__MAIN_TEXT__
feature-image

Page 1

www.hfusionmediagroup.com

Synchronise the right team at a moment’s notice anywhere in the world.

Pantone 485c

Pantone Cool Gray 9c

UNITED KINGDOM • SWITZERLAND • CANADA • CYPRUS • MALTA • DUBAI Contact +44 203 695 0020 - hq@anchoragegroup.org - www.anchoragegroup.org


MASTER GOLDSMITH

Uniqu , lik

o . The perfect craftsmanship of an ancient work method applied to the most modern garments. Angela Bellomo’s vocation for fine tailoring takes shape in her personal temple of beauty, in Milan.

FABLORJEWELRY.COM

FORTE VILLAGE, ITALY

+39 333 571 8844

Atelier Angela Bellomo ● Via della Spiga 2, 20121 Milano ● Ph. +39.335.66.30.264


“Welcome to the fantastic world of contemporary art�.

Mario Mazzoleni Art Gallerist and President Fondazione Mazzoleni


Come to Sardinia, enjoy the World’s Leading Resort


fortevillage.com I holiday@fortevillage.com


THE LUXURY

OF ARTBOOKS! Skira Limited Edition Publications are the homage to the legendary Skira logo, a 90 years old publishing house with impressive history of collaboration with top artists from all over the world. Today, the publishing house simply had to return to its roots, joining the savoir faire of its impressive publishing tradition with the exceptional potentials of current technology. Skira limited Editions are more than books, they are artworks designed and made together with great artists and photographers, products of the best Italian design, beautiful art objects, and valuable unique publications.

Mimmo Paladino p Silkscreen print

2 editions of 90 + X prints each, signed and numbered by the artist

Mimmo Paladino t Ceramics Edition of 100 ceramics signed and numbered by the artist. Each piece is a unique item.


Painting the Stage Fabre, Kabakovs, Kentridge 4 luxury editions, embodied into a wood sculpture by archistar Mario Botta, enriched by four numbered art works numbered and signed by William Kentridge, Ilya and Emilia Kabakov, and Jan Fabre

Guido Crepax Lanterna Magica 3 editions in large-format, enriched by three numbered silkscreens authenticated by the Archivio Guido Crepax and an artistic plate designed by Lorenzo Mattotti

Via Torino 61, Milan, Italy limitededition@skira.net


Un Borgo da Grande Bellezza A Great Beauty Borgo — Portopiccolo, un resort ideale per viaggiatori in cerca di un’esclusiva destinazione nel Nord Italia, a soli venti minuti dall’iconica città di Trieste e a un’ora e mezza da Venezia. — Portopiccolo, ideal resort for travellers looking to find a private seaside escape on the coast of Northern Italy, just 20 minutes from iconic city Trieste and an hour-and-a-half from Venice.

Un borgo unico, costruito in pietra carsica, cuore di una visionaria operazione di recupero di una baia spettacolare, disegnata dal bianco delle Falesie che le fanno da quinta e dal blu incontaminato del punto più a nord del Mediterraneo. A Portopiccolo, la ricerca olistica del benessere abitativo ha inizio dalla tutela dell’ambiente circostante. La riserva naturale delle Falesie di Duino, in cui le differenti aree del borgo si integrano perfettamente e a cui il progetto edilizio ha restituito il tratto di mare precedentemente occupato da una cava, è diventato modello di riqualificazione ambientale anche per i contenuti di sostenibilità dell’architettura a impatto zero.

A unique village, built in Karst stone, the heart of a visionary recovery operation of a spectacular bay, drawn by the white of the cliffs that frame it and by the pristine blue of the most northerly point of Mediterranean Sea. In Portopiccolo, the holist research for the living comfort begins with the protection of the surrounding environment. The nature reserve of Duino Cliff, in which the different areas of the village are perfectly integrated and to which the building project has given back the stretch of sea previously occupied by a quarry, has become a model of environment requalification also for the sustainability content of the zero impact architecture.


PORTOPICCOLO É UN INCANTEVOLE ABBRACCIO, DOVE HANNO SEDE 454 UNITÀ IMMOBILIARI IN CLASSE A E A+ E UN HOTEL 5*L - FALISIA, A LUXURY COLLECTION RESORT & SPA - RICONOSCIUTO PER ESSERE L’UNICO CINQUE STELLE DEL TERRITORIO. SI AFFACCIA SU UNA MARINA CON 120 POSTI BARCA E UN PRESTIGIOSO YACHT CLUB, NOTO AL MONDO DELLA VELA, NONOSTANTE LA RECENTE COSTITUZIONE, PER AVER VINTO CON SPIRIT OF PORTOPICCOLO LE ULTIME DUE EDIZIONI DI BARCOLANA, LA FAMOSA REGATA TRIESTINA CHE HA LUOGO OGNI SECONDA DOMENICA DI OTTOBRE. PORTOPICCOLO IS A CHARMING EMBRACE, WHERE 454 HOUSING UNITS IN CLASS A AND A+ ARE LOCATED AND A HOTEL 5*L - FALISIA, A LUXURY COLLECTION RESORT & SPA - THE ONLY FIVE-STAR PROPERTY IN THE AREA. IT OVERLOOKS A MARINA WITH 120 BERTHS AND A PRESTIGIOUS YACHT CLUB, WELL KNOWN IN THE SAILING WORLD, DESPITE THE RECENT CONSTITUTION, FOR HAVING WON WITH SPIRIT OF PORTOPICCOLO THE LAST TWO EDITIONS OF BARCOLANA, THE FAMOUS TRIESTE REGATTA THAT TAKES PLACE EVERY SECOND SUNDAY IN OCTOBER.


Questo borgo eco-chic è stato concepito per un modo di vivere slow, a partire dalla riduzione dell’inquinamento: le auto non circolano e si può godere del rumore del vento.

This eco-chic village was conceived for a slow way of living, starting from the reduction of pollution: the cars do not circulate and everyone can enjoy the sound of the wind.

La ricerca enogastronomica in costante dialogo con il territorio, la valorizzazione dell’arte, le proposte dell’avanguardia della Portopiccolo SPA by Bakel in combinazione con la ricerca scientifica e medica di Med in Blue (l’ultimo progetto legato al benessere di Portopiccolo, che vuole offrire formule di prevenzione e cura della bellezza dedicate alla persona).

The enogastronomic research in constant dialogue with the territory, the enhancement of art, the avant-garde proposals of the Portopiccolo SPA by Bakel, combination with the scientific and medical research of Med in Blue (the latest project related to the well-being of Portopiccolo, able to offer formulas for prevention and beauty care).

La passione e la cura dei dettagli si riscontrano nell’hotel 5*L – Falisia, a Luxury Collection Resort & SPA, che testimonia l’amore per la qualità del tempo e degli spazi, che fanno di tale destinazione, ricca di benessere…… uno scenario da Grande Bellezza!

The passion for the attention to detail of 5*L Hotel – Falisia, a Luxury Collection Resort & SPA testifies love for beauty broadly speaking, and especially the quality of time and space, which make this destination, rich in wellbeing...… a scenario of The Great Beauty!

TERRAZZE IN TEAK, LOUNGE CON INFINITY POOLS, RISTORANTE, COCKTAIL BAR E UN’AREA DEDICATA PER I RESIDENTI: IL MAXI’S BEACH CLUB DI PORTOPICCOLO

TEAK WOOD TERRACES, COMFORTABLE POOL LOUNGE AREA, THREE INFINITY POOLS, RESTAURANT, COCKTAIL BAR AND A SPECIAL AREA ONLY FOR RESIDENTS: THE MAXI’S BEACH CLUB

É DA CONSIDERARE LA QUINTESSENZA DEL RELAX.

IS THE QUINTESSENCE OF RELAX.


PORTOPICCOLO È SINONIMO DI QUALITÀ DI VITA, CON UNO STILE DEDICATO AL BENESSERE E ALLA SALUTE. QUESTA LA MISSIONE DI PORTOPICCOLO SPA BY BAKEL, (IL BRAND DI BEAUTY CARE CHE CONTRIBUISCE A GARANTIRE L’ECCELLENZA DEI TRATTAMENTI) CON I SUOI 3.600 MQ RIGOROSAMENTE VISTA MARE E MED IN BLUE, LA NUOVISSIMA MEDICAL SPA, REALIZZATA DA CORAM FRIULI, PARTNER VINCENTE NEL SETTORE MEDICALE. PORTOPICCOLO IS SYNONYMOUS WITH QUALITY OF LIFE, WITH A STYLE DEDICATED TO WELLNESS AND HEALTH. THIS IS THE MISSION OF PORTOPICCOLO SPA BY BAKEL, (THE BEAUTY CARE BRAND THAT CONTRIBUTE TO ENSURING THE EXCELLENCE OF THE TREATMENTS) WITH ITS 3.600 SQM RIGOROUSLY SEA VIEW AND MED IN BLUE, THE BRAND NEW MEDICAL SPA, REALIZED FROM CORAM FRIULI, A WINNING PARTNER IN THE MEDICAL SECTOR.

