One Page_Encounters with Art

One Page

art design environment June 8, 2013 Year 3 n. 3

One Page is an idea of Duccio Trassinelli and Demetria Verduci

Encounters with Art at Greve in Chianti two days dedicated to painting, literature, design The cultural centre It is La Macina di San Cresci, name due to the old oil mill located within the building restored that now houses a cultural center and residence for artists.

The Library

By Nicola Terracciano

Greve in Chianti welcomes 14,000 inhabitants to a territory among the largest in Italy, of 169 sq km, e.g. more than Naples, which has 119 sq km, and features constant national and international tourist flows (one million visitors a year), in a natural environment that is protected, loved and valued and that facilitates the development of an industry daily, at all levels, through employment, development, civic partnerships, integration of immigrants, civil and cultural initiatives invaluable in these dark times of masochistic savings and cuts on culture,research, schools, Universities, in favor of a frivolous mass media or other fatuous and superficial initiatives.

The May 1, 2013 inauguration of the new library, which cost one million two hundred euros to build, with the support of the Tuscany Region and the Municipality represents a significant civic achievement for Greve in Chianti.A beautiful and functional building, equipped with all modern amenities, in the heart of the historic center, provides an added glow to the downtown. The town already had a distinguished library located in one of the city's important historic-municipal buildings, which now will become a place for cultural events and seat of the Associazione Amici della Biblioteca, ensuring support, strength, and an audience at the presentation of books (three hundred people regularly attend these important events).

I had the pleasure and honor of attending the opening ceremony in the presence of the town's mayor, Alberto BencistĂ , hardworking, experienced, skillful administrator, former city councilor of the Tuscany Region (whom I met last year in Parete, province of Caserta, my hometown, for a partnership on local products), and he asked me graciously to speak briefly at the event.

The town of Greve in Chianti allows visitors who discover it to enjoy the tastes, and pleasures of living in arelaxing, vast, and beautiful natural environment, harmonizedthrough centuries by hardworking farmers and the management of tenanted land, linking them to the emotions of a cultural heritage disseminated throughout the old town and in the villages The wine from this area known throughout the world, may be savored in its varieties in the various villages; olive oil, meats, and many other natural products make this town and its territory arequired stop for anyone with the desire to leave behind their current hectic lives and the standardized tastes of the supermarkets.

Some of the secrets that make this corner of the world so beloved, one of pearls of dear Italy ( often bitter in Southern ), include industriousness, an almost innate sense of aesthetics, reliability, good and wise administration, civility and a are spect for relationships, including an openness to everything that can enrich the town and add to its progress.

The town is linked historically to the great navigators Amerigo Vespucci (there is a house in a village near the historical center) and Giovanni da Verrazzano (whose statue stands in the center of the wide, characteristic triangular piazza of Greve in Chianti, Piazza Matteotti ), the discoverer of New York Bay in 1524, which was the largest suspension bridge ever built and the site of the start of the famous marathon.

Greve in Chianti is a city programmed to move slowly, a slow life of genuine flavor, of relaxation in magnificent nature with walking trails and cycling, and hills embroidered by vineyards and olive groves softened by the characteristic, slender and elegant Tuscan cypresses. "

It is more than a residence, is a place of meeting and exchange between artists from various countries.

Located within the restored complex of the church of San Cresci, overlooking the valley of Greve in Chianti, La Macina di San Cresci was born as an opportunity to meet, debate and international exchange. An exclusive stay, dedicated only to the artists: to take part in this experience in fact is necessary to present an artistic project that will be selected among those candidates. But not only.

Living and working in this place is perfect for the artist: you can enjoy the wonderful landscape, quite and at the same time be in contact with the rich historical culture and architecture of Tuscany, exploring the surroundings, which abound in places of great historical and naturalistic importance as Gaville, the Museum of country art, Greve, Badia a Passignano.

The artist's residence consists of a sojourning from one week to three months, the time is determined by the personal project presented by the artist and includes, when present at the same time, participation in workshops in various disciplines. The artist will work in an independent way, or together with artists from other countries, interacting with them and developing common ideas on art and contemporary culture. The disciplines include the visual arts, sculpture and literature. La Macina di San Cresci is a member of Res Artis, International Association of Residences for Artists founded in the Netherlands in 1993, the largest network of residences with its more than 300 members across all the continents. The residences for artists are still very rare in Italy, although they are valuable experiences, studies, information and interaction. In other European countries instead - and the world in general - these structures are a reality for some time. One of the best known examples is the DAAD in Berlin that exists now by forty years and offers one of the most coveted residency programs for artists from around the world. The aim of the residential program is to create a platform for creating individual but also collective, offering new opportunities to meet international artists.

