“DEATH OF A CAMERAMAN”: EHIBITION OPENS IN NEW YORK EXPLORING THE POWER OF IMAGES… ARE CAMERAS WEAPONS?

Death of a Cameraman

organized by Martin Waldmeier

apexart

291 Church Street

New York

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Opening reception:

Thursday, September 12: 6-8 pm

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On view:

September 13 – October 26, 2013

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Featuring work by:

Adam Broomberg & Oliver Chanarin, Harun Farocki, Rabih Mroué

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

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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.

www.apexart.org

291 church street

New york, ny 10013

t. 212.431.5270

NEW YORK CITY: LAST WEEK FOR “LAUGHTER”, A CONTAGIOUS, PARADOXICAL, DESTABILIZING AND CORPORAL LANGUAGE…

Last week for “Laughter”, on view in New York City  through July 27 organized by Kari Cwynar. The exhibition is featuring works by Christian Boltanski, Jacqueline Hoang Nguyen, Yoshua Okón, Stuart Ringholt, Althea Thauberger.

                              

In January 1962, an unexplained laughter epidemic began in the town of Kashasha in Tanganyika (now Tanzania) in Central Africa, spanning six months, spreading through the region, and affecting hundreds. The epidemic began with three schoolgirls in a classroom, possibly the result of a joke, and quickly spiraled out of control. The year 1962 marked Tanganyika’s independence, and citizens were facing significant change. In this context, the epidemic appears to have been an outbreak of mass hysteria – a Mass Psychogenic Illness, a blanket term for the spread of symptoms of illness among a cohesive group in which the cause is psychological rather than organic. The story prompts consideration of the nature of the laughter, this ubiquitous and seemingly banal action.

http://www.apexart.org/exhibitions/cwynar.php presents, with the works of five artists, laughing as an ambiguous and involuntary mode of communication: a contagious, paradoxical, destabilizing, and corporal language. It is considered here apart from the joke and instead as an action or object itself; a passionate response with the ability to unsettle (ourselves, others, social order).                        

ABOUT THE CURATOR     

Kari Cwynar (1985) is a Canadian curator and writer currently based in Amsterdam. With a background in Art History and an interest in language, Cwynar has written about art for numerous magazines and exhibition catalogues, and has held curatorial positions at The Banff Centre and the National Gallery of Canada. She is a participant in the 2012-2013 de Appel Curatorial Programme, and recently co-curated the group exhibition Bourgeois Leftovers at deAppel arts centre, Amsterdam.

APEXART

291 Church St.

New York City

http://www.apexart.org

“NINE ELEVEN 2001, NEW YORK” / REMEMBERING A TRAGEDY THROUGH ART

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Lacer/actions Artworks by Roberto Alborghetti.

In memory of 2.974 Victims&Martyrs.

In the 11th Anniversary of WTC massacre.

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Title of the work:

“Victims & Martyrs: The Blood’s Tracks # 2 – Nine Eleven 2001, New York”

Canvas + Mixed media, 2011, 46,5 x 70 cm

Silk scarf created in collaboration with textile designer Bruno Boggia

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NINE ELEVEN:  REMEMBERING A TRAGEDY THROUGH ART

From an article by dr. SRINI PILLAY, Psychiatrist, Harvard clinician, brain imaging researcher, author of “The Life Unlocked”, “Your Brain and Business: the Neuroscience of the great leaders”, “The Science behind the Law of Attraction” , The Huffington Post columnist

Nine eleven did not just affect America.  It affected the world. Roberto Alborghetti was walking along Vico Street in Milan last spring when his eyes suddenly fell upon an image: red and black and described by him as either “hands, arms, fire tongues or hydrants,” he began to see the primal theme that this image represented.

