(HE)ART PLACES / THE WONDERFUL BYZANTINE BASILICA OF SANT’APOLLINARE IN RAVENNA (ITALY) SHOWING MOSAIC DECORATIONS DATED TO THE 6th CENTURY

© Photos: ROBERTO ALBORGHETTI

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Some weeks ago I had the pleasure to visit again the enchanting Basilica of Sant’ Apollinare in Classe a few kilometers from the beautiful Ravenna. Sant’Apollinare is one of the most important monuments of Byzantine art.  When the UNESCO inscribed eight Ravenna sites on the World Heritage List, it cited this basilica as “an outstanding example of the early Christian basilica in its purity and simplicity of its design and use of space and in the sumptuous nature of its decoration”.

It was erected at the beginning of 6th century by order of Bishop Ursicinus. It was certainly located next to a Christian cemetery, and quite possibly on top of a pre-existing pagan one. The Basilica was consecrated on May 9, 549 by Bishop Maximian and dedicated to Saint Apollinaris, first bishop of Ravenna and Classe. The exterior has a large façade with two simple uprights and one mullioned window with three openings. The narthex and building to the right of the entry are later additions. The  round bell tower with mullioned windows was built in the IX Century.

The church has a nave and two aisles. An ancient altar in the mid of the nave covers the place of the saint’s martyrdom. The church ends with a polygonal apse, sided by two chapels with apses. In the naive we admire  24 columns of Greek marble with carved capitals. The faded frescos portraits some of the archbishops of Ravenna.

The mosaic decorations in the apse and on the triumphal arch are the most striking features of Sant’Apollinare in Classe. Inside a medallion, in the  upper section of the triumphal arch, we see Christ. At the sides, the winged symbols of the four Evangelists: the Eagle (John), the Winged Man (Matthew), the Lion (Mark), the Calf (Luke). The lower section shows precious gems from which twelve lambs (symbols of the Twelve Apostles) exit. The sides of the arch show two palms (they represent justice), the archangels Michael and Gabriel, the bust of St. Matthew and another unidentified saint. The decoration of the apse date to the 6th century. The Basilica’s walls are lined by numerous sarcophagi from different centuries.

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ART FOR THE WATER: JUMP IN THESE BEAUTIFUL AND WINNING DRAWINGS CREATED BY ITALIAN STUDENTS

Some interesting and beautiful winning drawings created by Italian students of “Luini-Falcone Institute, a Secondary school in Rozzano, in the Greater Milan (Italy). The drawings participated to the 5th  edition of “Friend Water Contest” a social campaign promoted in Italy by Consorzio di Bonifica della Media Pianura Bergamasca through Okay! Monthly magazine.  

PLACES / FUTURE & ARCHITECTURE: THE LOMBARDY PALACE IN MILAN, “THE BEST EUROPEAN TALL BUILDING”

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© Photos: ROBERTO ALBORGHETTI

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In 2012 the Council on Tall Buildings and Urban Habitat, CTBUH, has awarded the Palazzo Lombardia as the Best European Tall Building: “In a city known for history and fashion, the tower is perfectly attuned to the urban environment. More than simply a tower, the project creates a cohesive blend of parks and commercial space, with an appropriate local flair.” ( Anthony Wood CTBUH)

Palazzo Lombardia, with its 163 meters heigth, it is the second tallest building in Italy. It is in fact a complex of buildings housing the new offices of Lombardy Regional Government. It was designed by Pei Cobb Freed & Partners, a well reputed architectural company based in New York.

The Lombardy Palace is close to the new Porta Nuova (“New Gate”) area that is undergoing major construction activities like the Unicredit Tower. Completed in 2012, with its 231 meters it is the highest building in Italy. Milan will host the EXPO 2015 Universal Exposition and also for such reason is undergoing an important development phase with many new buildings contracted to world-famous architects.