The project of La Macina di San Cresci was born in response to the trend towards a nomadic culture that involves our historical moment, to give life to a unique experience designed to impress and last.

Located in Greve in Chianti, La Macina di San Cresci, residence and workshop for artists and curators from abroad, is a new reality for this local context, a long-term project that aims to develop a reciprocity between the local, national and internationally through engagement and dialogue with foreign institutions, public and private.

From these assumptions, La Macina di San Cresci is proposed as an added value in the area and aims to provide to the local cultural an exchange opportunity with the international art system.

Container and contents of the project is the intimate and domestic dimension of a house, a home, a place that preserves traces of its own life but at the same time is en route, constantly in transformation.

In these spaces, alternate and live artists and critics to create ad hoc projects proposed for the experience of staying. The intent is to create a real laboratory that can encompass and develop the latest research in the field of visual, artistic and critical, constantly involving experts and the public to interact with the guests. La Macina di San Cresci is a multidisciplinary space, which offers exhibitions, meetings and debates, performances, concerts, presentations, workshops and publications. It is an informal place where artists can experiment, test and compete with their work and with the public.

La Macina di San Cresci Pieve di San Cresci 1 50022 Greve in Chianti (FI) Italy Tel. 055 8544793 www.chianticom.com Comune di La Macina di San Cresci Greve in Chianti

Residenza perArtisti

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The Harmony of Colors The magic of Alfredo Correani Alfredo Correani lives and works in Greve in Chianti. He studied at the Art Institute of Porta Romana, where he was a student of Prof. Renzo Grazzini from whom he learned about the magic of colors (purple, green, and ocher) and innovative fresco technique.

He also attended the Piccola Accademia Lo Sprone with Prof. Francesco Messina and the Scuola Libera del Nudo at the Academy of Fine Arts in Florence. His first solo show was in 2000 on the occasion of the commemoration of Good Friday at Grassina. He is included in the anthology Tuscan painters and sculptors of the third millennium (Bastogi publisher).

He has received many honors and awards.

He is part of the Executive Board of the Centre d'Art Modigliani. Critical commentary about his work includes essays by: Sonia Salsi, Eleonora d'Aquino, Mario Mazzoni (Pegaso), Roberto Cellini, Federico Napoli, Lia Bronzi, Roberta Degl'Innocenti.

LA MATERIA

Wonders of Tuscany However, it must be said that in religious subjects, the works seem to us more rarefied, because even if you feel the sense of their inevitable transience, the architectural ensemble is fixed so as to undermine the ephemeral and shape-shift into the eternal, while at the same time we feel the painter’s full awareness of piety, through an appropriation of many loftier styles. An art, then, that in different shapes and forms proposes the merger, in short, of elements of sensory perception with spiritual elements and, despite being descriptive succeeds, through analog connections, to become evocative of moods, according to a structural naturalism that is based on the organizational perspective of space, within which all coordinates and becomes unified in the work. And if we consider that we are in a time of experimentation, of cryptic forms full of random and incomprehensible methods, a serene and comprehensive painting with pleasing aesthetic effects, can’t help but do some good to the heart and soul of the viewer.

By Roberta Degl’Innocenti

... (...) ... A painting, by Alfredo Correani, always preserves its gentle tone, quiet, with the composure of villages that reveal a taste of ancient harmony, in the rigor of memory that becomes light and shadow, in the profiles of the houses, resting in green, to the patches of color that break the silence. Everything is soft color, discreet, a kindness to savor in shades of purple and in the white that lights up winter landscapes. Within a system of alternating seasons where time resides.

Alfredo Correani‘s painting is soothing, evoking moments suspended in the grace that accompanies the colors of his imagination and filters the real and mixesit with atmospheres of dream. Is man ever visible in the images? It’s as if the painter expresses his life through the flowers, the countryside, the care of the gardens, the look of the homes from which a low murmur rises, and the intuition of time, the work of man and the seasons.

Purple is his most important color. If we look carefully we find it in every picture: in the walls of the houses, above the trees, in the enchanted sky of the Certosa or in how it softens the vineyard in winter. These colors, which are never absolute, make a puzzle of suffuse lighting, and accompany the painter, as discreet presences, to enlighten the journey.