Besides, it was a torn poster on a wall, and its urban origins were undeniable.  He looked on more closely, and as his mind wandered over several images, it landed on one that seemed to him most like what this was.  These, says Alborghetti, are: “..scenes in which the earth cries its fury to the sky, and the sky answers with its blood teardrops.”  Seeing the tragedy, he immediately made an association to one that had touched him very deeply: 9/11.  Knowing that he wanted to dedicate this one, of his poster images, to 9/11, he reproduced the image on canvas. He also approached the textiles designer Bruno Boggia who suggested that Alborghetti make a silk scarf with the image.  He did…  He plans to donate the scarf to a Fallen’s relative association.  Intrigued by this man’s penchant to represent this gruesome event as art, I probed more deeply to try to understand his psychology.  Was this just a random act on his part?  Did it actually mean anything to him?  And was there something that we in America could learn from this? “Art,” says Alborghetti, “is a reflection of reality.”  More precisely, he saw this piece of art as a scar that says that the world’s problems cannot be solved by violence and war– a memory of the horror of 9/11.  But was that thoughtful, or simply macabre?   “What was it in you that made you respond to this massive destruction with creation?” I asked, somewhat incredulously.  He answered that the poster seemed to depict both the tragedy and the possibility of a new life where earth (grey) and sky (red) meet each other to give origin to new colors, new days and new lives.   He was pointing to a certain resilience that we all have – to how in the face of massive destruction, you may break our buildings, but you cannot break our spirit.  He should know:  Alborghetti’s father was one of the few survivors of the terrible Kefalonia massacre (Greece, September 1943) where 8,000 young Italian young soldiers were killed by the Wehrmacht German army. He was injured, captured and segregated in a concentration camp. Alborghetti reflects: “An unutterable experience. And…slaughter!…I think that only his will to make peace with those awful years – talkin’ about them and… smilin’ too – has saved him, since then, from mind and body disease… “ In this time of remembering 9/11, psychological research and brain science support Alborghetti’s approach to representing tragedy in the beauty of art.  Visual beauty is registered in the brain in the medial OFC (orbitofrontal cortex) – a brain region known for its role in flexibility in thinking and reward (https://iris.ucl.ac.uk/research/browse/show-publication?pub_id=324591&source_id=2)  Beauty resides here too.  It could stimulate the necessary flexibility in our thinking by encouraging us not to lose ourselves in remembering the tragedy but also seeing the beauty in our resilience as a nation as well as the possibilities for recovery.  Studies also show that the perception of beauty activates brain regions, which move us toward the beautiful image or away from it if we think it ugly. (http://jn.physiology.org/content/91/4/1699.full.pdf)  To a certain extent, this gels well with Alborghettis’s intention in the art. Also, art and beauty offer potential forms of healing for all of us. (http://www.ncbi.nlm.nih.gov/pubmed/15152417)  Visual art not only represents the unconscious of the artist (http://www.ncbi.nlm.nih.gov/pubmed/11455363) but  also taps into our unconscious brains (http://www.ncbi.nlm.nih.gov/pubmed/19230327) leading us to parts of ourselves that are often untouched by everyday discourse.  For this reason, it does allow for a special kind of healing. I asked him: “Is your message in your art to America or the entire world?  Why?” He responded that his art was for all who would accept it – that art is a universal language – and that this memory was for all people who care to ask themselves some questions and who will allow emotions and feelings to grow in them. When we think of art representing tragedy, it raises all kinds of questions.  Can we really make art of an experience where people have lost loved ones?  Can we truly justify directing people toward beauty when there is such tragedy?  The beauty of abstract art – and of Alborghetti’s art in particular, is that it is in invitation for us to project what we will onto the piece.  We do so anyway – even when human forms, gardens and ponds protect us with their explicit forms in Impressionist and Renaissance paintings.  Art, as I substantiated above, is a form of healing whose effects we can see in the brain. From a psychological perspective, art is an amazing way to mourn.  When it is as beautiful as Alborghetti’s, it invites us to revisit the tragedy of terrorism, the horror of loss, and the beauty of our own resilience as we make our way through this mysterious life.

