ACCESSORIES DESIGN: DUE BORSE DI STUDIO PER IL MASTER

 

 

Domus Academy, la prima scuola post-universitaria di moda e design in Italia, e Ars Sutoria, l’istituto storico più prestigioso nella specializzazione tecnica del settore pelletteria e calzature, presentano, per il terzo anno consecutivo, il concorso per due borse di studio pari al 50% del valore del Master in in Accessories Design di Domus Academy.

I migliori due candidati avranno la possibilità di ricevere una borsa di studio pari al 50% del valore del Master in Accessories Design di Domus Academy. Il Master, coordinato dal dipartimento di moda di Domus Academy, si focalizza in modo specifico su tutto ciò che “ruota” intorno all’abito e alla persona, dalla borsa alle scarpe, dai guanti agli occhiali, dalla cintura ai gioielli, dal cappello al foulard. Il Master in Accessories Design inizierà a gennaio 2012 e avrà una durata di 12 mesi.

I candidati, che dovranno aver già sviluppato un percorso formativo o professionale nel settore moda o accessorio, potranno inviare il proprio curriculum, il portfolio di progetti, i lavori svolti e le immagini esplicative, via e-mail all’indirizzo: infofashion@domusacademy.it indicando nell’oggetto della mail “DOMUS ACADEMY – ARS SUTORIA” entro e non oltre il 17 ottobre 2011.

Domus Academy e Ars Sutoria, le due scuole d’eccellenza nel campo della moda, collaborano per il terzo anno consecutivo per fornire agli studenti un percorso unico ed eccellente nel campo degli accessori, della pelletteria e delle calzature utilizzando al meglio le diverse competenze.

I candidati saranno valutati da una giuria composta da Barbara Trebitsch – direttore del dipartimento moda di Domus Academy, Ernesta Del Cogliano – direttore di progetto del Master in Accessories Design di Domus Academy, Matteo Pasca – direttore divisione Scuola Ars Sutoria, Stefania Sancini – direttore di Ars Arpel Group.

Per maggiori informazioni www.domusacademy.it

 

DOMUS ACADEMY

Domus Academy nasce a Milano nel 1982 come prima scuola post-universitaria di design in Italia e come progetto aperto attorno all’esperienza del Design e della Moda italiani. Nel corso degli anni si afferma come scuola nel senso pieno del termine: luogo di formazione post-universitaria e laboratorio di ricerca sui temi dell’innovazione e del progetto. Nel dicembre 2009 è entrata a fare parte di Laureate International Universities, un netwok globale di alta formazione per l’arte e il design. L’offerta didattica dell’accademia comprende i seguenti master, frequentati da studenti di tutto il mondo: Accessories Design, Business Design, Car Design, Design, Fashion Design, Interaction Design, Interior and Living Design, Urban Vision and Architectural Design, Fashion Management, Fashion Styling and Visual Merchandising, Service Design.

 

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MY LACER/ACTIONS ON SHOW AT “PARALLAX AF” IN LONDON

They are on show at “Parallax AF” at La Galleria, Royal Opera Arcade, Pall Mall (October 14,15,16, ’11). Exhibition conceived and curated by the art historian Dr Chris Barlow.

 My “lacer/actions” artworks will be on show in London, at “Parallax AF” (Wall 12, La Galleria, Royal Opera Arcade, Pall Mall) from 14 to 16 October, 2011). The exhibition ‘s curator, the art historian dr. Chris Barlow, selected three works:

  •  “Nine Eleven, New York 2001, Victims & Martyrs, The Blood Tracks #2”, Canvas, 47×70, 2011
  • As running fast water…”, Canvas, 62×42, 2010
  • I don’t like to stand still”, Canvas, 62×42, 2010
  • I think that they may represent and show something about my research about the incredible world of “street signs”: the mysterious dimension of torn posters. I’ve collected more than 30.000 images. The three ones I present at “Parallax” are only a small indication about my art, that people like to call “psycho-artworks” or images that seem to come from Nowhere… During the show – private view included – I’ll be very glad to meet people and tell them something about my art.

ABOUT PARALLAX AF

http://www.barlowfinedrawings.com/robertoalborghetti.html

Parallax AF is the first art fair of its kind to use new theories from art history in its approach. It showcases established and emerging international contemporary artists.

