THE GEOGRAPHIES OF DESIRE: THE BOOK LAUNCH OF “DESIDERARE INVANO. IL MITO DI FAUST IN GOETHE E ALTROVE”( “TO DESIRE IN VAIN. THE MYTH OF FAUST IN GOETHE AND ELSEWHERE”) BY FRANCESCO ROAT AT THE ROME ASEQ BOOKSHOP

Edoardo Quarantelli introducing Francesco Roat at the Rome Aseq bookshop, photo by N
Edoardo Quarantelli introducing Francesco Roat at the Rome Aseq bookshop, photo by N

Desire, word defining – as it is evidences the Treccani Italian dictionary – “the intense feeling which pushes to look for the fulfillment of all that can satisfy a physical and spiritual need”, as well as the one of “lack of a thing being necessary to one’s own physical and spiritual interest”. It’s interesting to think about the etymology of this word which, considering the Etymological Dictionary of Italian Language (DELI) stands, as “to stop contemplating the stars for an augural purpose”. That, as the philosopher Umberto Galimberti says, refers to the “De Bello Gallico” by Gaius Iulius Caesar: the desiderantes (or the ones who desired) were the soldiers who were under the stars to wait for the ones who still didn’t come back after they fought during the day. It arises from that the meaning of the verb to desire: to stand under the star and wait. This meaning refers to an idea of communion of the man with universe, a dimension ruled by natural laws (also reminding me the quote by Immanuel Kant: “the starry sky above me and the moral law within me”) and at first seems it is not pertaining to the geographies of desire, its contorted paths, atavistic theme which is the quintessence of human condition, draws the ontology of individual and is bringer of many inputs and suggestions connected to contemporary times, phenomenon as the mass narcissism and hyper-hedonism of society, promoted and emphasized by the mainstream culture. It almost sounds like a hiatus, but it is not like that, considering these words are said by someone – the one who writes – who often spends a lot of them to draw the contemporary creativity – oriented to the kalokagathia, or to celebrate the beautiful and the good – embodied in fashion and its product, which doesn’t exist, gets any success if it isn’t sold. And this moment, the moment of sale is strictly linked to another moment, the presentation and communication of fashion, its product, which has the purpose to create an emotion, to light a fire, desire, rush to enter and belong to the universe depicted by that product and its consumption (in fact it often talks about the lifestyle products or those products drawing a certain lifestyle) These mainly sociological suggestions are the contextualization into a narrower and more specific theme or fashion, source of culture and commodities category, of a wider subject, brightly told by author and literary critic Francesco Roat in the book he wrote “Desiderare invano. Il mito di Faust in Goethe e altrove”( “To desire in vain. The mith of Faust in Goethe and elsewhere”, Moretti & Vitali, Euros 14,00) which has recently launched in Rome at the Aseq bookshop, (wonderful place to discover, where to stay and come back, of whose soul is tangible, a genuine cathedral of knowledge, created about forty years ago by Edoardo Quarantelli and Luca Nerazzini).

 “Desiderare invano. Il mito di Faust in Goethe e altrove”( “To desire in vain. The mith of Faust in Goethe and elsewhere”) by Francesco Roat, photo by N
“Desiderare invano. Il mito di Faust in Goethe e altrove”( “To desire in vain. The mith of Faust in Goethe and elsewhere”) by Francesco Roat, photo by N

I was pleased during this circumstance of meeting and facing before and during the event with the author of this book. Francesco was very generous with me and the audience which was at the book launch, of whose title refers to the legendary doctor Faust, the man, doctor and necromancer who lived in the late Middle Age and sold his soul to the devil to get in exchange for supernatural powers, being the personification of the excess of desire. I like reminding the play by Marlowe “The tragical history of Doctor Faustus”, though the literary revisitations of the persona are many, the one by Goethe is the most touching and human, a masterpiece of Romantic literature. A myth, the one of Faust, – as Burckhardt asserted -, “a primordial image into whose every human being can/must catch its own essence and destiny”. André Neher thinks this image represents the myth of modern man as well as Aldo Carotenuto, one of the most relevant persona of the Junghism, is oriented in the same sense, thinking it needs “consider Faust as a mythical image of collective unconscious which will embody time to time in the structure of contemporary man, having his features, absorbing his dramas and fears, thus turning into the most amazing archetype of modernity”. A man who wants having all and is punished because he wanted having all. This seems like the big drama of Faust, but it’s not like that. The myth depicts the human desire of totality, emancipating, as Roat clarifies in a clear, persuasive and intelligible way, “from divine/dogmatic rules, the urge of knowing/exploring reality in its deep cockles of the heart, being free from any ethical/religious boundaries, then the self-righteousness of tending in an overwhelming/obsessive way to go beyond any human limit” ( idea recalling the Übermensch, Superman by Nietzsche, enlivened by the will to power). Faust is also “the non-conformist who wants savoring any delight, satisfying any instinct or longing”. That – the author says – “represents an useful reading key of the post-late modern Western man who, is willing to the disenchantment and is disappointed by any ideological credo, seems more wrapped in his closing which is under the sign of a narcissism, tending to the reification of the other from self and is involved in an eternal desiring tension/fibrillation”, if he doesn’t falls in the depressive stasis, a tedium vitae (boredom of life) which lacks passions or worst a deadly nihilism of an individual who is disaffected, slothful and indifferent to the “you” and God, as well as to his own ego”.

A memory from over a decades ago, me, myself and I in Staufen (the town of Frederick II), at the roadhouse where the legend tells Faust sold his soul to Mephistopheles, photo by Diana Illing
A memory from over a decade ago, me, myself and I in Staufen (the town of Frederick II), at the  roadhouse where the legend tells Faust sold his soul to Mephistopheles, photo by Diana Illing

Youth, love, money, power are the gifts given by Mephistopheles to Faust, desires that also enliven the contemporary times, one of all, the desire of extending one’s own life, because the drama of individual, as the writer asserts, arises from the finitude of human condition, the consciousness of having a start and an end or to die, instead of the animals that aren’t conscious of their own death, but they are just only conscious of the other animals’ death. Instead that, it’s a fact, a reality before or after we face with that or rather with the death, should be a mere invite to live joyfully, reconciled with our soul and the world surrounding us during this short life, without repressing or annihilating the desire, being a human quality and propulsive motion of life and its dynamism, connecting it to the principle of reality, freeing it from the illusions or the desiring in vain – with the surrenders which it implies behind the principle of pleasure – where sensitivity and reason is one next to the other and invites the individual to its crossing”. “To contemplate the sky and the order of universe – and tend at the same time to elevate ourselves for the time we have – means to make ours a vision of life which pays less attention to the death as law of the life, means to become conscious of the impossibility of any absolute, eternal delight. It means to endorse the light and dark contrasts of a lasting shadiness”. This is the core, the invite and lesson arising from the reading of this book – precious pearl of wisdom to think about and rethink about oneself – and the myth of Faust who is not punished by God, who distances at the moment of death his soul from Mephistopheles and makes him ascend in the sky, because “errs the man until he looks for”, thus God asserted in the Prologue in the sky included in the beginning of Faust. Therefore God is indulgent towards who – like Faust – “made the overwhelming and never satisfied rush towards the fullness of life, absolute, knowledge or the otherness/ulteriority going beyond all that is ordinary, finished and known, his own reason to live.

