Cracks is part of my Lacer/actions Project, about  the decomposition of torn publicity posters on outside advertisings (my realistic and not manipulated images are transferred on canvases, lithographic prints or textiles, or re-built in collages). Since 2009 I’ve been also workin’ on metal, plastic or stony surfaces, or metal and plastic platings. So, I entered the wonderful world of Cracks… We are surrounded by cracks. We live in a planet of cracks. And cracks may be considered “an active aesthetical appreciation” of what we call the disturbing elements of imperfection. My eyes and cameras discovered  through cracks magnifications other amazing textures in what we usually consider waste materials. Also my Cracks are realistic, natural, random and not enhanced images, as you see in this picture. More Cracks  in this special gallery: 




ABSTRACT SKY OF ROME © Roberto Alborghetti LaceR/Actions - August 27, 2013

ABSTRACT SKY OF ROME © Roberto Alborghetti LaceR/Actions – August 27, 2013


LaceR/Actions work by Roberto Alborghetti


Realistic and not manipulated image from

torn and decomposed publicity posters

Rome, August 27, 2013


Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about the apparent chaos of ripped and decomposed posters and urban/street signs. Transferred on canvas, reproduced on lithographic prints or textiles (as pure silk), re-built on collages or scanned in videoclips, the images of torn and decomposed posters give new life to paper lacerations and matter decomposition, as you may see in this post showing one the 40.000 pics captured by Roberto Alborghetti during his research all around the world.

The most recent Roberto Alborghetti Show (“Colors of an Apocalypse: An Intrigue for the Eyes and Mind from the Decomposed Publicity Posters”) was displaced for 100 days in the enchanting  Aldobrandesca Fortress (XIII Century) in Tuscany (Piancastagnaio, Siena, Italy) from October 6, 2012, to January 15, 2013.

A surprise public exhibition, for one night only (“Lacer/actions Show”) took place on July 14, 2013, for a special event with Historical Place in a beautiful and ancient square (Palace of Countess, Ambivere, Bergamo, Milan area, Italy).

His new project, “Contemplations and Lacer/actions”, was inspired by Thomas From Bergamo Scripts (1563-1631). “Words from the Past, Images from the Future and an Experience for Today”.        





Roberto Alborghetti - “The Next Apocalypse: no Heaven or Hell, only Smoking or Non-Smoking”; Collage made with 150 small pieces of waste-paper of decomposed publicity posters; sizes: 47x47 - 2013.

Roberto Alborghetti – “The Next Apocalypse: no Heaven or Hell, only Smoking or Non-Smoking”;
Collage made with 150 small pieces of waste-paper of decomposed publicity posters; sizes: 47×47 – 2013.


“The Next Apocalypse: no Heaven or Hell, only Smoking or Non-Smoking”;

Collage made with 150 small pieces of waste-paper of torn and decomposed publicity posters;

Sizes: 47×47 cms.; 2013.

This work takes part to “Art Toppling Tobacco”


Tobacco lacerates (and detroys) our lives. I wanted to express this concept working on lacerated and destroyed waste-paper from torn and decomposed publicity posters I usually find along the streets. So, for my “Lacer/actions” project, I’ve created this collage using about 150 little paper pieces of worn-out and ripped outdoor advertisings. De-struction (and de-construction) to communicate how those dark and disqueting clouds of smoke intoxicate and ruin body and soul, degenerating cerebral system. I worked on an abstract scene coming from exhausted materials to say that smoke, ash and tar are here with us… The next apocalypse: no heaven or hell, only smoking or non-smoking.

This work has been admitted to “Art Toppling Tobacco” project and competition created in Australia by Fay Thomson (browse the web site : Submissions 2013, category “Other” and click to the end).


Il fumo lacera e distrugge le nostre vite. Ho voluto esprimere questo concetto lavorando, come mi è solito, sulla carta straccia dei manifesti pubblicitari decomposti visibili lungo le strade. Ho creato questo collage, per il mio progetto “Lacer/azioni”, utilizzando circa 150 pezzetti di carta stracciata. Il linguaggio di un materiale distrutto e de-strutturato per comunicare, in un’immagine astratta, come l’uso del tabacco intossichi corpo ed anima. Fumo, cenere e catrame: la prossima apocalisse…


Guest Writers: Michelle LaBrosse, PMP®, Chief Cheetah and Founder of Cheetah Learning, and Kristen Medina, CAPM®, Co-Author

© Roberto Alborghetti -  LaceRActions Project 2013

© Roberto Alborghetti – LaceRActions Project 2013

Read the new article by Michelle LaBrosse.