PABLO PICASSO, BACK TO MILAN : 250 MASTERPIECES FROM THE “NATIONAL PICASSO MUSEUM” IN PARIS INCLUDING PAINTINGS, DRAWINGS, SCULPTURE AND PHOTOGRAPHS

 

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PHOTOS / COURTESY OF:

24 ORE CULTURA – Gruppo 24 ORE PRESS OFFICE

MUNICIPALITY OF MILAN PRESS OFFICE

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The Department of Culture, Fashion and Design of the Municipality of Milan, Palazzo Reale and 24 ORE Cultura – Gruppo 24 ORE with the Musée National Picasso are pleased to present the great return of Picasso to Milan with a retrospective exhibition realized thanks to the support of Gruppo Unipol. The exhibition will open 20 September 2012 at the Palazzo Reale: “Pablo Picasso. Masterpieces from the National Picasso Museum in Paris”.

Milan is hosting Pablo Picasso’s brilliant and fundamental work for the third time, following the major exhibitions in 1953 and 2001. These two shows coincided with crucial periods both in international politics and everyday life in Milan. And they left their mark – Head of Culture Stefano Boeri emphasizes –  but we do not yet know whether this appointment with Picasso will be another appointment with history for Milan. We do know that organizing this meeting between a major city and the brilliant precursor of contemporary art provided opportunities to reflect on history – as confirmed by the rooms in Palazzo Reale devoted to the preparation of the 1953 exhibition. This show is a tribute to Picasso, to Milan and to the coincidences – never completely accidental – that have characterized the life of a leading interpreter of modern times.”

The exhibition was curated by Anne Baldassari, internationally recognized as one of the most important Picasso scholars and the curator of the Musée National Picasso in Paris, which houses the world’s largest collection of works by the Spanish artist.

With more than two-hundred-fifty works – many of which have not left the Paris museum prior to this global exhibition, for which Milan is the only European venue – including paintings, sculpture, photographs, drawings, illustrated books and prints, the exhibition is a veritable chronological excursus through Picasso’s artistic production, allowing comparison of the techniques and expressive means with which the artist challenged himself over his long career.

Through the unique and exceptional collection of the National Picasso Museum in Paris, the Milan retrospective presents, among the many masterpieces, works that allow the visitor to travel over the history of art through the evolution of the artistic language of this undisputed twentieth-century master, enjoying masterpieces like “The Celestina” (1904), “Man with a mandolin” (1911), “Portrait of Olga” (1918), “Two women running on the beach” (1922), “Paul as Harlequin” (1924), “Portrait of Dora Maar” and “The Supplicant” (1937).

 

As the curator explains in the catalogue, “The collection of the Musée Picasso thus represents Picasso’s work in progress, his surprises, his leaps forward and his regrets, his meanderings and his retreats. Through it one can observe paintings that become sculpture and vice versa in the invention of intermediate dimensions: painting without a background or contours, flat panels like icons, carved wooden pieces illuminated with colour, the optical tricks of collés, tableaux-reliefs and flat constructions, hollow, open, perforated sculptures, filiform spatial graphic works, paintings in the round, models made out of folded paper, plate sheets that have been cut and opened out into space. Even the drawings, the pages of sketchbooks and the engravings converse in a continuous to and fro, to reconstruct the iconographic logic of a narrative that explores all of the possibilities, almost reaching the myth of the birth of images: here one gathers the minute reasons for sequences that go from the identical to the multiple through the intermediate stages that describe, to thousands, this mythographic gesture”.

Picasso is the unquestioned leader of twentieth-century art and embodied its turbulent, innovative spirit.  Born in the Spanish city of Malaga in 1881, after studying art in Barcelona, where he was enrolled in the School of Fine Arts at the young age of thirteen, and in Madrid, he made his first trip to Paris in 1900, the city where art and culture would influence him so enormously as to leave their mark in all of his work. At the time of his death, in Mougins in the south of France in 1973, he had produced more than 50,000 works using diverse languages and artistic means, in a stream of epochal turns and stylistic changes, astonishing testimonies to the private life, civil and political engagement and recherche of an inexhaustible artist.