Lights & Lights De Rerum Natura

By Lia Bronzi

...La ben calibrata serie delle quattro stagioni, che scandiscono con il loro ritmo sempre uguale i momenti della fatica e dell’amore...

Federico Napoli

IL TEMA

Una Pagina online su www.chianticom.com

Alfredo Correani’s painting is inherently compelling in its spontaneity, composed in idealization of reality, entrusted to eternity as reflection of an ideal human beauty and always in logic dialogue with nature and its cycles and temporal events, that safeguard the essence of the same joy. The artist, in fact, not only knows how to reproduce reality but also its prototype in terms of an ideal, whose reality itself seems to be inspired, by the reaffirmation of its phenomenology, as Oscar Wilde says: "Art supersedes nature, "so with Correani, whose imagination and intrinsic poetry, embrace a much broader field than that offered by his own life, thus making the language of art a personal expression of a world view, more lyrical and pastoral, with aesthetic and social messages of ecological import. Consider, for example, the large vertical panel reproducing a familiar rural setting, where the use of space is at the service of the narrative, while the female figure wrapped in a dominant delicate purple, protrudes forward, in a complete balance of volumes, portending a family epic, that’s enhanced by the presence of two reassuring and loving dogs, and a yellow mimosa, symbol of fertility and immortality, all part of an extraordinary drawing complex whose boldness of backlit shadows and sound-effects reverberate, giving the composition a life that seems to burst with all its suffering into our own.The vines painted in chiseled iris-purple, express a Tuscan "spiritus" representing its four seasons that define a symbiotic relationship not only with the individuality of the artist but also the values that characterize it, while the color, a Bonnardian intimacy, I would say, offers a strong appeal to earthly nourishment, deserving of Chianti wines. The same can be said of the landscape views and of the small settlements, such as those of the cities of art: Florence, in fact, while attached to the mysticism of everyday life, at the same time becomes eternal, since the internalization of the painter’s poetic repertoire results in a rarefaction of the painting so images, caught in their existential aura,become essence that goes straight to the soul of things, according to a temporality that knows the intermittent accomplices of the heart and makes a peremptory affirmation of life. We refer to the works that reproduce the churches of Santo Spirito, San Miniato al Monte, and the Ponte Vecchio in Florence, painted with endless "nuance" that in addition to the purple of love, purple of memory and purple of modesty, contain and gather many polychromes of various shades, to authenticate a Florentine beauty perceived and conceived with feeling and insight as a faithful portrait and soulful expression.

More playful and tangible to us, are works that reproduce La Certosa, Greve, and Montefioralle where the beloved rural setting painted by Correani has characteristics that make it identifiable and express the substance of poetry that is Weltanschauung with lines and colors in powerful and emotional contrast that emphasize its cosmic character.

Stampa : Tipografia Grevigiana

The lights by Duccio Trassinelli at MoMa, Centre Pompidou and Vitra Design Museum

Among the objects of daily use the lamp is distinguished by its dual personality: a decorative object when it is off, when it is on for the supernatural effect of its light. It is easy to understand how, at the end of the sixties, in a society in turmoil such as that one, when design wanted to discover new HANNO DETTO languages and methodologies, that the lamp would become an irresistible challenge for any designer or artist. (Fulvio Ferrari, Luce: lampade 1968-1973) Duccio Trassinelli, founder of StudioArditi, is an important interpreter of that historical moment.

The PRIMSAR is the formal-technical result of being a mutant of the lamp: when it is off it’s a mirror, by virtue of its sides of Mirropane, when is on it reflects, spreads, deceives, and emits light.

He was one of the first to experiment with low voltage and used pieces of the material to shape the object, as the BT1 made of steel wires, magnets, and car bulbs.

The PONTE lamp is a large arch with marble bases and globe lights that can be positioned at any point on the arc.

With his collection of "illuminating objects," between art and design DuccioTrassinelli is currently undertaking self-produced designs and the production of unique pieces or limited editions.

Some pieces are conceived from sketches, studies, and prototypes of the '70s, and offer not only lamps that light up, but that also play with surfaces and space.

Playing with light makes the object that generates it a crucial element of the environment, along with the type of light itself, from the spark plug, xenon headlights, LED, including fire.

From that his constant search for shapes, materials and technologies, and the creation of new works.