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A real wind of colors is blowing through Indigo Salon in Paris (17-18-19 September 2013) which also features Bruno Boggia Design Studio (Como, Italy). The popular Parisian event  welcomes merging operators in textile design and fashion from around the world. Indigo Salon (Parc d’Expositions, Paris-Nord Villepinte) also this year is bringing new creations and fabrics. Studio Boggia is proposing in Paris patterns which anticipate   fashion trends. In fact, Indigo Salon is a special preview (Première Vision) of what will happen in the world-fashion. Textile designs by Boggia are focusing on a various range of colors and shapes combining tradition and innovation, as we admire in this photo-gallery…




“Zenith Art Exchange / Hungary (2013-2014)” is  a series of events and exhibitions organized and curated by CAP (Contemporary Art Platform) in partnership with “Art Moments Festival 2013” (one of the major public art festivals in Hungary) aiming to promote Hungarian and Arab contemporary visual art and strengthen the international dialogue between artists from both nationalities.

In its first season the program will cover the summer and autumn period by presenting three exhibitions curated by CAP Director Abed AlKadiri to be held in museums and institutions such as Modem Museum, Zsolnay Cultural Quarter and Design Terminal. In addition to an artist in residence program in University of Pécs, Faculty of Arts. The first event was “Kursi, A Tribute to a Chair” (Date: 4/9/2013 – 12/9/2013) Artists and designers were always fascinated by the chair and its potential weight of meaning, from its religious allusions to its social, political, and humanistic implications. In “Kursi”, the graphic and architectural dimensions explored by these artists and designers from Kuwait highlighted the infinite possibilities of their creativity. Participated Artists: Amira Behbehani, Aseel Al Yaqoub, Bader Al Mansor, Dana Al Jouder, Faisal Al Fouzan, Jassim Al Saddah, Mohammad Sharaf, Mohammed Al Kouh and Yousef AlMehdari.



“Sacred Paths / Photography Exhibition from the Middle East”

Date: 26/9/2013 – 16/11/2013

Location: Modem Museum Debrecen / Hungary

About the show: “The Sacred Paths” examines the fine line dividing the sacred with the metaphysical dimension associated with religion and the liturgical and social practices developed from a continuous search for belonging, through the exploitation of religion as means for political power. The exhibition presents the works of twelve Middle Eastern photographers whose work predominantly falls under the category of photojournalism. “The Sacred Paths” engages the symbolic , political, social and personal meaning of the term ‘path’ and is not concerned solely with its physical geographical meaning.

Photographers: Abbas Kowasri, Boushra Al Moutawakel, Dalia Khamissy, Farah Nosh, Issa Touma, Laura Boushnak, Laura El Tantawy, Newsha Tavakolian, Raed Bawayah, Reem Al Faisal, Samer Mohdad, Tamara Abdulhadi and Tanya Habjouqa.


“Marwan / The Head as A Cosmos”

Date: 24/10/2013 – 24/11/2013

Location: M21 Gallery, Zsolnay Cultural Center

About the show:  This exhibition celebrates “Marwan Kassab Bachi “body of work, featuring one of the largest collections of portraits / Heads assembled by the artist himself. “The Head as a Cosmos” outlines Marwan’s adaptation to the “Head” as a dominant theme in his work through the years and an identity to his name by bringing together more than 90 works of watercolors and etchings and a small selection of canvases, part of Contemporary Art Platform collection. For Marwan the head is a “landscape, a world, or even a universe”.

Marwan was born in Damascus, Syria, in 1934, he did his studies in literature at the University of Damascus and then went to Berlin, Germany, to pursue painting with Hans Trier in 1957. He has remained in Berlin, and draws on both Arab and modernist German recognizable artistic influences.

Artist: Marwan Kassab Bachi


Zenith Artist in Residence program

Date: 15/10/2013 – 29 /10/2013

Location: Zsolnay Cultural Quarter/ University of Pécs, Faculty of

Arts, 6 Middle Eastern artists.

Program summary and submission:  “Zenith Artist in Residence Program 2013” provides a unique opportunity for young Middle Eastern artists to spend 14 days abroad in Central Europe. Within the frames of “Zenith Artist in Residence Program 2013, the artists delegated by Contemporary Art Platform (CAP) Kuwait will visit Pécs the European Capital of Culture 2010 and spend 12 days in the ateliers of the institution of Fine Arts, where they will get the opportunity to have professional discussions with the professors and artists the of the University of Pécs and discuss new concepts and techniques and refine their artistic methods. The goal of the program is to facilitate the international networking of the participants and their exchange with the local art scene, providing appropriate working conditions and the possibility of international presentation through which artists may have significant opportunities for career development.

After their staying in Pécs the artists will visit Budapest, the capital of Hungary where they become familiar with the cultural and social highlights of this vivid city. The program offers visits with professional guidance to galleries, ateliers and museums.

