa: il fallimento è stato causato totalmente dalla mia inabilità. Non ricordavo più dove ti avessi lasciata: quando si abbandona non si presta attenzione al luogo dello scarto, tu non eri più nulla per me, oramai ero tutto proiettato verso altri ordini di grandezza, altre ambizioni, allora certezze, altre scalate verso cime ben visibili illuminate dal sole. In cinque anni le scale diventarono corde sfilacciate lasciate ondeggiare nel vuoto. Il sole era la faccia del gatto oltre il naso e faceva brillare polvere ovunque. Impronte di varia misura hanno lasciato il segno dopo la mia partenza frettolosa. Non sapevo dove, ma c’eri, di sicuro c’eri e chissà dove dormivi nel tuo forzato letargo. Tu sicuramente non mi avevi tradito. Non era stato un tradimento la mancata realizzazione delle mie ambizioni. Non sapevo perché volessi cercarti in quella


casa deserta e svuotata da ripetute visite di ladri. Forse ti avevano rubata. Non tornai anzitutto per te, ma per una fotografia. Avevo perso tutto, almeno un frammento di ricordo volevo averlo e quando mi resi conto che la persistenza di lei nella memoria si faceva sempre più debole fui costretto a ricorrere all’unico oggetto che avrebbe potuto mantenerla viva, la sua figura sorridente seduta sul tronco di legno e con il lago della diga alle spalle. Quella fotografia non volli prenderla quando me ne andai, anche lei doveva finire nel tritarifiuti dell’odio. Cercavo lei e non te e ho trovato te e non lei. Tutte le fotografie, da quanto mi ricordavo, erano sempre state in un cassetto di una credenza nel salotto, un vecchio mobile non di pregio a cui ero legato perché apparteneva a mia madre, che sempre lo citava dicendo d’averlo acquistato con i primi soldi guadagnati facendo la lavapiatti. Quella credenza era stata costruita con una abilità artigianale rara: non aveva un chiodo ed era tutta smontabile, poiché a tenerla insieme erano tanti pioli ad incastro, in anticipo di mezzo secolo, almeno, sui componibili svedesi. Fu la sua sfortuna la facilità di smontaggio perché la credenza finì nel camino del salone, chissà da chi condotta a quell’inutile e crudele esecuzione. Ne trovai i resti scomposti ancora abbandonati a comporre una sorta di edificio bombardato. Le fotografie erano morte con il loro cassetto e soltanto qualche bordo dentellato ne testimoniava l’antica esistenza. Guardai dalla finestra e trovai un’alba di lava salire dall’orizzonte che bruciava e pensai alla “purpurea creatura che incantò tutta la collina” di una poesia di Emily Dickinson e non so per quale

remota associazione fu in quell’istante che ti vidi, caduta da uno dei cassetti, abbandonata tra i pezzi polverosi della carcassa della credenza, fredda per gli anni dell’abbandono. L’alba di fuoco, forse, fu lei ad accendere la rivelazione: tu avresti fatto cambiare la mia esistenza. In quell’istante non sapevo ancora come, ma seppi immediatamente che lo avresti fatto. Ti presi con rispetto e ti riconobbi: avevi una storia lunga e la luce che stava entrando la riportò subito alla memoria. Ti accarezzai senza chiederti nulla e senza sapere che mi avresti dato un sangue nuovo che non avevo mai saputo di avere nella anse secche della mia aridità. Tu hai ridonato vita alla mia desolazione, tu hai fatto nascere cattedrali da dove il tempo inutile aveva fatto crescere sterpi invadenti. Tu hai aspirato ogni goccia della mia anima e l’hai fatta germogliare. Ti ho scoperta oltre le scorie del tempo e ho ritrovata intatta la tua forza generosa. Ti ho sfiorata con lentezza e ti ho conosciuta per la prima volta sotto le dita o forse eri stata proprio tu a parlarmi tanti anni prima in una notte fredda di lune che scomparivano e tornavano e io invocavo una presenza impossibile in quella casa sperduta in un paesino di ombre, dove non ricordo come ci arrivai e mai ci sarei più tornato. Tu hai fatto ritornare tutte le mie lune scomparse, rimaste impigliate negli alberi dalle braccia di scheletro che di notte catturano tutti i sogni vaganti e ingenui che si perdono nel buio e non riuscono a trovare la casa nel bosco evocata da una fiaba lontana. Tu hai seguito le onde del mondo, le hai catturate e poi restituite con le forme circolari ed eleganti che da te uscivano naturalmente, come formiche disciplinate su infiniti prati di neve. Tu mi hai reso possibile.