Parallax AF grew out of an international exhibition that was conceived and curated by the art historian Dr Chris Barlow. It is different from other artists fairs in that it is like a specialised exhibition. It is a serious platform for international and national artists to present their work to national and international dealers, art industry people, collectors, critics and buyers in an exhibition format underpinned with critical theory.

This also provides artists with the benefit, if they wish, to present non-commercial work, or to try out new commercial ideas, without high overhead risks often associated with other fairs.

Parallax AF held in a professional gallery space in central London. The shows are curated by a professional guest curator, having the feel of an organised exhibition, and catalogue essays are written by academics. Parallax AF aims to provide a key service in helping artists to promote and sell their work, as well as providing a platform for developing their careers and practice.

 It is loosely divided into two exhibition showcases presenting abstraction/conceptual and figurative/conceptual art. The Parallax AF takes place at La Galleria, Royal Opera Arcade, Pall Mall and is curated by Dr Chris Barlow.

Abstract/conceptual show: 14th – 16th October (Friday-Saturday 10am-6pm, Sunday 10am-5pm)

Figurative/conceptual show: 21st – 23rd October (Friday-Saturday 10am-6pm, Sunday 10am-5pm)

 VENUE

La Galleria is the most prestigious contemporary art space in central London and well known in the St. James’s and Mayfair arts and fashion business communities for hosting important cultural events. It is situated in the Royal Opera Arcade on Pall Mall and is opposite the Institute of Directors and Athenaeum Club. It is two minutes from the National Gallery and Trafalgar Square. The nearest tube stations are Charing Cross or Piccadilly.

 DATES

Thursday 13th October: 10 am – 7pm (“private view” no. 1, 7pm – 9pm)

Friday 14th October: 10am – 6pm, open to public

Saturday 15th October: 10am – 6pm, open to the public (“private view” no 2, 7pm – 9pm)

Sunday 16th October: 10am – 5pm, open to the public

 TICKETS

There is no door charge and entry is free for the public.

LACER/ACTIONS :  MORE AT…

http://robertoalborghetti.wordress.com/

http://assets2.artslant.com/global/artists/show/134694-roberto-alborghetti

www.youtube.com/user/lacerazioni

  www.myspace.com/lacer-azioni

http://it-it.facebook.com/people/Roberto-Alborghetti-Lacer-azioni

 LE MIE “LACER/AZIONI” NEL CUORE DI LONDRA

Le mie “lacer/azioni” saranno in mostra a Londra, alla “Parallax AF” (“La Galleria, Royal Opera Arcade, Pall Mall) dal 14 al 16 ottobre 2011. Il curatore dell’evento, lo storico dell’arte dr. Chris Barlow, ha selezionato tre opere:

  •  “Nine Eleven, New York 2001, Victims & Martyrs, The Blood Tracks #2” (Undici Settembre, New York 2001, Vittime & Martiri, Le Tracce del Sangue #2, Tela, 47×70, 2011)
  • As running fast water…” (“Come acqua che corre veloce…”, Tela, 62×42, 2010
  • I don’t like to stand still” (“Non mi piace stare fermo”, Tela, 62×42, 2010

Penso che questi artworks possano raprresentare e mostrare qualcosa della mia ricerca nell’incredibile mondo dei “segni di strada”: la misteriosa dimensione dei manifesti strappati. Ho finora collezionato più di 30.000 immagini. Le tre che presento alla “Parallax” sono solo un piccolissimo indizio della mia attività nel campo dell’arte visuale, che la gente già chiama “psico-immagini” o scene che sembrano arrivare da Nessunposto… Durante la mostra sarò lieto di incontrare il pubblico per uno scambio di idee sulla mia attività artistica.

A PROPOSITO DI “PARALLAX AF”…

http://www.barlowfinedrawings.com/robertoalborghetti.html

Parallax AF è nata da una mostra internazionale chiamata “Parallax” che fu concepita e allestita dallo storico dell’arte Dr Chris Barlow. Parallax AF è la prima fiera dell’arte ad usare nuove tecniche d’approccio all’espressione artistica. Le sue “vetrine” annuali consentono agli artisti internazionali di emergere, offrendo una grande visibilità.