SRINI PILLAY

THE HUFFINGTON POST

9/9/2011

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Roberto Alborghetti “LaceR/Actions” is a multidisciplinary project about torn and decomposed publicity posters. Realistic images captured on the streets around the world are transferred on canvases, lithographs, textiles, glass, videoclips…

“THE LOST WARHOLS”: TWO IMAGES PERSONALLY SENT TO ME BY KAREN BYSTEDT

 PHOTOS BY KAREN BYSTEDT

“THE LOST WARHOLS” – PHOTO BY KAREN BYSTEDT

Three days ago I posted an article about the first limited edition print of Karen Bystedt’s “The Lost Warhols” (www.KarenBystedt.com) collection at the Amber Lounge Grand Prix Charity Fashion Event. That post – without images of the event – is still gaining a lot of traffic and it’s at the top of my views. So, in consideration of this huge attention, via e-mail I kindly asked  Karen Bystedt for a pic about “The Lost Warhols” Collection. She personally replied forwarding me two images, that I’m glad to put on line.  Someone said: “Don’t be afraid to ask”. I did so…

I’m so grateful to Karen Bystedt for this wonderful gift which I’m very glad to share with my readers and fellow bloggers. Thank you so much Karen! Your kindness is up to your enchanting and passionate art!           

ABOUT “THE LOST WARHOLS”

Bystedt’s photographs, taken at “The Factory” in New York when she was 19 years old, are some of the most unique images ever captured of the famous pop artist.

“THE LOST WARHOLS” – PHOTO BY KAREN BYSTEDT – IMAGE BOUGHT BY PRINCE ALBERT AT THE AMBER LOUNGE EVENT

In 1982, Bystedt was a film and photography student at NYU. After seeing pop art icon Andy Warhol in a Barney’s ad, she envisioned him as the ultimate male model and decided she wanted to photograph him. On a whim, Bystedt called Andy Warhol’s office, known as “The Factory”, and to her surprise, Andy himself picked up the phone. She told him about a book she was working on featuring the top male models in America, which she subsequently published, called “Not Just Another Pretty Face” (Plume/1983). After hearing about some of the famous male models she had in her roster, Andy was flattered and agreed to be pose for her. Andy’s secret desire was to be a model. Bystedt captured Warhol as he had never been seen before, posing for the camera and becoming the subject rather than the creator. Along with her photo session, she sat down with Andy for a candid interview where they discussed everything from fashion and politics, to Andy’s personal hopes, dreams, and icons. Commenting on the state of the world, Warhol told Bystedt, “In this country right now, since there’s no war on, everybody’s a beauty. It’s really scary. They’re here because they are not in the army.”

Bystedt kept her Andy Warhol photographs hidden from the world until now. Their sensational debut and the acquisition of one of the first of her rare prints by The Prince of Monaco has set the stage for collectors and fans of Andy Warhol all over the world. Bystedt is offering 44″ x 44″ limited edition prints and 24″ x 24″ box sets of “The Lost Warhols” that include ten unique prints as well as a proof sheet and quote sheets from her interview with Andy.

Please visit www.KarenBystedt.com to view “The Lost Warhols” Collection.

ABOUT KAREN BYSTEDT

Karen Bystedt is a photographer and author based in Los Angeles. What sets Bystedt apart from other celebrity photographers is her unique ability to see stars before they have risen, roles before they have been played, and to support those manifesting their dreams. In 1993, Bystedt published “Before They Were Famous”, a collection of intimate photographs and candid interviews with actors such as Brad Pitt, Johnny Depp, Sandra Bullock, Robert Downey Jr., Courtney Cox, Lawrence Fishburne, Laura Dern, Patrick Dempsey and many more. She continues to work in print, editorial and advertising in Los Angeles.

NEVER BEFORE SEEN MODELING PORTRAITS OF ANDY WARHOL DEBUT; FIRST PRINT ACQUIRED BY PRINCE OF MONACO

PHOTOS BY KAREN BYSTEDT 

Last May Prince Albert II of Monaco won the bid on the first limited edition print of Karen Bystedt’s “The Lost Warhols” (www.KarenBystedt.com) collection at the Amber Lounge Grand Prix Charity Fashion Event. The winning bid came in at 32,000 Euros (over $40,000 USD). Bystedt’s photographs, taken at “The Factory” in New York when she was 19 years old, are some of the most unique images ever captured of the famous pop artist.