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Peli di carta IT

di Antonio Imbandito

Oltre una grotta c’era un passaggio; scivolai a prestarvi fede, eppure in quei passi venne scritta l’attesa dell’amore. Quando una mano tesa come un fucile s’armava contro me, rimasi col cuore in alto. M’ero perso entrando e mi ritrovai uscendo.

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La vita s’arrangia straniera nelle lingue, in quegli spazi di selvaggia natura, laddove non v’è prospettiva tra parole, pensieri ed emozioni; è già nuda e non s’aspetta i tuoi vestiti.

Nello spazio d’una giornata, la memoria traccia i confini massimi d’una circonferenza che ha i suoi limiti nel coraggio del tempo.

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Asfissia di emoglobina IT

di Dennis Longrave

Un proiettile da forgiare Un troppo che tace Noia, questa bolla vischiosa che ci tiene racchiusi, una violenta sospensione, per chi ha dimenticato la guerra, tutto affoga in questo mare, le tavole dei giudici, i sermoni del saio, le nebbie tossiche e la frusta dietro il cemento, da ronzini spaventati galoppiamo verso il calore, mandrie di eretici, santi eserciti, per riempire un contenitore senza pareti, ingozzati porci eppure mai sazi, caccia al senso, fiamme per i ritardatari, ogni notte svuota e sviscera i figli di ieri, sogniamo pasti eterni costruendo lancette… il trono resta vacante e la pellicola è finita.

LIBRO IN USCITA NEL 2020 EDITORE: EtroMirroR Ed./Ed.Musicali

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Il vuoto scava nelle frasi incompiute la ruggine si accumula sulle ali e i morsi sanguigni rubano pezzo per pezzo la rivalsa che non trova spazio ma la carne, la carne fatale e marchiata quella continua a spandersi disegnando spirali d’odio a ogni passo per ogni goccia che va a sperdersi nelle fogne della demente materia che sento calcare all’estremo angolo dove ciò che non ha dimora attende con il dito sul grilletto

Progresso Inviate ai vermi questo messaggio: la folla è sola, e teme la compagnia. una pozza macchia il centro, ognuno la fissa come spento, e c’è chi vi vede un nuovo dopo, un nero disegnato, mentre le talpe raspano nei grovigli umani, intrappolati nel catrame ma sempre programmati, a scavare… il vuoto.


Poems by Stella Chaviaropoulou / Stella CAVIART

ΕΣΥ, ΟΛΑ ΔΙΚΑ ΣΟΥ IT

EL

Βελούδινα αγγίγματα ατέλειωτοι κρουνοί χαράς άδολης και ατέλειωτης. Ζεστασιά ανομολόγητη κρυμμένη στα πλεγμένα δάχτυλά μας. Αρκούν να σπάσουν τις αλυσίδες του Κόσμου!

ΑΦΙΕΡΩΜΕΝΟ Λευκά φιλιά από ζάχαρη και χιόνι στην αιθέρια, σαν φωτιά ανοιξιάτικη, πτυχή της φούστας σου θα στείλω… Να φωσφορίζουν στο φως, στο πέπλο που σε καλύπτει… Να σου φωτίζουν το βλέμμα όταν όλα παγώνουν… Να σε απογειώνουν όταν όλα κι όλοι σε πλαισιώνουν με βιάση και «κόκκινο». Να σε ταξιδεύουν Να σε ξεκουράζουν… Να σου θυμίζουν τη δύναμή της ευθραυστότητάς σου στην τέλεια, πολυσύνθετη ύπαρξή σου. Αυτήν, που περήφανη, μοναχική μα όχι μόνη, Δημιουργεί Στον πυρετό και το ξάφνιασμα της ζωής που την ακολουθεί με ζήλεια…

DEDICATED White kisses of sugar and snow in the ethereal, like a spring fire, aspect of your skirt I will send … To glow in the light, in the veil that covers you… Lightening your eyes when everything freezes… To take you off when everything and everyone around you with rape and “red”… To travel you To rest you … To remind you of the power of your fragility in your perfect, multifunctional existence. The one who is proud, lonely but not alone, Creates The fever and the startle of life following her with envy… 2006

YOU, ALL YOURS

2018

Velvet touches endless taps of joy Irrelevant and endless. Warmth that cannot be told hidden in our braided fingers. Just enough to break the chains of the World!