Real Estate Office +39 040 291 291 Falisia, a Luxury Collection Resort & SPA +39 040 997 4444 Portopiccolo SPA by Bakel +39 040 997 5900 Med in Blue - Medical SPA +39 040 997 4980 Marina & Yacht Club +39 040 997 5102 Maxi’s Beach Club +39 040 997 7775 Baia di Sistiana, Trieste – info@ppst.it – www.portopiccolo.com


Elegance, exclusive selection and excellence; fashion & art have the same denominator … creativity. The tradition of a territory, the passion and love forselection culture, and art, history, andfashion, Made inart ItElegance, excellence; aly craftmanship. and the same denominator ... creativity. The tradition of a territory, passion and love for culture, art, history MadePartenopée, in Italy With this vision in mind,and the brand craftsmanship. originating at the heart of Italy, was born: Syn-

onymous with exclusive and refined accessories With this vision born from the heart of Italy the and bags, they are real jewels of creativity which, brand Partenopée: synonymous with exclusive conceived and produced in Italy, do not go unand refined accessories and bags, real jewels of noticed for their timelessness. Highly selected creativity conceived and produced in Italy that do leathers and fine fabrics from the silk factory of not go unnoticed for their timeless San Leucio are Highly combined with jewel detailing craftsmanship. selected leathers, fine made from precious stones, pearls and corals fabrics from the silk factory of the Real Site of San– allLeucio, hand-crafted by the artisans who jewel details withgoldsmith precious stones, pearls express the traditions of a by unique and inimitable and corals hand-crafted goldsmith artisans workmanship: “Carolina”, “Maria”, “Francesca”, who express the traditions of a unique and and “Reginella”, creations that were inspired by inimitable workmanship; "Carolina", "Maria queens and ladies, women who made thebyhistoFrancesca", "Reginella", creations inspired the ryqueens, of the ladies Bourbons and thewho Kingdom of the Two and women made famous the Sicilies historyfamous. of the Bourbons and the Kingdom of the Two Sicilies.

Elisabetta Adinolfi, creator and designer of the Elisabetta Adinolfi, designer and creator of the Partenopée brand, developed a concept that is Partenopée brand, a creative concept focused on focused on the creation of accessories designed the creation of accessories designed for those for those, who do not like homologation and who do not like homologation, for those who who equally wish to create their own, unique want to make their style unique. The designer style. Born at the centre of the Neapolitan rewas born in the heart of the Neapolitan region, gion, she was raised amongst the memories of a raised between the memories of a historic house historic house from the 700’s, vintage frescoes, of the '700, vintage frescoes, the coat of arms andfabrics fabrics thefamily coat ofmarquisate arms of the family marquisate,

from the past, inspiring her growing passion for art and fashion, which has accompanied her since adolescence. of the past to inspire the growing passion for art

A collection wedding inspired her by the and for theof fashion that dresses has accompanied 30’ssince andadolescence. a collaboration with the Emirates for a capsule of evening dresses made from brocades, T he creation of a collection of wedding dresses velvets and lampas, are adventures that estabinspired by the '30s, an adventure in the Emirates lished the beginnings of Elisabetta Adinolfi’s for the collaboration with a capsule of evening creative path, which has been marked by the dresses with brocades, velvets and lampas; the search for fabrics from the Real Silk Works of beginning of Elisabetta Adinolfi's creative path San Leucio; founded in the seventeenth century has been marked by the search for fabrics from by Charles III of Bourbon during the Kingdom the Real silk works of San Leucio, founded in the of the Two Sicilies, and still producing with the seventeenth century by Charles III of Bourbon traditional method of the ‘700 frame. during the Kingdom of the Two Sicilies, worked with the traditional method of the '700 frame.

Partenopée was born as a line of niche accessories to Partenopée embody the was heritage of Campania born as a line excellence of niche in the craftmanship They are accessories that sector. embodies the precious heritageand of unique products made in ofthe Bourbon silk from the Campania excellence craftsmanship sector, and unique heritage products of made the richprecious and incomparable San with Leucio, Bourbon silkshandles of theturned rich and incomparable with mahogany by hand from the heritage of San Leucio, mahogany handles master craftsmen and a know-how of brassturned and by handinspired from master craftsmen,history, craftsmanship of jewellery by tradition, culture, and jewelry of inspired by tradition, history, andbrass the superstition the Neapolitan territory. culture and the superstition of the Neapolitan territory. produces an Iconic Bag – a ‘walking Partenopée

art’Partenopée that is divided between design and wearable the Iconic Bag, a "walking art" that is art;divided uniquebetween productsdesign that are strongly characterand worn art; unique ised. These bags have a Soul and are addressed products strongly characterized, bags that have a toward women who that do not homolosoul, those that are told and are like addressed to gation. those women who do not like homologation.

“Highly selected leathers, fine fabrics from the silk factory of the Real Site of San Leucio, jewel details with precious stones, pearls and corals hand-crafted by goldsmith artisans who express the traditions of a unique and inimitable workmanship.”

On the right:


The Walking Art


CONTRIBUTORS A big thank you for your time, your effort, your knowledge, and your imagination. Alexandra della Porta Rodiani, Editor Alena Kavalenia, Text & Translation Silvia Bastante de Unverhau, Philanthropy Studio Davide Licari, Photography Mauro della Porta Raffo, History Gloria Sharon Mazzoleni, Text & Translation Missoni, Fashion Filippo Mondadori, Architecture Andrea Santorum, Photography Dario Sequi, Photography Michela Spagnolello, Text & Translation Paolo Marchetti, Art Director H Fusion Media Group Karina Valeron, Director H Fusion Media Group You are all invaluable! Florentyna von Schöneberg, Editor in Chief Roberto Pucciano, CEO H Fusion Media Group In collaboration with the Mazzoleni Art Foundation www.fondazionemazzoleni.com Instagram: fondazionemazzoleni www.facebook.com/Fondazione.Mazzoleni/ H Edition Summer Art 2019 is published once a year and offers advertisers an exclusive audience of affluent readers. Whilst every attempt has been made to ensure that content in the magazine is accurate, we cannot accept and hereby disclaim any liability to loss or damage caused by errors resulting from negligence, accident or any other cause. All rights are reserved. No duplication of this magazine can be used without prior permission of H Edition Summer Art 2019. All information is correct at time of press. Views expressed are not necessarily those of H Edition Summer Art 2019 Magazine. www.heditionmagazine.com For editorial and advertising enquiries, please email info@hfusionmediagroup.com

19

Welcome to Summer Art 2019

20

Italian Art in the World

25

A Brief History of ‘Pop Art’

34

Andy Warhol, The indisputable Genius of ‘Pop Art’

38

A memory of Andy

42

A life with Works of Art and Social Commitment

46

Artistic Fashion - Missoni

54

My Park in Africa or why Philanthropy fails us

58

Current Architecture in Italy

64

Pet Lovers Project

68

An evening celebrating Made in Italy

74

How we select our Artists

77

a Selection; Summer Art 2019

128

Facchinetti, Maison de Luxe


Welcome to

Summer ART 2019

A

ndy Warhol once made a statement regarding Marilyn Monroe that “everyone needs a fantasy”. With our Summer Art 2019, we have tried to dive into a fantasy world, as it is specifically our dreaming which makes us strive to achieve better, to grow, to develop. Art has always played a big role in this and, if in addition we take the words of Pablo Picasso into account: “The purpose of art is washing the dust of daily life off our souls”, then knowledge also gives us our reason. Because knowledge is restricted to what we have studied or experienced, to what we understand. Fantasy however, knows no such limit. It allows us to embrace the universe. In collaboration with the Fondazione Mazzoleni Onlus, we welcome you to the third publication of H Edition’s Summer Art. Based on ‘Pop Art’, we were faced with a movement that presented our world with a challenge; combining fine art traditions with images of mass consumption and popularity. We have tried to delve deep – including personal memories, philanthropy, as well as individuals that have made art into their way of life.

But no magazine is created without the amazing, artistic people that stand behind it to nourish our dreams. Mario and Simona Mazzoleni, we thank you for continuing to bolster our imagination. Alexandra della Porta Rodiani, please accept our gratitude for your editorial input, and to the man behind the scenes, Roberto Pucciano, for continuing to believe in us. To our readers, we thank you for your patronage and would like to encourage you to never stop dreaming, regardless of where life may take you. Let us all continue down our paths with a firm belief in our fantasies, transferring Andy Warhol’s words into any situation that we may face: “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art”. Wishing you many dreams for the future, Florentyna

Gold Marilyn Monroe, 1962 by Andy Warhol, silkscreen ink on synthetic polymer paint on canvas. Produced shortly after her suicide.

19


Italian in the Art World In 2018 the Foundation presented more than ninety artists and nearly two thousand artworks in their prestigious exhibition spaces.

20


21


T

he Fondazione Mazzoleni Onlus was born with a specific task - to promote contemporary Italian artistic heritage through events and public exhibitions. A fundamental step in this endeavour is the choice of perfect locations; touristic places at which the paintings and sculptures are presented to a foreign clientele of the highest level. The Foundation, managed by its founders Mario and Simona Mazzoleni, considers the Forte Village Resort in Sardinia its strongest point of reference. Closely followed by the historical site of Alzano Lombardo in the province of Bergamo, Porto Piccolo Sistiana (a few steps from Trieste) and the enchanting Castel of Miramare as well as the Castel Monastero Resort in the Tuscan hills near Siena. Every year, these fantastic places embellish and emphasize the carefully selected works of emerging Italian artists. Now in its thirteenth edition, The Summer Art exhibition has obtained unanimous approval and saw a participation of 280 artists and almost 2800 works of art being displayed. The Fondazione Mazzoleni Onlus however, also operates in the social sphere, paying particular attention to a variety of projects that are aimed at aiding disadvantaged people or those with physical problems.

