Lecce - Un viaggio intrapreso da anni tra i palcoscenici dei meravigliosi ulivi di Puglia: quelli del Nord ancora maestosi, forgiati dalle forze della natura nel corso dei secoli, e quelli secchi del Salento, distrutti irreversibilmente dalla Xylella. Con ALIVE ancora una volta il fotografo Francesco Bosso torna a dare voce a un tema per lui centrale: la passione per la Terra, il rispetto dei luoghi e la necessità di stimolare più persone possibili allo sviluppo di un’attitudine alla tutela della Natura e dei processi ecologici. Nato in collaborazione con la Fondazione Sylva – testimone del drammatico degrado ambientale subito dal Salento negli ultimi 10 anni, cui ha contribuito molto l’epidemia da Xylella che ha devastato migliaia di ettari di uliveti – ALIVE raccoglie alcuni scatti realizzati in Puglia esposti da Sabato 24 luglio al 30 settembre 2021 al Castello di Tutino, a Tricase in provincia di Lecce. Un racconto di speranza e resilienza, di ripartenza dopo un disastro per raccogliere fondi e contribuire alla rinascita della terra salentina. “Una sensazione terribile che avevo già vissuto nell’Artico – racconta Bosso – quando ho fotografato gli Iceberg battezzandoli poi come Last Diamonds, gli ultimi gioielli che la calotta polare ci stava offrendo, sotto la minaccia del riscaldamento globale e quindi della fusione irreversibile”. Fotografo di paesaggio formatosi alla scuola americana dei Weston e di Ansel Adams, padri fondatori della fotografia paesaggistica, Francesco Bosso lavora esclusivamente in bianco e nero, scattando su pellicola di grande formato con banco ottico e stampando personalmente tutte le opere su carta baritata alla gelatina d'argento e trattamento al selenio, con un processo artigianale.
Showing posts with label exhibitions. Show all posts
Showing posts with label exhibitions. Show all posts
Wednesday, July 21, 2021
Thursday, August 25, 2016
JAPAN MODERN
The Rijksmuseum in Amsterdam presents 170 Japanese prints from the Elise Wessels Collection, picturing Japan’s rapid modernization during the opening decades of the twentieth century. Alongside prints, the exhibition will feature kimonos and lacquerware from the Jan Dees and René van der Star Collection and posters on loan from the National Museum of Modern Art in Tokyo.Japan modernized rapidly in the first half of the 20th century.
The growing international trade and booming economy had a great impact on Japanese society. This is reflected in graphic art of the period. At the beginning of the 20th century two new print movements arose. The innovative soak hang (creative prints), which focused on modern city life, and the more traditional shin hanga (new prints), which was more often informed by nostalgia and commerce.
This exhibition presents a selection of the Japanese woodcut prints from the extensive collection of Elise Wessels.
In the early 1900s, Japan was booming. Its modern urban centres offered a fertile climate for burgeoning industries and gave rise to new forms of leisure. As in Europe and America, women were pushing back old boundaries, forging a new model of the ‘modern girl’. Alongside optimism, there was also a prevailing sense of nostalgia, fed by feelings of uncertainty. In this era of vast change, the past was glorified as an ideal. With Japan in the midst of this whirlwind development, a devastating earthquake struck in 1923, ravaging the city of Tokyo and many towns and villages for miles around. Work immediately began on reconstruction of the country’s capital, putting the pace of modernization into an even higher gear. Synthetic fabrics made clothing, including kimonos, more affordable, and in their window displays the new department stores showcased the latest fashions to tempt shoppers. By 1930, Tokyo was a modern world metropolis that bore little resemblance to the city it had been just a few decades earlier. The new image of women was widely disseminated by advertisements for the rapidly growing cosmetic industry, and was subsequently embraced by writers and artists. In practice, however, the situation was quite different as most Japanese women still wore kimonos. Sometimes they combined this with a new hairdo, for instance a bob style, or chose a kimono with a contemporary pattern.