Within the exhibition – designed by Italo Lupi with Ico Migliore and Mara Servetto and covering more than 2000 square metres on the upper floor of the Palazzo Reale – there will also be documentation of the exhibition that Picasso held in 1953, also at the Palazzo Reale, where the great canvas “Guernica” (1937) was shown in Italy for the first time, in the Sala delle Cariatidi.

The catalogue accompanying the exhibition, with texts by Anne Baldassari, Isabelle Limousin, Virginie Perdrisot, Francesco Poli, Pablo Rossi e Annabelle Ténèze, is published by 24 ORE Cultura – Gruppo 24 ORE. The catalogue accompanying the exhibition was published by 24 ORE Cultura – Gruppo 24 ORE.

www.mostrapicasso.it

twitter @milanexhibition

DRIPPING TECHNIQUES? THEY ARE JUST MY “LACER/ACTIONS”…

 

 

Hundreds of drops, black-white-grey colors, an absolutely random image, as the other 35.000 I took during my research about what I like to call “The Torn (publi)City” (ripped posters and urban signs). This is one of my last 2011 artworks. I had the luck to catch it in Milan. It’s one of a series of 5. You never imagine where I took it from! Someone could define it as an expression of dripping techniques. Someone (again) could tell me that it is so similar to some Jackson Pollock paintings…

I only say that the image is absolutely natural and spontaneous, a realistic shot, caught in Milan by my eyes and camera… One day we should explain how reality – I mean: what we have under our eyes – has affected and ispired contemporary art. Meanwhile, this is just another of my “lacer/actions”. And I love people when they play to recognize in what I do some great artist’s hand…

 

  •  “Escape from a definable space” / Roberto Alborghetti’s Lacer/actions – Medium: Canvas/Mixed media, 80×50, Image location: Milan, 2011.
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WATCH THE CLIP, WITH MACKINTOSH BRAUN SOUNDTRACK: 

http://youtu.be/AIkW03wDWtM

LaceR/Actions”is a multidisciplinary project and research about urban signs and landscapes, especially concerning the apparent chaos of ripped papers from billboards and advertisings diplays. I have so far collected more than 35.000 images. Impressed by photocamera and transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in a video clip, the details of torn posters give new life to paper lacerations. I think that in the lacerated advertisings is recognizable the “unwrapped” city, self-destroying in the messages, self-regenerating and self-reproducing in new visual elements, often contradictory, dissonant, discordant, but still surprisingly vital.

Some “Lacer/Actions” artworks were published in a booklet-portfolio: Pics of torn (publi)city”. In July 2010, thirty thousand people visited my show “The Four Elements of LaceR/Actions” during the three days exhibition at Oriocenter (Milano Bergamo Orio Airport, Italy).Myartworks are also taking part of experiences about sensorial and emotional perceptions (sinestesys) concerning kinesiologic tests. In October 2010 I participated to “Parallax AF” in London (La Galleria, Royal Opera Arcade).

 LACER/ACTIONS on web

www.artslant.com/ew/artists/show/134694-roberto-alborghetti

www.youtube.com/user/lacerazioni

https://twitter.com/#!/RobAlborg

www.facebook.com/roberto.alborghettilacerazioni

http://lacer-azioni.blip.tv/

https://robertoalborghetti.wordpress.com/

http://it.linkedin.com/in/robertoalborghettilacerazioni

www.myspace.com/lacer-azioni

 SONO SOLO… LACER/AZIONI

Ecco una delle mie ultime Lacer/azioni del 2011. E’ una immagine che- come le altre 35.000 che ho realizzato nel corso di anni di ricerca – è assolutamente realistica, casuale, spontanea, non manipolata. Qualcuno si divertirà a riconoscere, ad esempio, la tecnica “dripping” usata da grandi artisti quali Jackson Pollock… Dico solo che la mia immagin è catturata dalla realtà, da ciò che abbiamo sotto gli occhi. E penso che la realtà abbia influenzato e ispirato grandemente l’arte contemporanea.

