In this photo-gallery:

1 ANTONY MICALLEF, ‘Kill Your Idol’, 2014, Oil on Linen

2 NANCY FOUTS, ‘Ecce Homo’, 2014, Oil on canvas, twine

3 JOHAN ANDERSSON, ‘STATION 1’, 2014, Oil on Canvas

4 PAUL FRYER, ‘Black Pieta’ 2009, Wax, glass eyes, human hair, oil paint, wood, steel, epoxy resin, fibreglass, thorns, silk fabric, dye

5 BEN MOORE, ‘As it was in the beginning’, 2014, Oil on Canvas (Image Bran Symondson)

6 WOLFE VON LENKIEWICZ, Intervention, 2013, Pencil on paper


This Easter, Art Below and the Missing Tom Fund return with ‘Stations of the Cross’, an exhibition of artists’ representations of the Passion of Christ. Opening on the 6th March at London’s St. Marylebone Parish Church, the exhibition will run for 40 days to coincide with the biblical period of Lent. The exhibition will be open to the public and the works are also intended for prayer and meditation within the parish congregation. In addition to the 14 Stations of the Cross, artists will also contribute works depicting the Last Supper and the Resurrection. Confirmed artists include Paul Fryer, Wolfe von Lenkiewicz, Mat Collishaw, Hugo Dalton, Nancy Fouts, Ben Moore, Johan Andersson, Alison Jackson, Antony Micallef, Alex Gene Morrison, Zavier Ellis and Sebastian Horsley.

To coincide with the exhibition, public arts enterprise Art Below will showcase all of the works on billboard space throughout the London Underground at stations that have a symbolic link with the theme, including King’s Cross, Marylebone, Marble Arch, St. Paul’s, Angel, Temple and Tower Hill. ‘Stations of the Cross’ is the second exhibition to be curated by Art Below founder Ben Moore to raise proceeds for the Missing Tom Fund. With the support of his family and the Missing People Charity, Moore set up the Missing Tom Fund in 2013 to raise money for the search for his older brother Tom who has been missing for 10 years.

The first exhibition highlighting the Missing Tom Fund was the hugely acclaimed ‘Art Wars’, which was held at the Saatchi Gallery in October 2013 and featured artists including Damien Hirst, David Bailey, Yinka Shonibare and Jake and Dinos Chapman.

Ben Moore says: “The proceeds from Art Wars have enabled us to reignite the search for my brother and also to draw attention to the excellent work of the Missing People Charity. Tom was very interested in religion and, as such, ‘Stations of the Cross’ seems a natural fit for us. We hope that the project will offer further help in continuing our search for Tom.”


On Sunday 2nd March at midday artist and curator of The Stations of the Cross Exhibition Ben Moore will carry an 8 foot tall wooden cross 8 miles from Barons Court across Hyde Park  to St.Marylebone parish Church where it will be installed for the exhibition. The performance titled ‘Crossing Over’ will be filmed and presented as a piece of video art in the ‘Stations of the Cross’ exhibition which opens next Thursday for 40 days.

St Marylebone Parish Church is an Anglican church on the Marylebone Road in London. The locale of Marylebone historically took its name from that of the Church, which is dedicated to St Mary.
 The present site is the third used by the parish for its church and was built to the designs of Thomas Hardwick in 1813-17. The original church was built on the bank of a small stream or “bourne”, called the Tybourne, a name which for many centuries was synonymous with capital punishment. The church and the surrounding area later became known as St Mary at the Bourne, which over time became shortened to its present form, Marylebone.

The Missing Tom Fund Proceeds from the ‘Stations of the Cross’ exhibition go to the ‘Missing Tom’ fund, which was started up specifically to raise money to support the search for Thomas Moore.
Tom left his family home in 2003. He was aged 31 years old. His friends and family have not heard from him since then. Now 10 years on, with the support of the Missing People Charity his family is
reopening the search for Tom and have started up a website www.missingtom.com

Benjamin Moore, Director of Art Below, has had over 7 years experience working with artists, museums, charities, arts organisations, and corporates, initiating and managing partnerships to deliver new public arts projects. In 2006 he founded public arts organisation Art Below. With a wide range of international artists and its various campaigns in cities worldwide, the organization has an important position within the movement of contemporary art in public space. He has produced and curated more than 50 public exhibitions in London, Tokyo, Berlin, Los Angeles and New Orleans working with high profile international and British artists including Turner Prize Winners and Royal Academicians. www.artbelow.org.uk



 Pietà 2012

Madonna con Bambino

 Calco di Giuliano de' Medici by Michelangelo, ca. 1942.