(Until September 11- Rijksmuseum - Amsterdam)
Prints from this period offer an unparalleled window into this turbulent time. Japan already had a long tradition of printmaking, but the early twentieth century saw the emergence of two new artistic currents known as Shin hanga (‘new prints’) and Sōsaku hanga (‘creative prints’). Artists within these two movements each applied traditional woodcutting techniques in their own specific ways. Shin hanga artists used time-honoured methods and pictorial content that dovetailed with Japan’s centuries-old printmaking tradition, choosing subjects such as idealized female portraits and evocative landscape prints. Sōsaku hanga artists, by contrast, were avant-gardists with innovative ideas about the role of the artist and the creative process, whose subject matter revolved around the modern world, city life and industry. Weaving together these two strands of Japanese printmaking, this exhibition tells the story of a society in transformation.
These posters announce the opening of the first section of the extensive underground network in Tokyo. The clothing worn by the passengers suggests that this new form of public transportation was primarily used by the city's more affluent inhabitants.
This exhibition presents a selection of the Japanese woodcut prints from the extensive collection of Elise Wessels.
In the early 1900s, Japan was booming. Its modern urban centres offered a fertile climate for burgeoning industries and gave rise to new forms of leisure. As in Europe and America, women were pushing back old boundaries, forging a new model of the ‘modern girl’. Alongside optimism, there was also a prevailing sense of nostalgia, fed by feelings of uncertainty. In this era of vast change, the past was glorified as an ideal. With Japan in the midst of this whirlwind development, a devastating earthquake struck in 1923, ravaging the city of Tokyo and many towns and villages for miles around. Work immediately began on reconstruction of the country’s capital, putting the pace of modernization into an even higher gear. Synthetic fabrics made clothing, including kimonos, more affordable, and in their window displays the new department stores showcased the latest fashions to tempt shoppers. By 1930, Tokyo was a modern world metropolis that bore little resemblance to the city it had been just a few decades earlier. The new image of women was widely disseminated by advertisements for the rapidly growing cosmetic industry, and was subsequently embraced by writers and artists. In practice, however, the situation was quite different as most Japanese women still wore kimonos. Sometimes they combined this with a new hairdo, for instance a bob style, or chose a kimono with a contemporary pattern.
(Until September 11- Rijksmuseum - Amsterdam)
Prints from this period offer an unparalleled window into this turbulent time. Japan already had a long tradition of printmaking, but the early twentieth century saw the emergence of two new artistic currents known as Shin hanga (‘new prints’) and Sōsaku hanga (‘creative prints’). Artists within these two movements each applied traditional woodcutting techniques in their own specific ways. Shin hanga artists used time-honoured methods and pictorial content that dovetailed with Japan’s centuries-old printmaking tradition, choosing subjects such as idealized female portraits and evocative landscape prints. Sōsaku hanga artists, by contrast, were avant-gardists with innovative ideas about the role of the artist and the creative process, whose subject matter revolved around the modern world, city life and industry. Weaving together these two strands of Japanese printmaking, this exhibition tells the story of a society in transformation.
These posters announce the opening of the first section of the extensive underground network in Tokyo. The clothing worn by the passengers suggests that this new form of public transportation was primarily used by the city's more affluent inhabitants.
Wednesday, July 13, 2016
LA CASA DO YOU DO
Ogni due anni do ut do propone eventi dedicati alle arti ed alle eccellenze della nostra cultura coinvolgendo istituzioni, imprese e collezionisti.
La terza edizione di do ut do si basa sulla realizzazione della casa do ut do di Alessandro Mendini, le cui stanze sono progettate da importanti architetti e designer.
La casa do ut do sarà creata in digitale utilizzando un sistema di navigazione in virtual reality 3D, in modo da consentire la visita della casa do ut do sia sul web che nei musei e nelle sedi espositive che aderiscono al progetto, in video e in navigazione con visori 3D, oltre che in navigazione libera su smartphone e tablet.