ΟΙ ΕΡΩΤΕΥΜΕΝΟΙ

2019

Ακροδάχτυλα απαλά κι αγγίγματα. Κάλυκες χειλιών, κόκκινοι, για φιλήματα. Ώμοι ρόδινοι για χαμόγελα. Μεταξένια μαλλιά χρυσά για χαιρετισμούς δίχως όρια γράφουν ιστορία στην άμμο καθώς η ήλιος καίει Δίχως να σκεφτούν μην έρθει η παλίρροια και τα σβήσει με μιας Έτσι οι έφηβοι αγαπούν Έτσι κι οι ερωτευμένοι όλου του κόσμου!!

THE LOVERS Gentle fingers’ end and touches. Lip caps, red, for kisses. Pink shoulders for smiles. Silky golden hair for endless greetings they write history in the sand as the Sun burns. Without thinking don’t come tide and erase them one by one. This way teenagers love. So do the lovers of the whole world!! february 2020

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Leaf by Roberta Cavalleri @ZenCaos Creative ArchLove Magazine


SYNOPSIS

Having your “ourses”, your “ragnagnas”, your “coquelicots” or “ l’Armée rouge dans sa culotte “ …: whatever it is called, this natural phenomenon which consists, for women, in losing a little blood every month (without dying of it!) remains a taboo in all societies. To end this injustice, Élise Thiébaut invites us to explore the underside of the rules in a way that is both documented, educational and full of humor: from her personal history, she makes us discover the secrets of the kamikaze oocyte and mayonnaise, the astonishing history of periodic protections (as well as their dangers or pleasures), the strange uses that religions have sometimes made blood menstrual… And many other things about this fluid, which, according to the latest advances in science, may well be an elixir of youth or immortality. So, is it time to change the rules? The menstrual revolution, in any case, is underway. So, is it time to change the rules? The menstrual revolution, in any case, is underway.

Ceci est mon sang This is my blood “Petite histoire des règles, de celles qui les ont et de ceux qui les font” It is the director who writes and many know me as the one with contradictory stylistic choices. EN

In this case I present a very simple text but with important contents that every woman can find and if she wants to discuss it. In Italy, for example, this is not done, the Marquis does not speak. Why propose it? Nowadays knowledge passes from writing to the figurative arts. Artists engage with serious concepts. And here from west to east we have seen and will see everything.

FACEBOOK

/Ceciestmonsang1

CECI EST MON SANG

“Petite histoire des règles, de celles qui les ont et de ceux qui les font” AUTHOR: Élise Thiébaut EDITOR: La Découverte ORIGINAL LANGUAGE: French TRANSLATED LANGUAGES: Italian, Two versions in Spanish: Spain and South America, Korean, Turkish, Chinese

A book that has been translated into several languages: Italian, Spanish: two versions: Spanish and South American, Korean, Turkish, Chinese. The same writer is an important French journalist Élise Thibaut born in ‘62 is a journalist and author of a collection of short stories and many books dedicated to women’s rights. She is a member of the Avocats sans frontières France association. I will not describe or tell further, it is a text that should be translated into English.

I now propose the synopsis and some small sentences: “I am neither a historian, nor an anthropologist, nor a doctor. But between the ages of thirteen and fifty-two I bled almost every month, sometimes I was sick, I was afraid, I asked myself questions that remained unanswered or I had answers that I didn’t like, I was also happy, from time to time , I learned from myself and I learned from other women through this experience which, despite being of an absolute banality, was so little shared, so little told that it was thought that menstruation was basically something imaginary, like unicorns or the sirens.” “Many people in the West do not believe in this stigma (of the women of the world), often because the word seems to imply that those who have menstruation are marginalized or throw stones. But this is not stigma. It is the inability to speak clearly and casually about one’s body. It is feeling the need to apologize when it comes to menstruation. It is to

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ask a friend softly for a sanitary napkin instead of doing it openly, as you would if you needed a patch.