22


23


A Brief

History of by Mauro della Porta Raffo

25


Dam, 1959 by Robert Rauschenberg. Right Page, Andy Warhol

26


n June 20th, 1964, a then 39-year-old Robert Rauschenberg received the Venice Biennial Grand Prix in an outcry from the whole European world of art and culture. This was at least symbolically, the moment in which for the first time the artistic palm that was so closely guarded by the Old Continent, was passed on to the United States. In Europe, and more precisely in England, the movement named ‘Pop Art’ (an abbreviation of ‘popular art) by the critic Lawrence Alloway, had begun to take shape in the mid-fifties. ‘Folk art’, also considered ‘mass art’, was literally intended to indicate a new avant-garde movement whose artistic production was closely connected to the mass media and to the most common of everyday objects. Moving to Eduardo Paolozzi (Leith, 1924 – London, 2005) and Richard Hamilton (London, 1922 – London, 2011), the two most important exponents of the Independent Group that was formed at the Institute of Contemporary Arts in London in 1952, their works were however primarily analytical, almost mere instances: publicly exposing their selections of graphic advertising materials from the United States, and their re-compositions of the same in the form of collages. In fact, both Paolozzi and Hamilton intended above all, to sample and investigate new expressive forms from overseas, trying to identify characteristic figures compared to traditional iconography, rather than re-elaborating them autonomously, translating them in turn into artistic objects. It was therefore inevitable that the new movement would develop fully in the United States in the early 1960’s. Like all avant-garde artistic movements, it originated from a crisis: the artist persona living in the second post-war period was integrated within a consumer society. If in fact, over the past centuries it had been an artist’s main and exclusive mission to figuratively express the spirit of society at the given time of his life and work, personally interpreting its ethos, impulses and ambitions. Then, following the end of the Second World War in the United States, the proliferation of means and ways of communication – from magazines to billboards, from cinema to television to pop music

– and of consumer goods that had produced such a rich and varied iconography to recreate and saturate the collective imagination autonomously, made the artist’s role marginal, even approaching the limits of uselessness. Despairing of the ability to produce an alternative iconography, the new avant-garde therefore resolved to take possession of contemporary aesthetics, using popular and mass artefacts, assimilating them and re-elaborating them with a quotient of originality and difference, these according to the artist themselves. The first solution was the so-called neo-Dadaist one, which saw some of its main interpreters in Robert Rauschenberg (Port Arthur, 1925 – Captiva, 2008) and Jasper Johns (Augusta, 1930), before they merged into the proper ‘Pop Art’ segment. In fact, these artists seemed to refer to the poetry of the Dada movement which, at the end of the First World War, had ironically overturned the foundations of European art, deeming it functional only to the ideological-cultural milieu that had dragged the continent into the war to begin with. Particularly relevant in the Dada context, was and still is, Marcel Duchamp (Blainville-Crevon, 1887 – Neuilly-sur-Seine, 1968). Duchamp was the creator of the so-called ‘ready-made’, a subjective rethinking of pre-existing everyday objects and the ‘ready-to-use’, which the artist appropriated whilst maintaining them almost unchanged. At the same time however, the artist would completely change their context and function (just think of the scandalous Fontana, whose work Duchamp (with his ‘Fontana Urinoir’) designated as nothing but a urinal in 1917. Similarly, the neo-Dadaists also physically appropriated everyday objects. This however, without the caustic and provocative intent that underlies Dadaist poetry. Instead, and in order to face the tension between life and art, they sincerely tried to include the first in the second, albeit with different results. The objects of reality that are included in Rauschenberg’s works appear to be irreducible to the reasons behind art; whether it is a blanket and a pillow (Bed, 1955) or a series of Coca-Cola bottles (Coca-Cola Plan, 1958), a jute sack (Dylaby, 1962) or a stuffed eagle (Canyon, 1959), advertising, photographs or scraps of newspaper. Although they may be glued onto the canvas, stuck to another support or variously spotted with

0 O

27


Andy Warhol

Richard Hamilton

Marcel Duchamp

Eduardo Paolozzi

Robert Rauschenberg

Jasper Johns

28


colour according to the action painting technique, these objects evidently retain their appearance and autonomy. And yet, they are combined to realise the artist’s intent of synthesising the complexity of reality in a personal re-composition and in a re-working, with the evident aim of retaining memories of experiences and emotions through the means of art. Otherwise they are destined to decompose and get lost with the same speed with which the objects to which they are connected are consumed. The works of the other great Neo-Dadaist, Johns, are in fact very different. In these it is art and in particular painting that is correct about reality, assimilating it according to his own codes and techniques. The American flags and targets, the numbers and letters, as well as the irregular patches of colour, are all the result of well-calibrated brushstrokes. Often, they are brushes, used jars or other pictorial tools and materials that are physically incorporated into some of Johns works, almost as if to reaffirm plastically the primacy of painting. Another clear example of Johns conception of the primacy of art can be found in the Painted Bronze sculpture (Ale Cans, 1960). In this particular case, with the wish to depict actually existing beer cans, the artist chose not to directly use the two specimens in his possession. Instead, he made a bronze cast and subsequently reproduced the labels, using the trompe l’oeil technique. In this way, Johns delaying of lengthy and superfluous appearances evidently intended to reaffirm the need to ‘filter’ reality through his art, rather than merely accepting it passively. The solution that was adapted by the exponents of

‘Pop Art’ differs greatly from the Neo-Dadaist one. Rather than capturing the elements of everyday reality in their works through various ways in an attempt at reconciliation with art and thus in fact, by substantially sharing the spirit and aesthetics of the world in which they were immersed, they preferred to isolate a fragment or frame of reality from the continuous flow of images and materials destined for rapid consumption and equally rapid oblivion. These were then reproduced in an apparent fidelity to the original, however encompassing a series of interventions so as to make them at the same time art objects as well as products in a series. The main objective of pop artists was therefore no longer to disclose the high gates of art for an everyday reality, but instead to create works of art, by adopting the same codes, reproduction systems and means of communication as for everyday objects. Respecting this, each artwork stands as a paradigm. Amongst the most significant pop artists is certainly Roy Lichtenstein (New York, 1923 – New York, 1997). Most of his achievements consist in the re-elaboration of widespread, popular use images, mostly comic strips. In the 60’s, the artist explained the genesis of his inspiration: “One day, I had the idea of painting trivial subjects. I had already made some drawings of ten-dollar bills and worked with cartoons some years before, in an abstract Impressionist context. I began to insert hidden images of comics into my paintings. There was Mickey Mouse, Donald Duck, Bugs Bunny. Then I started drawing little mice and puppets for my children, copying the subjects from the casings of chewing gum,

Axle, 1964 by Robert Rauschenberg.

29


reproducing them in large. At the beginning I did fancy things; I wasn’t as good as the cartoonists”. The procedure that was used by Lichtenstein consisted in projecting original drawings onto canvases, enlarging them to reach the desired dimension, tracing the contour lines with oil colours or synthetic enamels and then spreading the chromatic backgrounds in a flat and uniform way using very few colours. The finesse of this artist – immediately apparent and certainly one of the most serious and cultured of this movement – lay in adopting the most common images, completely isolating these however, from their context (in the cases of cartoons or comic stories) and distorting their scale. He then re-elaborated them, almost ‘ennobling’ them artistically, making ample and wise use (of the object as with the use of colour, dividing the pictorial space in its dimensional setting), of techniques and quotations drawn from the history of modern and contemporary art. From Cézanne to Mondrian, from Seurat to Gauguin and Van de Velde to art nouveau, these were used in order to convey stylistic features of great pictorial tradition through the most popular images.

Consistent with the spirit of authentic ‘Pop Art’, Lichtenstein himself made an explicit announcement of disengagement with regard to his art, declaring: “I’m not very sure about the kind of social message that is contained within my art, if there even is one. To tell the truth, I do not intend to transmit one. I am not interested in any topic that wishes to improve our society, either by teaching people something or trying to do so”. Words that closely resemble those of the most famous pop artist, Andy Warhol (born Andrew Warholy in Pittsburgh, 1928 – New York, 1987), an individual consciously alien to all intellectual speculation: “I am extremely passive. I take things as they are. I just look, I look at the world… My philosophy tells me so; every day is a new day. I don’t have much trouble with art or life. Of course, war and atomic bombs make me think, and yet, not much can be done to oppose this”. Trained in the fields of graphic advertising and industrial design, Warhol began to paint subjects taken from comics and commercial products in 1960 (even before Lichtenstein). In 1962, he started with reproductions – mostly through the silk-screen printing process on canvas – creating series of repeated images, depicting characters such as Marilyn Monroe, Liz Taylor and Jackie Kennedy or products such as Coca-Cola bottles and Campbell’s soup cans, to even electric chairs and road accidents. Far removed from wanting to express any form of judgement, Warhol in fact intended only to show images that constituted the daily visual experience of the average American: With exclusively chromatic modifications that were also serialised – in the same way in which they were normally used, that is, in a continuous, obsessive and stunning repetition typical of advertising campaigns and the mass media. From this perspective, the face of the seductive and beloved actress Marilyn Monroe is repeated to the same extent as that of bloody dictators such as Mao Tse-tung, or even trivial products such as the soup can that is serialised in the same way as images of electric chairs, or even traffic accidents or suicides. In fact, in the total absence of axiological criteria or social aim, they are nothing but icons of alienated contemporaneity of content, meaningless and yet, meaningful. In this regard, Warhol commented with obvious satisfaction: “It is incredible how many people will hang a picture of an electric chair in their bedroom, especially when the colours of the painting match the colours of their curtains”.

Green Marilyn, 1962 by Andy Warhol. Right Page at the top, Flag, 1954 by Jasper Johns. Right Page below, Fontana Urinoir, 1917 by Marcel Duchamp.

30


Peculiar in the context of the pop art movement is the art of Claes Oldenburg (Stockholm, 1929). He is a sculpture artist that generally reproduces foods such as ice cream, steaks, sweets, or products of everyday use such as telephones, typewriters or trolleys. His works are done on a colossal scale, with extremely vivid colours and materials of an ambiguous consistency. Whether it’s a giant foam burger or a series of colourful plush ice creams, a soft toilet or a vinyl typewriter, the effect is generally an unsettling one, not to say nauseating or disturbing. Even if for Oldenburg his main source of inspiration is obviously derived from advertising propaganda (with his tumid forms and exaggerated use of colours, often aimed at concealing the qualitative inadequacy of the product), his sculptures can however lend themselves to a double interpretation: either in the sense of criticism, denouncing the squalor of consumerism, or in a dreamlike sense, imagining a childish world that is crowded by colourful objects and soft, harmless toys. The latter interpretation evidently the most likely, as it is more in keeping with the pop spirit professed by the artist himself. The artistic productions of George Segal (New York, 1924 – South Brunswick, 2000) are eminently plastic, but by no means different; his works are in fact composed of life-size, white statues that are made

of plaster and generally obtained from casts, placed within either typically internal or external environments, evoked by the presence of objects taken from reality. It is therefore possible to observe a man sitting behind a bar, complete with attendant and equipped with a coffee machine and a sugar pot, or even a man intending to wash himself in a bathtub, a lady sitting in a wicker chair, or a man riding his bicycle. In each of these cases, the results are that of everyday life snapshots, caught in their natural unfolding at any time of the day, but framed with the compositional wisdom that is typical of a cinematic look. The almost ghostly whiteness of the plasters and their total anonymity, contributed to by rendering, are although completely different, in a way portraying the same effect of alienation and depersonalisation that was pursued by Warhol through his serial repetition of images. In fact, similar to the divas and cans of soup that Warhol portrayed, the figures of Segal are nothing but larval simulacra of contemporaneity, in addition to which however, their atmosphere of seemingly immersed suspension almost ends up conferring an unexpected metaphysical inspiration. The works of James Rosenquist (Grand Forks, 1933 – New York, 2017), whose education as a poster designer profoundly influenced his artistic conception, also represents snapshots of metropolitan life.