Quest'anno do ut do si sviluppa nel corso di tutto il 2016 ed è stato pubblicamente annunciato in anteprima ad ARTEFIERA il 31 gennaio. La casa do ut do è stata presentata, ai media e al mondo dell'architettura e del design internazionale, in una conferenza stampa abbinata ad un incontro sui “I Valori dell’Abitare”, il 14 aprile, in occasione dell'evento INTERNI - OPEN BORDERS, durante il Salone del Mobile di Milano, presso l'Aula del Senato Accademico dell’Università Statale di Milano. La casa do ut do è stata poi ufficialmente presentata al mondo dell'arte contemporanea a Venezia il 17 maggio presso la Peggy Guggenheim Collection. Da luglio inizieranno le installazioni della casa do ut do in importanti sedi espositive, dal 14 luglio a fine agosto alla Reggia di Caserta, da 15 al 22 luglio al MADRE di Napoli, dal 20 al 25 settembre al MAXXI di Roma, dal 3 al 10 di ottobre al MART di Rovereto poi, tra ottobre e novembre, le opere che saranno oggetto dell'estrazione saranno fisicamente in mostra alla Pinacoteca Nazionale di Bologna e all'Accademia di Belle Arti di Bologna mentre la casa do ut do sarà visitabile al MAMbo, con filmati e visori 3D.
La terza edizione di do ut do si basa sulla realizzazione della casa do ut do di Alessandro Mendini, le cui stanze sono progettate da importanti architetti e designer.
La casa do ut do sarà creata in digitale utilizzando un sistema di navigazione in virtual reality 3D, in modo da consentire la visita della casa do ut do sia sul web che nei musei e nelle sedi espositive che aderiscono al progetto, in video e in navigazione con visori 3D, oltre che in navigazione libera su smartphone e tablet.
Quest'anno do ut do si sviluppa nel corso di tutto il 2016 ed è stato pubblicamente annunciato in anteprima ad ARTEFIERA il 31 gennaio. La casa do ut do è stata presentata, ai media e al mondo dell'architettura e del design internazionale, in una conferenza stampa abbinata ad un incontro sui “I Valori dell’Abitare”, il 14 aprile, in occasione dell'evento INTERNI - OPEN BORDERS, durante il Salone del Mobile di Milano, presso l'Aula del Senato Accademico dell’Università Statale di Milano. La casa do ut do è stata poi ufficialmente presentata al mondo dell'arte contemporanea a Venezia il 17 maggio presso la Peggy Guggenheim Collection. Da luglio inizieranno le installazioni della casa do ut do in importanti sedi espositive, dal 14 luglio a fine agosto alla Reggia di Caserta, da 15 al 22 luglio al MADRE di Napoli, dal 20 al 25 settembre al MAXXI di Roma, dal 3 al 10 di ottobre al MART di Rovereto poi, tra ottobre e novembre, le opere che saranno oggetto dell'estrazione saranno fisicamente in mostra alla Pinacoteca Nazionale di Bologna e all'Accademia di Belle Arti di Bologna mentre la casa do ut do sarà visitabile al MAMbo, con filmati e visori 3D.
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Alessandro Mendini |
Monday, October 5, 2015
DANIEL KNORR EXHIBITION
VENI VIDI NAPOLI by Daniel Knorr
Galleria Fonti-Via Chiaia 229 Napoli
October2 to November 27, 2015
Opening hours:Mondey to Friday 11-14/16-20 or by appointment
http://www.galleriafonti.it/
Daniel Knorr was born in Bucarest in 1968, but lives and works in Berlin.
In this solo exhibition at Galleria Fonti he presented two groups of new works:
Depression Elevation and Capillaire.
Capillarie is a series of acrylic tubes containing different types of poison and displayed forming a circle in the first room of the gallery. The title refers to the capillary vessels of a body. The presence of poison in a body can have different reasons. It can be used as a so antibody on order to boost yhe immune system and to destroy “foreign objects” like viruses or dangerous bacteria. In the same time it can be dangerous in the body if its concentration is higher than recommended. Continuing the analogy with the state, while on one side the poison controls the society, it can at the same time be dangerous if it gets out of control. Poisons are designing tools and a kind of biopolitical structure of our society and the work Capillaire is examining the abundance of their use in our common “historic body”.