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A rchit e ctu re

Bruno Agostinelli Architetto Studio di architettura. Attività professionale prevalentemente esercitata: Libero professionista, dal 1982 , nel 2008 è direttore tecnico della società di progettazione Archzone srl. IT

Ancora studente nel 1977 inizia il tirocinio dell’attività professionale presso lo studio T.A.U. di Roma dove acquisisce una conoscenza del mestiere, coltivata in una dimensione di “bottega-laboratorio” a contatto con i maestri della migliore scuola Romana. Sin da subito è impegnato in iniziative concrete come la costruzione-ristrutturazione di abitazioni private, sistemazioni di parchi, interventi su edifici pubblici, recupero di centri storici, progettazione pianificazione urbanistica, restauro e costruzione di edifici religiosi, correlate da una intensa pratica professionale, a stretto e proficuo contatto con le maestranze artigianali e le problematiche di cantiere. Nei primi mesi del 1988, lascia lo studio T.A.U. di Roma e trasferisce il nuovo studio sui Colli Albani dove attualmente a Nemi è la sede sia professionale che della società di progettazione Archzone srl. La continua ricerca progettuale sugli organismi architettonici e tipologici della residenza, resa possibile dall’intenso tirocinio giovanile e dalle differenti esperienze, hanno contribuito progressivamente a far maturare la sua formazione professionale ricevendo incarichi per la ristrutturazione e/o progettazione di tipologie edilizie residenziali e non. Dal 1999 è membro della commissione tecnico-scientifica per la ricostruzione

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della I° nave romana di Caligola, ritrovata nel lago di Nemi. L’attività attualmente svolta spazia negli ambiti più generali, della progettazione urbanistico-edilizia al design sino all’archeologia sperimentale, tutto nel rispetto della tradizione e teso alla ricerca di forme e tecniche attuali ed innovative. Sempre nel 1999 inizia la collaborazione con il musicista e compositore statunitense Alvin Curran (http://www. alvincurran.com/Curran_bio.html#collaborations) e l’artista finlandese Lilli Stenius, con i quali in occasione di alcuni concorsi internazionali avvia, in un team di progettazione multi disciplinare, un percorso di ricerca basato sulla multidisciplinarità delle diverse culture ed esperienze originando così quel processo di integrazione di competenze che sviluppa idee stimolanti ,innovative ed insolite . Esperienze capaci di trasmettere emozioni che si traducono nelle proposte progettuali dei concorsi internazionali per: - Un segno luminoso per Milano 2000, WORLD TRADE CENTER, - Site memorial competition New York (2003), - Museo del Design Milano 2013 Esporre il Compasso d’oro. Recentemente entra in contatto con Vincenzo Viva che gli propone di intraprendere insieme un nuovo percorso di progettazione per trasferire e dedicare la sua esperienza progettuale al mercato USA. E ciò significa:

Relazionarsi, con un territorio che per la sua vastità ha definito e influenzato strutturalmente la crescita della città orizzontale dove lo spazio geometricamente severo, all’interno di griglie più o meno regolari si organizza e si caratterizza con edilizia a piccoli blocchi o villini. Confrontarsi con l’incontro di diverse componenti etniche e di tradizioni culturali, di impianto urbanistico a raso strutturata a maglia ortogonale dove le caratteristiche morfologiche del modello urbano consolidato costituisce il tessuto abitativo diffuso, con un modulo edilizio che genera nel continuum urbano, una trama edilizia e viaria che si espande a raso e si presenta come città bassa partendo dal tessuto storico da cui è partita ed allo stesso tempo si è integrata. Avviare, insieme una collaborazione che dà origine a una nuova idea progettuale dove la forma, legata a significati tradizionali, muta creando un rapporto comunicativo con il fruitore solleticando le sue capacità penetrative e di conoscenza dell’oggetto, dando origine ad un rapporto di reciproca curiosità. Le proposte sin ora avanzate e qui riportate sono quelle che subito, per intuizione o peculiarità, hanno attirato l’attenzione del progettista E CHE SONO STATE OGGETTO DI RE-MAKE. Chiaramente non vi erano clienti con specifiche richieste da soddisfare, limitazioni economiche sul budget, e DESTINAZIONI da IMPORRE, per cui l’intento è stato quello di proporre quanto già colto nell’edificio come un’operazione di re-design generando un qualcosa che destasse curiosità lasciando il compito della descrizione più alle immagini che alle parole.