“Getting re-acquainted with Michelangelo: Sculpture by Buonarroti in photographs and paintings from the XIX century to the present” is the theme of an exhibition which opened in Florence on February 18 celebrating the 450th anniversary of the death of the “Genius of the Renaissance” (March 6, 1475 – February 18, 1564).

As part of the celebrations the Accademia delle Arti del Disegno has coordinated to commemorate Michelangelo Buonarroti, the Galleria dell’Accademia of Florence in collaboration with Fratelli Alinari I.D.E.A. S.p.A. presents an exhibition that deals with the complex theme of the renewed interest and admiration for the artist from the XIX century until today.  The means for handling the topic will be the work of sculptors, painters and photographers who have looked to the figure of Buonarroti and his work as the iconographic point of reference in their own work.

And how could we not ‘get reacquainted’ with Michelangelo at the Galleria dell’Accademia for this very important anniversary?  We shall do so casting a particularly intense gaze at his immortal myth and contemporaneity, in an exhibition that will be cultivated, as always, in the ‘place of the David’” (Angelo Tartuferi). Cristina Acidini (Soprintendente per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale of Firenze) and Giampiero Maracchi (Presidente dell’Ente Cassa di Risparmio di Firenze) say : “ Departing from the photographs produced by several of the best-known studios and professionals from the XIX and XX centuries, we have sought to highlight the decisive role photography has played in consolidating the critical and iconographic fortunes of Michelangelo and, as a consequence, the celebration of his myth.  This will be a transverse reading that spans history and photography and will centre on the role photography has played, since its very origins, in celebrating one of the uttermost artists of the Italian Renaissance, selecting a restricted pantheon of images of his sculptures as monuments of the collective memory. The exhibition itinerary starts out with representations in a historicist vein of Michelangelo’s physiognomy and personality, featuring works by Eugène Delacroix and Auguste Rodin, as well as by other authors who worked with the then-new photographic medium from its very birth, including the early work of Eugène Piot, Édouard-Denis Baldus, the Alinari brothers, and John Brampton Philpot, to name only a few”.

The exhibition is characterised by continuously cross-referencing the various modalities of translating and proposing Buonarroti’s sculptures: from the photograph as an object of documentation to its interpretative specificity in focusing on sculpture, up to the total autonomy of twentieth-century photographers in creating new points of view and analysis of the work of art.  A new relationship is thus formed between art historians and photographers who are, in turn, entrusted with the responsibility to search out the forms and material of the work in support of historical-artistic studies. The cases proposed include Giuseppe Pagano’s photographs of the Palestrina Pietà, and the work of David Finn and Aurelio Amendola in collaboration with authoritative art historians who, from their work, have drawn important confirmations of their own theories and stylistic analyses.

As the myth grew stronger in the collective perception, Michelangelo’s presence was also recognised in the work of twentieth-century artists such as Medardo Rosso, Henri Matisse, and Carlo Mollino, as well as in the photographic studies of personalities such as Emmanuel Sougez, Herbert List and Horst P. Horst.  His influence continued in the Seventies with the explorations of Tano Festa, Paolo Monti, and Antonia Mulas, finally arriving at the expressions of contemporaneity with Helmut Newton and Gabriele Basilico, Gianni Berengo Gardin, and Gerard Rondeau.

In several well-known statues by Michelangelo captured with the photographic medium we will see the “reliefs grow softer and almost flat in frontal perspectives and lighting or, on the contrary, oblique views and distinct, grazing light will highlight the projections and sink the reliefs of the cavities into shadow.  The lenses identify and capture harmony and unrest, tranquillity and drama, convention and transgression, which they render in negatives and prints, in keeping with a variability grounded in subjectivity commanded by operators and operations, essentially corresponding to the photographer” (Cristina Acidini).