31


cigarette, smells like a pair of shoes. I am for art that flaps like a flag, or helps blow noses like a handkerchief. I am for art that is put on and taken off like pants, which develops holes like socks, which is eaten like a piece of pie, or abandoned with great contempt like a piece of shit. I am for art covered with bandages. I am for art that limps and rolls and runs and jumps. I am for art that comes in a can or washes up on the shore. I am for art that coils and grunts like a wrestler. I am for art that sheds hair. I am for art you can sit on. I am for art you can pick your nose with or stub your toes on. I am for art from a pocket, from deep channels of the ear, from the edge of a knife, from the corners of the mouth, stuck in the eye or worn on the wrist. I am for art under the skirts, and the art of pinching cockroaches. I am for the art of conversation between the sidewalk and a blind man’s metal stick. I am for the art that grows in a pot, that comes down out of the skies at night, like lightning, that hides in the clouds and growls. I am for art that is flipped on and off with a switch. I am for art that unfolds like a map, that you can squeeze, like your sweetie’s arm, or kiss like a pet dog. Which expands and squeaks like an accordion, which you can spill your dinner on like an old tablecloth. I am for an art that you can hammer with, stitch with, sew with, paste with, file with. I am for an art that tells you the time of day, or where such and such a street is. I am for an art that helps old ladies across the street. I am for the art of the washing machine. I am for the art of a government check. I am for the art of last war’s raincoat. I am for the art that comes up in fogs from sewer holes in winter. I am for the art that splits when you step on a frozen puddle. I am for the worm’s art inside the apple. I am for the art of sweat that develops between crossed legs. I am for the art of neck hair and caked teacups, for the art between the tines of restaurant forks, for the odor of boiling dishwater. I am for the art of sailing on Sunday, and the art of red-and-white gasoline pumps.

His education led him to isolate within his paintings – similarly to Lichtenstein – detailed images of advertising, enlarged and vividly coloured. In this way the artist often succeeded in conferring onto his works (despite the inviolate limits of two-dimensionality), an almost plastic-like consistency, which inevitably strikes the observer; inducing him to dwell on the visual violence of commercial iconography by which he is surrounded. Rosenquist, who was seduced and subjugated by the advertising aesthetic and the almost epic narrative that underlies each product, explicitly explained this: “I am amazed, excited and fascinated by how things are thrown at us, by the way this invisible screen that defends our mind and senses is attacked by radio, television, visual media, and things larger than life. Things come to strike at us with such speed and with such force, that painting and the attitude towards painting and what is communicated through painting, seems completely outdated”. If, however, at the end of this brief review you want to try and capture the quintessence of ‘Pop Art’, then the best way is probably by re-reading Claes Oldenburg’s 1961 famous poetic declaration ‘I am for…’: “I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum. I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero. I am for an art that embroils itself with the everyday crap and still comes out on top. I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary. I am for all art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself. I am for an artist who vanishes, turning up in a white cap painting signs or hallways. I am for art that comes out of a chimney like black hair and scatters in the sky. I am for art that spills out of an old man’s purse when he is bounced off a passing fender. I am for the art out of a doggie’s mouth, falling five stories from the roof. I am for the art that a kid licks, after peeling away the wrapper. I am for an art that joggles like everyone’s knees, when the bus traverses an excavation. I am for art that is smoked like a

32


I am for the art of bright blue factory columns and blinking biscuit signs. I am for the art of cheap plaster and enamel. I am for the art of worn marble and smashed slate. I am for the art of rolling cobblestones and sliding sand. I am for the art of slag and black coal. I am for the art of dead birds. I am for the art of scratching in the asphalt, daubing at the walls. I am for the art of bending and kicking metal and breaking glass, and pulling at things to make them fall down. I am for the art of punching and skinned knees and saton bananas. I am for the art of kids’ smells. I am for the art of mama-babble. I am for the art of bar-babble, tooth-picking, beer-drinking, egg-salting, in-sulting. I am for the art of falling off a barstool. I am for the art of underwear and the art of taxicabs. I am for the art of ice-cream cones dropped on concrete. I am for the majestic art of dog turds, rising like cathedrals. I am for the blinking arts, lighting up the night. I am for art falling, splashing, wiggling, jumping, going on and off. I am for the art of fat truck tires and black eyes. I am for Kool art, 7UP art, Pepsi art, Sunshine art, 39 cents art, 15 cents art, Vatronol art, Dro-bomb art, Vam art, Menthol art, L&M art, Ex-lax art, Venida art, Heaven Hill art, Pamryl art, San-o-med art, Rx art, 9.99 art, Now art, New art, How art, Fire Sale art, Last Chance art, Only art, Diamond art, Tomorrow art, Franks art, Ducks art, Meat-o-rama art. I am for the art of bread wet by rain. I am for the rat’s dance between floors. I am for the art of flies walking on a slick pear in the electric light. I am for the art of soggy onions and firm green shoots. I am for the art of clicking among the nuts when the roaches come and go. I am for the brown sad art of rotting apples. I am for the art of meows and clatter of cats and for the art of their dumb electric eyes. I am for the white art of refrigerators and their muscular openings and closings. I am for the art of rust and mold. I am for the art of hearts, funeral hearts or sweetheart hearts, full of nougat. I am for the art of worn meat hooks and singing barrels of red, white, blue, and yellow meat. I am for the art of things lost or thrown away, coming home from school. I am for the art of cock-and-ball trees and flying cows and the noise of rectangles and squares. I am for the art of crayons and weak, gray pencil lead, and grainy wash and sticky oil paint, and the art of windshield wipers and the art of the finger on a cold

window, on dusty steel or in the bubbles on the sides of a bathtub. I am for the art of teddy bears and guns and decapitated rabbits, exploded umbrellas, raped beds, chairs with their brown bones broken, burning trees, firecracker ends, chicken bones, pigeon bones, and boxes with men sleeping in them. I am for the art of slightly rotten funeral flowers, hung bloody rabbits and wrinkly yellow chickens, bass drums and tambourines, and plastic phonographs.

I am for the art of abandoned boxes, tied like pharaohs. I am for an art of water tanks and speeding clouds and flapping shades. I am for US Government Inspected Art, Grade A art, Regular Price art, Yellow Ripe art, Extra Fancy art, Ready-to-Eat art, Best-for-Less art, Ready-to-Cook art, Fully Cleaned art, Spend Less art, Eat Better art, Ham art, pork art, chicken art, tomato art, banana art, apple art, turkey art, cake art, cookie art…”. Just What Is It that Makes Today's Homes so Different, so Appealing?, 1956 by Richard Hamilton. Left Page, Mick Jagger, 1975 by Andy Warhol.

33


34


ANDY

WARHOL The indisputable Genius of Pop Art ithout doubt, he is surely the most popular artist of the last century: Andy Warhol, master of the Pop Art movement and the individual that transformed the ways of imagination and collecting art. Capable of transforming commonly used objects into highly sought-after works of art, he became even more famous than the icons he portrayed on his silkscreen prints. The Fondazione Mazzoleni Onlus, in collaboration with Art Events, holds a collection of masterpieces by the American master, and organises numerous public events of great prestige and appeal throughout Italy and abroad. Graphical representations of icons such as Marilyn Monroe, Mick Jagger and Mao, the complete series of Campbell’s cans as well as Warhol’s colourful flowers, constitute a collection of art amongst countless memorabilia, such as the Beatles historical guitar signed by the entire English group in addition to Andy Warhol’s signature. This year, the exhibition titled “Profane as Sacred” will be hosted in Porto Piccolo Sistiana, just a few steps from Trieste. Entirely dedicated to Warhol with 57 beautiful works on paper, these originals were all signed with the famous black marker that the brilliant artist always carried in his jacket pocket – to autograph posters, postcards, photographs and catalogues. Located in this truly enchanting village with its Miramare Castle, the exhibition will open its doors

to the public on Saturday, April 13th and will remain open until September 22nd. This exhibition that will be entirely dedicated to Warhol, is being organised by the Foundation with the intent of financing cultural or social projects. The proceeds of last year’s exhibition restored a historical monument in the province of Bergamo.

W

They always say time changes things, but you actually have to change them yourself. —Andy Warhol

35


Isabelle Adjani Portrait, 1986, Serigraphy on paper; Mao Tse Tung, 1982, Serigraphy on paper; Campbell’s Soup, 1962, Serigraphy on paper; Little Electric Chair 1964, Serigraphy on paper; Marilyn, 1967, Invite by Leo Castelli Art Gallery New York; The Last Supper, 1985, Screenprint on paper.