Il progetto Proposta per un insediamento turistico di qualita’. Il progetto si inserisce negli ambiti tematici della “Industria culturale e creativa” e del “Turismo e impresa e giacimenti culturali paesaggistici”, raccogliendo il bisogno espresso dal territorio (di un apporto di conoscenze specifiche e di una messa in rete di alcune realtà imprenditoriali e sociali impegnate nella realizzazione di esperienze connesse ai temi della sostenibilità, non solo ambientale ma anche economica e sociale. In particolare attraverso la demolizione e ridefinizione di uno spazio attualmente occupato da edifici industriali dismessi si procederà con un processo di rigenerazione urbana per la realizzazione di un insediamento turistico di qualità, dove il costruito, concettualmente a forma di insula romana ( ma su pilotis e volutamente ubicato solo al primo livello ) si amalgama con il verde sottostante del parco pubblico e si rapporta sia con il territorio stesso che con la forte presenza del fiume Tevere. L’edificio si presenta a planimetria allungata ad interassi variabili scanditi

BEFORE

dall’aggregazione delle camere. Questo tipo di soluzione è anche pensata per permettere la costruzione del complesso a stralci. Lo studio delle caratteristiche ambientali ed energetiche del sito costituiscono la base di partenza di una progettazione climaticamente orientata. Infatti la soluzione adottata permette di controllare l’esposizione solare estiva con schermature esterne e sfruttare quella invernale, attraverso l’utilizzo passivo dell’energia solare sia per il riscaldamento che in termini di luminosità degli ambienti. L’intervento dedicato al tema delle energie rinnovabili ne amplia i contenuti in direzione di uno studio interdisciplinare del territorio e di una possibile apertura alla città. Il Progetto è concepito in termini di un sistema turistico territoriale, vuole integrare l’offerta con lo sviluppo di progetti di ospitalità e fruizione turistica innovativi nella forma della ricettività (albergo diffuso) e nei contenuti (turismo di relazione

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WINTER GARDEN

PLAN GROUND FLOOR

PLAN GROUND FLOOR

ROOF GARDEN

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COVER PLAN COVERAGE

DRAWING FOR SAVANNAH 27 MONTGOMERY ST

COVER PLAN COVERAGE

AB 27 M

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A rchit e ctu re

e di narrazione; eco-gastronomia; itinerari storico-etnografici-naturalistici). La proposta tiene conto del coinvolgimento del territorio, integrando nella ricettività alberghiera il riuscito concetto di lavoro in rete. Grazie all’integrazione di uno spazio di co-working, in cui gli ospiti incontrano creativi locali o lavoratori itineranti mentre lavorano nell’atrio, a colazione o in occasione di eventi, l’esperienza del viaggio dovrebbe risultare più intensa. Ma anche il check in e il check out mobili, la chiave della camera sullo smartphone e un atrio polivalente rendono già oggi questo albergo uno dei più innovativi dell’area.

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DRAWING FOR SAVANNAH 27 MONTGOMERY ST

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Inoltre la proposta progettuale, ideata in una struttura spaziale aperta ed articolata, permette di avere un Hotel su un unico piano ottenendo la privacy , di modo che le 100 camere disposte su di un unico piano abbiano ciascuna affaccio privilegiato e la propria privacy.

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Sistema turistico come luogo d’incontro – la collaborazione dei co-worker è sottolineata dall’atmosfera accogliente dell’atrio. Uno di questi elementi è l’innovativa area di co-working in cui gli ospiti dell’hotel e le persone presenti in città possono lavorare utilizzando la rete. L’obiettivo è trasformare l’atrio in una nuova area vitale e di incontro

AFTER


Bruno Agostinelli

552 LIBERTY STREET

BRUNO AGOSTINELLI 27.02.2019

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who is archlove_


Viva Contracting LLC Viva Contracting LLC is a professional cleaning company ready and able to satisfy all your cleaning and janitorial needs. Services and schedules are flexible and we work with all industries such as auto dealerships, retail stores, residential lobbies, business offices, medical facilities and more. Also Viva Contracting LLC is a professional company ready and able to satisfy all your Construction management needs from the begin to the end to ensure that project run smoothly and on-time and on budget.