Parallax AF è diversa dalle altre mostre perchè è specializzata: è una vera e propria piattaforma per gli artisti nazionali ed internazionali che permette loro di presentare i propri lavori ai galleristi nazionali ed internazionali, agli industriali, ai collezionisti, ai critici e ai compratori. La mostra offre agli artisti il vantaggio di presentare opere non commerciali o di provare nuove idee senza rischi globali che spesso si verificano durante analoghe manifestazioni.

Parallax AF è situata in una galleria professionale nel centro di Londra: le mostre sono curate da un sovrintendente professionista in grado di realizzare eventi ben organizzati, con saggi su cataloghi redatti da accademici. Lo scopo di Parallax AF é quello di fornire un servizio per aiutare gli artisti a promuovere e vendere le loro opere e provvedere ad uno spazio per sviluppare la loro pratica e la loro carriera.

Parallax è divisa in due mostre-evento dedicate rispettivamente all’arte astratta/concettuale (dal 14 al 16 ottobre) ed all’arte figurativa/concettuale (dal 21 al 23 ottobre ).

SEDE DELLA MOSTRA

La Galleria” è il luogo più prestigioso dedicato all’arte contemporanea nel centro di Londra: è conosciuto dagli artisti in St.James e Mayfair e dalle fashion-communities per ospitare eventi culturali. È situata nella Royal Opera Arcade sul Pall Mall ed è di fronte all’ Institute of Directors e all’ Athenaeum Club. Dista due minuti dalla National Gallery e da Trafalgar Square. La stazione metropolitana più vicina è Charing Cross o Piccadilly. Parallax AF è curata dal Dottor Chris Barlow.

DATE ED ORARI

Govedì 13 ottobre: mostra riservata su inviti, dalle 19 alle 21)

Venerdì 14 ottobre: dalle 10 alle 18 aperta al pubblico

Sabato 15 ottobre: dalle 10 alle 18 aperta al pubblico (mostra riservata su inviti dalle 19 alle 21)

Domenica 16 ottobre: dalle 10 alle 17 aperta al pubblico

BIGLIETTI

Non c’è alcun prezzo d’entrata e l’ingresso è gratuito per il Pubblico. Previste due “private views” strettamente su invito. 

 Lacer/azioni su web:

 https://robertoalborghetti.wordpress.com/

http://assets2.artslant.com/global/artists/show/134694-roberto-alborghetti

www.youtube.com/user/lacerazioni

www.myspace.com/lacer-azioni

http://it-it.facebook.com/people/Roberto-Alborghetti-Lacer-azioni

GUESS WHERE I TOOK IT FROM…

The green side of my “lacer/actions” artworks… But this time, the image doesn’t come from a torn poster sticked on a billboard. And neither it’s a picture taken on board, looking green fields from an aircraft… Guess where I took it from…

 

 

PLANNING FOR THE BIG DAY

 

By Michelle LaBrosse, PMP®, Chief Cheetah and Founder of Cheetah Learning, and Kristen LaBrosse, Co-Author, CAPM®

 

When a wedding invitation comes in the mail, my gut instinct is to leave it in the mailbox and have the mailman take it away to someone else who might actually want to attend. This is my thought for about two seconds, before logic sets in and I realize that wedding guests are not so replaceable, that I must reply to this RSVP either way, and that I better have a pretty good reason if I plan to reply with “not attending.” Now don’t misunderstand me, I love my family and friends, and wish nothing more than to spend time with them and celebrate their biggest moments in life. But going on my 30th year of attending weddings, quite regularly mind you, I have had quite enough of the chicken dance, bad cake, sloppy best man speeches, and most of all, the poorly planned wedding that causes frustration and boredom for all involved. That was my view on weddings, up until this last summer. A co-workers daughter invited me to her wedding and I prepared myself for the usual wedding scene, bringing along with me my iphone (for unexpected delays), some mints to share with the other guests as the night and the drinks wore on, and my sense of humor. To my surprise and relief, the wedding was the most smoothly run event I had been to in years! And the biggest shocker

of it all is that it went off without a hitch…in the middle of a hurricane! It was so much fun I completely lost track of time and danced the night away.