A memory of

ANDY by Florentyna von Schöneberg

In the 1970’s, Andy Warhol’s voyage took him to Switzerland, where he met many of the country's biggest art collectors. H Edition had the immense pleasure to speak to one of them - this individuals memories are filled with fondness and admiration. n the 80’s and 90’s, this particular private collection was one of the most significant compilations of contemporary art in Switzerland: Picasso, Basquiat, Magritte, Schnabel, Clemente, amongst others, constituted an assemblage worthy of any museum. The collectors path travelled down roads that culminated in exclusive meetings with many artists, and these encounters often ended in not solely immense admiration of artistic talent but also, in significant friendships. It was thus a natural evolution that concluded in Andy Warhol’s presence amongst various dinner guests one evening… This particular evening

began with an interesting anecdote; Buschy (the white and fluffy street cat that had been found a few months prior by one of the collectors’ children), had ominously disappeared. This event may have been the entr’acte that was to provide a personal insight into who Andy Warhol truly was - on any other night without said occurrence, this might not have been possible: Because the cat’s disappearance authentically shocked and grieved Andy. And this profound grievance was what would finally prove to this particular collector that Andy Warhol was, without a doubt, not only a great painter but also a phenomenal artist. Known predominantly for his works portraying muses or

I

38


39


same may also be said of his love for children: To both, he was able to inter-connect. The re-appearance of Buschy therefore allowed an insight into Andy the person, an individual who was in fact surprisingly, filled with empathy and who suddenly on that particular evening, showed emotion. It was his bona fide wish to portray what he was living, seeing, experiencing: The child and her cat. “It was definitely the cat. Only the cat. And the eyes, he painted the eyes. This was not a print. There were no photographs taken. Andy painted the eyes in a way that they looked deep into your soul. Because Andy saw the gratitude of the cat. The fact that it had been taken off the streets, was given a home. The love. The eyes show the love”. The dinner took place in 1976.

objects, we often forget that Warhol was fundamentally very much a conservationist and a profound animal lover. Warhol’s love for cats began at an early age, fuelled by his mother’s appreciation for the species. In the 50’s and 60’s, Warhol and his mother were in fact, surrounded by cats in their New York apartment. The cat named Hester was Andy’s big love, and worried that Hester should feel lonely, Andy opened his home to 25 other street cats: all without fail, named Sam. In 1954 Warhol self-published a book of his cats’ portraits called ‘25 Cats name Sam and One Blue Pussy’. The circumstance that only 16 of the 25 were actually portrayed and that a spelling mistake was included in the title, interested nobody in a New York that was in the process of being captivated by modern art. In the 70’s through the influence of his boyfriend Jed Johnson, Warhol purchased his first dachshund puppy: Archie, followed by Amos a few years later. Warhol portrayed animals as individuals almost as if they were human, breaching the dynamic tension between art and reality - a testimony that he was genuinely enchanted: Animals were undeniably, one of his biggest loves. It was thus almost natural that upon the return of Buschy the cat, Andy Warhol would offer to paint the child with her animal. Because this was a situation that Andy was able to relate to. Thinking back to this evening, the collector becomes slightly nostalgic, this encounter seems to have had a profound impact. Andy was not known as an emotional individual, moreover he was an introvert who most certainly did not enjoy being the centre of attention. A solitary character who did not relish situations of the unknown. Just as his love for animals was however of immense proportion, the

People should fall in love with their eyes closed. Just close your eyes. Don't look and it's magic. —Andy Warhol 40


Al di là di una foto c’è passione e cuore Beyond a picture there is passion and heart

Davide Licari

licaristudio.it Palermo • Sicilia • Italy


A Lifeof

with

Works and

Art

Social

Commitment Meet Mario Mazzoleni: Born in 1971, Mario was a former football referee in the A series until he became an art dealer in 2017. Together with Simona Occioni he founded the Mazzoleni foundation, a non-profit organisation. Where does your passion for art come from? Firstly, from my grandparents and subsequently, from my parents. They were all skilled art restorers and antique dealers and I was born and raised amongst works of art, antique canvases, commodes and frames. From an early age I loved visiting my grandfather’s shop in the historic centre of Bergamo, my hometown. My father later established a new showroom, with large exhibitions of period furniture and furnishings, especially of the Baroque period. Living in Alzano Lombardo offers a truly extraordinary heritage of this historical period.

adrenaline levels and an indescribable experience. I attended a course to become a professional referee at the age of 16 and then, through many sacrifices, I was lucky enough to reach the summit of my dreams: The A series, the most beautiful championship in the world – with Del Piero, Totti, Maldini, Ibrahimović, Ronaldo. It was a wonderful experience that helped me meet a lot of people, some recommendable, others less so… It made me grow from a character point of view. They were fantastic, eye-opening years and I will never forget that. Abandoning the world of football made you dive into the artworld? Not having the right personality for sport management, I preferred to abandon this world altogether. I thus decided to dedicate myself entirely to my

What about football? Of course. Since I was very little I was attracted to the figure of the referee; managing a match in front of thousands of people provides incredibly high

43


MARIO MAZZOLENI

What was the idea behind your foundation? It is an important step toward giving our work further lustre. A publicly recognized foundation would allow us to organise large, public events that would hence enable us to attract thousands of people. We immediately became enamoured with this idea as in this way, we would be able to promote a great, contemporary artistic heritage.

activities as a gallery owner and to art itself, a world that I had never abandoned completely during my sportive period. Simona and I opened a beautiful, contemporary art gallery together, and after my referee career ended, we started thinking about how to expand nationally. Today, we no longer just have the one exhibition space in Alzano Lombardo, but also at the Castel Monastero in Siena, Forte Village Resort in Sardinia, Porto Cervo, Venice and our newest venture at Porto Piccolo in Trieste. This was a significant expansion that involved many sacrifices and a lot of effort, even from a physical point of view. But we are ecstatic as we are moving forward with the wind at our backs, driven by the enthusiasm that characterizes us and by that bit of luck, that never hurts.

Public exhibitions and important events, with many VIP’s… Exhibitions in big cities and in prestigious public contexts, with lots of people and above all, with many young individuals - this is the focal point of our mission: to teach younger generations about art, culture and beauty. Today’s youth no longer study our past or

44


Our mission? To teach younger generations about art, culture and beauty. Today’s youth no longer study our past or our history. Instead they abandon themselves to social media and the harmful influence of the latest generation of mobile phones. our history. Instead they abandon themselves to social networks and the harmful influence of the latest generation of mobile phones. We would like to entice them to visit museums, an exhibition, an ancient palace or a church instead of spending hours browsing through Facebook. These experiences are priceless…

copies us. With my commitment I wish to go in a direction that enhances and promotes our abilities and those of young emerging artists, who struggle to find their place in a market that is so often conditioned by a strange logic. I love working with young people as they have the wish to succeed, and in my own, small way, I try to convey that necessary enthusiasm so that they can improve further.

How much of your time is committed to social engagements? For a long time now, we have been cooperating with the Shalom Community and Sister Rosalina Ravasio, who takes care of former drug addicts. The community is unique and in reality, a one-of-a-kind establishment that is guided by this wonderful person to whom I am more than grateful, for all that she has taught me over the past 18 years.

Mario Mazzoleni with Simona Occioni.

What do you dislike? Envy and the jealousy that characterises too many people. Even if I simply follow my path, I am sorry to see that there are people out there that are envious of us. They would be better off using their time to do good instead of worrying about my success. With a greater commitment, I am convinced that they could achieve the same results instead of always criticizing others. A final thought of positivity? We live in a beautiful country even if we sometimes tend to admire the greener grass of our neighbours. Ours is a country rich in history, art, culture and excellence in every sector. Everybody admires us and

45


Encounters, in another place and another time. The ancestral in fast-forward, and the other way around. A primal story of gossamer textures, airy volumes and craft. Primeval as the urge to wrap and cover up. Primary as the touch of the human hand. Geo-cultural connections in the atmosphere. A crossing of worlds as a crossing of textures. Opposites that merge and flow, liquefying one into the other. An effortless wardrobe of gauzy dresses, long cardigans, knitted denim, liquid trousers, long t-shirt, kimono coats mixed and matched in effortless ways, bridging civilizations in borderless layering’s. A journey or a trip, collecting bits and pieces, finding the link between this and that.

Missoni S A breezy way to reconnect with nature. An airy way to leap into the future. Lightness of feelings as lightness of dressing, with no extra emotional baggage. The long silhouette is dematerialised by the crafted transparency of textures, superimposed to create depth, weightlessly. An interplay of opening and closing, buttoning and wrapping, pulling over and fastening. Complexities that are solved easily, around the female and male form. An organic movement from pale to natural to soft to blue. The human urge to decorate oneself, using found charms as little nods. Ends that meet endlessly. Encounters, for days on end. An earthy feeling.


Summer 47


My Park

Africa

in

or why Philanthropy often fails us by Silvia Bastante de Unverhau


I

t was a rainy autumn morning in Zurich’s Paradeplatz, when I met with a wealthy philanthropist to talk about rhinos. The gentleman, in his early sixties, had just sold one of his companies and indicated that he wanted to deploy some 50 million dollars to help save his favourite animal: the majestic, yet severely threatened, black rhinoceros. After the usual niceties and introductions to his family and advisors, I began presenting the work my team had prepared. Our main finding, supported by previous successful conservation initiatives, was that important work was needed to reduce the demand for rhino horn – numerous people around the world, especially in some parts of Asia, believe that rhino horn has magical powers. In reality, powder from rhino horn is chemically identical to toe nail clippings; yet it sells for tens of thousands of dollars per kilo on the black market. We concluded that “as long as a kilo of rhino horn is worth more than a kilo of gold, simply protecting the animals is not going to achieve significant results.” The entrepreneur thought about this for a moment and then responded: “Silvia, I get what you are saying, and it makes a lot of sense… but I still want my park in Africa!” At first, I was taken aback by the reaction, which flew in the face of the clearest evidence. How could someone as experienced and well-intentioned, somebody who had managed to create an entrepreneurial fortune of such magnitude, and who so clearly was a smart businessperson, not see that their strategy was simply not the most effective way to address what they described as “an issue so close to their heart”? But I also understood the personal component, where pride – and possibly a bit of ego and vanity – come in. When you are having après-ski drinks with friends in Courchevel, would you want to say you just invested tens of millions of dollars working with non-profit organizations in Asia to set up an awareness campaign to decrease demand for black rhinoceros horn…? Or would you rather say, “why don’t you come to Kenya with us next summer – we have a little lodge and a park where we are protecting black rhinos….”? So why is giving going wrong even though all the right intentions are there? It’s a question I have been asking myself throughout the twenty years I have now worked in philanthropy. Time and again I have observed that the motivation to engage in philanthropy across cultures comes from a deeply noble

place. For some of us, it’s a sense that we’ve somehow been lucky or blessed in life in some way or another, and want to give back, or it has always been a family value to help others. For others it can be a religious or moral imperative that compels them to give. I know that more than 90% of wealthy individuals want to engage in philanthropy. And philanthropy is really growing – there is increased wealth creation, especially self-made wealth, and entrepreneurs have a higher propensity to give back to society. Thanks to technology, the world has also become a smaller and more connected place, and it has become more difficult to ignore the many problems humanity faces including extreme poverty, mass migrations of refugees and the damage we are all doing to our environment. Many are calling this the second “golden era” of philanthropy. And with philanthropy great things can be accomplished. Think, for example, of the near eradication of certain diseases like polio through vaccinations in developing countries, driven largely by the Bill and Melinda Gates Foundation working with many