Viva Contracting LLC services residential, commercial and hotel/resort clientele.

LIST OF SERVICES WE OFFER:

»  Professional cleaning service (home/

office/condo) »  Construction cleaning service »  Exterior Power Washing »  Construction Management ( Residential, Commercial and Hotel/Resort)

CONTACT US

ADDRESS

WEBSITE

OFFICE

LINKEDIN

EMAIL

TWITTER

213 WILLIAM HILTON PKWY #21361 HHI SC 29925 USA 843-715-9273 vivacontractingllc@gmail.com

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www.vincenzovivasalesllcgroup.com www.vincenzovivagroup.com linkedin.com/in/vincenzo-viva-611545148 /outdoorlivingby


Vincenzo Viva Fashion Italian Fashion industry is not just from Big Brands, on the contrary it is continuosly fueled by hundreds of small Companies which every day innovate Design, manufacturing, materials, ect in a cotnuous creative effort, the real landmark of the italian excellence The Companies in this Catalogue have been selected basing on their ability to propose new trendy products every season and flexible enough to afford both small and personalised productions, be it necessary to adapt taste, fit and sizes The Catalogue aims to give an overall picture, and of course can be updated anytime with the latest models of the products you are interested in. Novelties are announced continuosly. Private label productions can be discussed if required.

CONTACT US ADDRESS

213 WILLIAM HILTON PKWY #21361 HHI SC 29925 USA EMAIL

vincenzovivafashion@gmail.com

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Outdoor Living by Viva Outdoor Living by Viva provides general contracting services for residential, commercial and hotel/resort clientele. We are committed to our customers by using only quality products, working within a budget, maintaining on-time delivery and 100% customer satisfaction. Outdoor Living by Viva is your solution for all your construction and renovation needs.

WHAT WE DO:

»  Project design »  Electrical (Interior & Exterior) »  Plumbing »  HVAC services »  Carpet removal and installation »  Kitchen & Bathroom renovation »  Granite Design and installation »  Condo & Apartment renovation »  Painting (Interior & Exterior) »  Crown molding installation »  Floor removal and installation »  Window & Door replacement »  Roofing repair and replacement »  Vinyl siding repair and replacement 156

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»  Gutter Installation »  Landscaping (debris cleaning and

removal, tree removal) »  Professional cleaning service (home/ office/condo) »  Construction cleaning service »  Sun rooms, porches, greenrooms & additions »  Framing and deck install »  Asphalt paving & repairs (cracks, filling, sealing, line stripping) »  Brick & stone veneer, tile, paver, block installation »  Stamped, stained, stenciled concrete »  Concrete pool decks, patios, walkways & foundation »  Handyman services

CONTACT US ADDRESS

213 WILLIAM HILTON PKWY #21361 HHI SC 29925 USA CELL

914-774-5252 OFFICE

843-715-9273 EMAIL

outdoorlivingbyviva@gmail.com


Rent Bike HHi This Catalogue includes a set of Beach Cruisers and other accessories selected among the huge chinese production. All the bikes, and some accessories, can be personalised with the Customer’ logo, and also colors can be personalised according to the required minimum quantities The selected factories have an history of exporting in western countries, and located conveniently in order to minimize logistic and transportation costs The selected models are just an example of styles, and more accurate enquiries can be made upon request.

