JONATHAN E. RADDATZ ART: “EMPHASIZING THE SYMBOLIC”

 

I had the way to approach Jonathan Raddatz Art. He’s an artist living in Quebec (Canada). Through web we had interesting ideas exchanges about art and its future (some suggestions will be the arguments for one of my next posts). Jonathan loves to paint as self-expression. His aims “are anchored in a desire to work out theological and philosophical concerns in peace and quiet, away from the mindless consumption and selfish concerns that consume us all on a daily basis”. I invite you to have a look at his artgallery in Verdun-Montreal (Quebec, Canada) and at his web GALERIE EX-NIHILO: you’ll be struck by a talented artist who tells us the power, the energy and the mystery of colors and materials. I’ve asked Jonathan Raddatz to write something about his artistic statement. He send me an articulated and profound reflection that I’m very glad to share here.    

Faith and Myth are the key operative terms that fuel my work”

 by Jonathan E. Raddatz

TOURIST BROCHURE

There is a facet of my art that can safely be qualified as ‘Expressionist Realism’ (landscapes, cityscapes from my corner or the world and so forth). This work is all about technical rigor and self-discipline. It is about taming the beast and conscientiously applying myself to duplicating what I see concretely before my eyes. When I work in this fashion, I will often carve out the lines in my motif, while stressing the surface with fire and grindstone; this is why I gravitate to wood as a surface medium for these pieces. I have a great affection for two places in particular, and these

are the primary subjects for what I like to call my moments of relative composure: My neighborhood, St-Henri, for its history, the riot of colours, because everything sags and because the light here reverberates in a very particular way; and Parry Sound, Ontario, where the Canadian Shield crashes into the Georgian Bay and where I spent many happy moments as a child. These are all places where the rhythm of the land…our land, strikes a deep spiritual chord with me. This work is largely free of intellectual baggage in the sense that the whole process exists to ‘take a holiday’ from my brain. When I paint ‘the little things’, it is usually to come up for air, to breathe life and clarity into my lungs and convey singular instants of beauty, often found in the mundane.

 TRAVELER ITINERARY

Today’s deconstructionists propose that all categories of art are arbitrary and sight is a pleasure. If this is true then art should break the rules of this most unfortunate modern convention of ‘super flat’ sensory indulgence by exploring, in pragmatic terms, the predatory nature of the senses and how these are linked to the ‘human condition’, which we might as well come right out and qualify as the ‘despotic condition’.

Now, while our pseudo-egalitarian civilization insists that all art is meaningful (the meaning being: here is someone articulating his/her existence), I argue that only art that successfully conveys its meaning – that is to say, the motive BEHIND asserting ones existence in this manner – is (in my less than humble view) – valid (or ‘true’) art, as art of this nature is, by definition, about marrying function to aesthetic in order to tap into a meaning that points beyond itself. That is why ‘true’ art is not to be confused with ‘decorative’ art. The first points beyond itself and is more akin to the workings of religion and philosophy, the other is purely functional: to please, soothe, or clutter the senses. This statement is not meant to devalue decorative art (at any rate, in art, there is always a carry-over) but rather to make a distinction between painting the subject versus painting what lies beyond the subject.

Thus, my ‘true’ artistic enterprise is not to be contained or otherwise pigeon-holed by relativist labels such as ‘abstract’ or ‘contemporary neo-symbolism’ or other such nonsensical terms that seek to rationalize that which does not seek to be experienced in a rational manner. Nor is this enterprise going to satisfy itself by becoming predictable in technique and style. I leave that to the post-Warhol stylists. The name of my game is SUBJECT MATTER.

 To quote Rothko directly: ‘there is no such thing as a good painting about nothing. We assert that subject is crucial and only that subject matter which is tragic and timeless is valid. That is why we profess a spiritual kinship with primitive and archaic art.’ My abstract (or otherwise metaphorical) art is profoundly anti-rational. This is fitting since good art, like good propaganda, is precisely that because it circumvents reason completely. The only rational act I imbibe in my pieces is the act of giving them a title, which is done before the business of painting and after much contemplation in regards to the piece about to be painted.

 Faith and Myth are the key operative terms that fuel my work. Any talk of faith must abandon all pretence of objectivity, which makes art a useful vehicle to explore these questions, as art, while pretending to be a lot of things, at least does not pretend to be objective. Anything objective processed by humans ceases to be such the moment we contemplate it, and this is most likely due to our inherently dualistic nature, which is understood to be fallible in every sense of the term. Hence, notions of human depravity, faith and salvation can only be discussed subjectively while remaining objective concepts in and of themselves. Their truth permeates human existence but is often ungraspable by the temporal senses and even less so by language, with all it’s cultural bias. And so, we are left with symbols, which defy logic and transcend reason by their ability to sustain paradox; this is why my art emphasizes the symbolic. Faith is a mythical language, expressing ideas that defy scientific materialism.

