PHOTOGRAPHIC VIVISECTION OF A GUTTER CORRODED BY TIME. PICS #3 #4

© Roberto Alborghetti

© Roberto Alborghetti

Photographic vivisection of a gutter corroded by time. Pics #3 and #4. Abstract photos series from the “Lacer/actions” project by Roberto Alborghetti. Tellin’ the colors of reality… Textures and shapes from a macro shot of a gutter corroded by the time in S. Giovanni Valdarno (Florence, Italy). A videoclip will follow very soon. Works available on various media. For info: ro.alb@alice.it .
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Serie di foto astratte del progetto “Lacer/azioni” di Roberto Alborghetti per raccontare i colori della realtà. Trame di forme da una macro ripresa di una grondaia corrosa a S.Giovanni Valdarno (Firenze, Italy). Seguirà un videoclip. Opere disponibili su vari supporti.

PHOTOGRAPHIC VIVISECTION OF A GUTTER CORRODED BY TIME. PIC #2

OLYMPUS DIGITAL CAMERA

© Roberto Alborghetti

Photographic vivisection of a gutter corroded by time. Pic #2. Abstract photos series from the “Lacer/actions” project by Roberto Alborghetti. Tellin’ the colors of reality… Textures and shapes from a macro shot of a gutter corroded by the time in S. Giovanni Valdarno (Florence, Italy). A videoclip will follow very soon. Works available on various media. For info: ro.alb@alice.it .
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Serie di foto astratte del progetto “Lacer/azioni” di Roberto Alborghetti per raccontare i colori della realtà. Trame di forme da una macro ripresa di una grondaia corrosa a S.Giovanni Valdarno (Firenze, Italy). Seguirà un videoclip. Opere disponibili su vari supporti.

PHOTOGRAPHIC VIVISECTION OF A GUTTER CORRODED BY TIME. PIC #1

© Roberto Alborghetti (7)

© Roberto Alborghetti

Abstract photos series from the  “Lacer / actions” project by Roberto Alborghetti. Tellin’ the colors of reality… Textures and shapes from a macro shot of a gutter corroded by the time in S. Giovanni Valdarno (Florence, Italy). A videoclip will follow. Works available on various media. For info: ro.alb@alice.it .

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Serie di foto astratte del progetto “Lacer/azioni” di Roberto Alborghetti per raccontare i colori della realtà. Trame di forme da una macro ripresa di una grondaia corrosa a S.Giovanni Valdarno (Firenze, Italy). Opere disponibili su vari supporti.

UFFIZI GALLERY: A GREAT EXHIBITION ON ARTISTIC EXCHANGES BETWEEN FLORENCE AND THE ISLAMIC WORLD

This sumptuous exhibition of Islamic art (Florence, until September 23, 2018) is curated by Giovanni Curatola and organised by the Uffizi in partnership with the Museo Nazionale del Bargello, the exhibition’s other venue. It offers visitors a unique opportunity to discover the knowledge, exchange, dialogue and mutual influence that existed between the arts of East and West. It is the result of an international scholarly advisory board which has been working with dedication for two years to select the exhibits and to prepare the catalogue with essays rich in scientific and historical research, designed to illustrate the extremely important role that Florence played in interfaith and intercultural exchange between the 15th and the early 20th centuries, not to mention Florence’s age-old interest in the Islamic world, which is apparent as early as in the diaries of Florentine merchants like Simone Sigoli, Leonardo Frescobaldi and Giorgio Gucci who travelled to the Holy Land in 1384 and also visited Cairo and Damascus, remarking in amazement on the sheer quantity and outstanding beauty of the items they saw.

The leading role in this joint venture by the Uffizi and the Bargello is played by Islamic art with its superb carpets, its damascened acquamaniles and vases (using a particular a metalworking technique to achieve polychrome decoration), its enamelled glass, its rock crystal, its ivory and its lustreware.

Florence is home to an extremely important collection of Islamic art comprising almost 3,300 pieces, all of them items of exceptional importance, donated by Lyon-born merchant Louis Carrand in 1889 to the Museo Nazionale del Bargello, already at that time one of Europe’s leading museums. Its Islamic Room was finally arranged in 1982 by engineering a dialogue between the best of Islamic art and the work of Donatello and other masters of Renaissance statuary.