For more information

Zsolnay Cultural Quarter:

Faculty of Art Pécs

For Registration and more information:

T : +965 2492 5636

F : +965 2482 7993



One of the 27 installations-artworks of “Contemplations and Lacer/actions” Project. This is the English translation of the original script by Thomas From Bergamo (1563-1631): “The Loving Soul, wounded in Love, loves in Every Times and Everywhere…” Work and Concept by Roberto Alborghetti – 2013




“Contemplations and Lacer/actions” is a visual project which includes a virtual gallery, a video, an album and installations. It is based on 27 scripts by Thomas From Bergamo (or From Olera) who lived from 1563 to 1631 in Tyrol area (Austria and Italy). All the scripts were taken from the most important works of Thomas, as his masterpiece “Fuoco d’Amore”, “Fire of Love” (the first issue was printed in 1682 in Aufsburg, Germany).

Thomas was a peace ambassador and messenger between European Nations in troubled and turbulent times. He was an illiterate man – he was a shepherd! – but its open heart, mind and spirit suggested him to write really stunning poems, stories and thoughts.

While I was writing his biography – (“Thomas From Bergamo: A Fire of Love along European Streets”) published in Italy last June – I was really struck by his Scripts… So, the idea of this project. I think the visionary power of  Thomas Scripts fits so well with my works. As I like to say, my works are not paintings, and even graphic design created by computer, but absolutely realistic images, captured from reality, along the streets, during my research-survey on torn and decomposed publicity posters and about “signs” and “cracks” in urban environments…

Thomas From Bergamo Scripts were written along the streets, contemplating the World and its Beauties… My images comes from the streets as well as… This is the meeting point of this project. The Street, with its Lifes, Hopes, Colors and Moods.

About Thomas: I invite you to admire his great and touching portrait. It was painted in 1631 by artist Martin Theophile Polak (or Martin Teofilowicz). Polak was one the most popular Tyrolese painter between XVI and XVII Century. He also worked at Hapsburg Court. The archduke Leopold sent him to Innsbruck to portray the dying Thomas (May 3, 1631). I think Polak painted one of his masterpieces. He was so able to impress and to imprint on canvas the stately mildness and the inner light of a great man.       





Death of a Cameraman

organized by Martin Waldmeier


291 Church Street

New York


Opening reception:

Thursday, September 12: 6-8 pm


On view:

September 13 – October 26, 2013


Featuring work by:

Adam Broomberg & Oliver Chanarin, Harun Farocki, Rabih Mroué

Hrair Sarkissian, Rudolf Steiner. An Unsolicited Proposal Program winning exhibition.


On July 1, 2011, in the neighborhood of Karam Shami in Homs, Syria, a young man stands on the rooftop of a building. He uses his cell phone to document gunfire in the streets below as his camera suddenly catches sight of a gunman on an adjacent balcony. For a brief instant, the cameraman and the gunman directly face each other. A single shot is fired. The camera falls, and with the cameraman’s death, image and reality collapse into one.

In the course of recent political events, anonymous cameramen and women have emerged as powerful new figures in the politics of representation and mediation, documenting conditions that surround them while simultaneously carrying the biggest stakes in the telling of th eir story. They create images that do not necessarily show violence, but are visible manifestations of it; images that do not seek to create viewers, but witnesses.

Death of a Cameraman revolves around a powerful moment in which the making of an image becomes a matter of life and death, with the camera functioning both as an extension of the eye and as a weapon. The exhibition explores the power of images to influence reality and alter the course of events. Are cameras weapons? Can they penetrate reality? What’s at stake in the making of images? What does it mean to bear witness through them?

Martin Waldmeier is a curator from Basel, Switzerland, and currently a Ph.D. candidate in Visual Culture at Goldsmiths, University of London, writing a dissertation on translation as an artistic practice. Waldmeier was a Fulbright fellow in Visual and Critical Studies at the School of the Art Institute, Chicago, and received an MA in Modern and Contemporary Art History from the University of Bern. His current research interests include aesthetics of migration, images and narrations of conflict, cultural translations, and the politics of language in the present-day cultural industry.

apexart’s exhibitions and public programs are supported in part by the Affirmation Arts Fund, Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, The Greenwich Collection Ltd., Lambent Foundation Fund of Tides Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts. This exhibition is also supported in part by the Stanley Thomas Johnson Foundation; the Swiss Arts Council Pro Helvetia; Kalfayan Galleries, Athens-Thessaloniki; and Video Data Bank.

291 church street

New york, ny 10013

t. 212.431.5270


Kefalonia massacre happened exactly seventy years ago. My father Battista is a survivor of that terrible tragedy in which died about 9.000 Italian soldiers (September 1943) killed and exterminated by German Nazis.  I gathered his incredible story in a little book with the title : “Mio padre nell’inferno di Cefalonia” (English translation: My father in the hell of Kefalonia). Beneath you may read an  English abstract of the story. It’s a message for every people in the world. My father loves to repeat: “War is the worst thing in the world. Why are we so stupid to do it?” 