Although abstract, symbols are the Rosetta Stone of faith. Through this endeavour I am sharing an irrational reality felt most keenly during the creative process. This grand realm is made of a mythical causality of numinous yet fleshy themes that fully transcend moral and scientific relativism. I’m talking here about theodicy, defilement and variants on sacrifice. This mythical causality is what Rothko refers to when he speaks of timeless tragedy as the agent that binds humans to their cause and condition. And so I ask, what is the cosmic variable responsible for this timeless tragedy?

 I am ceaselessly amazed when I encounter the increasingly pervasive, dangerously optimistic view of the human condition that is currently fashionable in the west. The kind of hype (‘yes we can!’) that utterly ignores the unprecedented level of violence and depravity played out during the course of the previous century and showing no signs of waning in the opening decade of the current one.

 Warm, fuzzy pseudo-messianic utopias of this type (history offers countless examples), require that we ignore the machinations of human history as it actually plays out. This history does not exactly reinforce the utopic view that humans can all miraculously come together in some sort of global group hug and resolve our problems by our own efforts or accord, most particularly in a degraded environment of want, where resources are dwindling while populations explode. History tells us that under these conditions, humans go to war and rip each other to pieces over the meager spoils.

 Trying to ‘Disneyfy’ this reality into something more palatable is adolescent naiveté at its worst and if it continues unchecked in our times, it will be the end of this civilization. Art’ states Bergson, ‘brings us into our own presence’, while St-Theresa of Avila said: ‘I require only that you look.’

A few words regarding titling…Titling is very relevant to my abstract/metaphorical work, they direct the viewer to the subject. If the pieces where not titled as literary essays, you might not link symbols and subject. Literary references are often present to indicate where the viewer might direct further inquiries. If you want to enjoy the art on your own terms and remain unaffected by my concerns, preserve your ignorance by ignoring my titles. If ‘getting’ the artist’s point is important to you, my titles contain messages that are unlikely to misguide of confuse.

 Regarding Materials…The primal notion of spirit being contained in matter plays a significant role in my creative process. Many ingredients of a widely varying nature go into my paintings. My choices of material are often made for technical reasons (the need for texture and so forth), however, the process is anything but superficial. Found objects, metals, melted jewelry, currency, animal and human hair, dirt, compost, brick, stone, blood, sand, insects, bones, ash… All these things and more find their way into or onto my canvas. Sometimes items are ground to a powder or burned for ash, or otherwise preserved in some recognizable form. Sometimes they are meant to be seen and form part of the motif; other times, they remain unseen but are included as a pigment base. More often than not, my choice of ingredients is directly related to the subject or a symbol pertaining to the subject.

 J.E Raddatz

http://www.galerieexnihilo.com/

MILAN, THE 2nd MASTER IN MENSWEAR: TRAINING THE TALENTS OF THE FUTURE

 Istituto Marangoni and Ermenegildo Zegna together again to form the menswear talents of tomorrow.

 

 Istituto Marangoni, the prestigious fashion school founded in 1935, and Ermenegildo Zegna Group, the luxury menswear brand founded in 1910, two among the most reputed players in the world of Italian fashion, have renewed their commitment to training emerging fashion designers and inaugurated the second edition of the Master in Menswear at the Milan campus. From the common didactic purpose of two Italian fashion leaders comes the desire to offer a high level specialisation course, delivering the best educational and practical preparation in response to the constant evolution of contemporary menswear style.

The course includes a thorough analysis of the menswear industry, focusing on the various stages of production process until acquiring a clear overview of: the concept of suits, outerwear and shirts, the structure of the collection and the packaging of the product through to its distribution. An important asset for the Master will be the participation of top managers and creative directors from Ermenegildo Zegna group. In this second edition, they will once again share with students their precious professional experience in product management, style and retail. I am honoured and proud that the Ermenegildo Zegna Group has agreed to join us in this important project, for the second year in a row – said Roberto Riccio, Group Managing Director of Istituto Marangoni – Our school has always been committed to training the talents of the future, and is the only Italian school able to provide a concrete response, with expertise and timeliness, to the specific requirements of the menswear industry, by training future professionals who are capable of understanding and interpreting with personality the menswear universe and its trends. I am sure that the involvement of the Ermenegildo Zegna Group will help us strengthen the excellence of our training and will provide students with know-how of the highest level of professionalism within the menswear industry.”

The Master will deal with all aspects of menswear collections, from formal and upper casual with Ermenegildo Zegna and fashion with Z Zegna to urban with Zegna Sport. It will give students the opportunity to explore freehand and digital drawing techniques, modelling and learn how clothing is made, from the simplest to the most structured garments. It will also cover all the topics concerning product management and production flow administration.

Once again in this second edition, students will be confronted with stimulating creative projects, inspired by the Group’s different brands, and they will have the possibility to visit the company’s production sites for fabrics, knitwear and ready-to-wear garments, the headquarters and the Zegna showroom in Milan. The special guest present in the jury which will identify the best student comes from the media: Michele Lupi, Editor in Chief of “Rolling Stone” magazine, who will bring a fresh, cross-cutting perspective on the style and creativity of the students. The Menswear Award will be delivered to the best course participant, selected according to Zegna and Istituto Marangoni criteria, who will be offered a 3-month internship within one of the brands and, as in the previous edition, will have the opportunity to participate in the organisation of Zegna fashion show in June 2012 in Milan.