When deciding how to spend 10 million of your own money to do good in the world it’s not obvious who you can trust and how to do it right. 55


S I L V I A B A S TA N T E D E U N V E R H A U

others, or the creation of public libraries, supported by Andrew Carnegie around the turn of the century, or the support for the arts, which, over the centuries, has been largely funded by philanthropy. Unfortunately, all of this heartfelt giving has not yet added up to something that could be described as “value for money” in terms of significant impact and lasting change. As the rhino example shows, good intentions and passion are not enough to change the underlying systems at play. Given that philanthropy and its outcomes are sometimes hard to measure, it tends to be the tangible things – what we can immediately see, touch or personally experience – that win out over things that could, in the longer-term, lead to more impact. Most philanthropists also want to start their own effort. According to recent research, more than 50% of foundations around the world have less than 1 million dollars in assets – this means they give even less per year given low interest rates in the developed world. If you wanted to improve kids’ education in one country – how far would your 1 million dollars go? If we wanted to achieve the Sustainable Development Goals (SDGs) that everyone talks about – would small bits and pieces of well-intentioned funding do the job?

Another philanthropist I met, a very successful hedge fund manager in New York, told me about his orphanage for 600 kids in Uganda, which he and his wife supported generously. He told me “I don’t trust the UN or big non-profits at all – I’ve seen what they do on the ground, so I help this orphanage directly and go there at least once a year”. And of course, the philanthropist believes that for those 600 kids, their lives are undoubtedly better because of his generosity. But at the same time - in what way does his support for that orphanage tackle any of the root causes so there will be less orphans in the country? And are orphanages really the best way to take care of children without parents? Research has actually shown that in many countries, children in orphanages are not really orphans – in some cases up to 80% of them have parents or other close living family who give them up because they can’t afford to keep them. Studies have also proven that being in an institution, no matter how well run and caring, has detrimental effects for children. And I know things are not that simple either – it is a different proposition to give 100 dollars or even 1000 dollars to sponsor a friend of yours running the Boston marathon for a cancer research charity, or even to give 10,000 dollars at a gala dinner for an

56


organization which helps educate girls. But when you are deciding how to spend 100,000 dollars or even 10 or 100 million dollars of your own money to do something good in the world, things become more complicated, as it’s not obvious who you can trust and how to do it right. In my own life, I have spent much time trying to figure out where I can make a significant contribution to humanity. I was born in Lima, Peru and my mother loves to recount the story of how at age 5 I asked: “Mummy, what is the meaning of justice?”. From Lima I went to London for studies and then moved to Washington DC to work for some of the largest international development organizations. As an idealistic 20-year-old I believed that I would find others there who also wanted to “change the world”. Sadly, I was disappointed – I don’t doubt the world is somewhat better because these large international organizations exist, but I wasn’t convinced that for the amount of resources they controlled they were having sufficient impact. So, I moved again to work for a leading global NGO in human rights. There, I found very passionate people indeed. But what I felt I was missing were the business skills, such as strategic planning and good management, which you need in order to have real impact on

the world. Thus I moved again and spent many years working for a global strategy consulting firm. I then put my skills and experience to work in advising wealthy individuals on how they could have impact with their wealth, and in the process created one of the largest networks of philanthropists and social impact investors in the world. I, very naively, thought that if you bring them together, collaboration would be a natural outcome. And while this happened in some cases, I didn’t see it often enough. I came away with the conviction that philanthropy needed bigger ambitions and more combined efforts to attempt to target root causes rather than tinkering around the edges on alleviating symptoms. Today, I am working directly with a growing group of philanthropists and foundations, including some of the most recognized names in the world of philanthropy, to actively promote more collaboration in this space and more focus on truly significant and sustainable improvements in the areas of health, education and economic opportunity in low- and middle-income countries around the world. It is still early days – true collaboration is still surprisingly rare – but I am now convinced that this is a place where philanthropists have the opportunity for significant and enduring impact. Engaging in philanthropy can be a really fulfilling experience. And if you are smart about it and are willing to work with others, you might get your wildlife park in Africa and, at the same time, help to change the system to save the rhinos.

Silvia Bastante de Unverhau is a global philanthropy expert and senior advisor with 20 years of experience working across the business, nonprofit, international development, and government sectors. She lives with her husband and two children in Zurich. 57


by Filippo Mondadori

58


Filippo Mondadori was raised in Italy by his Italian/American parents and is the founder of Studio Mondadori. Subsequent to pursuing his studies in the USA, he is now based between Milan and London and focuses on high-end residential projects around the world.

59


L

iving in Italy naturally embeds within you an appreciation for architecture, even without being an architect. The sheer volume of exposure you have to it is overwhelming; albeit the majority of it is deeply rooted in the past. In Italy, one of the strongest and most visible links is the strength of conversation between our past and the future, and how we have managed to fuse our way between life, food and architecture – ‘la bella vita’ – into exceptional locations. The country is going through a period of change, with new life being brought into older structures – perhaps showcasing and unifying its best-selling assets; food, hospitality & art as well as it’s built environment – into one. This is mostly visible in a couple of recently completed projects that I visited, one of them in Puglia – a region of Italy that has long been neglected and overlooked. Palazzo Daniele, re-imagined by the Milanese duo of Studio Palomba & Serafini: Roberto (Jack for close friends) & Ludovica Palomba. The 19th century Palazzo had been in the previous owner’s family for generations before it was inherited by Francesco Petrucci. He turned to the architects with the wish to transform the Palazzo into an exquisite combination of artistic residency, gallery, and guest house. The baroque and vaulted ceilinged rooms have been re-imagined with the mantra of ‘absence’; the architects ingeniously transforming the space into an environment permeated by an almost meditative aura and calm atmosphere. The core lay in removing par-

titions and the excess that had been added over the years, opening up the floor plan to create a much more pragmatic layout; the grand front living areas now serve as spectacular exhibition spaces, while the suites at the back of the building (overlooking the verdant courtyards and the black pool facing Gagliano del Capo’s streets) are taken over by the sleeping quarters. The different vaulted ceilings throughout the building – ranging from a ‘stella’ (a local way of building the stone vaults in a star shape) to a ‘botte’ (barrelled shaped one) – bestow upon the spaces a quasi-monastic spirit which, sparsely furnished, heighten the impact of the design pieces that blur the lines between art and function. While walking around the building visitors immediately feel a sense of place, of belonging, as the struggle between the old and new has so authentically been fused together that it brings new life to this noble residence, whilst respecting its century-old history.

On a recent trip to Venice, I visited OMA’s restoration of the 16th Century Fondaco dei Tedeschi. Now converted into a high-end shopping venue, this impressive building was first constructed in 1228. Located at the foot of the Rialto Bridge, it is one of Venice’s largest and most recognizable buildings. Historically, it was used as a trading post for German merchants, a customs house under Napoleon, and more recently, as a post office under Mussolini.

60


Almost entirely reconstructed with concrete during the 1930’s, the Fondaco is a historical palimpsest of modern and antique, its preservation spanning five centuries of variant and contrasting construction techniques. Regardless of the history behind its adaptations and the objective lack of authenticity within its structure compared to the more traditional buildings on the Canal Grande, this ingenious renovation is based on a number of surgical interventions that were planned as an excavation throughout the existing building, thus liberating new perspectives and unveiling the real substance of the building to its visitors. The Fondaco is essentially an accumulation of different layers in a building that has lived many lives, each stratum exposing something unique to its visitors. The renovations opened the courtyard as a ‘piazza’ to pedestrians, maintaining its historical role of covered ‘campo’. One of the most striking, state-of-the-art features is the new rooftop, standing over the equally new steel and glass floor which hovers above the central courtyard. Both are continuously open to the public, offering a rare glimpse of Venice from above. The existing entrances into the courtyard that are used by locals as a shortcut and regionally known as the ‘passo veneziano’, have been retained. New escalators have been added to create a different route through the building and rooms have been consolidated in a way to respect the original, intended sequences; crucial historic elements, such as the corner rooms, remain untouched. Some aspects of the build-

ing that were lost for centuries have been resurrected through the renovation: The walls of the gallerias have once again become a surface for frescoes, making their reappearance in contemporary form. The Fondaco has already established itself as a major destination in Venice, opening up its new spaces to shops and restaurants, and showcasing that its ambitious renovation is a work of art in conflicting and contrasting ideas that very subtly, reveals the many layers of its life, continuing to show the edifices multi-tiered history and vitality.