The exhibition is to be held in two venues. The section in the Bargello explores a crucial moment in the history of research, collecting and museography at the turn of the 19th century, whereas the Uffizi explore the interaction between East and West in art and the appeal of Islamic art as revealed, for example, by the Arabic script used in the haloes of the figures of the Virgin and St. Joseph in Gentile da Fabriano’s Adoration of the Magi, by Cristofano dell’Altissimo’s series of portraits commissioned by Paolo Giovio, by superb examples of the Islamic metalwork that was already so popular in Lorenzo the Magnificent’s day and by ceramics from the East or from Moorish Spain decorated with the coats-of-arms of Florentine aristocratic families. Or indeed by the textiles and large carpets from Mamluk Egypt woven at the turn of the 15th century that were rapidly snapped up by the Medici Grand Dukes, by the glass and metalware that had such a profound influence on coeval Italian production, and last but by no means least, by the splendid manuscripts, illuminated and otherwise – including the pages of the oldest manuscript of Persian King Firdūsī’s Shahnameh or Book of Kings, dated 1217, from the collection of the Biblioteca Nazionale di Firenze – and the Eastern writings, rare both in date and in provenance, from the collection of the Biblioteca Medicea Laurenziana.

All in all, a varied, mesmerising and spectacular journey exploring centuries of cultural exchange and cross-contamination, enriched with loans from leading museums both in Italy and abroad.

Islamic Art and Florence from the Medici to the 20th century has been organised by the Uffizi and the Bargello with important international loans and loans from other Florentine institutions (Museo Stibbert, Biblioteca Nazionale Centrale, Museo Bardini and the Medici Villa of Cerreto Guidi which houses part of the Bardini bequest) which are, in their turn, staging multi-faceted displays of Islamic art on their own premises. These institutions are described in a brochure also published in digital format, which can be downloaded from the attachment below.

Also, for the duration of the exhibition, the two Florentine museums will be offering visitors the chance to purchase a combined ticket for € 29.00, (concessions €14.50) valid for three days, admitting the holder to the Uffizi, the Bargello, the Islamic Art and Florence from the Medici to the 20th century exhibition and the Museo Archeologico di Firenze.

The “Islamic Art and Florence from the Medici to the 20th century” exhibition will be running simultaneously and in collaboration with an exhibition entitled “The Montefeltro and the Islamic East” in the Galleria Nazionale delle Marche.

PICTURES ON ALUMINUM AS “AN UNMISTAKABLE COMPLEMENT OF INTERIOR DESIGN”

Eleven photos by Roberto Alborghetti, for his “Lacer/actions” project, go on aluminum plates. How macro photos of decomposed matters can change and renew the concept of interior design and decoration. The 11 installations has been made for a private collection (Fai Service). Infos and contact: ro.alb@alice.it

Roberto Alborghetti – Lacer/actions on Aluminum

 

MY BOOK ABOUT “SMOMBIES, SMARTPHONES AND CYBERBULLIES” IS N.1 AT AMAZON BEST SELLERS FOR CHILDREN!

Amazon Top 1

Amazon 13 8 2018

Incredible, but true! Despite the heat, despite the holidays, despite August, my book “Pronto? Sono il librofonino” (“Hello? I’m the bookmobilephone”), that I wrote for “I Quindici” Publishing, with the illustrations by Eleonora Moretti, today gains the top of Amazon’s Best Sellers ranking. It is placed at n.1, of the category Books for Children on Complex Themes. But not only: it also comes in 7th place for the category of books on the subject of Bullying. It is a particularly significant news, also because the book – which tells “stories of smombies, smartphones and cyberbullies” – was released in January 2017 and since then has always remained in the Top 100 of Amazon, also supported by the long series of meetings that I had in schools throughout Italy, meeting up to now about 40.000 students. A huge “thank you” to the ever more numerous readers who have decreed the success of this “little” book that is thrilling kids and families all over Italy! For info and meetings in schools with the author: sandinipaolo@gmail.com

IN THIS PHOTOGALLERY SOME OF THE DRAWINGS CREATED BY ITALIAN STUDENTS ISPIRED BY MY BOOK. THE DRAWINGS WERE CREATED BY ISTITUTO COMPRENSIVO 1 IN MONTE S.GIOVANNI CAMPANO (FROSINONE, ITALY).