  •  “Fuga da un definibile spazio”, Roberto Alborghetti Lacer/azioni, tela/mixed media, 80×50, 2011, Localizzazione immagine: Milano

 

TOMORROW’S DESIGNERS ARE TRAINING IN MILAN AT SPD, SCUOLA POLITECNICA DESIGN

 The prestigious Italian School opened the new Academic year renewing his image with a new logo and visual identity system

 

Scuola Politecnica di Design, SPD, came into existence at the very same time as Italian design. It was founded in 1954 in Milan, as the first Italian school of design. Opened academic year 2011-2012, SPD has renewed his image with the introduction of the new logo and new visual identity system that is complemented by other communication medias including a publication and materials that exhibit the results of the recent work carried out within the SPD Master’s graduate. The school has just started offering to students from all over the world the research themes to be developed in cooperation with companies and institutions of great international importance. Thanks to prestigious academic partnerships, SPD is able to offer experiences and training that allows to merge in the final models and practices of contemporary design system.

 The identity project developed with based in Milan Jekyll & Hyde studio considers SPD as a place and a manner. The place where people, cultures and visions can freely combine into new forms and new languages. The way in which passion becomes able to do thanks to rigorous courses. The new logo frees energies through a clear and meaningful sign. The logo construction welcomes the seemingly opposing concepts of essence and transition that the school has been played in nearly 60 years. The concept of the new corporate respects and welcomes the historic brand designed by the founder Nino Salvatore in the 50s; as a continuity sign, it reappears as official seal in the Institution documents.

 Since 1954 the school has welcomed an extraordinary community of students from various countries and backgrounds. Everyone has an unequalled opportunity: they work side by side with the very best professionals, engage in dialogue with dynamic, thorough companies, and swap experiences with young talents from all over the world. All of this takes place in a human-scale environment, in a city with an incredibly close-to-hand and accessible culture made up of design, communication, trade and industry, and fashion and art.

 At SPD every student is followed individually by a faculty made up of designers, university tutors, researchers, and professionals like Piero Lissoni, Denis Santachiara, Aldo Cibic. The teaching method is arranged into design workshops, theoretical lectures, seminars and visits to producers and showrooms. Carried out with leading companies such as Audi, Microsoft, Heineken, IKEA, Artemide, Poltrona Frau Group, the project work is a crucial experience at SPD. These projects are laid out according to an interdisciplinary approach which is a proving ground for the student’s abilities, from concept to production. The results of this work are translated into very high quality, concretely and professionally oriented education. The school has very close relations with sector organizations such as ADI (Italy’s Industrial Design Association), universities, and design studios. The services it offers to firms include project development integrated with academic activities, professional consultancy work centred on applied research, made-to-measure training, and internship and recruiting services.

The offering of advanced education is made up of five annual Masters, from product design to visual and digital communication: Industrial Design; Interior Design; Transportation Design; Visual Design; Web and Multimedia Design.

 Infos:

Scuola Politecnica di Design SPD, via Ventura 15, 20134 Milano – Italy

t +39 02 21597590; f +39 02 21597613

www.scuoladesign.com

info@scuoladesign.com

 

 I DESIGNERS DI DOMANI SI ADDESTRANO A MILANO ALLA SPD, SCUOLA POLITECNICA DESIGN

 La Scuola Politecnica di Design SPD inaugura l’anno accademico 2011-2012 rinnovando la sua immagine con l’introduzione del nuovo logo e del nuovo sistema di identità visiva che si completa con altri supporti di comunicazione tra i quali una pubblicazione e materiali che presentano i frutti più recenti dei lavoro sviluppato all’interno dei Master postlaurea SPD. La scuola ha appena avviato il nuovo anno accademico proponendo ai propri studenti provenienti da tutto il mondo i temi di ricerca da sviluppare in collaborazione aziende e istituzioni di grande rilievo internazionale. Grazie a queste prestigiose partnership accademiche SPD è in grado di offrire un’esperienza di formazione a carattere professionalizzante che consente anche grazie al tirocinio conclusivo un’immersione nei modelli e nelle pratiche del sistema design contemporaneo.