In Depression Elevations Daniel Knorr explores the surface of cityscape using a series of resin sculptures cast from impressions of city. The city's vast and complex network of roads leaves an indelible mark upon the wide, flat plane of the cities, begetting a cultural landscape dominated by car culture and urban sprawl.
The hollows of the street, however, worn by the ravages of time and human use, provide a small footprint of the city's past. In casting from these puddles and potholes, Knorr catches history in his mold, engendering form and substance from a literal void. The resultant sculptures derive an evocative power not from their undeniably beautiful façade, but from intimate aura of a swiftly fading past.
Daniel Knorr é nato a Bucarest nel 1968, ma vive e lavora a Torino.
In questa sua personale alla Galleria Fonti presenta due gruppi di lavoro:
Depression Elevation e Capillaire.
Capillaire si compone di una serie di tubi in resina acrilica che contengono diverse tipologie di veleno e che si dispongono in cerchio nella prima stanza della galleria.
Il titolo si riferisce ai vasi capillari del corpo. Un veleno può essere presente in un corpo per diverse ragioni. Può essere utilizzato come anticorpo in modo da supportare il sistema immunitario e distruggere “corpi estranei” come virus o batteri pericolosi; ma allo stesso tempo può essere pericoloso in un corpo se la sua concentrazione è più alta di quanto raccomandato. I veleni sono strumenti di progettazione e rappresentano un tipo di struttura biopolitica della nostra società: l’opera Capillaire ne esamina il grande utilizzo nel nostro comune “corpo storico”. In Depression Elevation, Daniel Knorr analizza la superficie del paesaggio urbano mediante una serie di calchi in resina presi dalle “impressioni” che si trovano sulle strade della città. Gli avvallamenti delle strade consumate dai segni del tempo e dall’utilizzo dell’uomo, forniscono una piccola impronta del passato della città. Nel fare calchi di pozzanghere e buche, Knorr coglie la storia, generando forma e sostanza letteralmente dal nulla. Le sculture così prodotte traggono forza evocativa non dal loro innegabile bell’aspetto, ma dall’intima aura di un passato che rapidamente svanisce.
Galleria Fonti-Via Chiaia 229 Napoli
October2 to November 27, 2015
Opening hours:Mondey to Friday 11-14/16-20 or by appointment
http://www.galleriafonti.it/
Daniel Knorr was born in Bucarest in 1968, but lives and works in Berlin.
In this solo exhibition at Galleria Fonti he presented two groups of new works:
Depression Elevation and Capillaire.
Capillarie is a series of acrylic tubes containing different types of poison and displayed forming a circle in the first room of the gallery. The title refers to the capillary vessels of a body. The presence of poison in a body can have different reasons. It can be used as a so antibody on order to boost yhe immune system and to destroy “foreign objects” like viruses or dangerous bacteria. In the same time it can be dangerous in the body if its concentration is higher than recommended. Continuing the analogy with the state, while on one side the poison controls the society, it can at the same time be dangerous if it gets out of control. Poisons are designing tools and a kind of biopolitical structure of our society and the work Capillaire is examining the abundance of their use in our common “historic body”.
In Depression Elevations Daniel Knorr explores the surface of cityscape using a series of resin sculptures cast from impressions of city. The city's vast and complex network of roads leaves an indelible mark upon the wide, flat plane of the cities, begetting a cultural landscape dominated by car culture and urban sprawl.
The hollows of the street, however, worn by the ravages of time and human use, provide a small footprint of the city's past. In casting from these puddles and potholes, Knorr catches history in his mold, engendering form and substance from a literal void. The resultant sculptures derive an evocative power not from their undeniably beautiful façade, but from intimate aura of a swiftly fading past.
Daniel Knorr é nato a Bucarest nel 1968, ma vive e lavora a Torino.
In questa sua personale alla Galleria Fonti presenta due gruppi di lavoro:
Depression Elevation e Capillaire.