 A survivor memory, an unpunished massacre

and the State conspiracy of silence



My father Battista told me…  A nightmare. This is still for me, Kefalonia. I’m a survivor. I was in that hell from November 1942 to November 1944, along with other 11.600 Italians. After September 8, 1943 – as a result of our refusal to surrender to the German army – about 9-10.000 Italian soldiers were massacred. A terrible massacre, that still remains in my eyes and on my mind. There are so many images about those awful days of terror: stories of war and death, written in the blood of so many young people who pursued the dream of a better Italy. I was nineteen years old when I was assigned to the Divisione Acqui – at 33th Artillery, First group, Second battery – on the Greek-Albanian front, already controlled by German Army. The armistice proclaimed in Italy by general Badoglio (September 8, 1943) changes our destinies. Germans claim our surrender, but they do not offer enough guarantees about Italian troops repatriation. Italian officers called a consultation between the military departments: it’s an unprecedented event in the modern army history. We decide to refuse surrender and not to give our weapons to the germans. And after that, the Apocalypse…

An historical photo: Battista Alborghetti (first on the left) and five fellows in Cefalonia in 1943 before the massacre.

An historical photo: Battista Alborghetti (first on the left) and five fellows in Cefalonia in 1943 before the massacre.

In the early hours of the battle I see my three companions dying. They fall down close to me. Some minutes later, a splinter of a grenade explosion hits my left leg. The Acqui Division – poor in weapons – is destroyed. People who do not succumb in the fighting they become prey of the Wehrmacht. German soldiers rakes the island, inch by inch. I escaped from the capture in a couple of occasions; I hide myself between mules and I repaire inside water pipes in the undergrowth. They capture me on September 21.

About 300 Officers (captains, lieutenats and second lieutenants) were captured and transferred to the sadly known “Red House”, in San Teodoro. Against every principle of the international conventions, they were shot within 36 hours, four people at a time… The corpses, weighed down with rolls of barbed wire, they were then thrown into the sea, sprinkled with petrol and burned in bonfires, whose light illuminated the night, leaving a foul smell in the air.

My companions were loaded onto trucks and taken somewhere: I won’t see them anymore. My friend, the second lieutenant Giampietro Matteri – from Dongo (Como), twenty-two years old – is killed on September 24. The same destiny for another friend, the second lieutenant Pillepich, from Trieste: I still remember the terror in his eyes when, together with eleven companions, he was dragged from the group. Few minutes later we heard the shots of machine guns, followed by cries of pain, yells, invocations. And then other shots. The finishing strokes.

At the concentration camp we were treated worse than beasts. In the morning, Wehrmacht officers assembled us, offering – as they were saying – “the chance to return to Italy”. But I always said to myself: if they want to kill me, I prefer that they do it here. We now know: who accepted that proposals were shot. They were shipped on steamers, as easy targets for Stukas airplanes or for floating mines. It’s what that happened to my compatriot, Ferdinando Mangili. He climbed aboard of one of those ships that were full of soldiers who looked forward to reach home… But the ship was sunk off and the waves returned the corpses… The Germans forced me to bury the dead, all around the island. Chaplain father Luigi Ghilardini and I, we recomposed corpses or what was left of bodies mangled by bullets and then devoured by ravens and vultures…

One day the nazis picked up us suddenly and they brought us in the square of Lixouri, where they deployed 13 Greeks accused of being partisans. Those poor people were hunged under our eyes. It happened that one of them – because of a broken rope – fell to the ground. He was still alive. Nazis soldiers took him and hung him again… If at that moment I had been given a stab, I would release even a single drop of blood, so I was shocked.

In October 1944, nazis abandoned Kefalonia: they were moving to other fronts. We remained on the island for nearly a month, as forgotten people. We scanned the horizon, waiting for a ship. We wanted to end this terrible experience. Finally on November 13, the Garibaldi and Artigliere ships landed to Argostoli ‘s port. We embarked to Taranto, but to be back home I will have to wait till June 5, in 1945. The war stole me everything but the joy to be back home, as well as the inability to forget Kefalonia, the dead, the extermination, the ferocity.

No medal, no bonuses, even no official apology from the German State – apology always denied, but never officially requested by Italy – can never compensate what was removed to thousands of young people, to thousands of families. Inside me, in addition to horror, remains the strength to repeat that all this cannot longer occurs. Never again. Never again. Never again.

© Copyright Roberto Alborghetti


About Italian Division “Acqui” and Kefalonia Slaughter