 Il progetto di identità sviluppato dallo studio milanese Jekyll & Hyde interpreta SPD come luogo e come modo. Il luogo in cui persone, visioni e culture diverse possono liberamente combinarsi in nuove forme e nuovi linguaggi. Il modo in cui la passione si trasforma in saper fare grazie a percorsi rigorosi. La nuova identità libera queste energie attraverso un segno chiaro quanto denso di significati. La costruzione del logotipo infatti accoglie in sé i concetti apparentemente contrapposti di essenza e transizione che la scuola ha interpretato in quasi 60 anni di attività.

Il concept della nuova corporate rispetta e accoglie lo storico marchio disegnato dal fondatore Nino di Salvatore negli anni ‘50 che, nel segno della continuità, riappare come sigillo nei documenti istituzionali.

 Con l’apertura del nuovo anno accademico 2011-2012 hanno preso avvio cinque Master annuali tra design di prodotto, architettura d‘interni, grafica e comunicazione digitale che prevedono un periodo di stage a conclusione del percorso d’aula. Il Master in Transportation e Car Design che costituisce una delle eccellenze della scuola milanese propone invece un progetto in collaborazione con il gruppo Volkswagen, sponsor principale del Master. Anche quest’anno la presenza degli studenti stranieri è in crescita con una decisa accelerazione dell’Asia mentre Italia ed Europa si mantengono intorno al 35%.

Tutti i programmi di Master SPD – Industrial Design, Interior Design, Transportation e Car Design, Visual Design, Web e Multimedia Design – prevedono lo sviluppo di progetti sperimentali grazie al coinvolgimento attivo di partner didattici.

 Infos:

Scuola Politecnica di Design SPD, via Ventura 15, 20134 Milano – Italy

t +39 02 21597590; f +39 02 21597613

www.scuoladesign.com

info@scuoladesign.com

 

“L’ECO DI BERGAMO” NEWSPAPER DEDICATES 2 FULL PAGES TO ROBERTO ALBORGHETTI’S “LACER/ACTIONS” ART

I know: you aren’t dedicated two pages in a newspaper every day… Especially when they refer to art and culture. However, this happened to me. L’Eco di Bergamo – the most popular local newspaper in Italy – wrote about my “Lacer/actions” artworks dedicating me two full pages. The article is signed by Diego Colombo, who has interviewed me and has brilliantly reported and described the aspects of my art. I’m re-proposing some passages of the long and detailed article, thanking Diego Colombo and L’Eco di Bergamo for the attention they gave me. The entire article can be read on L’Eco di Bergamo, on October 26, 2011.

 

ALBORGHETTI ‘S POP ART IN NEW YORK

by Diego Colombo

 The “torn city.” This is the subject of photographs by the journalist Roberto Alborghetti from Bergamo (Italy), a research work on torn posters, advertising papers, in different countries of the world. He explains: “It’s hard to imagine that behind torn and faded messages there is “something else” to see or discover. In spite of this, these images keep being a mirror of the talking city. These are the post-communicating traces of a product, an event, a show, an idea, new visual elements, often contrasting, discordant but always surprisingly vital”.