The exhibition itinerary ends with references to the theme of the copy and of the multiple in the epoch of reproducibility and massification, confronted by Karen Knorr, Lisa Sarfati and Tim Parchikov.  Michelangelo is the emotional idea in the work of Luca Pignatelli, and the formal model of reference of the staged photography of Frank Horvat, Youssef Nabil, and Kim Ki duk, up to the point in which he becomes ‘absence’ in the images of Thomas Struth and Candida Höfer.

Under the High Patronage of the President of the Republic, the exhibition is curated by Monica Maffioli and Silvestra Bietoletti who have also edited the catalogue published by Giunti.  It is promoted by the Ministero dei beni e delle attività culturali e del turismo through the Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze, the Galleria dell’Accademia, Firenze Musei and Ente Cassa di Risparmio di Firenze with the collaboration of Fratelli Alinari I.D.E.A. S.p.A.

 riconoscere michelangelo 4


Getting re-acquainted with Michelangelo: Sculpture by Buonarroti in photographs and paintings from the XIX century to the present

Exhibition venue:            

Galleria dell’Accademia

Via Ricasoli, 58 – Firenze


From 18 February to 18 May 2014


Full price: € 11.00; concessions: € 5.50 for E.U. citizens aged 18 to 25

Admission free under 18 and EU citizens over 65 years old.

Opening Hours:

Tuesday – Sunday  8.15am – 6.50pm; the ticket office closes at 6.20pm

Closed on Mondays and 1st May


Guided tour for school groups by appointment only 3.00 per student 

Guided tours for groups:

Information and reservation Firenze Musei ph.+ 39 055.290383

begin_of_the_skype_highlighting + 39 055.290383 GRATIS 


e-mail: firenzemusei@operalaboratori.com

Website: www.unannoadarte.it



By Velar Press Office

“A great team for a great work”: this video shows some images about the making of “Francesco” (“Francis”) the first illustrated and historical biography – written by journalist and author Roberto Alborghetti for Velar-Elledici Publishing – about the new Pope.  This work is the result of the wonderful participation of many people – about 30 persons! – to whom we want to dedicate this videoclip. Without them, without the precious collaboration of each of them, we could never accomplish and complete this important and best selling book. The work (in Italian language, but publishing company is planning an English version for e-books market) was carried out in two versions: a single volume and a special edition in two volumes + slipcase.   


Pope Francis and author Roberto Alborghetti during the private encounter in Casa Santa Marta (Vatican City, Rome) for the presentation of the biography.

Pope Francis and author Roberto Alborghetti during the private encounter in Casa Santa Marta (Vatican City, Rome) for the presentation of the biography.


Over 550,000 lines of text, 14 chapters, 340 photographs, 6 months of work and researches: these are the numbers that define the “first historical and illustrated biography” about new Pope Jorge Mario Bergoglio, the 266 th Pope of history, the first to assume the name of Francis, the first South American Pope, the first Pope belonging to the Society of Jesus.

Francis” helps us to know a “son of Italian immigrants” who became the leader of the Roman Catholic Church. The volumes – “the most-awaited event for Italian publishing industry” as media stated – dig deep into the historical records and documents starting from the news about the Pope’s family, reconstructing moments and facts concerning the emigration from Italy to Argentina, specifying dates, times and procedures.

The Author writes about the childhood of the future Pope Francis, his progressive steps in education, his lung disease, his religious vocation on the backdrop of social and historical scenarios of Argentina. “Francis” also delves into the distinctive elements of cultural education of the future Pope Francis, his relations with the  world of Latin American thinkers, authors and essayists (Jorge Luis Borges, Methol Ferre, Gera, Scannone) who drew new perspectives for South American continent. The book  contextualizes informations and news related to the evolution of social and historical periods in Argentina, as president Peron’s age. 

Unpublished testimonies help to discover Jorge Mario Bergoglio during his years at the helm of the Jesuits in Argentina, his pastoral insights, his role in saving lives during the military dictatorship (1976-1983), his experiences as rector at the Collegio Massimo in San Miguel, his presence in the “barrios” between the poor and emergencies in Buenos Aires, sharing the difficulties of the population in the years of severe economic crisis that hit Argentina at the beginning of the Twenty-First century. The last chapters are dedicated to the first months of Francis pontificate.




