ROBERTO ALBORGHETTI – LACER/ACTIONS PROJECT – “Dancin’ Branches?” / Canvas, 2012, 70×50 / On display at “Colors of an Apocalypse” Show, Tuscany, Italy (October 6 – November 4, 2012).

People usually have doubts about the origins of my “Lacer/actions” artworks. As I like to repeat, they are realistic and natural images of torn and decomposed publicity posters I see everywhere, all around the world… People think that they are manipulations or enhanced works made with some software programs…

So, I created a collage series which will be displayed in a special room at my “ Colors Of An Apocalypse” Show, at the enchanting Aldobrandesca Fortress (XIII Century), in the beautiful Tuscany (October 6 – November 4, 2012). They are five works I created using small paper pieces from real torn posters I collected along the streets during my wandering around the world…

Fellow blogger Meredith Deerheart had the way, in the past days, to see a preview about my collages and she wrote a story at her Blog: http://healingminds.wordpress.com/

Meredith kindly sent to me a “special review” of these collages, which represent for me a sort of funny game (and a new expression of my research). I love so much what she wrote – many thanks Meredith! – and I’m pleased to share her thoughts here…

ROBERTO ALBORGHETTI – LACER/ACTIONS COLLAGES – “He Loves His Chaos From A Distance” (title from a Meredith Deerheart story), Collage on wood, 2012, 90×40




Meredith Deerheart

Dear Roberto, this work (collage) is beautiful and wild.  Yes, I like it very much.  It seems to have so much energy, yet I see cheerful calm…. like breakfast at the dining room table, before children leave for school. 

I don’t see the same thing in your collage as I see in your photos. The collage has rhythm and thought worked into it, but your photos are very naked, very raw… and not self-conscious. 

I noticed that the your collage is composed, but your pictures are not “humanly composed” beyond your framing the shot with your camera.  This is very provocative because it demonstrates that you’re the composer of the collage, not the environment, so your collage has abstract qualities… but not like those left by time, and neglect. And it can’t, of course, but people don’t always know what they see until they’ve been taught to see differently.  (Have you thought of bringing in a dumpster to do a show?) 

Your whole concept of making art from industrial deconstuctionism, caught on camera, on macro scale, is revolutionary, and something that some photographers may also notice… but your shots actually capture the randomness of deconstructionism, and you let the picture tell the story.  This, I think, is what makes your work unique and hard to comprehend.  You don’t change what you see.  There’s nothing contrived, or worked in… you show what you saw.  That’s gutsy.

People aren’t used to this kind of art, yet.  It’s new.  Your results are tactile in ways that other photography often goes flat because you actually catch the flakes of paint in their true state and experience the environment while you’re shooting the pictures.  But, many people do spend hours trying to create similar results in Photoshop, preferring to manipulate images to their preconceived ideas.  They construct what the viewer sees, whereas you allow the viewer to construct their own conclusions about the pictures.  Disbelief about your work may be a result of people not being able to conceive that such beautiful art is always present, always accessible.  Folks do not look around their world.  They often don’t see… and so your work teaches them how to see something new, I think.

I recognize the deconstructed, natural lines and colors created by the elements from studying buildings and sites during architecture…I see that organic quality… and that you’ve made an art form of this kind of macro photography.

You’re years ahead of the curve, Roberto.  Maybe that’s the curse of your passion.  People hear and know Photoshop… but that’s often where the ‘knowing’ stops.  That’s what they know.  You are the leader in this venue, though.  You are the only one who knows how and what you do, at this point, and markets it.  I don’t see similar kinds of non-manipulated photography elsewhere… so no wonder people don’t understand.  Artists are teachers, and I sometimes think we must be patient with the world while they decide what they think art is all about.

The collage… it’s so cool!  And it’s not the same as your photography. People will see.



 Dr. Srini Pillay – Harvard psychiatrist, author, brain imaging researcher and columnist – says that art is a form of healing and it may help us to face tragedies and loss… I dedicated this artwork to Kefalonia massacre ( title: Kefalonia, 1943 – Victims & martyrs. The blood tracks # 1; canvas/mixed media, 87×57, Lacer/actions Project). My father Battista is a survivor of that terrible tragedy in which died 9.000 Italian soldiers (1943) killed and exterminated by German Nazis.

 Saturday January 28, 2012 – in the same days devoted in Italy to remember Shoah victims – Battista native Municipality dedicates him a conference and a ceremony (h.8,45 pm, Centro Sociale, Ambivere, Bergamo, Milan Area). Italian Council of Ministers Presidency has recently confered to Battista the “Medal of honor” established for Italian civilians and militaries deported and interned in nazi concentration camps.


Central Database of Shoah Victims Names


About Italian Division “Acqui” and Kefalonia Slaughter




About Kefalonia:



 A fascinating exhibition taking place in London up to December 18, 2011, at The Estorick Collection of modern italian art.