Chris Barlow, British art historians, has hosted Alborghetti in an exhibition in London, organized in October. He was invited to be part of the Memorial & Museum in New York, with his work on Nine Eleven… “I’ve always been fascinated by the world of communication – explains Alborghetti – and once I cared a survey “The eye and the media”, in the weekly magazine “La nostra Domenica”, which often dealt with advertising including that of billboards on the streets. And the director, Lino Lazzari, encouraged me to go on with photographs, putting near my language the innovations of pop art. This year he wrote me a beautiful review which I translated into English and placed on the net”. Lazzari wrote: “The matter used to create a work of art and to convey positive messages of humanity isn’t as important as the ability of using “tears” of colored paper to exalt the characteristics of a striking, persuasive, compelling reality”.

“I photograph a waste as the torn poster waiting to be covered by other posters – adds Alborghetti – or remains as a waste, especially in poor neighborhoods where I usually find the best images”. “In Tunis, three years ago, I took photographs in an Arab market – remembers Alborghetti – where I saw beautiful matches on the blue walls of buildings… The most beautiful matches are those in which paper remains stuck for months and undergoes a process of osmosis with the environment. With rain, sun, smog, paper always changes, it pulls itself, it’s stiff. The most unusual aspects can be discovered when rainwater mixes everything, leaving incredible traces, and it’s important to seize the right moment, because it isn’t always easy…”

“During the last fifteen years – continues Alborghetti – I coordinated several projects about the use of means of mass communication and the reading of image, including workshops with students and teachers on advertising messages. There, I discovered that advertising has a “post” value, that is to say even after being a moment of communication. To tell the truth, the artist Mimmo Rotella took inspiration from torn posters of the fifties. And others like him, for example the French artist Jacques Villeglé: the capability of the billboard of enchanting isn’t something new. But I have considered a different aspect: the suggestion of colors that casually remain when the bill-sticker tears. In the meantime, studying contemporary art, I was seduced by abstractionism”.

 In about seven years, Alborghetti collects a lot of photos, thirty thousand pics. Here comes the surprise: “Showing them to friends or during the workshops with teachers, I was told that my pictures of torn posters were beautiful. They pushed me to locate them, date them, categorize them. I had shots taken around the world, from Italy, from New York and Los Angeles, from all the places where my job as director of specialist journals in the field of teaching and education and coordinator of projects about the use of media takes me”.

The moment of getting known comes soon: “I created about forty videoclips with my images of torn posters, organizing them by color – blue, red, black – and giving meaning to my work. I loaded them on the net: YouTube, MySpace, Facebook, ArtSlant… The first exhibition was in July 2010 at OrioCenter: the Director of the big shoppin center had seen my pictures and he had offered me a space, the square opposite the Milan Bergamo Orio Airport, for an exhibition of thirty works on the theme “Air, water, earth and fire”. In three days, thousands of people have asked for explanations and clarifications. On that occasion newspapers dedicated some articles to the event, including L’Eco di Bergamo and the international web magazine Un mondo d’Italiani…”

 “At first I found much derision in Italy. They told me: “You have made a montage”. And then I had to stand, and still today, people’s reactions when I am taking photos on torn posters. “You’re crazy”, “I have to go, give me way…”. In Milan I was also stopped by the police: I was shooting near a police station, considered “a significant military target”. “What are you photographing?”. “I will show you”. They couldn’t believe. Even my friends usually joke: they pretend to be art dealers who invite me to exhibitions”. To tell the truth when we saw the first e mail from Roberto Alborghetti, we thought it to be a trick.

“When I brought my booklet in a gallery in Milan, they watched me as if I was an alien. But abroad I realized that I wasn’t the problem, they were. We have to get out of our narrow-minded, it is isolating us”.