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We suggest At the Bibliotheque Nationale de France, Paris

until July 13 the exhibition “ Guy Debord, un art de la guerre” .

The author of The Society of the Spectacle was both a poet, essayist, filmmaker, artist, philosopher, sociologist and political activist.

Almost all of the documents on display come from the private archives of Guy Debord, acquired by the French State as a national treasure in February 2011.

Along with the cards manuscript, to posters, books, magazines and photographic documentation on the move, in the exhibition you can see the film of Debord. The theme of the exhibition is the Jeu de la Guerre that Debord invented in 1956 and then continued to develop in the following years with the desire to "reproduce the dialectic of all conflicts." A war game that is both "strategic overview of his work and a metaphor for the struggle against the spectacle of the goods" says Laurence Le Bras, which together with Emmanuel Guy, curated the exhibition.

Paris, 1953. At the far end of the rue de Seine, a young man writes on a wall in capital letters: NE TRAVAILLEZ JAMAIS ! (NEVER WORK!) Guy Debord never worked. He walked a lot on the streets of Paris and drank certainly more than others. Above all, he imagined in his works, whether books or films, the theoretical weapons for a ruthless critical thought of modern society. The avant-garde movements that he initiated - the Internationale lettriste (19521957) then the Internationale situationniste (1957-1972) – were the key instruments that allowed an organized struggle against anything impeding life as really lived.

Both a poet, an artist, a revolutionary Marxist, a magazine editor and a film-maker, Guy Debord was first of all the strategist of a war of movement against the pretences of our society. Very early, he precisely demonstrated the perverse effects of this society in the book he published in 1967, La Société du spectacle (Editions Buchet-Chastel, 1967).

The exhibition organised at the BnF in Spring 2013 will focus on the strategy followed by Guy Debord and his companion-in-arms.

The exhibition proposes to discover, period after period, the works, vision and experience of the thinker; it also focuses on a collective adventure that gathered people fighting to set up a society that they thought to be less absurd than the system of a market capitalist economy in full expansion.

June 8, 2013

Firenze giorno per giorno From New Year's Day to New Year’s Eve an Extraordinary Almanac A New portrait of the City in the book of Eugenio Giani Eugenio Giani has a true passion for Florence. His knowledge of the history of the city, and its idiosyncrasies as key historical episodes is equal to his present-day knowledge of Florence, and of the people who live there and the life that takes place daily in the shadow of the Dome. His attention to the details of fellow citizens, his care for what happens, and his presence, for over twenty years, in leading administrative roles make him a mainstay of the social and political history of this city. Who better than he, therefore, could have undertaken an almanac such as this, capable of describing day to day the essence of Florence? From Lorenzo the Magnificent’s perfect opening words of the book, to the enactment of the Ordinances of Justice, from the inauguration of the first local radio to the massacre of Piazza Tasso, from the rebirth of Fiorentina as Florentia Viola to the Battaglia di Anghiari, Eugenio composes a detailed and triumphant mosaic of our city and identifies the moments that are best able to transmit its essence, especially from a social point of view. We are grateful for the carefully stitched history that the episodes recount: what emerges is a Florence made up of people, of individuals who contribute in their own way to create the story of a great community. Eugenio Giani manages to convey exactly that sense of meaning and pride in who we are: a people united, capable of extraordinary genius not alone but born from a community nourished by the breathtaking grandeur we breathe every day in the streets, markets, and palaces of Florence.

Eugenio Giani was born June 30, 1959 and graduated with a degree in Law from the University of Florence.While working at the Palazzo Vecchio since 1990, he has served as Councilor from 1993 to 1995 in the Assembly of the Mayor Giorgio Morales and from 1999-2009 with Mayor Leonardo Domenici. Since 2009 he has been President of the Municipal Council of Florence. Among the mandates he’s had as councilor we recognize his particular commitment to aspects of the history of the city when he was delegated as the Mayor of Popular Traditions, Toponymys, Sports, International Relations and Twinning and, for a few months, also of Culture.

Since February of this year he has served as Regional Councillor in the elected Assembly of Tuscany. Over time, he held various positions in cultural institutions such as at the Casa Buonarroti, the Children's Museum in the Palazzo Vecchio, the Museum Stibbert, the Italian Federation of Historical Games and as President of the sports organization Coni Provinciale.