While I attributed my evening of surprising fun to great companions, a fantastic band, and amazing food, I also think the success of the event relied solely on the expert planning by all involved. The more I thought about it, the more I realized that any big experience that I had that was fun, adventurous, and successful sprouted from detailed and accurate planning. The concept of “planning fun” can sometimes be hard for those of us out there who like to “live in the moment” and who generally get nervous if too much planning takes place (you know who you are!). But the moment that you invite others to “live in your moment”, as you do while planning any sort of event, is when you need to make sure that good planning takes place to produce an event that is fun for all. Here are a few things to keep in mind when planning your big day, whether that be a wedding, job interview, holiday party, work retreat… or whatever!

Develop a scope statement. There is one thing worse than not planning at all, and that is planning for planning’s sake, without an end result or goal in mind. To keep this from happening, at the very beginning of planning your big day, develop a scope statement that focuses your planning efforts on one main goal. For example, let’s say you’re planning a work retreat for your company to improve communication and morale. Your scope statement could read: “Gather all current employees for a one day retreat to be held before the end of the year. Also, create a detailed 8 hour schedule of team building activities with the end goal of increased communication among employees, as measured by project success rates, and improved morale, as measured by employee satisfaction surveys.”

Select the planning team, and deliverables for each person. One of the best things about wearing a project manager hat is that once you define your project tasks, you don’t have to go at it alone. Master the art of delegating through your PM powers of influence and negotiation, and define a team that will help you with your planning. Develop a Schedule. Decide when your big day will take place, and work backwards from there to see what you will need to make your big day a success. Remember, you are not a machine, so make it easier for yourself to remember due dates of deliverables by creating a calendar and setting reminder alarms to go off on your phone. Also, ensure that everyone on your project team is accountable for their deliverables as well by publicly displaying the schedule (Google calendars, or a company’s shared workspace) so that there is no confusion over who is responsible for what.

Develop a Budget. Nothing sucks the fun out of planning (yes, planning can be fun!) like running out of money when half the deliverables are accomplished. Develop a budget that prioritizes the activities that “must be done” first, leaving secondary items for money left over. For example, when you are preparing for a job interview, it might be “nice” to get your hair cut and colored before you go to your interview, but it is a “must have” to have

appropriate clothing and your resume printed. Save the nice-to-have’s for last to make sure you are planning for success.

Risk Planning. The last thing that you want when planning for a big day is what could potentially go wrong. But that is exactly what needs to happen before your big day. To do this, use your imagination, your team members, friends, and coworkers to get a good idea of what could happen if things don’t go as planned, and then come up with ways to mitigate these risks. For the wedding I attended that took place during a hurricane, the risk plan included getting umbrellas that complimented the wedding party’s dresses and to make sure the wedding facilities had back up plans if the electricity went down.

Have Fun! All that planning can be stressful and time consuming, but the payoff for your big day makes it all worth it. Do your big day the right way, with good project management planning. Before you know it, even the most klutzy of guests (like me) will be dancing the night away!

 

About the Author:

Michelle LaBrosse, PMP, is an entrepreneurial powerhouse with a penchant for making success easy, fun, and fast. She is the founder of Cheetah Learning, the author of the Cheetah Success Series, and a prolific blogger whose mission is to bring Project Management to the masses.

Cheetah Learning is a virtual company with 100 employees, contractors, and licensees worldwide. To date, more than 30,000 people have become “Cheetahs” using Cheetah Learning’s innovative Project Management and accelerated learning techniques.

Recently honored by the Project Management Institute (PMI®), Cheetah Learning was named Professional Development Provider of the Year at the 2008 PMI® Global Congress. A dynamic keynote speaker and industry thought leader, Michelle was previously recognized by PMI as one of the 25 Most Influential Women in Project Management in the world. Michelle’s articles have appeared in more than 100 publications and Web sites around the world. Her monthly column, the Know How Network is carried by more than 400 publications, and her monthly newsletter goes out to more than 50,000 people. She is a graduate of the Harvard Business School’s Owner President Manager’s (OPM) program and also holds engineering degrees from Syracuse University and the University of Dayton.