 

LE GEOGRAFIE DEL DESIDERIO: LA PRESENTAZIONE DI “DESIDERARE INVANO. IL MITO DI FAUST IN GOETHE E ALTROVE” DI FRANCESCO ROAT ALLA LIBRERIA ASEQ DI ROMA

Edoardo Quarantelli and Francesco Roat at the Rome Aseq bookshop, photo by N
Edoardo Quarantelli and Francesco Roat at the Rome Aseq bookshop, photo by N

Il desiderio, lemma che definisce – come evidenzia il dizionario della lingua italiana Treccani – l’ “intenso sentimento che spinge a cercare l’ attuazione di quanto possa appagare un bisogno fisico e spirituale”, come anche quello della “mancanza di cosa necessaria al proprio interesse fisico e spirituale”. È interessante riflettere sull’ etimologia di questa parola che per il Dizionario Etimologico della Lingua Italiana (DELI) equivale a “cessare di contemplare le stelle a scopo augurale”. Ciò, come afferma il filosofo Umberto Galimberti, rimanda al “De Bello Gallico” di Caio Giulio Cesare: i desiderantes (ovvero coloro che desideravano) erano i soldati che stavano sotto le stelle ad aspettare quelli che dopo aver combattuto durante il giorno non erano ancora tornati. Da qui deriva il significato del verbo desiderare: stare sotto le stelle ed attendere. Tale significato fa riferimento a un concetto di comunione dell’ uomo con l’ universo, a una dimensione regolata da leggi di natura (mi richiama alla mente anche l’ aforisma di Immanuel Kant: “il cielo stellato sopra di me, la legge morale dentro me”) e sembra prima facie non essere del tutto pertinente con le geografie del desiderio, le sue tortuose vie, tema atavico che è la quintessenza della condizione umana, disegna l’ ontologia dell’ individuo ed è foriero di plurimi spunti e riflessioni connesse alla contemporaneità, a fenomeni quali il narcisismo di massa e l’ iperedonismo della società, promosso ed enfatizzato dalla cultura di mainstream. Sembra quasi uno iato e non lo è, che queste parole provengano da chi – colei che scrive – sovente ne spende tante per disegnare la creatività contemporanea – orientata alla kalokagathia, ovvero a celebrare il bello e il buono -, racchiusa nella moda e nel suo prodotto, che non esiste, non riscuote alcun consenso ove non sia venduto. E questo momento, quello della vendita è strettamente legato a un altro momento, quello della presentazione e comunicazione della moda, del suo prodotto, finalizzato a creare un’ emozione, accendere un fuoco, desiderio, moto, per entrare e appartenere all’ universo dipinto da quel prodotto e dal suo consumo (spesso si parla infatti di prodotti di lifestyle ovvero quei prodotti che disegnano un determinato stile di vita). Queste suggestioni eminentemente sociologiche, sono la contestualizzazione in un tema più ristretto e specifico ovvero la moda, fonte di cultura e categoria merceologica, di un discorso molto più ampio, brillantemente affrontato dallo scrittore e critico letterario Francesco Roat nel suo libro “Desiderare invano. Il mito di Faust in Goethe e altrove”(Moretti & Vitali, Euro 14,00) che è stato recentemente presentato a Roma presso la libreria Aseq, (luogo meraviglioso da scoprire, in cui sostare e tornare, la cui anima è tangibile, un’ autentica cattedrale del sapere creata circa quaranta anni fa da Edoardo Quarantelli e Luca Nerazzini).

The Staufen roadhouse where the legend tells Faust sold his soul to Mephistopheles, into that room which is now wrapped by the leaves of a tree, photo by N
The Staufen roadhouse where the legend tells Faust sold his soul to Mephistopheles, into that room (n. 5) which is now wrapped by the leaves of a tree, photo by N

In questa occasione mi ha rallegrato incontrare e confrontarmi prima e durante l’ evento con l’ autore di questo libro. Francesco è stato molto generoso con me e con il pubblico che ha presenziato alla presentazione del libro, il cui titolo rimanda al leggendario dottor Faust, l’ uomo, medico e negromante che è vissuto nel tardo Medioevo e ha venduto la sua anima al diavolo in cambio di poteri soprannaturali, personificazione dell’ eccesso del desiderio. Mi piace ricordare il dramma di Marlowe “La storia tragica del dottor Faust” (“The tragical history of Doctor Faustus”), pur essendo plurime le rivisitazioni letterarie del personaggio, quella di Goethe resta però la più struggente e umana, un capolavoro della letteratura romantica. Un mito, quello di Faust, – come affermava Burckhardt -, “un’ immagine primordiale nella quale ogni essere umano può/deve saper cogliere la sua essenza e il suo destino”. Secondo André Neher tale immagine rappresenta il mito dell’ uomo moderno e anche Aldo Carotenuto, uno dei personaggi più rappresentativi dello junghismo, si orienta nel medesimo senso, ritenendo che sia opportuno “considerare quella di Faust come un’ immagine mitica dell’ inconscio collettivo che si incarnerà, di volta in volta nella struttura dell’ uomo contemporaneo, assumendone le sembianze, assorbendone i drammi e le inquietudini, trasformandosi così nel più stupefacente archetipo della modernità”. Un uomo che vuole avere tutto ed è punito perché voleva avere tutto. Questo sembrerebbe il grande dramma di Faust, ma non è così. Il mito dipinge il desiderio umano di totalità, di affrancarsi, come illustra Roat in modo chiaro, persuasivo e intellegibile, “da decreti divini/dogmatici, l’ urgenza di conoscere/esplorare la realtà nei suoi più intimi recessi, senza vincoli etici/religiosi di alcun genere, infine la tracotanza di tendere in modo inesausto/ossessivo a superare ogni limite dell’ umano”(idea che richiama l’ Übermensch, il Superuomo di Nietzsche, animato dalla volontà di potenza). Faust è anche “l’ anticonformista che vuole ogni piacere delibare, ogni istinto o voglia appagare”. Ciò – prosegue l’ autore – “rappresenta una utile chiave di lettura dell’ uomo occidentale post/tardo moderno che, incline al disincanto e deluso da ogni credo ideologico, appare sempre più individualista: monade imbozzolata nella sua chiusura all’ insegna di un narcisismo tendente alla reificazione dell’ altro da sé e tutto preso da una perenne tensione/fibrillazione desiderante”, ove non scivoli nella stasi depressiva, in un tedium vitae privo di passioni o peggio ancora in un nichilismo mortifero di un soggetto disamorato, ignavo e indifferente non solo al tu e a Dio, ma anche al proprio io”.

historie_gasthaus-zum-loewen-staufen
A memory impressed in the wall of Staufen Zum Löwen roadhouse telling about the deal between Faust and Mephistopheles

Giovinezza, amore, denaro, potere, questi i doni concessi da Mefistofele a Faust, desideri che animano anche la contemporaneità, uno tra tutti, il desiderio di prolungare la propria vita, poiché il dramma dell’ individuo, come afferma lo scrittore, nasce dalla finitudine della condizione umana, la consapevolezza di avere un inizio e una fine ovvero di morire, diversamente dagli animali, che non hanno consapevolezza della propria morte, ma soltanto di quella altrui. Ciò, un fatto, una realtà con cui tutti prima o dopo ci confrontiamo ovvero con la morte, dovrebbe essere invece un monito a vivere con gioia, pacificati con il nostro animo e con il mondo che ci circonda in questa breve vita, senza reprimere o annichilire il desiderio, prerogativa umana e moto propulsore della vita e del suo dinamismo, ma ancorandolo al principio di realtà, emancipandolo dalle illusioni ovvero dal desiderare invano – con le rinunce rispetto al principio del piacere che esso implica -, in cui “sensibilità e ragione restano l’ una a fianco dell’ altra e invitano l’ individuo al suo superamento”. “Contemplare il cielo e l’ ordine dell’ universo – e in pari tempo tendere a sollevarci per il tempo che ci è concesso – vuol dire abbracciare una visione della vita che sposti l’ accento sulla morte come legge di vita; vuol dire prendere consapevolezza dell’ impossibilità di ogni assoluto, eterno piacere. Vuol dire abbracciare i chiaroscuri di una persistente umbratilità”. Questo il cuore, il monito e insegnamento che si trae dalla lettura di questo libro – preziosa perla di saggezza per pensare e ripensarsi – e dal mito di Faust che non è punito da Dio, il quale sottrae al momento della morte la sua anima a Mefistofele e lo fa ascendere al cielo, poiché nonostante tutto “erra l’ uomo finché cerca”, affermava il Signore nel Prologo in cielo all’ inizio del Faust. E Dio pertanto è indulgente verso chi – come Faust – “ha fatto della tensione inesausta e mai paga verso la pienezza vitale, l’ assoluto, la conoscenza o in altri termini verso l’ alterità/ulteriorità rispetto a tutto quanto è ordinario, finito e noto la propria ragione di vita”.

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Me, myself and I along with Edoardo Quarantelli and his wife at the Rome Aseq bookshop, photo by Giorgio Miserendino

 

www.aseq.it

 

 

 

 

 

 

 

ALTAROMA: THE TALENTS 2016 OF ROME COSTUME & FASHION ACADEMY

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

Experimentation, reinterpretations and innovations, an atmosphere smelling of creativity, those are the main features of Talents 2016, fashion contest of the Rome Costume and Fashion Academy – which was held at the marvelous building of Rome Ex Dogana, place under the sign of industrial, metropolitan suggestions and contemporary times where took place the events curated by Altaroma – which featured the final works by the graduated students of the renowned fashion school headed by Lupo Lanzara and Adrien Yakimov Roberts as director of education, showed behind a jury of experts as Silvia Venturini Fendi (President of Altaroma), Carlo Capasa (President of the National Chamber of Italian Fashion), Laura Lusuardi (Max Mara Creative Director), Leonardo Pucci (Christian Dior) and many others. Ilaria Fiore won this edition, who has also awarded with a special prize for the accessories she made. The bright creative made a capsule collection joining sartorialism and experimentation, combines the cloth with leather, where the accessories or rather bags and belts become a fundamental part of dress (though they are removable). Lightness, minimalism, rebellion against family, father and dialectics of power is what the collection by Deniza Nugnes talks about, who – as she told me days ago, during the fitting of the fashion show which was held at the Costume & Fashion Academy – has inspired by the cultural revolution from 1968 and subverted the male wardrobe, its constructions giving rise to minimal essential garments and successful asymmetries. Many are the ideas on the move drawing new shapes and lines as the sphere becoming the fundamental idea of the collection by Andrea Maria di Salvo where white is the main features, which embodies many theatrical references.

 Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

ALTAROMA: I TALENTS 2016 DELL’ ACCADEMIA DI COSTUME & MODA DI ROMA

 Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

Sperimentazione, reinterpretazioni e innovazioni, un’ atmosfera che profuma di creatività, questi i principali protagonisti di Talents 2016, il fashion contest dell’ Accademia Costume e Moda di Roma -che si è tenuto nei  meravigliosi spazi dell’ Ex Dogana di Roma, luogo all’ insegna di suggestioni industrial, metropolitane e contemporaneità  in cui hanno avuto luogo gli eventi curati da Altaroma – di cui sono stati protagonisti i final works degli studenti neo-diplomati nella rinomata scuola di moda diretta da Lupo Lanzara e da Adrien Yakimov Roberts nelle vesti di direttore didattico, che sono stati presentati dinanzi a una giuria di esperti quali Silvia Venturini Fendi (Presidente di Altaroma), Carlo Capasa (Presidente della Camera Nazionale della Moda Italiana), Laura Lusuardi (Direttore Creativo di Max Mara), Leonardo Pucci (Christian Dior) e molti altri. Vincitrice di questa edizione è Ilaria Fiore, la quale è stata insignita anche di un premio speciale per gli accessori da lei realizzati. La brillante creativa ha creato una collezione capsule che unisce sartorialità e sperimentazione, abbina il tessuto alla pelle, in cui gli accessori ovvero borse e cinture diventano parte integrante dell’ abito (pur essendo rimovibili). Leggerezza, minimalismo e ribellione contro la famiglia e la dialettica del potere è ciò di cui parla la collezione di Deniza Nugnes, la quale -. come mi ha detto giorni fa, durante il fitting della sfilata che si è tenuto all’ Accademia di Costume e Moda – si è ispirata alla rivoluzione culturale del 1968 ed ha sovvertito il guardaroba maschile, le sue costruzioni dando vita a capi minimali e felici asimmetrie. Plurime le idee in movimento che disegnano nuove forme e linee quali la sfera che diventa il concetto fondante della collezione di Andrea Maria di Salvo in cui il bianco è il principale protagonista, la quale racchiude in sé plurimi riferimenti teatrali.

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Ilaria Fiore, photo courtesy of Ilaria Fiore
Ilaria Fiore, photo courtesy of Ilaria Fiore

 

Me, myself & I along with Fabiana Balestra, photo by Raffaella Scordino
Me, myself & I along with Fabiana Balestra, photo by Raffaella Scordino

 

Me, myself & I along with Ari Seth Cohen, photo by Raffaella Scordino
Me, myself & I along with Ari Seth Cohen, photo by Raffaella Scordino

 

 

Me, myself & I with Raffaella Scordino, photo by N
Me, myself & I with Raffaella Scordino, photo by N

 

Andrea Maria di Salvo, photo by Luca Sorrentino
Andrea Maria di Salvo, photo by Luca Sorrentino

 

Andrea Maria di Salvo, photo by Luca Sorrentino
Andrea Maria di Salvo, photo by Luca Sorrentino

 

Me, myself and I with Livia Risi, photo by Raffaella Scordino
Me, myself and I with Livia Risi, photo by Raffaella Scordino

 

Me, myself & I along with Enrico Quinto, photo by Raffaella Scordino
Me, myself & I along with Enrico Quinto, photo by Raffaella Scordino

 

Deniza Nugnes, photo courtesy of Deniza Nugnes
Deniza Nugnes, photo courtesy of Deniza Nugnes

 

Deniza Nugnes, photo courtesy of Deniza Nugnes
Deniza Nugnes, photo courtesy of Deniza Nugnes

 

Deniza Nugnes, photo courtesy of Deniza Nugnes
Deniza Nugnes, photo courtesy of Deniza Nugnes

 

Deniza Nugnes, photo courtesy of Deniza Nugnes
Deniza Nugnes, photo courtesy of Deniza Nugnes

 

Deniza Nugnes, photo courtesy of Deniza Nugnes
Deniza Nugnes, photo courtesy of Deniza Nugnes

 

Deniza Nugnes, photo courtesy of Deniza Nugnes
Deniza Nugnes, photo courtesy of Deniza Nugnes

 

The models at the backstage of fashion show wearing the creations by Deniza Nugnes, photo courtesy of Deniza Nugnes
The models at the backstage of fashion show wearing the creations by Deniza Nugnes, photo courtesy of Deniza Nugnes

 

A model at the backstage of fashion show wearing the creations by Deniza Nugnes, photo courtesy of Deniza Nugnes
A model at the backstage of fashion show wearing the creations by Deniza Nugnes, photo courtesy of Deniza Nugnes

 

Carlo Capasa at the backstage of fashion show, photo by N
Carlo Capasa at the backstage of fashion show, photo by N

 

Me, myself & I along with Deniza Nugnes at the backstage of fashion show, photo by N
Me, myself & I along with Deniza Nugnes at the backstage of fashion show, photo by N

 

Nicolas Garcia Bernal, the winner of Talents 2015 edition at the backstage of fashion show, wearing a creation he made, photo by N
Nicolas Martin Garcia, the winner of Talents 2015 edition at the backstage of fashion show, wearing a creation he made, photo by N

 

A student turned into model for a moment wearing the creation by Deniza Nugnes, photo by N
A student of  Rome Costume & Fashion Academy  turned into model for a moment wearing the creation by Deniza Nugnes, photo by N

 

A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N
A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N

 

A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N
A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N

 

A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N
A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N

 

A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N
A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N

 

A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N
A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N

 

A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N
A student of Rome Costume & Fashion Academy turned into model for a moment wearing the creation by Deniza Nugnes, photo by N

 

Deniza Nugnes and Ilaria Fiore at work during the fitting of Talents' 2016 fashion show, photo by N
Deniza Nugnes and Ilaria Fiore at work during the fitting of Talents’ 2016 fashion show, photo by N

 

Me. myself & I along with Adrien Yakimov Roberts at the Rome Costume & Fashion Academy, photo by N
Me. myself & I along with Adrien Yakimov Roberts at the Rome Costume & Fashion Academy, photo by N

 

 

www.accademiacostumeemoda.it

www.altaroma.it

MYTH & CLASSICISM: THE FLUID ELEGANCE BY RENATO BALESTRA

Renato Balestra Spring/Summer 2016, photo by N
Renato Balestra Spring/Summer 2016, photo by N

The Goddess features in the Spring/Summer 2016 high fashion collection by Renato Balestra, recently presented during Altaroma. The bright couturier paid homage to the Classical Greece culture and more specifically to the myth Athena, goddess of the arts and wisdom. It’s a tale of elegance under the sign of fluid lines, white along with different shades of orange, pleated cloths, precious details as the golden embroideries, lace, enhancing the silhouette and drawing a solemn and refined femininity.

MITO & CLASSICITÀ: LA FLUIDA ELEGANZA DI RENATO BALESTRA

Renato Balestra Spring/Summer 2016, photo by N
Renato Balestra Spring/Summer 2016, photo by N

La dea è la protagonista della collezione haute couture Primavera/Estate 2016 di Renato Balestra, recentemente presentata durante Altaroma. Il brillante couturier ha reso omaggio alla cultura della Grecia classica e più specificamente ad Atena, dea delle arti e della sapienza. Un racconto di eleganza all’ insegna di linee fluide, bianco unitamente a diverse nuances di arancio, tessuti plissettati, dettagli preziosi quali i ricami dorati, pizzo che esaltano la silhouette e disegnano una solenne e sofisticata femminilità.

Renato Balestra Spring/Summer 2016, photo by N
Renato Balestra Spring/Summer 2016, photo by N

 

Renato Balestra Spring/Summer 2016, photo by Giorgio Miserendino
Renato Balestra Spring/Summer 2016, photo by Giorgio Miserendino

 

Renato Balestra Spring/Summer 2016, photo by Giorgio Miserendino
Renato Balestra Spring/Summer 2016, photo by Giorgio Miserendino

 

Renato Balestra Spring/Summer 2016, photo by N
Renato Balestra Spring/Summer 2016, photo by N

 

Renato Balestra Spring/Summer 2016, photo by Giorgio Miserendino
Renato Balestra Spring/Summer 2016, photo by Giorgio Miserendino

 

Renato Balestra, photo by N
Renato Balestra, photo by N

 

A model at the backstage of Renato Balestra's fashion show, photo by N
A model at the backstage of Renato Balestra’s fashion show, photo by N

 

A model at the backstage of Renato Balestra's fashion show, photo by N
A model at the backstage of Renato Balestra’s fashion show, photo by N

 

Me, myself & I along with Giorgio Miserendino, photo by N
Me, myself & I along with Giorgio Miserendino, photo by N

 

www.renatobalestra.it

www.altaroma.it

ALTAROMA: A.I. “BODY FOR THE DRESS”, THE CELEBRATION OF BODY BETWEEN ART AND FASHION

Melampo, photo by N
Melampo, photo by N

Artisanal Intelligence (A.I.)”Body for the dress”, a nice showcase under the sign of art, fashion and craftsmanship, curated by Clara Tosi Pamphili and Alessio De’ Navasques  which was held during the Altaroma latest edition at the suggestive buildings of La Dogana – a huge industrial building – which yesterday hosted an ancient railway station, placed in the Rome area of San Lorenzo, the one which has resisted against the German attacks during the Second World War of whose tracks are still impressed in many buildings –  featured the works by visual artists as the bright Sacha Turchi, who made a sculpture evoking the spinal column, the structure of human body. Constructions, clear signs embodying visions as the ones by Giacomo Frasson and Giulia Roman, graduated students from the Fashion Design Faculty of Iuav University of Venice, as well as by Melampo, brand created by Lulù and Anna Poletti, Brighenti – renowned Rome boutique, which made the lingerie for actresses and showgirls – and others who have drawn an artistic path, successfully putting the light on the energies and ideas, featuring in the contemporary times where the new reads again the old to find a way to go, though the destination is still unknown.

ALTAROMA: A.I. “BODY FOR THE DRESS”, LA CELEBRAZIONE DEL CORPO TRA ARTE E MODA

Giacomo Frasson, photo by N
Giacomo Frasson, photo by N

Artisanal Intelligence (A.I.)”Body for the dress”, una simpatica rassegna sotto il segno di arte, moda e artigianalità, curata da Clara Tosi Pamphili e Alessio De’ Navasques che si è tenuta in occasione dell’ ultima edizione di Altaroma presso i suggestivi edifici de La Dogana – un enorme costruzione industriale  che ieri ha ospitato un’ antica stazione ferroviaria, ubicata nel quartiere romano di San Lorenzo, quello che ha resistito agli attacchi tedeschi durante la Seconda Guerra Mondiale, le cui tracce sono tuttora impresse in numerosi palazzi – ed ha avuto quali protagonisti i lavori di artisti come la brillante Sacha Turchi, la quale ha realizzato una scultura che evoca la colonna vertebrale, la struttura del corpo umano. Costruzioni, segni precisi che racchiudono in sé visioni quali quelle di Giacomo Frasson e Giulia Roman, studenti neo-laureati della Facoltà di Fashion Design dell’ Università Iuav di Venezia, come anche Melampo, brand creato da LulùAnna Poletti, Brighenti -rinomata boutique romana di lingerie di lusso, che ha realizzato biancheria intima per attrici e showgirl – ed altri che hanno tracciato un percorso artistico, gettando felicemente luce sulle energie e idee protagoniste della contemporaneità in cui il nuovo rilegge il vecchio per trovare una strada da intraprendere, pur essendo la destinazione ancora ignota.

Giulia Roman, photo by N
Giulia Roman, photo by N

 

Fabio Quaranta (fashion designer and professor at the Iuav University of Venice) along with Giacomo Frasson and Giulia Roman, photo by N
Fabio Quaranta (fashion designer and professor at the Iuav University of Venice) along with Giacomo Frasson and Giulia Roman, photo by N

 

Brighenti, photo by N
Brighenti, photo by N

 

Pictures evidencing the famous customers of Brighenti, photo by N
Pictures evidencing the famous customers of Brighenti, photo by N

 

Me, myself & I along with Sacha Turchi and the work she made, photo by N
Me, myself & I along with Sacha Turchi and the work she made, photo by N

 

www.altaroma.it

THE ALTAROMA PRE-OPENING UNDER THE SIGN OF YOUNG TALENTS

Rome Coin Excelsior, photo by N
Rome Coin Excelsior, photo by N

Emerging creativity and the talent-scouting work started by Altaroma featured in the pre-opening of its Winter edition, developing the successful teaming – started since the last year – with Coin Excelsior, the Rome multi-brand department store, focused on contemporary fashion which hosted the creations of the Who Is On Next talent-scouting award finalists as Catherine de’ Medici 1533, Elena Ghisellini, Giancarlo Petriglia, L72 along with the fashion show of Quattromani. The Fall/Winter 2016-2017 collection by this brand, created by the fashion designers duo formed by Massimo Noli and Nicola Frau, pays homage to the Sardinia suggestions, the ritual of Argia spider, reinterpreting a legend which talks about songs and dances between women – a single, a married and a widow – as remedy to heal from the poisonous bite of spider. A tale under the sign of femininity made of new Seventies volumes caressing the silhouette, short, fluid lines, mohair, wool, “nowind” technical cloth, crêpe and eco-fur. A healthy optimism is embodied in the palette of colors including mustard, red, black, blue as well as pink, azure, camel and white details enriching the garments.

LA PRE-OPENING DI ALTAROMA ALL’ INSEGNA DEI GIOVANI TALENTI

L7, photo by N
L7, photo by N

La creatività emergente e l’ opera di talent-scouting avviata da Altaroma è stata protagonista della pre-opening della sua edizione invernale, consolidando la felice collaborazione – iniziata a partire dallo scorso anno – con Coin Excelsior, il department store multi-brand di Roma, dedicato alla moda contemporanea che ha ospitato le creazioni dei finalisti del concorso di talent-scouting Who Is On Next quali Catherine de’ Medici 1533, Elena Ghisellini, Giancarlo Petriglia, L72 unitamente alla sfilata di Quattromani. La collezione autunno/inverno 2016-2017 di questo brand, creata dal duo di fashion designer formato da Massimo Noli e Nicola Frau, rende omaggio a saggestioni sarde, il rituale dell’ argia che reinterpreta una leggenda, la quale parla dei canti e delle danze tra donne – una nubile, una sposata  e una vedova – quale cura per guarire dal morso velenoso del ragno. Un racconto all’ insegna della femminilità fatta di volumi neo-Seventies che carezzano la  silhouette, linee corte e fluide, mohair, lana, tessuto tecnico “nowind”, crêpe e pelliccia ecologica. Un salubre ottimismo è racchiuso nella palette di colori che includono mostarda, rosso, nero, blu, come anche dettagli in rosa, azzurro, cammello e bianco che arricchiscono i capi.

L7, photo by N
L7, photo by N

 

Catherine De' Medici 1533, photo by N
Catherine De’ Medici 1533, photo by N

 

Elena Ghisellini, photo by N
Elena Ghisellini, photo by N

 

Giancarlo Petriglia
Giancarlo Petriglia

 

Quattromani, photo by N
Quattromani, photo by N

 

Quattromani, photo by N
Quattromani, photo by N
Quattromani, photo by N
Quattromani, photo by N

 

Quattromani, photo by N
Quattromani, photo by N

 

Me,myself & I along with Adriano Franchi (Altaroma CEO), photo by N
Me,myself & I along with Adriano Franchi (Altaroma CEO), photo by N

 

www.altaroma.it

THE SARTORIALISM & TRANSCENDENCE BY DILIBORIO

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

Transcendence, transformation, sartorialism, performative lyricism transfiguring matter into the sublime and talking about the art of making. That is the alchemy featuring in the new collection by DiLiborio, brand created by the genius fashion designer Liborio Capizzi (and presented in Milan during the fashion at the Triennale Design Museum). It’ s a continuous research under the sign of instinct and passion, a journey visiting the beyond, drawing a dark path peopled by apocalyptic suggestions. Industrial landscapes – emphasized by the video “A brief apocalypse” featuring Skin and Polly Fey – are enriched by storm and stress, a romantic choralism. The lightness of lace, silk, transforms and defines itself, becoming wonder, austere, morphing solemnity, pattern which is also impressed in the accessories (as the necklace becoming shades), successfully evidencing the excellence of contemporary made in Italy.

LA SARTORIALITÀ & TRASCENDENZA DI DILIBORIO

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

Trascendenza, trasformazione, sartorialità, lirismo performativo che trasfigura la materia nel sublime e parla dell’ arte del fare. Questa l’ alchimia protagonista della nuova collezione di DiLiborio, brand  creato dal geniale fashion designer Liborio Capizzi (e presentata a Milano durante la fashion week presso il Museo del Design della Triennale).Una ricerca continua all’ insegna di visceralità e passione,  un viaggio che visita l’ oltre, disegnando un sentiero oscuro popolato da suggestioni apocalittiche. Scenari industrial – enfatizzati dal video “A brief apocalypse” di cui è protagonista Skin e Polly Fey – si arricchiscono di tempesta e impeto, dando vita a una romantica coralità. La levità del pizzo, della seta si trasforma e definisce, diventando meraviglia, austera solennità mutante, motivo impresso anche negli accessori (quali la collana che diviene un occhiale), felice testimonianza dell’ eccellenza del made in Italy contemporaneo.

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

DiLiborio Spring/Summer 2016, photo by N
DiLiborio Spring/Summer 2016, photo by N

 

The artist Polly Fey, wearing the Diliborio Spring/Summer 2016, photo by N
The artist Polly Fey, wearing an outfit from the Diliborio Spring/Summer 2016 collection, photo by N

 

Me, myself & I along with Liborio Capizzi, photo by Vincent Law
Me, myself & I along with Liborio Capizzi, photo by Vincent Law

 

Christian Correnti and Liborio Capizzi, photo by N
Christian Correnti and Liborio Capizzi, photo by N

 

Me, myself & I along with Angelo Cruciani, photo by N
Me, myself & I along with Angelo Cruciani, photo by N

 

Liborio Capizzi and Richard Lewis aka Cass from the band Skunk Anansie, photo by N
Liborio Capizzi and Richard Lewis aka Cass from the band Skunk Anansie, photo by N

 

Me, myself & I and Michele, photo by Vincent Law
Me, myself & I and Michele, photo by Vincent Law

 

Me, myself & I along with Liborio Capizzi, photo by N
Me, myself & I along with Liborio Capizzi, photo by N

 

http://diliborio.it

 

 

LIFE, ENERGY & ART: THE ELECTROMAGNETIC FIELDS OF SHAY FRISCH

Shay Frisch
Shay Frisch, photo by N

The sun and Summer heat in Rome has been the frame of a pleasant afternoon interlude, moments of life, energy and art under the sign of Shay Frisch, bright artist and vibrant individual. Finally, though I know and like since a long time the work of renowned Israeli artist – featuring in the Israel Pavillon of Venice Biennial, permanent collection of the Rome National Gallery of Modern Art, where it was held years ago his solo show, curated by Achille Bonito Oliva, as well as other events and exhibitions in worldwide museums and art galleries – I visited his studio which hosts some of the works he made or rather the energetic fields. Energy and universality, a lyricism talking about humanity and giving rise to an open dialogue between art and science. Matter becomes the forming standard of a language where the technology, paradigm arising from the industrial society, turns into a mere container. Circuits that are deliberately open embody fluxes of energy and create “electromagnetic fields that” – as Shay asserts – “interact with the people on an energetic level”. The artistic gesture, its obsessive repetition and seriality nullifies the traditional dichotomy between art and science, opening the way to coral visions. Sharing, lightness, spirituality, magnetism, made of energy, the one every individual brings inside and makes him unique, crosses, flows, attracts and passes through another individual, a lot of people who give rise to others electric circuits. That is the vision of life or rather the quintessence of humanity, conceived as continuous flux of energy where the light is not the core of work, but it’s just only an evidence of its dynamism and electricity. A complex thought, which is at the same time simple and linear, as the constructions, made by assembling of many electric generators, is emphasized by the monochrome and geometry of work. Talking about the morphology of the works he made the artist says:“ the cuts help me to express something I want focusing on, working the matter is something makes me use monochrome, a binary language, made of primary and synthetic shapes. archaic archetypes” – as the cross, arising from the map of a temple, the rectangle of golden section – “that arise from the form’s diktat and tell about an energetic phenomenon: to go in and out at the light’s velocity”. A meditative and obsessive process, a kind of study, the one he makes, on the right amount of energy to diffuse into a specific space which holds and releases the inner nature of these works, energy burning.

VITA, ENERGIA & ARTE: I CAMPI ELETTROMAGNETICI DI SHAY FRISCH

Shay Frisch, photo by N
Shay Frisch, photo by N

Il sole e il torrido caldo estivo di Roma sono stati la cornice di un piacevole interludio pomeridiano, attimi di vita, energia e arte all’ insegna di Shay Frisch, brillante artista e vibrante individualità. Finalmente, pur conoscendo  e apprezzando da tempo il lavoro del noto artista israeliano – protagonista del padiglione di Israele presso la Biennale di Venezia, della collezione permanente della Galleria Nazionale di Arte Moderna di Roma, presso la quale anni fa  si è tenuta una sua personale, curata da Achille Bonito Oliva, nonché di altri eventi e mostre in musei e gallerie di tutto il mondo – ho visitato il suo studio che ospita alcune delle sue opere o meglio dei suoi campi energetici. Energia e universalità, un lirismo che parla di umanità e dà vita a un dialogo aperto tra arte e scienza. La materia, diventa il modulo formante di un linguaggio in cui la tecnologia, paradigma derivante dalla società industriale, si trasforma in mero contenitore. Circuiti volutamente aperti incorporano flussi di energia e generano “campi elettromagnetici che” – come afferma Shay – “interagiscono con la gente a livello energetico”. Il gesto artistico, la sua ossessiva ripetizione e serialità diventa movimento pulsionale di vita che vanifica la tradizionale dicotomia tra arte e scienza, aprendo la via a visioni corali. Condivisione, leggerezza, spiritualità, magnetismo, fatto di energia, quella che ogni individuo porta dentro sé e lo rende unico, si incrocia, unisce, fluisce, attrae e attraversa un altro individuo, una molteplicità di individui, i quali danno vita ad altrettanti circuiti elettrici. Questa, la visione della vita o meglio la quintessenza dell’ umanità intesa quale flusso continuo di energia in cui la luce non è il cuore dell’ opera, bensì testimonianza del suo dinamismo e della sua elettricità. Un pensiero complesso e al tempo stesso semplice e lineare, come lo sono le costruzioni, realizzate mediante l’ assemblaggio di una pluralità di generatori elettrici, è enfatizzato dalla monocromia e geometria delle opere. Parlando della morfologia delle sue opere l’ artista dice: “i tagli mi aiutano a esprimere qualcosa su cui voglio porte attenzione, il lavorare la materia mi conduce invece alla monocromia, a un linguaggio binario, fatto di forme primarie e sintetiche, archetipi di matrice arcaica – quali la croce, che deriva dalla pianta di un tempio, al rettangolo della sezione aurea – “i quali nascono dal diktat del modulo e raccontano un fenomeno energetico: l’ entrare e l’ uscire alla velocità della luce”. Un processo meditativo e ossessivo, una sorta di studio, il suo, della giusta quantità di energia da diffondere in un determinato spazio che trattiene e rilascia la natura interiore di questi lavori, l’ energia che arde.

A detail of work by Shay Frisch, photo by N
A detail of work by Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
A detail of work by Shay Frisch
A detail of work by Shay Frisch
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
Shay Frisch, photo by N
A detail of work by Shay Frisch, photo by N
A detail of work by Shay Frisch, photo by N
Me, myself & I moving to..., photo by N
Me, myself & I moving to…, photo by N
The entering of Rome National Gallery of Modern Art, photo by N
Close to the entering of Rome National Gallery of Modern Art, photo by N
Shay Frisch at the Rome National Gallery of Modern Art, photo by N
Shay Frisch at the Rome National Gallery of Modern Art, photo by N
Shay Frisch at the Rome National Gallery of Modern Art, photo by N
Shay Frisch at the Rome National Gallery of Modern Art, photo by N
Shay Frisch at the Rome National Gallery of Modern Art, photo by N
Shay Frisch at the Rome National Gallery of Modern Art, photo by N
Me, myself and I along with Shay Frisch at the Rome National Gallery of Modern Art, photo by N
Me, myself and I along with Shay Frisch at the Rome National Gallery of Modern Art, photo by N

THE “HOMAGE TO LUCIO FONTANA” AND OTHER WONDERS OF THE MILAN MARCONI MODERN & CONTEMPORARY ART FOUNDATION

Lucio Fontana, photo by N
Lucio Fontana, photo by N

I recently visited along with Angelo Naj Oleari the Milan Marconi Modern & Contemporary Art Foundation created by the brilliant art dealer Giorgio Marconi – who discovered and showcased in his gallery the works by artists as Valerio Adami, Lucio Del Pezzo, Mario Schifano and Emilio Tadini. It’s a vibrant story told by him and Natalia Aspesi in the book “Autobiography of a Gallery: the Marconi studio 1962-1992” (Skira Editions, 50,00 Euros) – to enjoy “Homage to Lucio Fontana”, the exhibition featuring Lucio Fontana which is held here and runs through 31st October 2015. It was an awesome afternoon interlude to enjoy the masterpieces by Lucio Fontana and get unknown remarks on the artist from Angelo who were a close friend of him (at that time he was a Fluxus artist and a poet, just later he became the fashion designer of brand Naj Oleari which refined the dress-code of men and women during the Eighties). Nice tales depicting the care for detail the artist had as the way he wanted to showcase his unique, most celebrated, work. To do that, it was created a special room in the Foundation in order to exhibits this work, following his standards. I also got other hilarious remarks from Angelo about Lucio Fontana (who has been the best man of his first marriage with the artist Maurizia Dova, the daughter of painter Gianni Dova of whose initials, impressed in the Naj Oleari cloths and accessories I had as a child along to my natural enthusiasm and overwhelming curiosity, have been the way when I was a child I discovered her, as well as Lindsay Kemp, genius artist who signed some of the cloths and prints made by the brand) that enriched my successful stay at the Foundation which followed with the coming of ironic Giorgio Marconi. He kindly invited me to visit the downstairs area of the Foundation where it is a refined selection of contemporary art featuring Mimmo Rotella, Mario Schifano, Giuseppe Uncini, Lucio Del Pezzo, Hasiao Chin, Emilio Isgrò, Sonia Delaunay, Man Ray and many others. I was really pleased to see in this area a showcase of books, the visitor has the chance of reading, staying close to the artworks that are showcased and knowing much more about them. It’s a laudable initiative to develop and increase the culture in the realm of arts, as I told to Giorgio. Unfortunately I could not visit entirely the Foundation, including also a wide library and other rooms that were work in progress, but I am sure to come back again in this wonderful place for enjoying the work by a fine mind, Giorgio Marconi.

L’ “OMAGGIO A LUCIO FONTANA” E LE ALTRE MERAVIGLIE DELLA FONDAZIONE MARCONI DI ARTE MODERNA E CONTEMPORANEA DI MILANO

Giorgio Marconi, photo by N
Giorgio Marconi, photo by N

Ho recentemente visitato insieme ad Angelo Naj Oleari la Fondazione Marconi di Arte Moderna e Contemporanea di Milano, creata dal brillante gallerista Giorgio Marconi – che ha scoperto ed esposto nella sua galleria artisti quali Valerio Adami, Lucio Del Pezzo, Mario Schifano ed Emilio Tadini. Una storia vibrante raccontata da lui e Natalia Aspesi nel libro the book “Autobiografia di una Galleria: lo studio Marconi 1962-1992” (Edizioni Skira, 50,00 Euro) – per ammirare la mostra di cui è protagonista Lucio Fontana che ivi si tiene e prosegue fino al 31 Ottobre 2015. Un fantastico intermezzo pomeridiano per apprezzare le opere di un artista leggendario, Lucio Fontana, e avere anche informazioni di natura personale inerenti l’ artista da parte di Angelo che era un suo caro amico( a quei tempi Angelo era un artista Fluxus e un poeta, soltanto dopo, è divenuto il fashion designer del brand brand Naj Oleari che ha ingentilito il codice vestimentario di uomini e donne negli anni Ottanta). Simpatici racconti che raffigurano la cura per il dettaglio dell’ artista, come il modo in cui voleva che un’ opera singola opera, la più celebre, fosse esposta. Per far ciò, è stata appositamente creata una stanza nella Fondazione al fine di esporla, conformemente agli standard di Fontana. Ho avuto altre ilari notizie da parte di Angelo su Lucio Fontana (che era stato il testimone delle sue prime nozze con l’ artista Maurizia Dova, la figlia del pittore Gianni Dova le cui iniziali, impresse nei tessuti e negli accessori Naj Oleari che avevo da bambina unitamente al mio naturale entusiasmo e alla mia irrefrenabile curiosità, sono stati il modo in cui ho scoperto lei come anche Lindsay Kemp, geniale artista che ha firmato alcuni dei tessuti e delle stampe del marchio) che ha arricchito la mia felice permanenza alla Fondazione, la quale è proseguita con la venuta dell’ ironico Giorgio Marconi. Costui mi ha gentilmente invitata a vedere l’ area al piano superiore della Fondazione in cui si trova una raffinata selezione di arte contemporanea la quale comprende Mimmo Rotella, Mario Schifano, Giuseppe Uncini, Lucio Del Pezzo, Hasiao Chin, Emilio Isgrò, Sonia Delaunay, Man Ray e molti altri. Mi ha oltremodo rallegrato trovare in quest’ ambiente una rassegna di libri, che il visitatore ha la possibilità di consultare, rimanendo vicino alle opere che sono esposte e saperne di più. Una lodevole iniziativa per consolidare e accrescere la cultura nell’ ambito delle arti, come ho detto a Giorgio. Sfortunatamente non ho potuto vedere la Fondazione per intero, la quale comprende anche una vasta biblioteca e altre stanze che erano in corso d’ opera, però son certa di tornare nuovamente in questo luogo meraviglioso per apprezzare il lavoro di una fine mente, Giorgio Marconi.

Lucio Fontana, photo by N
Lucio Fontana, photo by N
Lucio Fontana, photo by N
Lucio Fontana, photo by N
Lucio Fontana, photo by N
Lucio Fontana, photo by N
Lucio Fontana, photo by N
Lucio Fontana, photo by N
The most celebrated work Lucio Fontana made, set up in the way relying to his standards, photo by N
The most celebrated work by Lucio Fontana, set up in the way corresponding to his standards, photo by N
Mario Schifano, photo by N
Mario Schifano, photo by N
Giuseppe Uncini, photo by N
Giuseppe Uncini, photo by N
Man Ray, Mythologie moderne II, photo by N
Man Ray, Mythologie moderne II, photo by N
Hasiao Chin, photo by N
Hasiao Chin, photo by N
Lucio Del Pezzo, photo by N
Lucio Del Pezzo, photo by N
Mimmo Rotella, photo by N
Mimmo Rotella, photo by N
Sonia Delaunay, photo by N
Sonia Delaunay, photo by N
Emilio Isgrò, The Ottoman Code of Loneliness, photo by N
Emilio Isgrò, The Ottoman Code of Loneliness, photo by N
Giorgio Marconi and Angelo Naj Oleari looking at the Ottoman Code of Loneliness by Emilio Isgrò, photo by N
Giorgio Marconi and Angelo Naj Oleari looking at the Ottoman Code of Loneliness by Emilio Isgrò, photo by N
Emilio Isgrò, The Ottoman Code of Loneliness, photo by N
Emilio Isgrò, The Ottoman Code of Loneliness, photo by N
Me, myself & I along with Angelo Naj Oleari, photo by N
Me, myself & I along with Angelo Naj Oleari, photo by N

www.fondazionemarconi.org

“SOUVENIR D’ ITALIE”, ART & FASHION TO CELEBRATE ITALIAN CULTURE AT THE MILAN ORSORAMA ART GALLERY

Fluon, photo by N
Fluon, photo by N

The iconography of Italy, presented in a neo-pop way, features in “Souvenir d’ Italie”, exhibition which was held at the art gallery Orsorama, owned by the brilliant Matteo Bonelli, placed in Brera, renowned area of Milan city centre and joined art and fashion to celebrate Italian culture. Irony, embodied in the fun photo collages by talented artist Svetlana Schmidt and in the artworks by Fluon – artistic collective and band headed by the eclectic creative, singer, DJ and multi-instrumentist musician Andy, which reinterpreted in a fluorescent way, a leitmotiv its work, objects and personas depicting the Italy as the Ferrari car and Dante -, meets the timeless elegance and uniqueness of the jewelry by Anna Porcu, smashing interpretations of the cameos (some of them are antique cameos, unique pieces, other ones are instead hand-made by Tuscany artisans and combined with silver or gold and leather), evidencing the excellence of made in Italy. It was a pleasant interlude, enriched by colors and nice encounters between friends.

“SOUVENIR D’ ITALIE”, ARTE & MODA PER CELEBRARE LA CULTURA ITALIANA ALLA GALLERIA D’ ARTE ORSORAMA DI MILANO

Svetlana Schmidt, photo courtesy of Matteo Bonelli
Svetlana Schmidt, photo courtesy of Matteo Bonelli

L’ iconografia dell’ Italia, presentata in chiave neo-pop, è la protagonista di neo-pop way, “Souvenir d’ Italie”, mostra che si é tenuta a Milano presso la galleria d’ arte Orsorama, di proprietà del brillante Matteo Bonelli, ubicata a Brera, rinomata area del centro di Milano e ha unito arte e moda per celebrare la cultura italiana. L’ ironia, racchiusa nei divertenti collage di foto di Svetlana Schmidt e nelle opere di Fluon – collettivo artistico e band guidata dall’ eclettico creativo, cantante, DJ e musicista polistrumentista Andy che ha reinterpretato in una fluorescente foggia, un leitmotiv della sua opera, oggetti e personaggi che rappresentano l’ Italia quali la Ferrari e Dante – incontra l’ eleganza senza tempo e l’ unicità dei gioielli di Anna Porcu, formidabili interpretazioni dei cammei (alcuni dei quali sono cammei d’ antiquariato, pezzi unici, mentre altri sono invece realizzati a mano da artigiani toscani e sono abbinati con l’ argento o l’ oro e la pelle) che testimoniano l’ eccellenza del made in Italy. Un piacevole intermezzo, arricchito da colori e simpatici incontri tra amici.

Anna Porcu, photo by N
Anna Porcu, photo by N
Marta Brivio Sforza, Marta Marzotto and Svetlana Schmidt at Orsorama, photo courtesy of Matteo Bonelli
Marta Brivio Sforza, Marta Marzotto and Svetlana Schmidt at Orsorama, photo courtesy of Matteo Bonelli

 

Me, myself & I along with Andy, photo by N
Me, myself & I along with Andy, photo by N

 

Fabrizio Grigolo aka Faber, me, myself & I along with Andy, photo by Angelo Naj Oleari
Fabrizio Grigolo aka Faber, me, myself & I along with Andy, photo by Angelo Naj Oleari

 

Andy, Angelo Naj Oleari and Fabrizio Grigolo aka Faber, photo by N
Andy, Angelo Naj Oleari and Fabrizio Grigolo aka Faber, photo by N

 

Me, myself & I along with Fabrizio Grigolo aka Faber and Andy during the cocktail area at Orsorama, photo courtesy of Matteo Bonelli
Me, myself & I along with Fabrizio Grigolo aka Faber and Andy during the cocktail area at Orsorama, photo courtesy of Matteo Bonelli

 

A circle of friends. Anna Porcu, me, myself and I, Andy, Fabrizio Grigolo aka Faber, Angelo Naj Oleari and his wife, Adriana, photo courtesy of Matteo Bonelli
A circle of friends. Anna Porcu, me, myself and I, Andy, Fabrizio Grigolo aka Faber, Angelo Naj Oleari and his wife, Adriana, photo courtesy of Matteo Bonelli

 

Me, myself & I along with Anna Porcu, photo by N
Me, myself & I along with Anna Porcu, photo by N

 

http://orsorama.com 

“DEEP, DEEPER”, THE DRAWINGS IN THE SPACE BY DAVID MURPHY AT THE MILAN GALLERIA MONICA DE CARDENAS

The show-room of Isabella Tonchi, photo by N
The show-room of Isabella Tonchi, photo by N

I recently saw again the fashion designer Isabella Tonchi, companion of interludes under the sign of art – that frequently focus on the openings of Galleria Carla Sozzani, as it happened months ago, for the opening of exhibition on fashion photographer Arthur Elgort – with whom I attended at the opening of “Deep, deeper”., solo exhibition featuring the artist David Murphy, which is held at the Milan Galleria Monica De Cardenas and runs through 31st July 2015. The British sculptor gave rise to drawings being in the space( one of them reminded me another reference to the idea of “deepness”, the music video “Deep six” by Marilyn Manson), arising from a successful search of matter, also impressed on canvas and talking about a dialogue and interaction with the natural world. I was also pleased to enjoy the works by Linda Fregni Nagler – Switzerland artist who is resident at the gallery – and the intensity and light melancholy of photography she made, telling about the theme of suicide.

“DEEP, DEEPER”, I DISEGNI NELLO SPAZIO DI DAVID MURPHY ALLA GALLERIA MONICA DE CARDENAS DI MILANO

The show-room of Isabella Tonchi, photo by N
The show-room of Isabella Tonchi, photo by N

Ho recentemente rivisto la fashion designer Isabella Tonchi, compagna di interludi all’ insegna dell’ arte – che sovente si rivolgono alle inaugurazioni della Galleria Carla Sozzani, come è accaduto mesi fa per la opening della mostra sul fotografo di moda Arthur Elgort – con la quale ho partecipato alla opening di “Deep, deeper”, personale di solo David Murphy(che si tiene presso la Galleria di Milano Monica De Cardenas e prosegue fino al 31 luglio 2015), Lo scultore inglese ha dato vita a varie opere, sculture che sono disegni nello spazio (una delle quali mi ha ricordato un altro riferimento all’ idea di “profondità”, il video del brano “Deep six” di Marilyn Manson), nascono da una felice ricerca materica, impressa anche su tela e parlano di un dialogo e interazione con il mondo della natura. Mi ha rallegrato poter apprezzare anche le opere di Linda Fregni Nagler, artista svizzera rappresentata dalla galleria, , l’ intensità e lieve malinconia delle sue fotografie, che affrontano il tema del suicidio.

David Murphy, photo by N
David Murphy, photo by N

 

David Murphy, photo by N
David Murphy, photo by N

 

David Murphy, photo by N
David Murphy, photo by N

 

David Murphy, photo by N
David Murphy, photo by N

 

David Murphy, photo by N
David Murphy, photo by N

 

Linda Fregni Nagler, photo by N
Linda Fregni Nagler, photo by N

 

Linda Fregni Nagler, photo by N
Linda Fregni Nagler, photo by N

 

Linda Fregni Nagler, photo by N
Linda Fregni Nagler, photo by N

 

Me, myself & I along with Arthur Elgort, photo by N
Me, myself & I along with Arthur Elgort, photo by N

 

Helena Christensen seen by Arthur Elgort, photo by N
Helena Christensen seen by Arthur Elgort, photo by N

 

Arthur Elgort, photo by N
Arthur Elgort, photo by N

 

Keith Richards seen by Arthur  Elgort, photo by N
Keith Richards seen by Arthur Elgort, photo by N

 

Trinity moment ft. Carla Sozzani, Isabella Tonchi & me, myself and I, photo by N
Trinity moment ft. Carla Sozzani, Isabella Tonchi & me, myself and I, photo by N

 

Charlotte Rampling, SHE, the thinking beauty seen by Arthur Elgort, photo by N
Charlotte Rampling, SHE, the thinking beauty seen by Arthur Elgort, photo by N

 

Me, myself & I along with Isabella Tonchi at the Milan Monica De Cardenas Gallery, photo by N
Me, myself & I along with Isabella Tonchi at the Milan Gallera Monica De Cardenas, photo by N

 

 

www.monicadecardenas.com

www.isabellatonchi.com

www.galleriacarlasozzani.org

 

 

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