A BIG SHOW IN TUSCANY CELEBRATES THE 50th ANNIVERSARY OF”ROMEO AND JULIET” MOVIE BY ZEFFIRELLI

This year 2018 marks the 50th Anniversary of the premiere of Franco Zeffirelli’s 1968 film”Romeo and Juliet” at London’s Odeon Theatre. With a host of talented actors, rich period costumes and lush cinematography, this gorgeous movie is arguably the best ever adaptation of Shakespeare’s play.  Famous critic Roger Ebert included it in his list of ‘Top 100 Films’. Ebert wrote, “I believe Franco Zeffirelli’s Romeo and Juliet is the most exciting film of Shakespeare ever made.”

The movie won a Golden Globe Award for Best English Language Foreign Film.  It won Academy Awards for Best Cinematography (Pasqualino De Santis) and Best Costume Design (Danilo Donati).  It was also nominated for Best Director and Best Picture, making it the last Shakespearean film to be nominated for Best Picture to date. Coincidentally, the anniversary of its London premiere just happens to fall on the same day as this year’s Academy Awards presentation.

In Tuscany, on the occasion of the masterpiece’s 50th anniversary, an exhibition celebrating it is on show, until January 6th, 2019, in the same historical building, Palazzo Piccolomini in Pienza (Siena), that in the movie is the Capuleti’s home, where the two young protagonists meet for the first time at a dance party. The exhibition is entitled ‘What is a youth?’ after the title of the song that in Zeffirelli’s reconstruction resounds inside the courtyard of the building during the dance.

The exhibition aims to highlight Renaissance customs and traditions as vividly portrayed in the movie. Indeed, the Tuscan director chose to shoot important scenes in the monumental Palazzo Piccolomini because it is a very well preserved authentic Renaissance residence. The photos of the set and of the scenes are placed in the rooms where they were taken, to revive the place as if the characters were there, and to offer visitors an even more authentic cross-section of Renaissance daily life. Danilo Donati’s Oscar-winning costumes, now owned by the Cerratelli Foundation, are also on show in the majestic halls.

INFORMATIONS

The admission ticket includes a guided tour with the audioguide at the Palazzo Piccolomini and the Renaissance garden as an exhibition venue. The visits start at 10.30 and are made every 30 minutes

Tickets, € 7.00 in full, € 5.00 reduced

Special price € 3.50 per pupil for schools booked

Group Reductions (from a minimum of 15 to a maximum of 25 people);

Free admission Students, children up to 5 years, disabled people

Timetables

15 March – 15 October – Tuesday to Sunday 10.00 am – 6.30 pm (last admission at 6.00 pm)

16 October – 15 November, 1 December – 6 January – Tuesday to Sunday 10.00 am – 4.30 pm (last admission at 4.00 pm)

Closure of the Palace from November 16th to November 30th

Info and reservations: call center 0577 286300

info@palazzopiccolominipienza.it

http://www.palazzopiccolominipienza.it

 

 

“GUBBIO AT THE TIME OF GIOTTO”: A GREAT EXHIBITION OF ART TREASURES AND MASTERPIECES

The city of Gubbio preserves intact its splendid medieval appearance, with churches and stone palaces that stand out against the green of the Apennines. It is still the city of the time of Dante and of Oderisi da Gubbio, the miniaturist whom the great poet meets among the proud in Purgatory and to whom he dedicates important verses, which sanction the beginning of a modern age that manifests itself precisely with poetry of Dante and the art of Giotto.
The exhibition “Gubbio at the time of Giotto, art treasures in the land of Oderisi” – open until November 7, 2018 – wants to give back the image of a medium-sized city of political and cultural importance in the Italian panorama between the end of the thirteenth century and the first decades of the Three hundred, exposing the figurative heritage both civil and religious. For the occasion he restored paintings hidden by the dust of the centuries, returning to Gubbio works scattered throughout history, bringing together paintings of the same painters eugubini destined to other cities of Umbria, calling important loans from abroad.