CONTACT US ADDRESS

213 WILLIAM HILTON PKWY #21361 HHI SC 29925 USA EMAIL

rentabikehhi1@gmail.com

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Gourmet Food and Gift Baskets The products included in this Catalogue are all made in Italy by small artisanal companies, and most are traditional products from some of the Italian Regions. The Catalogue includes a set of typical products, and many more can be offered upon request In many of these product there is an eye to the latest helth issues and trends, being this attitude deeply rooted in the italian overall approach to food, and it can be a powerful marketing tool 158

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The Companies are all well established and known in Italy, with Top Quality production and full compliance with the strict italian food regulations

CONTACT US ADDRESS

213 WILLIAM HILTON PKWY #21361 HHI SC 29925 USA EMAIL

gourmetfoodsbyviva@gmail.com


Vincenzo VIva Sales LLC Broker VINCENZO VIVA SALES LLC BROKER is a Manufacturer’s Agency

CONTACT US ADDRESS

213 WILLIAM HILTON PKWY #21361 HHI SC 29925 USA EMAIL

vincenzovivasalesllcbroker@gmail.com

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EtroMirroR We are EtroM We are Mirror We are not a parody We are a parallel reality We are politically incorrect We are what you will never be.

Free, visionary, equal, dishonest intellectual publishing house .... and label Aggregation of ideas and artistic synergies, each text is built between figurative art and writing and music. We do not publish without photographs. Each book is an art catalog. We do not publish and print wildly. Each text has its purpose and we do not send copies to waste paper. We do not have a literary and artistic / musical “Genre�.

CONTACTS

The texts can be sent by e-mail, specify if they are unpublished or already published ... In all languages. We accept collaborative proposals from all over the world. Books testinediti@gmail.com For the music section, send your material to Daniele Borgia ed.musicalietromirror@gmail.com To participate in the self project selfetrom@gmail.com General information / to collaborate etromirror@gmail.com Publisher Marica Petti etromarica@gmail.com


She deserves hopes by Roberta Cavalleri @ZenCaos Creative


ZenCaos Creative Creativity at the service of art and culture! We want our clients to be artists, painters, musicians, writers and all those people who make art their own philosophy of life, we want to take care of it and put our creativity at their service to give added value to their works. From traditional graphics, to digital and classical illustrations, we have the necessary skills to offer our customers quality products. We offer various graphic services: Illustrations for editorial products such music CD, books or magazines Graphic design for CD, DVD, or other type of packagings, flyers, posters, brand design, brochures, business cards and so on Graphic design for merchandise Web site design

CONTACT US

www.zencaos.it creative@zencaos.it


ads

OLGA TEKSHEVA

Laureata in storia dell’arte, disegno/pittura è stata docente d’arte e storia della moda. Olga Teksheva sperimenta con le tecniche tradizionali (ricamo, tessitura, uncinetto), usando materiali inaspettati ed aggiungendo la pittura. www.olgateksheva.com Instagram: @teksheva

FABIO LENZI

Specializzato in video e seo www.goofast.it info@fabioleanzi.com

INSULA MEA

Insula Mea è una nuova linea cosmetica, inimitabile e costruita interamente con materie prime tipiche dei territori italiani ( Sardegna e Sicilia terra delle Farmaciste e ideatrici della linea), sicuri e certificati. www.farmaciafanni.it informazioni@farmaciafanni.net

MAURO FERRANTE

Specializzato in web creation e immobili in vendita www.mauroferrante.com mauro@mauroferrante.com

”INSOLITO VINTAGE”

Dall’incontro di due personalità creative, Luigia Saluzzi architetto e Federica Lo Grande maestra d’arte, nasce ”Insolito Vintage”: officina creativa che ripropone vecchi mobili e complementi d’arredo in una nuova veste. “Creiamo nuove atmosfere d’interni senza disfarci del passato.” luigiasaluzzi@icloud.com


The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world. Gilbert Keith Chesterton


2020

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From painting to wearable art, from music to the revaluation of the territory and “cuisine�, from literature to social and the environment. WHERE WE ARE THE ARCHITECTS OF THE FUTURE.

10 different languages

ArchLove becomes a multimedia platform for cultural and artistic exchange and comparison.

USA, Europe, Asia

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Profile for ARCHLOVE_magazine

ArchLove Magazine 01 / February 2020  

ArchLove is a new art and culture magazine, created on cultural exchanges between nations. ArchLove Magazine is Art, Writing, Literature, Mu...

ArchLove Magazine 01 / February 2020  

ArchLove is a new art and culture magazine, created on cultural exchanges between nations. ArchLove Magazine is Art, Writing, Literature, Mu...