My “Lacer/actions” art project is based on torn posters details. During my research I collected so far more than 30.000 images of ripped publicity posters. I work on them, making canvas, lithographs, textile designs, videoclip a.s.o; I explained my activity on a booklet-portfolio, published in 2009 (Lacer/actions – Pics of torn (publi)city). Yes, I like the world of posters, billboards and urban “signs” (this blog is here to demonstrate it). So, I must to dedicate a post to the interesting and fascinating exhibition taking place in London, at The Estorick Collection of modern italian art ( 39a Canonbury Square, entrance in Canonbury Road). The show – opened till December 18, 2011 – pays a tribute to Edward McKnight Kauffer, the “Poster King” (this is also the exhibition theme).

Focusing on Kauffer’s time in England , The Poster King is a celebration of the ways in which this remarkable artistic émigré enriched the visual culture. And all the design expressions of our times. In addition to the renowned graphic work it includes a fascinating nucleus of lesser-known paintings and prints as well as a selection of photographs, working drawings and original designs.

Edward Mcknight Kauffer produced some of the most iconic and influential commercial imagery of the early twentieth century. A remarkably versatile artist, his work drew inspiration from a wide variety of styles ranging from Japanese art to Fauvism, Vorticism and Constructivism, and encompassed painting, applied art, interior design and scenography. Yet it remains his celebrated posters created for clients such as London Underground and Shell during the inter-war years for which he remains most famous. Kauffer’s pioneering work in the field of graphic design ranks alongside the achievements of fellow avant-garde figures such as T. S. Eliot, Ezra Pound and Wyndham Lewis, all of whom – like Kauffer- had roots in the United States yet established their careers in London.

 Born in Montana in 1890, Kauffer’s precocious artistic talents were first employed painting stage scenery at his local opera house. They were also recognised by an acquaintance named Joseph E. Mcknight, a professor at the University of Utah, who in 1912 paid for Kauffer ton pursue his studies in Paris. As a mark of gratitude, Kauffer subsequently incorporated his benefactor’s surname into his own. Upon the outbreak of the First World War Kauffer fled to England where in 1915 he received a commission to design publicity posters for the Underground.


The originality and vibrancy of these images led Kauffer to receive commissions from a variety of companies and publishing houses over the following two decades,including Fortnum & Mason, Lund Humphries and Chrysler Motors. With a finger on the pulse of the latest artistic trends, Kauffer’s special genius lay in his ability to adapt the language of the avant-garde to the needs of advertising, creating works that were not simply visually striking but also rich in artistic merit. With commissions increasingly scarce following the declaration of war in 1939 Kauffer made the painful decision to return to America, where he continued to work for a number of years prior to his death in 1954.

Estorick Collection promoted meetings, education evenings and talks about Edward McKnight Kauffer; the next talk is planned for December 10, 2011 (“Kauffer’s England”, Dr. Jonathan Black, Kingston University).





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.



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.


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In the very heart of London catchin’ images of torn posters and signs from the walls… For my “Lacer/actions” art.

During my recent participation at Parallax AF at La Galleria, I had the way to have a look around in the very heart of London trying to catch some images of torn and decomposed posters (yes, I can’t resist!) The British metropolis offered me again so many signs layed on its walls. As an open air gallery, London revealed itself through incredible colors and shapes. In every street I walked along I noticed particulars and details all linked by a sort of a common language and dye.

In Haymarket, not so distant from La Galleria, I captured blue oriented images. In High Holborn Street the dominat color was green. In St. Giles Street some ripped posters presented details in which I had no difficulties to see pop-art elements. And again: I catched black and white images in Leicester Square, red and blue in Yorkway. Along Moor Street, outside a dockyard, I saw (and impressed on my camera) images that mixed up ripped papers, glue castings, spontaneous drawings left by some anonymous hands. Such incredible colored effects!


As usually, in ripped and decomposed publicity posters I find a lot of styles and art streams: from modernism to cubism, from abstractionism to post-modernism, from vorticism to impressionism… Yes, so lot of “ism”, but I prefer to call all those images with my favourite term: “Lacer/actionism”… London is really an “open air” art museum that you may visit every day, without paying an entrance ticket. It’s enough to walk along the streets, open your eyes wide an let your perception flow.

Roberto Alborghetti







The evocative and deep thoughts expressed by Dr.Srini Pillay about my art in his article at “The Huffington Post”, suggested me to create a videoclip-fragment. So, here it is: thirty seconds of words, music and one of my “lacer/actions” psycho-artworks; I selected “In amniotic fluid” (canvas, 57×87, 2010). The soundtrack is the beautiful Chopin’s “Nocturne n.2” .

It’s a sort of flash of some good thoughts about art and healing from Dr. Pillay, Psychiatrist, Harvard clinician, brain-imaging researcher, speaker, “Huffpo” columnist and author (“The Life Unlocked”, “The Brain and Business”, “Tle Science behind The Law of Attraction”).

These are the phrases from which I chose the videoclip words”Art is a form of healing whose effects we can see in the brain. 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.”