 

Check out Cheetah PHAST – a great new quarterly magazine

 

http://www.cheetahphast.com/?page_id=17

 

“I DON’T LIKE TO STAND STILL”… SO I’LL BE ON SHOW AT “PARALLAX AF” IN LONDON…

 “I’ don’t like to stand still” is the title of this “Lacer/actions” artwork (cm.62×42, canvas)  that  will be on show at “Parallax AF” in London, at “La Galleria”, Royal Opera Arcade, Pall Mall, October 14-15-16, 2011.

I like, in this image – taken from an ads billboard in 2010 during a rainy day – the group of colors and shapes that gives to me the sense of space and change, in which things and moods are moving toward a direction…

Yes, I don’t like to stand still… That’s the reason why I’ll be at Parallax… Parallax??? Yes, from the greek term “Paràllaxis”, that means “movement”, “alternating turning”, “mutation”… Exactly!

  •  Link to Parallax AF Catalogue

http://www.barlowfinedrawings.com/robertoalborghetti.html

  • Link to Poster: “Lacer/azioni” at Parallax AF

http://assets2.artslant.com/ew/works/show/486120

  •  Link to videoclip on YouTube

http://youtu.be/r735Hb2NdnA

  • Link to videoclip on BlipTV

http://blip.tv/laceractions-lacerazioni/lacer-actions-at-parallax-af-london-5506298

        

VERONA : THE “STATELY SADNESS” OF THE MONUMENT DEVOTED TO KEFALONIA MASSACRE

Created by Mario Salazzari – tortured by nazis after being arrested and imprisoned – this monument can be considered one of the masterpieces of Twentieth century Italian sculpture.

 

 Yes, dr. Srini Pillay is right when he says that art “encouraging us not to lose ourselves in remembering the tragedy but also seeing the beauty in our resilience as a nation as well as the possibilities for recovery.” (read his article on “The Huffington Post”:  http://www.huffingtonpost.com/srinivasan-pillay/911-art_b_953397.html ).

I had the way, in these last days, to be in Verona – the historical and celebrated Verona – and to admire the terrific National monument dedicated to the victims of the massacre perpetrated by the nazis in the greek island of Kefalonia, in September 1943 (my father Battista is one of the few survivors). You find this monument in the Park devoted to the Divisione Acqui (close to Porta Nuova). It was inaugurated on October 23, 1966 by the Prime Minister Aldo Moro and it has been created by Mario Salazzari, from Verona, one of the greatest artists of the Twentieth century.

 Apart from the historical meaning, this monument can be considered the most beautiful contemporary sculptural work in Verona and one of the masterpieces of Twentieth century Italian sculpture. It is a work of considerable majesty, seven and a half meters high. You may see male figures in movement, joined by ropes that look like snakes. In the foreground there is a figure while the other three are in the background. These characters are modeled according to anatomical forms with the best sculptural accuracy. Its aim is that to honor and remember the victims of those terrible events happened in Kefalonia.

Thanks to the efforts of Mr. Alessandro Canestrari, it was commissioned by the Italian Government to Salazzari, an artist who fought for freedom during Italian Resistance against fascism and nazism. This work in bronze shows a marble target with the words “Italy to the martyrs of Divisione Acqui, Kefalonia, Corfu. September 1943” and also “9.000 men of the Division Acqui in the islands of Kefalonia and Corfu suffered the bloody sacrifice to give honor and pledgeresistance to their distant homeland”. Of the 9,000 killed soldiers, 1,200 came from Verona. The “Arena’s City” is today the national headquarter of the Divisione Acqui, founded in 1945, which represents the survivors of the massacre of Kefalonia and Corfu in September 1943.

The horror of the event, symbolized by the bronze snake that pierces the bodies, has been expressed with great cleverness by Mario Salazzari. The artist was born in Lugagnano (November 16, 1904) and died in Verona on June 6, 1993. Nobody better than Salazzari was able to represent that horror, since the sculptor was tortured by nazis after being arrested and imprisoned as a partisan (he was sentenced to 30 years’ imprisonment) in Padua where – a few days before April 25, 1945, and the arrival of Usa allied Army – he managed to escape from.

Horror, despair and deep pity: these are the feelings flowing from this monument. It bring us that sense of “stately sadness” – “the basis of tragedy”, as Jean Racine says – that help us today to remember the Kefalonia events.