Benedetta Zegna, Ermenegildo Zegna’s Talent Management Director, who attended the opening ceremony for the course at Istituto Marangoni, stated: “The decision to continue to support this wonderful initiative is motivated by the quality of the educational offer of Istituto Marangoni and especially of the projects undertaken by the students. The selected talents are bringing ideas and a fresh look to the company’s creative teams.

An important aspect, which we continue to explore in the Master’s program, involves visits to our Group’s production sites, which allow students to feel the extreme quality of the fabrics and products first hand, and to understand the centrality of detail as a key factor for that perfect blend of craftsmanship and technological innovation that is typically Italian.

The idea of inviting Michele Lupi to serve on the jury comes from the desire to give voice to an outside perspective, through the eyes of a man engaged in different environments, always characterised by attention to emerging trends and emerging signs of style.”

The Master began on October 3rd, 2011 at the Milan campus, will last 8 months and includes 7 classes of 2h30 a week. The lessons will be taught in Italian with a simultaneous English translation.

 

MASTER IN MENSWEAR

Limited number (20 places available)

Beginning

October 3rd , 2011

Study Program

  • Menswear Design

  • Fashion Graphics

  • Fashion Panorama

  • Fashion Industry Analysis

  • Research Method

  • Product Management

Attendance

7 lessons per week – 2h30 each

Duration

8 months

Admission Requirements

– A portfolio that demonstrates the candidate’s creative and drawing abilities

– A detailed professional and educational CV that includes: degree or diploma certificate with the final mark awarded

– 100 word cover letter describing professional aims and aspirations and clearly putting forward the reasons and motivation for wanting to participate in the Master’s program

– At least one references letter from an employer or teacher

– Knowledge of Italian or English language

To be admitted to the master, candidates must attend an orientation interview and submit the application form, provided during the interview or downloadable from www.istitutomarangoni.com duly completed.

 

ABOUT ERMENEGILDO ZEGNA

Ermenegildo Zegna Group is a leading maker of luxury menswear and one of the most highly renowned enterprises in Italy. It was founded in 1910 in Trivero, in the Alpi Biellesi, by the young entrepreneur Ermenegildo Zegna, who started to produce some of the finest and most highly prized fabrics in the world. The Company is now led by the 4th generation of the Zegna family. By the end of the ’90s the Group had completed its verticalization strategy and created a global luxury brand that makes fabrics, clothing and accessories and is focused on retail business (mostly through directly operated stores). The Group is a pioneering force in opening up emerging markets. In 2010, it celebrated its first centennial, marking 100 years of industrial excellence. Today it has 570 single-brand stores, of which 300 proprietary, in 80 countries, with consolidated sales of euro 963 million in 2010.

 ABOUT ISTITUTO MARANGONI:

Istituto Marangoni was founded in 1935. It now has three generations of students to its credit and has launched over 35,000 professionals, including some of the most important names in international fashion, such as Domenico Dolce, Franco Moschino, Rodolfo Paglialunga, Umit Benan, Alessandro Sartori, Francesco Russo and many others. Istituto Marangoni’s mission has remained the same: to create professionals for the fashion and design industry, people with solid knowledge and know-how, creativity and an understanding of the needs of business. Istituto Marangoni now has 2,400 students from 92 countries. It has three campuses in the capitals of international fashion, design and creativity (Milan, Paris and London) providing 3-year courses, Master’s courses and 1-year courses at all levels.

 

 MASTER IN MENSWEAR: LA MODA FORMA I TALENTI DI DOMANI

 Istituto Marangoni ed Ermenegildo Zegna nuovamente insieme per formare i creativi della moda maschile di domani. Partita la seconda edizione del prestigioso Master in Menswear nel campus di Milano

 L’Istituto Marangoni, scuola di moda nata nel 1935, e il Gruppo Ermenegildo Zegna, brand del lusso maschile fondato nel 1910, due importanti realtà del mondo della moda italiana, hanno rinnovato il proprio impegno nella formazione dei creativi emergenti inaugurando la seconda edizione del Master in Menswear nel campus di Milano.

Dalla comunione di intenti di due eccellenze della moda italiana è nata la volontà di proporre un corso di specializzazione di alto livello, in grado di offrire agli studenti la migliore preparazione didattica e pratica per rispondere alla costante evoluzione dello stile maschile contemporaneo.

Il Corso prevede un’approfondita analisi del settore dell’abbigliamento uomo, declinata nello studio delle differenti fasi del processo produttivo fino all’acquisizione di una chiara visione di insieme: dal concetto di abito, capo spalla e camicia, alla struttura della collezione, dal confezionamento del prodotto alla sua distribuzione. Importante atout del Master sarà l’intervento di manager e direttori creativi del gruppo Ermenegildo Zegna che – anche per questa seconda edizione – testimonieranno agli studenti la propria esperienza professionale nell’ambito del prodotto, dello stile e del retail, trasferendo loro contenuti essenziali, che solo il mondo del lavoro è pienamente in grado di mettere in campo.

Sono onorato e orgoglioso che il Gruppo Ermenegildo Zegna abbia accettato di unirsi a noi in questo importante progetto, per il secondo anno consecutivo – ha dichiarato Roberto Riccio, Group Managing Director di Istituto Marangoni – La nostra scuola, da sempre impegnata a formare i talenti del futuro, è la sola italiana in grado di rispondere concretamente, con competenza e tempestività, alle esigenze e specificità del settore, formando futuri professionisti in grado di comprendere e interpretare con personalità l’universo della moda maschile, tipicamente italiano, e il divenire delle sue tendenze. Sono certo che il coinvolgimento del Gruppo Ermenegildo Zegna ci aiuterà a consolidare l’eccellenza della nostra offerta formativa e assicurerà agli studenti il know-how delle professionalità più alte della moda maschile”.

 

Il Master affronterà tutti gli aspetti delle collezioni uomo nelle declinazioni formale e upper casual con Ermenegildo Zegna, fashion con Z Zegna, e urban con Zegna Sport; darà agli studenti la possibilità di approfondire le tecniche d’illustrazione a mano libera e a computer, la modellistica e le tecniche di costruzione dei capi, dai più semplici ai più strutturati; approfondirà inoltre tutti gli aspetti legati al product management e alla gestione della produzione.

 

Anche in questa seconda edizione gli studenti potranno cimentarsi in stimolanti progetti creativi ispirati ai diversi brand del Gruppo, e visitare le sedi produttive di tessuto, maglieria e ready to wear, il quartier generale e la show room milanese Zegna. Special guest presente in giuria, un ospite proveniente dal mondo dei Media: Michele Lupi, Direttore del Magazine “Rolling Stone”, che apporterà una prospettiva nuova e trasversale sullo stile e la creatività dei ragazzi. Il Menswear Award verrà assegnato al migliore diplomato, selezionato in base a criteri Zegna e Istituto Marangoni, cui sarà offerto uno stage di 3 mesi all’interno di uno dei brand e, come nella precedente edizione, avrà l’opportunità di partecipare all’organizzazione della sfilata di giugno 2012 a Milano.

 

Ha dichiarato Benedetta Zegna, Responsabile Talenti Ermenegildo Zegna, presente alla cerimonia di apertura dei Corsi presso l’Istituto: “La decisione di continuare a sostenere questa bellissima iniziativa è motivata dalla qualità del supporto didattico offerto dall’Istituto Marangoni e soprattutto dei progetti realizzati dai ragazzi. I talenti selezionati stanno apportando idee e freschezza ai team creativi in azienda.

Un aspetto importante, che continuiamo ad arricchire all’interno del programma del master, riguarda le visite alle realtà produttive del nostro Gruppo, che permettono agli studenti di “toccare con mano” la qualità estrema dei tessuti e dei prodotti, e di comprendere la centralità del dettaglio come fattore chiave di quella perfetta integrazione tra artigianalità e innovazione tecnologica, tipicamente italiana.

L’idea di invitare Michele Lupi a far parte della giuria nasce dal desiderio di dare voce a una prospettiva esterna, attraverso lo sguardo di un uomo impegnato in ambienti diversi, sempre caratterizzati dall’attenzione alle tendenze emergenti e ai segnali di stile emergenti.”

Il Master è iniziato il 3 Ottobre 2011 nel campus di Milano, durerà 8 mesi e prevederà 7 lezioni settimanali da 2h30. Le lezioni si terranno in lingua italiana, con traduzione simultanea in inglese.

 

www.istitutomarangoni.com

  

CORSO MASTER in MENSWEAR

Numero chiuso (20 posti disponibili)

Inizio

3 ottobre 2011

Piano di studi

  • Menswear Design

  • Fashion Graphics

  • Panorama della Moda

  • Analisi dell’industria della moda

  • Metodologia della ricerca

  • Product Management

Frequenza

7 lezioni settimanali – 2h30 ognuna

Durata

8 mesi

Requisiti per l’Ammissione

– un Portfolio che mostri chiaramente la capacità creativa e di illustrazione del candidato

– un CV professionale e di studi dettagliato che includa: certificato di laurea o di diploma con la votazione conseguita

– una lettera di motivazione di 100 parole nella quale descrivere gli obiettivi professionali e di crescita e comunicare con chiarezza le ragioni e le motivazioni che spingono a volere partecipare al Master

– almeno una lettera di referenze dal datore di lavoro o dal docente

– conoscenza della lingua italiana o della lingua inglese.

Per accedere ai corsi master è obbligatorio sostenere un colloquio di orientamento e presentare la domanda di ammissione, consegnata durante il colloquio o scaricabile dal sito debitamente compilata.

 A proposito di Ermenegildo Zegna:

Il Gruppo Ermenegildo Zegna è leader nell’abbigliamento maschile di lusso e una delle realtà imprenditoriali più rinomate in Italia. Fondato nel 1910 a Trivero, sulle Alpi Biellesi, dal giovane imprenditore Ermenegildo Zegna che iniziò con una produzione di tessuti tra i più fini e pregiati al mondo, l’Azienda è oggi guidata dalla quarta generazione della Famiglia Zegna.

Con la fine degli anni ’90 il Gruppo ha completato la sua strategia di verticalizzazione e dato vita a un brand del lusso globale che produce tessuti, capi di abbigliamento e accessori, focalizzato sul retail – per lo più a gestione diretta – e pioniere nel penetrare i mercati emergenti.

Nel 2010 sono stati celebrati 100 anni di eccellenza. Oggi i negozi monomarca, presenti in 80 paesi, sono 570, di cui 300 di proprietà, Listencon un fatturato consolidato nel 2010 pari a 963 milioni di Euro.

 A proposito di Istituto Marangoni:

Istituto Marangoni nasce nel 1935. Da allora ha al suo attivo un bilancio formativo di tre generazioni di studenti ed è stato il trampolino di lancio per oltre 35.000 professionisti, tra i quali nomi importanti della moda internazionale come Domenico Dolce, Franco Moschino, Rodolfo Paglialunga, Umit Benan, Alessandro Sartori, Francesco Russo, e molti altri. La missione dell’Istituto Marangoni è sempre la stessa: creare professionisti per il sistema moda e design che abbiano una predisposizione al sapere e al saper fare e un’attitudine consolidata alla creatività, applicata alle necessità aziendali. Istituto Marangoni conta oggi 2.400 studenti provenienti da 92 differenti nazioni, che si dividono nei tre campus situati nelle tre capitali internazionali della moda, del design e della creatività: a Milano, a Parigi, e a Londra. L’offerta formativa propone corsi triennali, master e annuali a tutti i livelli.

 

 

THE PARALLAX AF DAYS IN LONDON: SHARIN’ IDEAS WITH ARTISTS FROM ALL OVER THE WORLD

 

The Parallax AF days are over. The art show at La Galleria (Royal Opera Arcade, Pall Mall) in London was surely a good occasion to meet artists and people. During the three days exhibition and the two private views, I had the way to approach arts from different parts of the world. It was really fascinating to contact art experiences and extremely various ways to express creativity.

There will be the time, in the next days, to write something about artists who participated to the event held in the very heart of London. For now, I want to thank all the Parallax team and the colleagues with whom I have established friendship, talking about arts and future and sharing ideas and experiences.

So, thanks to: Miika Nyyssonen, Daphne Hughes, Martina Kolle, Amy McDonald, Nichola Doherty, Dagmar Dost-Nolden, Samuel Peacock, Miriam Wuttke, Beth Jervis (Miss Peacock), Deborah Alexander, Amy Wright, David Abse, Jean Marc ISERE, Kimbal Quist Bumstead.

 

 LONDRA, LE GIORNATE DI PARALLAX AF:
A CONTATTO CON ARTISTI DA TUTTO IL MONDO

Le giornate della mostra Parallax AF sono finite. La mostra d’arte presso La Galleria (Royal Opera Arcade, Pall Mall) di Londra è stata sicuramente una buona occasione per incontrare artisti e persone. Durante la mostra (13-16 ottobre) – dove sono stato invitato a proporre le mie opere “Lacer/Azioni” – ho avuto il modo di avvicinare espressioni artistiche provenienti da diverse parti
del mondo. E’ stato davvero affascinante mettersi in contatto con esperienze
e modi estremamente diversi di esprimere la creatività.
Ci sarà il tempo, nei prossimi giorni, di scrivere qualcosa su artisti che hanno
partecipato alla manifestazione tenutasi nel cuore di Londra. Per ora, voglio
ringraziare tutto il team Parallax ed i colleghi con i quali ho stabilito
amicizia, parlando di arte e futuro, condividendo idee ed esperienze.
Grazie a: Miika Nyyssonen, Daphne Hughes, Martina Kolle, Amy McDonald,
Nicola Doherty, Dagmar Dost-Nolden, Samuel Peacock, Miriam Wuttke, Beth Jervis, Deborah Alexander, Amy Wright, David Abse, Jean Marc ISERE ,
Kimbal Quist Bumstead.
 

 

MY LACER/ACTIONS ON SHOW AT “PARALLAX AF” IN LONDON

They are on show at “Parallax AF” at La Galleria, Royal Opera Arcade, Pall Mall (October 14,15,16, ’11). Exhibition conceived and curated by the art historian Dr Chris Barlow.

 My “lacer/actions” artworks will be on show in London, at “Parallax AF” (Wall 12, La Galleria, Royal Opera Arcade, Pall Mall) from 14 to 16 October, 2011). The exhibition ‘s curator, the art historian dr. Chris Barlow, selected three works:

  •  “Nine Eleven, New York 2001, Victims & Martyrs, The Blood Tracks #2”, Canvas, 47×70, 2011
  • As running fast water…”, Canvas, 62×42, 2010
  • I don’t like to stand still”, Canvas, 62×42, 2010
  • I think that they may represent and show something about my research about the incredible world of “street signs”: the mysterious dimension of torn posters. I’ve collected more than 30.000 images. The three ones I present at “Parallax” are only a small indication about my art, that people like to call “psycho-artworks” or images that seem to come from Nowhere… During the show – private view included – I’ll be very glad to meet people and tell them something about my art.

ABOUT PARALLAX AF

http://www.barlowfinedrawings.com/robertoalborghetti.html

Parallax AF is the first art fair of its kind to use new theories from art history in its approach. It showcases established and emerging international contemporary artists.

Parallax AF grew out of an international exhibition that was conceived and curated by the art historian Dr Chris Barlow. It is different from other artists fairs in that it is like a specialised exhibition. It is a serious platform for international and national artists to present their work to national and international dealers, art industry people, collectors, critics and buyers in an exhibition format underpinned with critical theory.

This also provides artists with the benefit, if they wish, to present non-commercial work, or to try out new commercial ideas, without high overhead risks often associated with other fairs.

Parallax AF held in a professional gallery space in central London. The shows are curated by a professional guest curator, having the feel of an organised exhibition, and catalogue essays are written by academics. Parallax AF aims to provide a key service in helping artists to promote and sell their work, as well as providing a platform for developing their careers and practice.

 It is loosely divided into two exhibition showcases presenting abstraction/conceptual and figurative/conceptual art. The Parallax AF takes place at La Galleria, Royal Opera Arcade, Pall Mall and is curated by Dr Chris Barlow.

Abstract/conceptual show: 14th – 16th October (Friday-Saturday 10am-6pm, Sunday 10am-5pm)

Figurative/conceptual show: 21st – 23rd October (Friday-Saturday 10am-6pm, Sunday 10am-5pm)

 VENUE

La Galleria is the most prestigious contemporary art space in central London and well known in the St. James’s and Mayfair arts and fashion business communities for hosting important cultural events. It is situated in the Royal Opera Arcade on Pall Mall and is opposite the Institute of Directors and Athenaeum Club. It is two minutes from the National Gallery and Trafalgar Square. The nearest tube stations are Charing Cross or Piccadilly.

 DATES

Thursday 13th October: 10 am – 7pm (“private view” no. 1, 7pm – 9pm)

Friday 14th October: 10am – 6pm, open to public

Saturday 15th October: 10am – 6pm, open to the public (“private view” no 2, 7pm – 9pm)

Sunday 16th October: 10am – 5pm, open to the public

 TICKETS

There is no door charge and entry is free for the public.

LACER/ACTIONS :  MORE AT…

http://robertoalborghetti.wordress.com/

http://assets2.artslant.com/global/artists/show/134694-roberto-alborghetti

www.youtube.com/user/lacerazioni

  www.myspace.com/lacer-azioni

http://it-it.facebook.com/people/Roberto-Alborghetti-Lacer-azioni

 LE MIE “LACER/AZIONI” NEL CUORE DI LONDRA

Le mie “lacer/azioni” saranno in mostra a Londra, alla “Parallax AF” (“La Galleria, Royal Opera Arcade, Pall Mall) dal 14 al 16 ottobre 2011. Il curatore dell’evento, lo storico dell’arte dr. Chris Barlow, ha selezionato tre opere:

  •  “Nine Eleven, New York 2001, Victims & Martyrs, The Blood Tracks #2” (Undici Settembre, New York 2001, Vittime & Martiri, Le Tracce del Sangue #2, Tela, 47×70, 2011)
  • As running fast water…” (“Come acqua che corre veloce…”, Tela, 62×42, 2010
  • I don’t like to stand still” (“Non mi piace stare fermo”, Tela, 62×42, 2010

Penso che questi artworks possano raprresentare e mostrare qualcosa della mia ricerca nell’incredibile mondo dei “segni di strada”: la misteriosa dimensione dei manifesti strappati. Ho finora collezionato più di 30.000 immagini. Le tre che presento alla “Parallax” sono solo un piccolissimo indizio della mia attività nel campo dell’arte visuale, che la gente già chiama “psico-immagini” o scene che sembrano arrivare da Nessunposto… Durante la mostra sarò lieto di incontrare il pubblico per uno scambio di idee sulla mia attività artistica.

A PROPOSITO DI “PARALLAX AF”…

http://www.barlowfinedrawings.com/robertoalborghetti.html

Parallax AF è nata da una mostra internazionale chiamata “Parallax” che fu concepita e allestita dallo storico dell’arte Dr Chris Barlow. Parallax AF è la prima fiera dell’arte ad usare nuove tecniche d’approccio all’espressione artistica. Le sue “vetrine” annuali consentono agli artisti internazionali di emergere, offrendo una grande visibilità.

Parallax AF è diversa dalle altre mostre perchè è specializzata: è una vera e propria piattaforma per gli artisti nazionali ed internazionali che permette loro di presentare i propri lavori ai galleristi nazionali ed internazionali, agli industriali, ai collezionisti, ai critici e ai compratori. La mostra offre agli artisti il vantaggio di presentare opere non commerciali o di provare nuove idee senza rischi globali che spesso si verificano durante analoghe manifestazioni.

Parallax AF è situata in una galleria professionale nel centro di Londra: le mostre sono curate da un sovrintendente professionista in grado di realizzare eventi ben organizzati, con saggi su cataloghi redatti da accademici. Lo scopo di Parallax AF é quello di fornire un servizio per aiutare gli artisti a promuovere e vendere le loro opere e provvedere ad uno spazio per sviluppare la loro pratica e la loro carriera.

Parallax è divisa in due mostre-evento dedicate rispettivamente all’arte astratta/concettuale (dal 14 al 16 ottobre) ed all’arte figurativa/concettuale (dal 21 al 23 ottobre ).

SEDE DELLA MOSTRA

La Galleria” è il luogo più prestigioso dedicato all’arte contemporanea nel centro di Londra: è conosciuto dagli artisti in St.James e Mayfair e dalle fashion-communities per ospitare eventi culturali. È situata nella Royal Opera Arcade sul Pall Mall ed è di fronte all’ Institute of Directors e all’ Athenaeum Club. Dista due minuti dalla National Gallery e da Trafalgar Square. La stazione metropolitana più vicina è Charing Cross o Piccadilly. Parallax AF è curata dal Dottor Chris Barlow.

DATE ED ORARI

Govedì 13 ottobre: mostra riservata su inviti, dalle 19 alle 21)

Venerdì 14 ottobre: dalle 10 alle 18 aperta al pubblico

Sabato 15 ottobre: dalle 10 alle 18 aperta al pubblico (mostra riservata su inviti dalle 19 alle 21)

Domenica 16 ottobre: dalle 10 alle 17 aperta al pubblico

BIGLIETTI

Non c’è alcun prezzo d’entrata e l’ingresso è gratuito per il Pubblico. Previste due “private views” strettamente su invito. 

 Lacer/azioni su web:

 https://robertoalborghetti.wordpress.com/

http://assets2.artslant.com/global/artists/show/134694-roberto-alborghetti

www.youtube.com/user/lacerazioni

www.myspace.com/lacer-azioni

http://it-it.facebook.com/people/Roberto-Alborghetti-Lacer-azioni

“I DON’T LIKE TO STAND STILL”… SO I’LL BE ON SHOW AT “PARALLAX AF” IN LONDON…

 “I’ don’t like to stand still” is the title of this “Lacer/actions” artwork (cm.62×42, canvas)  that  will be on show at “Parallax AF” in London, at “La Galleria”, Royal Opera Arcade, Pall Mall, October 14-15-16, 2011.

I like, in this image – taken from an ads billboard in 2010 during a rainy day – the group of colors and shapes that gives to me the sense of space and change, in which things and moods are moving toward a direction…

Yes, I don’t like to stand still… That’s the reason why I’ll be at Parallax… Parallax??? Yes, from the greek term “Paràllaxis”, that means “movement”, “alternating turning”, “mutation”… Exactly!

  •  Link to Parallax AF Catalogue

http://www.barlowfinedrawings.com/robertoalborghetti.html

  • Link to Poster: “Lacer/azioni” at Parallax AF

http://assets2.artslant.com/ew/works/show/486120

  •  Link to videoclip on YouTube

http://youtu.be/r735Hb2NdnA

  • Link to videoclip on BlipTV

http://blip.tv/laceractions-lacerazioni/lacer-actions-at-parallax-af-london-5506298

        

CESARE RAVASIO ART: DREAM ELEMENTS TO TELL LIFE

 After some years, I met Cesare Ravasio, fellow-citizen and talented artist. I saw him in his magical, bright and colorful cave in Spotorno (Liguria Coast, Italy) where he established his studio, meeting point for art lovers and tourists. I think I was one of the first journalists to dedicate him an article. Certainly, the first to write a full page about him. At that time I was a young journalist at the beginning of the profession. Cesare Ravasio too was a young student at the prestigious Accademia Carrara in Bergamo, one of the master Trento Longaretti ‘s pupils. I remember that I wrote positively about Cesare, whishin’ him a solid and creative path into the art world.

I met him again after years. And after a journey that has seen him grow and achieve important goals and awards. So many journalists wrote about Cesare Ravasio. And they will continue to write. He deserves it. I watched him in his studio in Spotorno. I saw him creatin’ a painting that’s a sort of synthesis of his art language: bright colors, lights and shadows, transparency, space, depth, infinite horizons, close-ups of absolute precision. And on this stage of dreams and reality, lot of symbols that he likes: chains, keys, hearts, spheres, sundials, candles, wreaths, stems, flowers, curtains, masks, shells, skulls, sailing ships… In short, things and materials to tell the life, the passing time, the pain and the joy, the being and the having, movement and stillness. Ravasio art opens to the emotions and moods. An art that Caesar told in a beautiful and elegant book – title: “From iris on the shore near my sun” – in which he has condensed his human and artistic path, his experiences – as the encounters with Cesare Pavese reality and places – trips to Andalusia, the place of his longings and dreams, including memories for the native village…

To meet Cesare Ravasio, just make a stop in Spotorno, near Piazza del Comune. Cesare now is part of local community, part of the human and cultural context of the beautiful Ligurian town, where he has cultivated friendships (Bruno Lauzi, Chieffo, Rigoni Stern, Ricky Gianco …), experienced creative solutions, loved and dreamed. Cross his atelier threshold. Step in. You’ll discover a world. It’s Yours.

Roberto Alborghetti

 

CESARE RAVASIO: GLI ELEMENTI DEL SOGNO

PER RACCONTARE LA VITA

Dopo anni, ho rincontrato Cesare Ravasio, amico, concittadino e valente artista. L’ho rivisto nel suo antro – magico, luminoso e colorato – di Spotorno, dove egli ha insediato il suo atelier, diventato punto di incontro per gli appassionati dell’arte ed i turisti. Nel rivederlo, mi veniva alla mente un fatto. Penso di essere stato uno dei primi a dedicargli un articolo di giornale. Di sicuro, a scrivergli una pagina fitta. Io ero giovane giornalista, all’inizio della professione. Anch’egli era ancora un giovane studente della prestigiosa Accademia Carrara di Bergamo, allievo del maestro Trento Longaretti. Ricordo che in quell’articolo scrissi positivamente di Cesare, auspicando un percorso solido e creativo nel mondo dell’arte.

L’ho rincontrato dopo anni. E dopo un cammino che l’ha visto crescere e raggiungere traguardi e riconoscimenti importanti. Di Cesare Ravasio hanno scritto in tanti. E continueranno a scrivere. Se lo merita. Basta vederlo all’opera nel suo atelier di Spotorno. L’ho visto creare un quadro che penso sia un po’ la sintesi del suo linguaggio: colori brillanti, luci ed ombre, trasparenze, spazi, profondità, orizzonti infiniti, primi piani di una precisione assoluta.

E poi, in questo palcoscenico onirico e reale al tempo stesso, la tessitura dei simbolismi a lui cari: catene, chiavi, cuori, sfere, meridiane, candele, corone, steli di fiori, sipari, maschere, conchiglie, teschi, velieri… Insomma, cose e materiali per raccontare la vita, il tempo che scorre, il dolore e la gioia, l’essere e l’avere, il movimento e la staticità. E’ l’arte, quella di Ravasio, che si apre alle emozioni e agli stati d’animo. Un’arte che Cesare ha voluto raccontare anche in una bella ed elegante pubblicazione – “Dall’iride in riva al mio sole” – in cui ha condensato il suo percorso umano ed artistico, le sue esperienze – fondamentali quelle degli incontri con la realtà ed i luoghi di Cesare Pavese – i viaggi in Andalusia, i luoghi delle sue nostalgie e dei suoi sogni, compresi i ricordi per il villaggio natìo…

Per vedere all’opera Cesare Ravasio, basta fare tappa a Spotorno, nei pressi della piazza del Comune. Qui è ormai uno di casa. Anzi, fa parte del contesto umano e culturale della bella località ligure, dove egli ha coltivato amicizie (Bruno Lauzi, Chieffo, Rigoni Stern, Ricky Gianco…), sperimentato soluzioni creative, sognato ed amato. Varcate la soglia della sua bottega. Ed entrate. Scoprirete un mondo. Il vostro.

Roberto Alborghetti

 

A WIND OF COLORS FOR PARIS INDIGO SALON

 This is the prevalling offer that Bruno Boggia Disegni will bring to the international event for textile and fashion operators (September 20-22).

 

Colors, colors and many more colors. This is the prevalling offer that Bruno Boggia Disegni will bring to the famous “Indigo”, the Paris international event for textile and fashion operators (September 20-22, Hall 5, 5Y41, Indigo Salon, Paris-Nord Villepin).

As Lucia Boggia says, the showroom idea came from the trends book by Chiron, who was inspired by Odyssey stories, imagining escapes from monotony and monochromatism. In Paris, Bruno Boggia will propose designs that will be the trends for spring-summer 2013 and – for the American market only – for autumn-winter 2013. The Indigo is traditionally considered the “first view“ on what is going to happen in the world-fashion. The Paris Indigo will offer ideas and suggestions to be compared with the nexts pret-a-porter défilès and shows.

Lucia Boggia, with the assistance of her father Bruno and collaborators, prepared textile designs (silk, satin, chiffon) set to win over eyes and curiosity of a worldwide customer base. The Indigo “Première Vision” will be preceded by events scheduled at the Westminster Hotel (Paris, Rue de la Paix) where will take place meetings with customers and fashion operators (September 18-19).