Roberto Alborghetti - Lacer-actions on Aluminium - Fai Service Private Collection, Italy

Roberto Alborghetti – Lacer-actions on Aluminium – Fai Service Private Collection, Italy




Eleven works from my “Lacer/actions” project went on…aluminium. After being re-produced on canvases, lithographic prints and textiles (silk and cotton), my images about decomposed publicity posters, cracks and “road signs” have found a new way to be showned and represented.

Maybe due to a surprising chemical reaction, aluminium metal gives brilliancy, depth and strenght to colors and shapes, releasing chromatic effects and emphasizing textures. All the eleven installations are now part of private collection of Fai in Italy, who participated to this “experimentation” curated and produced by “Passepartout” (Bergamo, Italy). So, enjoy this special gallery about “Lacer/actions on Aluminium” “as an unmistakable complement of interior design and decoration…”

For infos: ro.alb@alice.it


Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about the apparent chaos of decomposed posters, cracks and urban/street signs. Transferred on canvases, reproduced on lithographic prints or textiles (as pure silk), re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks  give new meanings and expressions to paper lacerations and matter decomposition, as you may see in this gallery showing eleven works from the collection of about 50.000 images captured so far 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 recent projects: “Contemplations and Lacer/actions” (album, videoclip, installations, inspired by Thomas of Bergamo Scripts 1563-1631) and “Atelier of Colors and Emotions” (a project which involved autistic kids ).





Guest Writers:

Michelle LaBrosse, PMP®

Chief Cheetah and Founder of Cheetah Learning,

and Kristen Medina, CAPM®, Co-Author


Read the new article by Michelle LaBrosse.

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© Roberto Alborghetti (15)

© Roberto Alborghetti


Where St. Peter’s now stands was once a chariot racing stadium, built in the time of the Emperor Caligula, Claudius  and Nero (40-65). Among those first Christians to be rounded up by Nero’s soldiers was the leader of the Christian community in Rome, St. Peter the Apostle. He had probably come to Rome about the year 40 and was therefore about 25 years in the city. The stadium, about six hundred yards long, stretched from about the end of the Western wing of the Colonnade to well beyond the apse of the present basilica. St. Peter’s place of crucifixion is traditionally marked as corresponding to the left hand wing of the basilica, more or less where the altar of St. Joseph is today.

The tomb of Peter is still there, underneath the front of the Papal Altar and about 20 ft. below the floor level of the basilica. When Christians were eventually given their freedom (313), under the Emperor Constantine, after more than two hundred years of persecution, it was decided to build a basilica above the tomb of the Prince of the Apostles. Christians assembled  frequently for worship. They needed increasingly large buildings – much larger than the tiny pagan temples of the  past. Constantine saw to the building of a number of these “Basilicas” and especially to the largest of them which was  erected above the tomb of Peter on the slope of the Vatican hill.

Michelangelo’s Basilica (1506-1626). That building lasted throughout the centuries until 1500. It was then in such a state of disrepair that Pope Julius II decided to replace it with a new and more magnificent structure. Work began in April 1506. Many great artists were  involved in its construction and decoration: Bramante, Sangallo,Raphael,Michelangelo, Maderno, Della Porta, Bernini, Fontana. The most notable contributions, however, are those of Michelangelo, Maderno and Bernini. At the age of 72, in 1546, Michelangelo was obliged to undertake the building of the present Basilica by Pope Paul III. When he died, the  construction of the Greek Cross section surrounding the Papal altar and the tomb of Peter had been completed only as far as  the top of the drum: the large windows which are underneath the upturned bowl of the dome. The bowl itself, changed in  shape from the half rounded shape of Michelangelo’s design to  the half oval shape of today, was completed by Della Porta in  May 1590. The Pope was Sixtus V.

Pope Paul V, in the beginning of the 1600’s, decided that the  Greek Cross design was too small. He obliged his architect,  Maderno, to pull down the front wall of Michelangelo’s building and extend the eastern end of the basilica by 116  yards. That was completed in 1626, and in the following 30  years Gian Lorenzo Bernini added the Colonnade.