 * * *

VERONA: LA “MAESTOSA TRISTEZZA” DEL MONUMENTO DEDICATO ALL’ECCIDIO DI CEFALONIA

 Si, il dr. Srini Pillay ha ragione quando dice che l’arte “ci incoraggia a non smarrire il ricordo della tragedia, ma anche a vedere la bellezza delle nostre risorse, come nazione e come possibilità di recupero” (leggi l’articolo pubblicato su “The Huffington Post” http://www.huffingtonpost.com/srinivasan-pillay/911-art_b_953397.html )

Ho avuto modo, in questi ultimi giorni di ammirare, a Verona, il meraviglioso monumento nazionale alle vittime dell’eccidio perpetrato dai nazisti nell’Isola di Cefalonia nel settembre 1943 (mio padre Battista è uno degli ormai pochi superstiti del massacro). Il monumento si trova nel Parco proprio dedicato alla Divisione Acqui, in circonvallazione Oriani, vicino a Porta Nuova. E’ considerato uno dei capolavori della scultura veronese del secolo XX. Venne inaugurato il 23 ottobre 1966 dall’allora presidente del Consiglio, Aldo Moro, ed è opera di Mario Salazzari, uno dei grandi artisti veronesi del Novecento.

Al di là del significato storico, il monumento è considerata la più bella opera scultorea contemporanea della città. E’ un’opera imponente, alta sette metri e mezzo. È composta da figure maschili in movimento, legate da corde che sembrano serpenti. In primo piano c’è una figura giacente, mentre altre tre sono dietro, tutte modellate con una precisa accuratezza.

Il monumento – che ha la finalità di onorare e ricordare le vittime dei tragici eventi di Cefalonia – fu commissionato dal governo italiano all’artista veronese Salezzari, combattente per la libertà durante la Resistenza al fascismo ed al nazismo. Venne portato a termine grazie all’impegno dell’onorevole Alessandro Canestrari. È un’opera in bronzo che reca una targa in marmo con queste parole: “L’Italia ai martiri della divisione Acqui, Cefalonia, Corfù. Settembre 1943. È anche scritto 9000 uomini della Divisione Acqui nelle isole di Cefalonia e Corfù vollero il sacrificio cruento per dare alla patria lontana onore e pegno di resistenza.” Dei 9.000 soldati italiani uccisi a Cefalonia e Corfù, 1.200 erano veronesi. La città dell’Arena è oggi la sede dell’Associazione Nazionale Divisione Acqui, fondata nel 1945, per riunire i superstiti dell’eccidio di Cefalonia e Corfù del settembre 1943.

L’orrore della vicenda – rappresentato nel simbolico biscione bronzo che trapassa i corpi – è stato espresso con grande forza artistica da Mario Salazzari, nato a Lugagnano (16 novembre 1904) e morto a Verona (6 giugno 1993). Nessuno meglio di Salazzari era nella condizione di raccontare quell’orrore. L’artista fu egli stesso vittima delle torture naziste: arrestato, imprigionato e condannato a 30 anni di carcere, come partigiano, nel carcere di Padova, riuscì a fuggire qualche giorno prima della Liberazione del 25 aprile 1945.

Orrore e pietà sono i sentimenti e gli stati d’animo che fluiscono da questo monumento veronese, che racconta tutta quella “maestosa tristezza, fondamento della tragedia” (Jean Racine) che ci aiuta ad avvicinare e conoscere i terribili eventi di Cefalonia.

CESARE RAVASIO ART: DREAM ELEMENTS TO TELL LIFE

 After some years, I met Cesare Ravasio, fellow-citizen and talented artist. I saw him in his magical, bright and colorful cave in Spotorno (Liguria Coast, Italy) where he established his studio, meeting point for art lovers and tourists. I think I was one of the first journalists to dedicate him an article. Certainly, the first to write a full page about him. At that time I was a young journalist at the beginning of the profession. Cesare Ravasio too was a young student at the prestigious Accademia Carrara in Bergamo, one of the master Trento Longaretti ‘s pupils. I remember that I wrote positively about Cesare, whishin’ him a solid and creative path into the art world.