Capillaire si compone di una serie di tubi in resina acrilica che contengono diverse tipologie di veleno e che si dispongono in cerchio nella prima stanza della galleria.
Il titolo si riferisce ai vasi capillari del corpo. Un veleno può essere presente in un corpo per diverse ragioni. Può essere utilizzato come anticorpo in modo da supportare il sistema immunitario e distruggere “corpi estranei” come virus o batteri pericolosi; ma allo stesso tempo può essere pericoloso in un corpo se la sua concentrazione è più alta di quanto raccomandato. I veleni sono strumenti di progettazione e rappresentano un tipo di struttura biopolitica della nostra società: l’opera Capillaire ne esamina il grande utilizzo nel nostro comune “corpo storico”. In Depression Elevation, Daniel Knorr analizza la superficie del paesaggio urbano mediante una serie di calchi in resina presi dalle “impressioni” che si trovano sulle strade della città. Gli avvallamenti delle strade consumate dai segni del tempo e dall’utilizzo dell’uomo, forniscono una piccola impronta del passato della città. Nel fare calchi di pozzanghere e buche, Knorr coglie la storia, generando forma e sostanza letteralmente dal nulla. Le sculture così prodotte traggono forza evocativa non dal loro innegabile bell’aspetto, ma dall’intima aura di un passato che rapidamente svanisce.
Thursday, December 11, 2014
OBEY - SHEPARD FAIREY
“It’s a constant dialogue with the observer; what I do is to send a stimulus and respond with a new stimulus based on the response I have received.”-Shepard Fairey.
It is one of the most famous exponents of street art, Fairey grew in South Carolina, he studied art and in 1988 he graduated at the Art Academy. In 1989, create and realizes the initiative André the Giant Has a Posse; fills the walls of the city with stickers depicting the face of the wrestler André the Giant, the same were then replicated by other artists in other cities. Fairey himself explained that there was no particular significance in the choice of the subject, the meaning of the campaign was to produce a media phenomenon and make the citizens reflect on their relationship with the urban environment. But the initiative that gave international exposure to Fairey was the poster Hope that reproduces the stylized face of Barack Obama in CMYK, has become the icon of the campaign that then led the democratic representant to the White House.
Obey-Shepard Fairey exhibition in Naples @ PAN – Palazzo delle Arti Napoli – from December 6th to February 28, 2015.
It is one of the most famous exponents of street art, Fairey grew in South Carolina, he studied art and in 1988 he graduated at the Art Academy. In 1989, create and realizes the initiative André the Giant Has a Posse; fills the walls of the city with stickers depicting the face of the wrestler André the Giant, the same were then replicated by other artists in other cities. Fairey himself explained that there was no particular significance in the choice of the subject, the meaning of the campaign was to produce a media phenomenon and make the citizens reflect on their relationship with the urban environment. But the initiative that gave international exposure to Fairey was the poster Hope that reproduces the stylized face of Barack Obama in CMYK, has become the icon of the campaign that then led the democratic representant to the White House.
Obey-Shepard Fairey exhibition in Naples @ PAN – Palazzo delle Arti Napoli – from December 6th to February 28, 2015.
Mural-2006 |
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Obay Zapatista woman -2005 |
Comandante 1,2,3,4 - 2002 |
Obama manifest hope - 2008 |
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Vote - 2008 |
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Squier Obey |
Obey Marley 2004 - Obey Strummer 2004 |
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Obey Sid do it your way - 2003 |
St. Margherita square - 2009 |
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Afrocentric - 2007 |
Lenin money 2003 - Nixon money 2003 - Mao money 2003 |
The Don 2006 - Sonny 2006 - Tom 2006 - Fredo 2006 |
Obey Marittima - 2009 |
Obey St. Mark's square - 2009 |
Paul Rodriguez - Danny Way - Colin McKay - PJ Lado - Ryan Gallant - Darrell Stanton 2005 |
Obey Jim Muir's skate |
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Skyline 2000 |
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Obey 2005 |
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