The immense ten-acre spread of Bernini’s Colonnade is the pilgrim’s introduction to St. Peter’s. Its design incorporates  a sun-dial, a calendar, and the welcoming arms of God’s embrace as He stretches out to receive all who come to pay their respects at the tomb of the first Pope. The obelisk in  the center, as well as determining the time and the date by its shadow, takes us back in the millennia through the history  of the old basilica, the Circus of Nero, the ship-building skills of the Romans who transported it across the sea from  Alexandria in Egypt during the first century of the Christian era. It also takes us back through the centuries of the Pharaohs, perhaps to the Egyptian captivity of Israel.

(5 – End)















Terza Loggia (Third Loggia) is another stunning place in the Apostolic Palace in Vatican City, Rome. On its walls we admire maps of the modern world painted between 1560 and 1585. They include the wonderful Emispheres, the frescoes designed by Ignazio Danti (1582 ca). I recently had the opportunity to visit Terza Loggia (I was in Rome to meet Pope Francis for the presentation of “Francis”, the illustrated and historical biography I wrote about him). I’m so glad to share some pics and news I found in a very interesting research by Francesca Fiorani (“Cycles of Painted Maps in the Renaissance”).

The first map cycles with maps of the modern world were painted for the papal residence at the Vatican between 1560 and 1585. Pope Pius IV commissioned the French cartographer Etienne Du Pérac to prepare the cartoons for thirteen modern maps of Europe, which were to be painted in the east wing of the Terza Loggia, the third story of the Renaissance addition to the papal residence Du Pérac arranged the maps according to the order of Ptolemy, but based their cartographic content on Gerardus Mercator’s map of Europe (1554) and additional modern maps.

On the wall above the maps are landscape views related to the mapped territories, while on the vaults of the loggia are inscriptions commemorating papal deeds, along with scenes painted by Lorenzo Sabatini illustrating examples of good and bad life. Unfinished at Pius IV’s death and untouched by his successor, Pius V, the Terza Loggia was completed around 1580, when Gregory XIII entrusted the Dominican polymath Ignazio Danti with the design of a world map divided into two hemispheres and ten maps of Africa, Asia, and America, which were painted by Giovanni Antonio Vanosino. Danti, who had served Gregory XIII in the Galleria delle Carte Geografiche, based the completion of the Terza Loggia on the similar map cycles in the Guardaroba Nuova in Florence that he had made for Cosimo I in the 1560s, a fact attested by comparing the Vatican maps with the earlier Florentine maps.

The maps of the world were complemented by city views that have not survived. Danti was also responsible for the connection between the maps and the other parts of the decoration. On the wall above the maps, a frieze painted by Antonio Tempesta and Mattheus Bril illustrates the procession staged in 1580 for the translation of Gregory of Nazianzus’s body to Saint Peter’s, celebrating Gregory XIII’s wish to reunify believers under the Greek and Roman rites. On the ceiling, scenes of paradise inspired by the breviary, the liturgical text Gregory XIII had reformed in the early 1580s, refer to the papal desire to unify the Catholic liturgy worldwide. The inscriptions commemorating important events of Gregory XIII’s pontificate, also on the ceiling, restate the centrality of Rome to Catholic spirituality.

As a whole, the Terza Loggia celebrates the wish of the post-Tridentine papacy to expand Catholicism universally by reconverting large parts of Europe to the Catholic faith, reaffirming the unity between those under the Greek and Roman rites, and converting the peoples of Africa, Asia, and America. The actions of the Roman pontiffs, recalled metonymically in the frieze of the Gregorian procession and in the inscriptions of papal deeds on the ceiling, took place in Rome, but their effect needed to spread to the world mapped on the walls below. That papal actions were meant to affect the world spiritually rather than politically is made manifest by the scenes from paradise, which crown both the scenes of papal deeds and the maps of the world below.

Following a firm medieval tradition, post-Tridentine popes adopted the language of Renaissance cartography as a vehicle of their ecumenical message. But, unlike their medieval predecessors, they had detailed maps with which to penetrate unknown lands and thus transform the medieval dream into a real program of propagating the faith. Indeed, the use of modern cartography for religious purposes became such a distinctive element of papal iconography that the Terza Loggia, even before its completion, served as a model for Cardinal Farnese’s Sala della Cosmografia discussed earlier. Francesca Fiorani, From “Cycles of Painted Maps in the Renaissance

(4 – To be continued)