I met him again after years. And after a journey that has seen him grow and achieve important goals and awards. So many journalists wrote about Cesare Ravasio. And they will continue to write. He deserves it. I watched him in his studio in Spotorno. I saw him creatin’ a painting that’s a sort of synthesis of his art language: bright colors, lights and shadows, transparency, space, depth, infinite horizons, close-ups of absolute precision. And on this stage of dreams and reality, lot of symbols that he likes: chains, keys, hearts, spheres, sundials, candles, wreaths, stems, flowers, curtains, masks, shells, skulls, sailing ships… In short, things and materials to tell the life, the passing time, the pain and the joy, the being and the having, movement and stillness. Ravasio art opens to the emotions and moods. An art that Caesar told in a beautiful and elegant book – title: “From iris on the shore near my sun” – in which he has condensed his human and artistic path, his experiences – as the encounters with Cesare Pavese reality and places – trips to Andalusia, the place of his longings and dreams, including memories for the native village…

To meet Cesare Ravasio, just make a stop in Spotorno, near Piazza del Comune. Cesare now is part of local community, part of the human and cultural context of the beautiful Ligurian town, where he has cultivated friendships (Bruno Lauzi, Chieffo, Rigoni Stern, Ricky Gianco …), experienced creative solutions, loved and dreamed. Cross his atelier threshold. Step in. You’ll discover a world. It’s Yours.

Roberto Alborghetti

 

CESARE RAVASIO: GLI ELEMENTI DEL SOGNO

PER RACCONTARE LA VITA

Dopo anni, ho rincontrato Cesare Ravasio, amico, concittadino e valente artista. L’ho rivisto nel suo antro – magico, luminoso e colorato – di Spotorno, dove egli ha insediato il suo atelier, diventato punto di incontro per gli appassionati dell’arte ed i turisti. Nel rivederlo, mi veniva alla mente un fatto. Penso di essere stato uno dei primi a dedicargli un articolo di giornale. Di sicuro, a scrivergli una pagina fitta. Io ero giovane giornalista, all’inizio della professione. Anch’egli era ancora un giovane studente della prestigiosa Accademia Carrara di Bergamo, allievo del maestro Trento Longaretti. Ricordo che in quell’articolo scrissi positivamente di Cesare, auspicando un percorso solido e creativo nel mondo dell’arte.

L’ho rincontrato dopo anni. E dopo un cammino che l’ha visto crescere e raggiungere traguardi e riconoscimenti importanti. Di Cesare Ravasio hanno scritto in tanti. E continueranno a scrivere. Se lo merita. Basta vederlo all’opera nel suo atelier di Spotorno. L’ho visto creare un quadro che penso sia un po’ la sintesi del suo linguaggio: colori brillanti, luci ed ombre, trasparenze, spazi, profondità, orizzonti infiniti, primi piani di una precisione assoluta.

E poi, in questo palcoscenico onirico e reale al tempo stesso, la tessitura dei simbolismi a lui cari: catene, chiavi, cuori, sfere, meridiane, candele, corone, steli di fiori, sipari, maschere, conchiglie, teschi, velieri… Insomma, cose e materiali per raccontare la vita, il tempo che scorre, il dolore e la gioia, l’essere e l’avere, il movimento e la staticità. E’ l’arte, quella di Ravasio, che si apre alle emozioni e agli stati d’animo. Un’arte che Cesare ha voluto raccontare anche in una bella ed elegante pubblicazione – “Dall’iride in riva al mio sole” – in cui ha condensato il suo percorso umano ed artistico, le sue esperienze – fondamentali quelle degli incontri con la realtà ed i luoghi di Cesare Pavese – i viaggi in Andalusia, i luoghi delle sue nostalgie e dei suoi sogni, compresi i ricordi per il villaggio natìo…

Per vedere all’opera Cesare Ravasio, basta fare tappa a Spotorno, nei pressi della piazza del Comune. Qui è ormai uno di casa. Anzi, fa parte del contesto umano e culturale della bella località ligure, dove egli ha coltivato amicizie (Bruno Lauzi, Chieffo, Rigoni Stern, Ricky Gianco…), sperimentato soluzioni creative, sognato ed amato. Varcate la soglia della sua bottega. Ed entrate. Scoprirete un mondo. Il vostro.

Roberto Alborghetti