 “As running fast water…” is the title of this “Lacer/actions” artwork (cm.62×42, canvas, unique original copy). The image’s details are referred to a torn poster sticked up on billboard.

The rain and the humidity gave to paper interesting shapes that really are recalling drops or a wet surface.

The image may rise some questions. What does “As running fast water” expression evokes? Life? Years? Success? Economy? Pain? Joy? Maybe everything? Maybe everyone?

This canvas will be on show at “Parallax AF” in London, at “La Galleria”, Royal Opera Arcade, Pall Mall, October 14-15-16, 2011. An opportunity that lasts 3 days. “As running fast water…” Exactly…



Italian newspaper “L’Eco di Bergamo” reports about Roberto Alborghetti’s Lacer/actions. The attention is focused on “9/11 artwork” – dedicated to the Fallen in the WTC massacre – and on the article that has been posted at “The Huffington Post” by Srini Pillay, Psychiatrist, Harvard clinician, brain-imaging researcher, executive couch and author of “Life Unlocked”, “Your Brain and Business: the Neuroscience of the great leaders”, “The Science behind The Law of Attraction”.

 FROM “L’ECO DI BERGAMO” ( Italian version)

The Huffington Post, il prestigioso blog americano per il quale ha scritto anche il presidente Obama, dedica un articolo al bergamasco Roberto Alborghetti , per il suo lavoro artistico dedicato all’11 settembre, che il prossimo ottobre sarà esposto a Londra alla Parallax Art fair alla Royal Opera Arcade.

 Chi gli dedica un lungo articolo è Srinivasan Pillay, psichiatra, docente ad Harvard ed esperto di brain imaging che si è dedicato allo studio delle conseguenze dei traumi post attacchi terroristici. Alborghetti, poliedrico operatore mediatico e organizzatore culturale, un paio d’anni fa ha cominciato a fotografare per hobby gli strappi sovrapposti dei manifesti urbani, ricavandone immagini astratte di notevole suggestione con le quali ha composto gallerie virtuali.

 I suoi lavori hanno attirato l’attenzione di molti frequentatori di internet, fra i quali Pillay che ha contatttato Alborghetti via email per conoscere meglio, racconta il luminare nel suo blog sull’Huffington Post, l’autore e le motivazioni del suo lavoro. In particolare Pillay è rimasto colpito dal lavoro dedicato all’11 settembre, uno scatto realizzato in via Giambattista Vico a Milano, un resto di manifesto elettorale dai colori cupi che ricordano braccia, fiamme e idranti.

 L’opera, fra l’altro è stata trasposta su tela e anche su seta, in collaborazione con Bruno Boggia, artista serico e consulente di griffe internazionali. Anche la sciarpa sarà esposta a Londra e donata per beneficienza all’Associazione dei familiari delle vittime dell’11 settembre.

 Pillay ha scoperto i lavori di Roberto riuniti sotto il nome collettivo di “Lacer/azioni” navigando durante le ore di attesa in aeroporto. Ne è nato un colloquio a distanza che è diventato occasione per una riflessione sul ruolo dell’arte e della bellezza come reazione al male e al dolore e che ha ispirato l’articolo «9/11. Remembering a tragedy through art», 9/11. Ricordare una tragedia attraverso l’arte.

 Ecco il link dell’articolo:





BERGAMONEWS, in Italy, has dedicated an article to Roberto Alborghetti’s artwork “Nine Eleven, New York 2001”.

The Italian daily news website has today a special issue about the WTC attacks X Anniversary. 

 Share the article; here’s the link:



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Roberto Alborghetti, “Nine Eleven, New York 2001”, Abstract Photo on Canvas, Lacer/actions Project

Dr. Srini Pillay – Harvard psychiatrist, brain-imaging researcher, clinician and executive coach – wrote an interesting article on the popular  “The Huffington Post” about my artwork dedicated to 9/11. Here’s the link:       

“The Huffington Post” – la testata di news piu’ cliccata del mondo (ha superato perfino il “New York Times”) – pubblica un approfondito articolo sul mio artwork “Nine Eleven, New York 2001”, dedicato al ricordo dei quasi 3.000 caduti nell’attacco terroristico dell’11 settembre 2001. L’articolo è scritto dal Dr. Srini Pillay, uno dei piu’ noti ed autorevoli psichiatri americani, docente clinico ad Harvard, ricercatore, executive couch, speaker motivazionale, autore di best sellers sul rapporto tra cervello e comportamento umano e appunto columnist del celebre “Huffpo”.

Srini Pillay ha visto su web i miei artworks “Lacer/azioni” e ne è rimasto molto colpito, soprattutto dall’immagine che ho dedicato alla strage del WTC. Qui sotto il link all’articolo dell’Huffington Post.

La tela Nine Eleven sarà esposta a Londra a metà ottobre nell’ambito della prestigiosa “Parallax AF”, presso “La Galleria”, alla Royal Opera Arcade, sul centralissimo Pall Mall.

 The Huffington Post – Dr.Srini Pillay