Whilst driving through Chianti on a visit to the new Antinori winery, I was expecting a typically industrial complex, perhaps a conversion of one of the older structures. Upon reaching the winery, I was completely taken aback - to say that this is perhaps one of the most intriguing buildings ever built in the Italian countryside, is perhaps an understatement. The Antinori family, an aristocratic family from Florence, have been producing exceptional wines in this part of Tuscany for over 500 years. The new cellar and visitors centre are the brainchild of the collaboration between the Antinori’s and Archea Associati, as well as a testament to the family’s vision for the land that they are so fundamentally intertwined with. The project desired to showcase the bond between rural landscape and man, merging the building within it: There is no façade. There’s no roof. There is no side

61


to the building as we know it. Nothing is conventional here. The whole structure has been dug into the hill and as such, cancels out what a building should be like. The roof has been turned into a plot of farmland and cultivated with vines, interrupted along the natural contour lines of the hill by various cuts which let light into the interior, thus providing the building with a

view of the surrounding hills; a little as if one is walking amidst the vines on the hill itself. The whole building is underground: The sector where the wine is produced is arranged along the lower levels, whilst the upper levels are made up of the storage and bottling areas. The heart of the building consists of giant terracotta vaults, bequeathing the space with a sacral, worshipping ambience. This is where the wine is left to mature in caskets, thus metaphorically speaking, bringing the essence of wine making into the centre of the building. A sectioning of the building reveals a vertical arrangement of its space, which follows the production process of the grapes, almost as if they were descending by gravitational force – from the point of arrival to the fermentation tanks in the underground barrel vault – in complete contrast to the path followed by visitors, who work their way up the building instead. From the parking area guests arrive through the vineyards, walking up through the building and its weathering steel walls and galleries, all in the same colour of the land that surrounds them. The restaurant as well as the floor hosting the auditorium, the museum, and the library in addition to the wine tasting areas on top of the building, all open up to magnificent views of the vines on the surrounding hills. While leaving, I was once again reminded of the beauty of this place – the sense of belonging – and that architecture has the power to blend all of the intangible feelings that make this country such a varied and unique place. Bridging the gap between our past and the modern world is usually a challenge that most architects are dwarfed by. These three projects however, have proven that when all of the right elements are brought together, we are able to rise to the occasion of any challenge: Blending all of the contrasting elements that Italy has to offer its visitors.

We have bridged the gap between past and present... when all of the right elements are brought together, we are able to rise to the occasion of any challenge. 62


LONDON NEW YORK

MOSCOW SAINT MORITZ PORTO CERVO

MIAMI DUBAI

RIO DE JANEIRO

CAPE TOWN

PAGANI MOVING LUXURIES Your devoted partner in the fast moving world of transportation, logistics and customs clearance. Over 30 years spent caring and handling luxury items (art, design, jewelry, fashion) allover the world. Taste a golden experience We can. We will.

info@paganitrasporti.com


project by

64


PET LOV ERS

project

65


P E T L OV E R S P RO J E CT

T

he project stems from an idea that is closely linked to contemporary art, with particular attention being paid to the almost symbiotic union between the love for animals and the distinct taste of the neo-pop style. The dog has (above all through Jeff Koons), become a symbol of conceptual art and as such, it is the perfect example of sympathy combined with colour. The Pop philosophy, which includes the insertion of fragments and objects associated with an everyday sphere, finds its perfect interpretation through this project; contemporary art encompasses the external real world, and thus aims at realising works that a collector can use to re-discover familiar themes and personal experiences: It is easy to understand and

comprises direct references. The Pet Art Project consists of 3 referential models that correspond to 3 different types of dogs: Bulldog (Zar), Dachshund (Scooby), and the Chihuahua (Tommy). The project, as well as Andy Warhol’s Pop art movement, aims at immediacy, with the clarity of the proposed subject portrayed through an unequivocal aesthetic taste that has as its goal to strike the viewer and subsequently arouse interest. Each piece within the collection is designed to be unique and sophisticated, presenting variations in decoration and ranges of colour; from fluorescent to decorative patterns, from the gold model to the most exclusive pieces made from precious stones. Therefore, each piece is unique and is provided with a certificate of authenticity.

66


An evening celebrating

Made

Italy

in

68


69


G R A N G A L À A RT E C I N E M A

W

ith the aim of reinforcing and promoting “Made in Italy” internationally, the 4th edition of the Gran Galà Arte Cinema & Impresa was again organised by the Fondazione Mazzoleni Onlus. Held in conjunction with the International Film Festival, the gala evening took place in the ancient ‘Sala del Ridotto’ of the Hotel Monaco on the Piazza San Marco in Venice. Many guests received ‘Mazzoleni Foundation Awards, that were personally presented by the patrons of the evening: Mario Mazzoleni and Simona Occioni. Amongst them the elegant actress Maria Grazia Cucinotta and journalist Magdi Cristiano Allam (a member of the Foundation’s Artistic Committee), Vera Atyushkina and actress Morena Salvino, singer Franco Fasano (who was applauded for some of his most famous songs), as well as tenor Nicola Pisaniello. The artists Giorgio Celiberti and Francesca Sirianni were also award recipients, and the evening ceremony ended with an additional presentation to the couple Enzo

&

IMPRESA

Paolo Turchi and Carmen Russo. A special acknowledgement was bestowed upon Sister Rosalina Ravasio, founder of the Shalom Community of Palazzolo sull’Oglio near Brescia, for her tireless work that spans across more than three decades. The goal of the Shalom Community is to help young people traverse their way out of the drug addiction tunnel and the Fondazione Mazzoleni Onlus has worked alongside Sister Rosalina for many years; targeted projects are developed to combat this serious problem that today also increasingly affects children, even from an early age. Awards were also presented successfully to ten top Italian entrepreneurs for their international work in the fields of medicine, safety, fashion and jewellery. Participants of the gala evening arrived from numerous places such as Ukraine, Russia and other European countries, to applaud the Italian excellence that is envied throughout the world. This year for its fifth edition, the evening will once again take place in the prestigious hall of the Hotel Monaco, on Saturday, October 12th, 2019.

70


G R A N G A L À A RT E C I N E M A

71

&

IMPRESA


G R A N G A L À A RT E C I N E M A

72

&

IMPRESA


G R A N G A L À A RT E C I N E M A

73

&

IMPRESA


Simona Occioni “How we select our artists”

74

M


M

aria Simona Occioni, former model and co-founder of the Fondazione Mazzoleni Onlus as well as its vice-president, is the person behind the scenes. She plays an essential role in the scouting and selection of emerging young artists, choosing carefully those that may be included in the various exhibitions and shows - these are organised throughout the year at the gallery in Alzano Lombardo and in numerous seasonal summer showrooms.

with their greatest desire; to ‘emerge’. Once selected, we focus on the publication of specific works in the Foundation’s annual catalogue, to then continue on with marketing and exhibitions in one or several of our prestigious exhibition spaces. In this way we are able to offer the artist the possibility to enter the international market. What ‘dowry’ is required to be considered an artist? Undoubtedly, talent… Other necessary elements are seriousness and reliability. An artist should devote himself exclusively to the creation of his oeuvre d’art, avoiding attempts at trying to replace the gallery owner, the seller, or even the art critic. This happens so often. A respect for one’s role is essential. Can we state with certainty that Warhol without Leo Castelli would have had the same success? Talking about Warhol (an absolute genius), we cannot compare him to the numerous artists working in Italy that don’t possess his talent … Over the years we have featured almost two thousand artists within our spaces, a very significant number. With 99% of them we have a wonderful relationship – the remaining 1% however, have had to be removed. From their point of view, they were Salvador Dalì’s equals, without however possessing the fundamentals for such justification.

How did your artistic journey commence? Between 1999 and 2000 I studied under a professor of historical art in Bergamo. This allowed me to acquire the important fundamentals, teaching me how to distinguish a water-tint from an etching, a lithograph from a woodcut. The professor taught me how to clean frames, how to preserve and restore ancient works of art. From here my passion for art grew, initially enticing me to follow in the footsteps of my husband, Mario Mazzoleni, an antiquarian and art historian. Thereafter, we increasingly directed our passion toward contemporary art and over the years, have participated in numerous national and international contemporary art fairs. We then started specialising in the organisation of art events, creating synergies between Italy and non-EEC developing countries in addition to combining these with the worlds of design, of high fashion, artistic jewellery and glassware.

What is your favourite artistic genre? I love sculptures made from classic materials such as marble and bronze or in the contemporary, from materials like plastic in all its various forms. I believe that in Italy there are many talented female sculptors, and this observation has provided me with the affirmation that the strength of contemporary women can also be communicated through sculptures and not just through pictorial work. I plan to organise an exhibition of female sculptures, probably next Autumn.

With which criteria do you select the artists to be represented in the spaces of the Foundation? The artist and their works of art are two elements that are analysed separately, so that they can subsequently be evaluated and selected. Emphasis is placed on the ‘unique’. Our relationship with the artist needs to be built on trust, and we evaluate their biography and work criteria, pursuant to which we study the works realisation, its technique, its concept as well as its ‘backstage’; the bits that support the work itself. The final decision always lies with the Foundations President, Mario Mazzoleni, who decides whether or not an artist’s work can be presented in the spaces of the Foundation. My job is to pre-filter the numerous artists that submit their works together

Is Art a part of your life? Most certainly - I could not and would not wish to live without it. I have been more than committed for years, and now that our reality is expanding, it requires an even greater commitment of my time. But when you love your work, sacrifice turns into satisfaction.

75


Leading player in the market of the Interna�onal Freight Forwarding. Competence and expertise, passion and creativity. We combine skills to provide excellence worldwide.