 The web gives Alborghetti a strong visibility: he has been receiving since the beginning thousands of contacts on his website “Lacer/actions” on YouTube. “Lacer/actions. I chose this name because my activity consists of reading the tears on posters, mirror of pople’s sorrow” Alborghetti’s name is also present on The Huffington Post, the prestigious American blog for which the President of the United States Obama, also wrote. The article is signed by Srini Pillay, Harvard psychiatrist and researcher in the field of “brain imaging”, author of bestsellers about the Neuroscience; in Italy they translated his best seller “Life Unlocked”, titled “La Calma in Tasca” (Newton Compton publishing company)

Pillay was especially struck by the work of Alborghetti dedicated to Nine Eleven and he wrote a psychological analysis on it: “Art is a form of healing whose effects we can seen in the brain. When it is as beautiful as Roberto Alborghetti, it invites us to revisit the tragedy of terrorism, the horror of the loss and the beauty of our resilience through this mysterious life”.

The London show has been organized by the art historian and gallery owner Chris Barlow: “He saw my pictures on the net, he appreciated them and invited me to go to London for three days at the international “Parallax AF” with three of my works: that dedicated to Nine Eleven, “As running fast water” (Come acqua che corre veloce), “I don’t like to stand still” (Non mi piace stare fermo). “As running fast water” was born in Bergamo, along XXIV Maggio street in a rainy day and now somebody puts it near Monet”.

 “I have been contacted by many people who had seen my pictures on the net – Alborghetti says with surprise, but also with pride – : poets, musicians and storytellers. Among these was Srini Pillay, who now is working to an international project about “ States of consciousness”: he sent me a grid of questions centred on the creation of my works. When he received my answers he wrote me: “I am a columnist of The Huffington Post, I will dedicate an article about your work on Nine Eleven”. Taking the story of the origin of this picture as a starting point, he began to write: “Roberto Alborghetti was walking along Vico Street in Milan…”. That’s true: I was there when I saw a board election and I was fascinated by the tears left by a bill-sticker. The colors were similar to those of blood and fire coming down to the gray cement. This year is the tenth anniversary of Nine Eleven and I decided to dedicate this picture to the Fallen in the attack”.

 But there’s more. “Two years ago I have produced a clip with colorful images. An American hip-pop musician, Sweet P The Entertainer saw it and wrote to me: “If I give you my music, you will make a clip”. Now he is coming out in America with his first album…” There is a special feeling with the music. “Last year I made a clip with abstract images that made me think of the atmosphere of Christmas; this clip was for an american group that sings a cappella, Tonic Sol-Fa. A few months ago I worked with a Dutch musician, Jap Jap. And an experimental musician from Brighton, Jonteknik, sent me a song and he wrote to me: “Combine it with your pictures, I like them very much”. I worked with the American musical project “Earscapes” by Joshua Sellers, musician, producer and poet from Arkansas, who created a nine minutes video (“Linger”) with my artworks…”

“Who says that this kind of work can be created only by an Italian, mentioning Renaissance, as well as all the culture that we have behind us and inside us, puts me in a crisis. As well as people who puts me near Cy Twombly, Josef Albers, to pop art, who declares that I have shown that in art nothing is created nor destroyed. That’s true: I am not a painter, but a lot of great artists have been inspired by torn posters. I have got proof. I don’t modify the images, I don’t transform them: I immortalize them as I see them. My work is a provocation. Those who see my work for the first time have the illusion that they are paintings. I have to explain that they are not…”

Others apart from artists like Alborghetti’s works. He has been called by a company, the Bulwark Design (Srs Group), from Fiorano Modenese (Modena), in the center of the district of ceramics… And then the meeting with Bruno Boggia, who provides designers with the drawings. Because the success of an article depends on the textile designers. In Como, Boggia works for the most successful international fashion houses. Alborghetti: “He has produced three silk scarves with my pictures, including one dedicated to Nine Eleven (Alborghetti is going to give it to an association of families of the Fallen in the attack) Three prototypes, just to see the effect of the transition from paper to silk”. “But there’s also – he concludes – a religious group which had the idea of taking one of my images as a model for a stained glass window… People see all these references. For me it’s just a game”. But also a provocation to our eyes and our minds.