THE LOST WARHOLS – COURTESY OF KAREN BYSTEDT – IMAGE BOUGHT BY PRINCE ALBERT AT THE AMBER LOUNGE EVENT

In 1982, Bystedt was a film and photography student at NYU. After seeing pop art icon Andy Warholin a Barney’s ad, she envisioned him as the ultimate male model and decided she wanted to photograph him. On a whim, Bystedt called Andy Warhol’s office, known as “The Factory”, and to her surprise, Andy himself picked up the phone. She told him about a book she was working on featuring the top male models in America, which she subsequently published, called “Not Just Another Pretty Face” (Plume/1983). After hearing about some of the famous male models she had in her roster, Andy was flattered and agreed to be pose for her. Andy’s secret desire was to be a model. Bystedt captured Warhol as he had never been seen before, posing for the camera and becoming the subject rather than the creator. Along with her photo session, she sat down with Andy for a candid interview where they discussed everything from fashion and politics, to Andy’s personal hopes, dreams, and icons. Commenting on the state of the world, Warhol told Bystedt, “In this country right now, since there’s no war on, everybody’s a beauty. It’s really scary. They’re here because they are not in the army.”

THE LOST WARHOLS – COURTESY OF KAREN BYSTEDT

Bystedt kept her Andy Warhol photographs hidden from the world until now. Their sensational debut and the acquisition of one of the first of her rare prints by The Prince of Monaco has set the stage for collectors and fans of Andy Warhol all over the world. Bystedt is offering 44″ x 44″ limited edition prints and 24″ x 24″ box sets of “The Lost Warhols” that include ten unique prints as well as a proof sheet and quote sheets from her interview with Andy.

Visit www.KarenBystedt.com to view “The Lost Warhols” Collection.

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About Karen Bystedt:

Karen Bystedt is a photographer and author based in Los Angeles. What sets Bystedt apart from other celebrity photographers is her unique ability to see stars before they have risen, roles before they have been played, and to support those manifesting their dreams. In 1993, Bystedt published “Before They Were Famous”, a collection of intimate photographs and candid interviews with actors such as Brad Pitt, Johnny Depp, Sandra Bullock, Robert Downey Jr., Courtney Cox, Lawrence Fishburne, Laura Dern, Patrick Dempsey and many more. She continues to work in print, editorial and advertising in Los Angeles.

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I’m so grateful to Karen Bystedt for givin’ permission to publish her two images. The framed image is the one bought by Prince Albert at the Amber Lounge event. Thank you so much Karen! R.A.    

SILK SCARVES DESIGN FROM TORN POSTERS: “THE NEXT BIG FASHION TREND”

AN EXCLUSIVE LIMITED-EDITION! 

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  • Pure Silk Scarves / Limited-edition – Crêpe de Chine – A Three Images Series.

  • Created by Roberto Alborghetti for “Lacer/actions” Project (Images of torn posters and urban “signs”) in collaboration with Bruno Boggia Disegni (Como, Italy)

  • Sizes: width 63 cms, height 170 cms.

 

Silk scarf. # 1: “Shared Moods”

Silk Scarf # 2: “Nine Eleven, New York 2001″

 

Silk Scarf # 3: “Wind of May, ruffle my thoughts”

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A three silk scarves series are now on sale at “La Bottega di Oscar” / Oscar’s Boutique. They are available in a very special limited-edition and at a special price. The silk scarves designs are  unique: they reproduce details of images concerning torn posters  captured on the cities walls around the world by Italian visual artist and reporter Roberto Alborghetti who had the idea to turn trash into an art subject (his incredible abstract pics are also trasnferred on canvases, lithographs and other materials). 

Roberto Alborghetti created and produced this particular fashion accessory with the assistance and collaboration of the internationally known textile designer Bruno Boggia, who works for the most famous international fashion stylists. Roberto Alborghetti creations have already won consents and attentions throughout the web and from medias; New York blogger Marina Chetner (http://marinachetner.com/) wrote that “Roberto’s torn poster art inspired silk scarves are going to be the next big fashion trend”.

 To buy them, contact: andrea@velar.it or ro.alb@alice.it

This special limited-edition of silk scarves is available on three designs titled: “Shared Moods”, “Nine Eleven, New York 2001”, “Winds of May, ruffle my thoughts”.

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Roberto Alborghetti

Videoclip at YouTube Channel

“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.