Panel paintings, sculptures, goldsmiths and illuminated manuscripts outline, also with new attributions, the physiognomies of great artists like Guido di Oderisi, aka Maestro delle Croci Francescane, The Master of the Cross of Gubbio, the Expressionist Master of Santa Chiara or Palmerino di Guido , “Guiduccio Palmerucci”, Mello da Gubbio and the Maestro of Figline.
The father of Oderisi, Guido di Pietro from Gubbio, is today identified as one of the protagonists of the so-called “Greek Manner”, from Giunta Pisano to Cimabue. Palmerino was Giotto’s companion in Assisi in 1309, and with him he painted the walls of two chapels of San Francesco, then return to Gubbio and fresco the church of the Friars Minor and other buildings of the city.

“Guiduccio Palmerucci”, today a convention name, is still attributed to rapacious polyptychs. Mello da Gubbio wrote his name at the feet of a Madonna with a full and joyful face like the Madonnas of Ambrogio Lorenzetti in the city of Siena. The Master of Figline, who painted the stained glass windows for Saint Francis in Assisi, then the great Crucifix in the church of Santa Croce in Florence, is likely to have left an extraordinary polyptych in the church of San Francesco in Gubbio, which we can admire again this exhibition thanks to today’s owners who have granted the loan for the first time.

From the archival documents and the appearance of the Madonnas and Crucifixes hanging on the walls of the museums, it appears that the painters who joined Giunta Pisano originated in Gubbio, then worked alongside Giotto and finally Pietro Lorenzetti, to decorate the colorful images the masterpiece that opened the doors of modern art in the church erected above the tomb of the saint of Assisi.
Back home, those painters, who had been involved in the new language of Giotto and Pietro Lorenzetti for an audience of popes and cardinals, challenged with a refined style and popular in the illustrative aspect, to be understood by an audience of blacksmiths and stone masters. The language of lauda was then spoken at Gubbio together with the language of the Commedia.

The exhibition “Gubbio at the time of Giotto. Art treasures in the land of Oderisi “is set up in three different locations, because there are irremovable works, but also because there are places full of meaning and imbued with beauty: the Palazzo dei Consoli which rises above a fabulous terrace that makes it look like to those cities that the saints carry in the sky in the altar polyptychs, the Diocesan Museum that stands next to the cathedral church and finally the Palazzo Ducale, which was born as the seat of the City and ended up being the residence of Federico da Montefeltro, lord of Urbino.
Along this path you can trace the footprints of the men and women of that ancient time, to see from the same perspective and understand with the same taste a civic and religious art together.

Curated by Giordana Benazzi, Elvio Lunghi and Enrica Neri Lusanna, the exhibition is promoted by the Municipality of Gubbio, the Polo Museale dell’Umbria, the Superintendence of Archeology, Fine Arts and Landscape of Umbria, the Eugubian Church and the Umbria Region.

The organization is entrusted to Civita Exhibitions in collaboration with Gubbio Cultura and Multiservizi and La Medusa Cultural Association. The initiative’s partner is the Festival of the Middle Ages, with the support of the Cassa di Risparmio Foundation of Perugia and with the important contribution of the BCC Umbria.

An audio guide for the exhibition is available for hire at the Ducal Palace. The catalog is published by Fabrizio Fabbri Editore-Perugia. The exhibition is accessible with a single ticket that allows you to visit the three exhibition sections but also the three museum sites as a whole, the Palazzo dei Consoli, the Diocesan Museum and the Palazzo Ducale, thus creating an extraordinary city circuit that collects the works in the territory and those that have long been dispersed, reconstructing the historical events and the artistic heritage of Gubbio in the municipal age.

CRACKS ‘N’ SCRATCHES / CHROMOTHERAPY #4

They’re not paintings, but simply abstract (and macro) photos… Created by Roberto Alborghetti for his LaceR/Actions project-research about torn and decomposed publicity posters, natural cracks and scratches, urban and industrial matters. Artworks available in exclusive and unique copy on different media (canvas, textile, lithoprints, aluminum plate) or in jpg. For infos: sandinipaolo@gmail.com.

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Immagini astratte (e macro). Video creato da Roberto Alborghetti per il suo progetto-ricerca “LaceR/Azioni” sul “mondo nascosto” dei materiali decomposti (crepe, graffi, segni urbani, materia industriale, manifesti pubblicitari, muri…). Le immagini sono disponibili in copie uniche ed esclusive su diversi supporti (tela, tessuto, litografia, alluminio e così via) o in esclusivo formato jpg. Per info: sandinipaolo@gmail.com .