He is author of numerous essays and articles on various cultural and sports-related topics. Among his books "Firenze e la Fiorentina" is especially noteworthy, in which the author leads us on an unprecedented roundup of events that saw him starring in critical moments of the Club Viola that culminated in its failure in 2002 and then helped reestablish as a sporting association. Also noteworthy are his publications "Festività Fiorentine", written with Luciano Artusi and Anita Valentini where they explore the significance of the main public pageants of the city; the introductory text to "Il Corteo della Repubblica Fiorentina" with Reviews Luca Giannelli; and finally the book on “Il centocinquantesimo anniversario del plebiscito in Toscana per l’unità d’Italia” (11-12 Il Reporter, 01/02/2012 March 1860) co-authored withAnita Valentini.

Ciro Becchimanzi

Among the photographs is also exposed San Cresci, here Debord has lived in the '70s, Reviews Giornale della Toscana, 09/10/2011 is testimony in his film "In girum imus nocte et As Giani himself said "there was nothing like that, and so, as soon igni consumimur" and in the book Panegirico.

"To be able to write you must have read. And to be able to read should be able to live. " Guy Debord

as I had a little time, I began to work. The task was not to find, day by day, an event that distinguished a date and belonged to the city, but select the various episodes that occurred that day. Just an example: 18 February died the Elettrice Palatina , the one who left us the immense cultural heritage of the Medici family, but on the same day died also Michelangelo Buonarroti. It was not easy to choose ... ". For those who love Florence this volume cannot miss in the library of the house. In fact, thanks to this book, for example, you will be able to answer several questions: what day of the MiddleAges was born the municipality of Florence? When was the first stone of the Palazzo Vecchio? That date marked the calendar when the Florentines have admired the Porte del Paradiso , or when Vittorio Emanuele II entered Florence jubilant? No one remembers, you can bet, the day and the year in which Mozart performed at Poggio Imperiale or Verdi conducted the premiere of Macbeth at the Pergola. And, even closer to us, the dates of the first exhibition at the Parterre, the first concert of Maggio or the first broadcast of Radio Florence. And when the city has leapt to the first bay of the Canottieri, the first victory of Rari Nantes, the first goal of Fiorentina? What he wrote, is a full-bodied almanac, one day after another, month by month, so that before our eyes make up the mosaic of the magnificent history of Florence, from the beginning to the present day. At each date a personage, an event, an episode of record, a curiosity, a new detail woven into a rich almanac that, for the full year, gives us a Florence as we have never known. The book devotes the January 1 to a man- symbol of Florence’s fame - Lorenzo il Magnifico - born, in fact, the first day of the year of 1449.

La presente pubblicazione non rappresenta una testata giornalistica in quanto viene pubblicata senza alcuna periodicità.

Non può pertanto considerarsi prodotto editoriale ai sensi della Legge n. 62 del 7.03.2001

He is a politician and chairs the CONI provinciale , but his real passion is Florence. Its history, its culture and its characters, foremost. Let's talk about Eugenio Giani, president of the City Council and Regional Council, but this time we do writing of his latest book: Firenze giorno per giorno. Published by Sarnus, the volume looks like a real treasure of memory, a trip through the calendar (from New Year's Day to New Year’s Eve) that collects a passionate research of historical episodes and personages, little and great, that have made the history of the city. From the birth of Lorenzo il Magnifico to the days of the flood, from the great battles to the first championship of Fiorentina, from the martyrdom of San Miniato to the Pazzi Conspiracy, Giani welcomes us into his time machine and shows us a Florence sometimes unpublished, made of celebrities, traditions, and men and women who have their lives intertwined with the fate of the city. An almanac to browse, finding school memories or marveling of unknown episodes. A mix of facts and different personages different in time (from 250 AD to February 14, 2010, the day of the inauguration of the tramway) and in importance they had on the history and on the imaginary of the city. A meticulous work, even for short snapshots, complete with researched pictures and a rich bibliography, Firenze giorno per giorno is undoubtedly a book that will appeal to the Florentines and those who, like the author, brings Florence in the heart.

"Eugenio Giani - writes the Mayor Matteo Renzi presenting the book - is able to convey exactly the meaning and pride in what we are: a people united, capable of extraordinary genius who is not single but is born from the community and is nourished by the beautiful magnitude that we breathe every day in the streets, markets and palaces of Florence. " Echoes the same Giani: "I hope that the book stimulates curiosity, desire for further study, however, interest in Florence, perhaps awakening pride and sense of identity and providing stimulus to the new generations to know and love it more.”