Via Saronnino, 3 21040 Origgio (Varese) – Italy Tel. +39 02 87157260 www.cnlogis�cs.it


Summer ART 2019

Summer ART 2019 A Selection 77


Summer ART 2019

GIUSEPPE AMADIO

Balma Monochrome extroflexions on canvas

78


Summer ART 2019

Bani Monochrome extroflexions on canvas

79


Summer ART 2019

GIUSEPPE AMADIO

Balta Monochrome extroflexions on canvas

80


Summer ART 2019

Bablo Monochrome extroflexions on canvas

81


Summer ART 2019

LU DM I L L A R A D C H E N KO

Chupa Boobs Mixed media on canvas

HeArt Generation Mixed media on canvas

82


Summer ART 2019

EU Breakfast Mixed media on canvas

83


Summer ART 2019

RABARAMA

Prana Painted Bronze

84


Summer ART 2019

Fifth Jnani Polished Bronze

Thurisaz Chrome and painted Bronze

85


Summer ART 2019

C L A U D I OR AMBAARRI A OMFAE R U G L I O

Condizio-nata-mente Polished Bronze

86


Summer ART 2019

D I N O FA U S T I N I

Penisola Acrylic on wood

87


Summer ART 2019

CARLA COSSU

NY Colors Vinyl on canvas

Red Double Decker Vinyl on canvas

88


Summer ART 2019

Gondole a Venezia Vinyl on canvas

Canal Grande Frozen Vinyl on canvas

89


Summer ART 2019

GABRIELLA MARAZZI

Isabella Mixed media on cardboard

90


Summer ART 2019

Anfibia Mixed media on cardboard

91


Summer ART 2019

C L A U D I O M A R I O F E RU G L I O

92


Summer ART 2019

Il tempo dell'ascolto interiore Acrylic on canvas

In attesa della nuova aurora Acrylic on wood

Il mio Giordano Acrylic on canvas

93


Summer ART 2019

AT H O S FA C C I N C A N I

94


Summer ART 2019

I bianchi e i blu di Santorini raccontano Oil on canvas

Un racconto di luce e un sogno di libertĂ Oil on canvas

Nuova luce intorno a Positano Oil on canvas

95


Summer ART 2019

CLAUDIO FILIPPINI

New York Oil on canvas

96


Summer ART 2019

Ponte di Brooklyn Oil on canvas

97


Summer ART 2019

FA B I O P E R L A

98


Summer ART 2019

Capuam a Venus Mixed media on canvas

Victorian de Ventis Mixed media on canvas

99


Summer ART 2019

A LT E R E G O

Supernova Iron Foil

100


Summer ART 2019

LAURA PELLIZZARI

Scarpe Bronze sculptures - installation

101


Summer ART 2019

SA B R I NA G O L I N

102


Summer ART 2019

Hope Oil on canvas and glass crystals

Coco Oil on canvas and glass crystals

Destiny Oil on canvas and glass crystals

103


Summer ART 2019

A L E A N D RO RO N C A R À

Mano Acrylic and varnish on board

104


Summer ART 2019

Cactus Acrylic and varnish on board

Gatto Acrylic and varnish on board

Balena Acrylic and varnish on board

105

Palloncino Acrylic and varnish on board


Summer ART 2019

LU I G I P E L L A N DA

Gigli gialli Oil on canvas

106


Summer ART 2019

PINO POLISCA

N. 1 Reflectere LED lights and mirrors

107


Summer ART 2019

M I L E NA T O RT O R E L L I

Come una piuma Oil and acrylic on canvas

108


Summer ART 2019

S I M O N E M O R S TA B I L I N I

Twelve-hundred Mixed media on canvas

Three-hundred Mixed media on canvas

109


Summer ART 2019

LUCIANO WITZMANN

Grace Print on Hahnemühle paper

110


Summer ART 2019

YM&MM Print on HahnemĂźhle paper

111


Summer ART 2019

SMAIL ZIZI

Equilibrio Carrara marble

112


Summer ART 2019

Memoria Carrara marble

113


Summer ART 2019

A N T O N I O M U RG I A

Free of Past Mixed media on canvas

Lady BE Mixed media on canvas

Things go beyond Mixed media on canvas

114

You are changing Mixed media on canvas

Chi guarda dentro si sveglia Mixed media on canvas


Summer ART 2019

115


Summer ART 2019

R O B E R TA D I A Z Z I

I will find you 31.800 Swarovski crystals on plexiglass

116


Summer ART 2019

Incoming for you 27.300 Swarovski crystals on plexiglass

117


Summer ART 2019

PA O L O M E D I C I

118


Summer ART 2019

Nudo di donna Pencil frottage

Veronica Louise Pencil frottage

Chi io Pencil frottage

119


Summer ART 2019

SLASKY

120


Summer ART 2019

Marylin Roses Digital photo art

Janet Digital photo art

Rita Digital photo art

121


Summer ART 2019

T O N Y F AV R E

122


Summer ART 2019

Nel paese delle meraviglie Pigmented and sculpted wood

Freebull Pigmented and sculpted wood Limited edition

123


Summer ART 2019

D AV I D E T O N A T O

L'Imperatrice Water colour on paper

Il Cavallo di spade Water colour on paper

124


Summer ART 2019

AMEDEO CIANCI

Perla del Salento Oil on canvas

125


Summer ART 2019

M A RC E L L O L O G I U D I C E

Eden Blue Pigmented oil on canvas

126


Summer ART 2019

E L I S A B E T TA M A I S T R E L L O

Pensieri d'oro Acrylic and gold foil on canvas

127


Facchinetti 128


Maison

De luxe 129


FA C C H I N E T T I

MAISON DE LUXE

How was your entrepreneurial reality born? It started when I was a child, accompanying my father who was a technical manager of a great Lombard construction company; I spent my weekends with him, visiting the buildings that were under construction and discovering the beautiful and fascinating lake of Garda. To date, I remain fascinated by these large buildings. In 1989 after my studies, I decided to open my own real estate agency which this year, celebrates its 30th anniversary. Passion and dedication in the search for each customer’s dream home are my prerogatives, supporting each client with discretion and professionalism, from the preliminary operations up to the acclimatization in their new home.

targeted sales projects following all of their needs in a careful and precise manner. Due to the support of our in-house staff comprising architects, engineers and designers, the option of a possible restructuring of new purchases as well as custom furniture, makes the realization of a custom-made dream home become a reality. What are your investment recommendations to a foreign clientele? Italy is certainly still a particularly sought after country in which to spend ones holidays due to its breath-taking landscapes and the immense charm of localities rich in history and valuable buildings. In this day and age, the most significant sales take place for properties that are located in the most touristic environments, precisely because of these characteristics. My advice is always to follow ones heart and instinct regarding a choice and not to forget the locations position and its vicinity to services. Today, real estate prices (even those of luxury properties), have suffered a slight decline, thus making them more attractive. We must also not forget the high potential of investments geared toward an economic return, especially for those properties that are easily transformable into seasonal rentals. Today, the real estate agency represents a reference point for sales management and real estate rentals. Being able to guarantee an in-depth knowledge of the market, combined with a network as well as personal and professional relationships, will allow us to conclude high-profile negotiations with a maximum amount of satisfaction and confidentiality.

Which areas of Italy do you operate in and what do you offer your customers? We are able to offer a wide selection of luxury properties in all of the chicest lake locations; be it a villa, an estate, or a hotel on the lake of Garda; a historic residence on the lake of Como or a modern villa on the lake of Lugano; or even a castle on the Lago Maggiore, an estate in Franciacorta as well as inland, in Tuscany – and of course, not forgetting the Smeralda coast of Sardinia. For those individuals that wish to sell, buy or rent a prestigious property, and for those who want to manage operations of a high standing with confidentiality and discretion, my qualified and professionally trained team contribute to the development and satisfaction of every client, through

130


Facchinetti Maison De luxe Via Matteotti 28, GHEDI (BS) Phone +39 3384518890 / +39 3381455753 Mail ameliafacchinetti@gmail.com

www.facchinettimaisondeluxe.com

131


Private property in Milan, Italy.


LIGHT MAKING FEEL HOME. www.futuroluce.it


Private villa in Doha, Qatar.


LIGHT for LUXURY PROPERTIES. www.futuroluce.it


ONLY THOSE WHO KNOW THE STORY ONLY WHO IS ROOTED IN THE TERRITORY ONLY THOSE WHO LOVE THESE PLACES CAN HELP YOU DISCOVER THE MOST EXTRAORDINARY ENVIRONMENTS ON ITALIAN LAKES

We offer unique properties because we work in a unique place. Villa Regina Teodolinda Laglio is our head office. Located on the western shore of the Lake, has historical origins, traceable in ancient maps in the land register of Maria Theresa of Austria. Everyday we breathe the elegance of the building, the beauty of the glimpse and the wonder of Lake Como from a privileged point of view.

OUR COMPETENCE THE PASSION THE PROFESSIONALITY OUR JOB

We are professionals, we love our job, we prefer human relationships, style and details. The Lake and its suggestions succeed every day to surprise even us who have always lived here. The experience and collaborations developed over years of local presence allows us to offer the widest range of real estate-related services such as housing: brokering, real estate due diligence, valuations and appraisals, buying advice, design, interior design, development of urban plans. Important banking groups, notary, legal and tax advicers collaborate with us.

THE HEADQUARTERS OUR WORK, IN THE MOST BEAUTIFUL PLACE IN THE WORLD Regina Teodolinda Estates srl Via Vecchia Regina 58, 22010 Laglio, Como-Italy Phone +39.3929168342 info@rt-estates.com www.reginateodolindaestates.com Experience, with us, the Lake Como lifestyle: Villa Regina Teodolinda is also an ideal location for your parties and a prestigious Boutique Hotel


MASTER GOLDSMITH

Uniqu , lik

o . The perfect craftsmanship of an ancient work method applied to the most modern garments. Angela Bellomo’s vocation for fine tailoring takes shape in her personal temple of beauty, in Milan.

FABLORJEWELRY.COM

FORTE VILLAGE, ITALY

+39 333 571 8844

Atelier Angela Bellomo ● Via della Spiga 2, 20121 Milano ● Ph. +39.335.66.30.264


www.hfusionmediagroup.com

Synchronise the right team at a moment’s notice anywhere in the world.

Pantone 485c

Pantone Cool Gray 9c

UNITED KINGDOM • SWITZERLAND • CANADA • CYPRUS • MALTA • DUBAI Contact +44 203 695 0020 - hq@anchoragegroup.org - www.anchoragegroup.org

Profile for H Fusion Media Group Limited

H Edition Summer Art 2019  

Andy Warhol once made a statement regarding Marilyn Monroe that “everyone needs a fantasy”. With our Summer Art 2019, we have tried to dive...

H Edition Summer Art 2019  

Andy Warhol once made a statement regarding Marilyn Monroe that “everyone needs a fantasy”. With our Summer Art 2019, we have tried to dive...

Advertisement

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded