“LIKE A SEA OF GLASS MIXED WITH FIRE” – A DECOMPOSED PUBLICITY POSTER – LACER/ACTIONS POSTCARDS # 19

By Roberto Alborghetti - Canvas - 2011

By Roberto Alborghetti – Canvas – 2011

*

“I SAW SOMETHING LIKE A SEA

OF GLASS MIXED WITH FIRE”

2011

CANVAS/MIXED MEDIA

63,5X40,5

*

This image  (title from “Apocalypse” of John) is displayed at Roberto Alborghetti Show (“Colors of an Apocalypse: An Intrigue for the Eyes and Mind from the Decomposed Publicity Posters”) which is taking place at Aldobrandesca Fortress (XIII Century) in Tuscany (Piancastagnaio, Siena, Italy); the show has been extended till January 15, 2013.

*

Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about the apparent chaos of ripped and decomposed posters and street tokens and graffiti. 

Transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in videoclips, the details of torn posters give new life to paper lacerations and decomposition, as you may see in this “postcard” reproducing one of the 40.000 images captured by Roberto Alborghetti during his research all around the world.

MY PAPER SKY… FROM A DECOMPOSED PUBLICITY POSTER – LACER/ACTIONS POSTCARDS # 11

ROBERTO ALBORGHETTI “LACER/ACTIONS” ART – IMAGES OF TORN AND DECOMPOSED PUBLICITY POSTERS – “PAPER SKY”

*

“Paper Sky”

Realistic and not manipulated image

LaceR/Actions Project

*

Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about the apparent chaos of ripped and decomposed posters and urban/street signs.

Transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in videoclips, the details of torn posters give new life to paper lacerations and decomposition, as you may see in this “postcard” reproducing one of the 40.000 images captured by Roberto Alborghetti during his research all around the world.

His next big show (“Colors of an Apocalypse: An Intrigue for the Eyes and Mind from the Decomposed Publicity Posters”) will take place at Aldobrandesca Fortress (XIII Century) in Tuscany, from October 6 to November 4, 2012 .

IT’S RAINING OLYMPIC COLORS! DID SOMEONE SHATTER THE 5 CIRCLES? DON’T BOTHER ABOUT IT: IT’S JUST AN ARTPIECE FROM TORN POSTERS…

IT’S RAINING OLYMPIC COLORS! ROBERTO ALBORGHETTI LACER-ACTIONS FOR 2012 LONDON OLYMPIC GAMES

Blue, Black, Red, Yellow and Green: five colors representing our Continents. Five colors we find in the five circles of the historic Olympiad logo. The 2012 London Olympic Games suggested me to toy with my “Lacer/actions” artpieces, realistic and not manipulated images of torn and decomposed posters. In my collection  – more than 40.000 images – I found interesting and particular works, as the piece I show here…

There’re no circles and no official logo, but the 5 colors movement is so funny and amazing… Yes, it’s raining Olympic Games colors! Someone shattered the circles and the colors are now able to move everywhere, to fall and to go up… A metaphore about humanity profound hopes and desires of freedom?          

ABOUT 2012 OLYMPIC GAMES

The 2012 Olympic Games will take place in a host of new venues as well as using existing and historic facilities. Many of the new facilities will be reused and the plans are part of the regeneration of Stratford and Lower Lea Valley in East London.

The 2012 Summer Olympic Games will be held in London from tomorrow, July 27, to August 12, followed by the 2012 Para Olympic Games from August 29 to September 9. At the opening Ceremony around 100.000 people will be working on the Games – including 3.000 staff, up to 70.000 volunteers and a large number of contractors. The London 2012 Olympic logo has created considerable controversy and the spiralling cost of the Games is likely to be an ongoing problem…

London has hosted the Olympic Games on other two past occasions, in 1908 and 1948. The 2012 Olympics will make London the first city to have hosted the modern Games of three Olimpiads.

*

TALKIN’ TO MY BRAIN IN POSITIVE – LACER/ACTIONS POSTCARDS # 3

LACER/ACTIONS POSTCARDS – BY ROBERTO ALBORGHETTI

Images of Torn (publi)City

*

TALKIN’ TO MY BRAIN IN POSITIVE

Roberto Alborghetti ‘s LaceR/Actions is a multidisciplinary project and research about urban signs, especially concerning the apparent chaos of ripped posters and urban signs.

Transferred on canvas, reproduced on lithographs or textiles (as pure silk), or scanned in videoclips, the details of torn posters give new life to paper lacerations, as you may see in this “postcard”, inspired by Srini Pillay’s words from his book “The Science Behind The Law Of Attraction”.

SIGNS FROM NOWHERE: WELCOME TO CITIES OF GHOSTS…

 

This slideshow requires JavaScript.

 

Some years ago someone told me that my “Lacer/actions” artworks – images of torn poster and urban signs – are a sort of evolutional forms by which some unidentified and indefinite entities try to communicate with us… At first I smiled hearing this comment.

Now – after having “captured” strange and unusual images in thousands – I’m not so worried thinking about the idea that those abstruse and abstract signs taken from cities walls could be some intriguing dimension of perception (or a new form of communication from Nowhere…)

So, let ‘s have a look (without prejudices or mental barriers) to this slideshow… They are realistic images, not manipulated or digitally enhanced. I captured them on the cities walls around the world. And welcome to my Cities of Signs: Cities of Ghosts, Cities of Lacer/actions…

P.S. During this week I’ll be on travel through Holland and Italy. So I take a break in bloggin’, but not in capturing… ghosts traces on the cities walls.

 

© Roberto Alborghetti

   

 

« LE JET DE MON SANG CLAIR »: PURUSHA HONTOY POEMS AND ROBERTO ALBORGHETTI ART #3

Poème: PURUSHA HONTOY

Artwork: ROBERTO ALBORGHETTI

Lacer/actions – Images Of Torn (publi)City

 ****************************************************************************

 

LE JET DE MON SANG CLAIR

(My Clear Blood’s Jet)

 

 

L’effroyable atteint  l’infortune

La souffrance altère toutes les choses

 

J’ai mal

 

Le cœur se déchire

Le jet de mon sang clair

Nourrit le parchemin de ma mission

 

Vibrez

 

Aurons-nous la chance d’éjaculer

Notre libre arbitre

 

Nos choix 

 

Hommes natures  écoutez- moi

 

Dans la couleur projetée

 

Se tient l’anneau  promesse

D’une vie  nouvelle

 

 

Je l’ai peint  avec amour immense de  toute mon âme  au sang  clair

************************************************************************************

© Poem Copyright Purusha Hontoy

© Artwork Copyright Roberto Alborghetti

************************************************************************************

ABOUT PURUSHA

Purusha Hontoy est une amie des arts de la vie.

Diretrice et Formatrice chez l’Ecole l’Art de Vivre.

GALERIE PURUSHA (QUEBEC, CANADA)

PURUSHA HONTOY (AT LINKEDIN)

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/

MY NAME IS A BRAND: STUDENTS PLAY WITH MULTINATIONAL COMPANIES LOGOS

 

This slideshow requires JavaScript.

Brands, trademarks and logos surround us. They besiege us. They became part of our lives. Often we identify a brand with our character and our style. And it’s really funny what the Holy Family Institute’s students in Comonte di Seriate  (Italy) did. They enjoyed to play with their names drawing  internationally known brands graphs. Leaded by their  Professor mrs. Falconi, the students have proposed multinational companies whose trademarks are around us (Pizza Hut, Coke, Sprite, Vodafone, McDonald’s, Apple, Google, Telecom Italy, Moncler, Corona, Kung Fu Panda and others). It was an irresistible game that has become a  good exercise in observation too.

 

IL MIO NOME E’ UN MARCHIO

 I marchi ci circondano. Ci assediano. Son entrati a far parte della nostra vita. Spesso, in un marchio ci riconosciamo, con il nostro carattere e con il nostro stile. Ed è simpatico quello che hanno fatto gli studenti dell’Istituto Sacra Famiglia di Comonte di Seriate (Bergamo) che si sono divertiti a rivestire i propri nomi con i tratti grafici di noti marchi di prodotti. Sotto la guida della docente prof.ssa Falconi, gli studenti hanno proposto i loghi di società multinazionali i cui, marchi, sono sotto gli occhi di tutti (Pizza Hut, Coke, Sprite, Vodafone, Mc Donald’s, Apple, Google, Telecom Italia, Moncler, Corona, Kung Fu Panda e altri). Un irresistibile gioco che si è trasformato anche in un bell’esercizio di osservazione.  

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

 

 

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

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

 

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

WATCH THE CLIP, WITH MACKINTOSH BRAUN SOUNDTRACK: 

http://youtu.be/AIkW03wDWtM

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

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

 LACER/ACTIONS on web

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

www.youtube.com/user/lacerazioni

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

www.facebook.com/roberto.alborghettilacerazioni

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

https://robertoalborghetti.wordpress.com/

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

www.myspace.com/lacer-azioni

 SONO SOLO… LACER/AZIONI

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

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

 

RED IS IN THE AIR. A REVOLUTION IS COMIN’ SOON. MAYBE

New videoclip from Roberto Alborghetti ‘s “Lacer/actions” arts. Inspired by a French movie directed by Chris Marker.

 

Some words about my new clip “L’air est rouge” posted yesterday. Red is one of the colors that predominate in my “Lacer/actions” artworks (images of torn posters). Red is the color of this festive season. And red is the color that expresses strength, energy, vitality, life … It’s dedicated to red color my new clip “L’air est rouge”, avowedly inspired by a French film directed in 1977 by Chris Marker (“Le fond de l’air est rouge”), docu-movie about revolutions that have marked the world during the 1967-1977 decade.

 Revolutions usually take place on the streets. And I collect my images along the streets. Like those of this clip, in which the red textures are perhaps the metaphor of how today the air is red (again), full of expectations and hopes about a great change in our world. My “revolutionary” wish for 2012 is for a social order in which everyone feels represented and respected. Art can do a lot for this.

 Nothing of apocalyptic in my clip – in a certain sense, we already live in an apocalypse – but “l’air est rouge…”

 

Clip: L’air est rouge (la rèvolution est proche…)

Created by: Roberto Alborghetti

Lenght: 32”

Soundtrack: Le sentiment de l’amour, by Thiae

Images from “Lacer/actions” collection.

 LINKS

http://youtu.be/qw_0TYCY0Fk

 http://animoto.com/play/c0gv10wD0L5ixZHS0YsHtg

 http://vodpod.com/watch/15877321-lair-est-rouge-la-revolution-est-proche-?u=robertoalborghetti&c=robertoalborghetti

 

 L’AIR EST ROUGE. LA REVOLUTION EST PROCHE?

Il rosso è tra i colori che maggiormente predominano tra le mie “lacer/azioni” (immagini della pubblicità strappata). Rosso è il colore di questi giorni natalizi. E da sempre il rosso è il colore che esprime forza, energia, vitalità, vita… Ed è proprio dedicato al rosso il mio nuovo clip “L’air est rouge”, titolo dichiaratamente ispirato da un film francese del 1977, diretto da Chris Marker (“Le fond de l’air est rouge”), documento a più voci sulle rivoluzioni che nel mondo hanno scandito il decennio 1967-1977.

Le rivoluzioni di solito si fanno per strada. E per strada io raccolgo le mie immagini. Come quelle di questo clip, dove le trame di rosso sono forse la metafora di come davvero l’aria sia oggi davvero rossa, ancora carica di attese e di speranze che portino nel mondo quel grande cambiamento ed un ordine sociale in cui tutti si sentano rappresentati e rispettati. Niente di apocalittico nel mio clip – in un certo senso, già viviamo in un apocalisse – ma “l’air est rouge”…

 

LINKS

http://youtu.be/qw_0TYCY0Fk

 

http://animoto.com/play/c0gv10wD0L5ixZHS0YsHtg

 

http://vodpod.com/watch/15877321-lair-est-rouge-la-revolution-est-proche-?u=robertoalborghetti&c=robertoalborghetti