NINE ELEVEN / NEW YORK 2001
An Image To Remember
Link to YouTube clip:
NINE ELEVEN / NEW YORK 2001
An Image To Remember
Link to YouTube clip:
I recently had the way to visit one of the most beautiful Italian medieval villages, Cornello dei Tasso (Bergamo). In the ancient church (XII Century) I saw incredible frescos. I was attracted and fascinated by colored fresco stripes on the walls (XV-XVI Century). They are really cool and they have an incredible modern touch. They are signs and signals comin’ from the past; they tell us the universal language of colors. Here, in this page, I show some pictures.
The church (dedicated to Saints Cornelio and Cipriano) where I saw the frescoed stripes, dominates the village from on high, with its bell tower with mullioned windows, beautiful example of Romanesque architecture. It has undergone considerable changes from its original 12th-century structure over the centuries, and it is one of the elements of greatest interest in the village.
The most interesting aspect brought to light by restoration work is the magnificent fresco cycle covering the interior walls of the Tasso noble chapel, painted in the 15th-16th century. It shows a variety of themes, and an excellent execution. Considerable variation in style – as the colored stripes – can be seen in the different panels of the fresco.
The figures of St. George, St. Vincent, St. Stephen and St. Agatha are well-painted; the Adoration of the Magi is admirable; but the finest of all is the panel of the Miracle of St. Giles, protector of farriers, a scene of considerable historical interest for its depiction of settings, clothing and tools from the period.
Little, but important village. We may say that here was “invented” the postal service. According to documents, Cornello is the home of Omodeo Tasso and other members of this “postmaster” family. Mail was first carried on foot, and later the service was improved with use of horses, dispatch riders, and mail coaches. The Tasso family organized itself into a private company, the Compagnia dei Corrieri, and through its various branches, it succeeded in obtaining contracts for handling mail first in the Republic of Venice and, later, in the 1400-1500s, in the Papal States, in the State of Milan, and in all the lands of Europe dominated by the Hapsburg empire. The family Tasso – this surname gave origin to the same word of “taxi” – still survives at nowadays in the german Thurm und Taxis family.
Cornello dei Tasso is one of the villages in the province of Bergamo that has best preserved its medieval structure. At one time the village was the center of trade with the Valtellina along the Via Mercatorum, and it had an important market. At the end of the 1500s its commercial fortune began to decline. Its centuries of isolation helped preserve the original layout of the village, which is characterized by the superimposing of four levels of buildings. In the lower part, a number of buildings are aligned horizontally, overhanging the Brembo river , which show the original fortified character of the village. On the upper level there is the street with porticos, topped by stone arcades, covered by a wooden beam ceiling and paved with cobblestones.
In the pics: the fresco stripes and a street with porticos in Cornello dei Tasso (Italy).
Lacer/actions artworks by Roberto Alborghetti are now textile designs made with the internationally known Bruno Boggia Studio.
Once upon a time there was a waste … It was the dirty, torn, and worn paper of the advertisings posted on the walls of our cities. Perhaps it was unthinkable that, from waste paper, we could take and pull out something beautiful and aesthetically attractive. But, I’ve made it with my project “Lacer/actions”: to transform paper-trash images in a subject of art, or at least in a watchable product. The proof? My canvases and lithographs, and even the videoclips running trough a lot of websites around the world. And now, I check out a unique experiment that has become reality thanks to Bruno Boggia, in Como, who for over sixty years has been working with the most famous designers and fashion brands in the world (Capucci, Lacroix, Valentino, Lancetti, Mila Schon, Chanel, Celine, Dior, Y.S.L., Etro, Escada, Donna Karan, Paul Smith, Rolando Santana…).
Bruno Boggia, founder of the prestigious Design Studio in Como (www.boggiadisegni.it ), appreciated immediately my artworks “Lacer/actions”. He found in my works – images of ripped ads! – shapes, colors and graphics solutions so close to contemporary art and design. He found, in my “Lacer/actions”, images so similar to patterns and motifs created by his designers team, whose works are sold all over the world.
Said and done. Bruno Boggia, with the invaluable assistance of his daughter Lucia, and with the support of his staff, helped me in the selection of artworks to be converted into silk scarves, packed with all the trappings of the case. And so, within a few days, the challenge reached the finish line. The images of that dirty and ripped paper have changed now in the elegance, delicacy and sheen of silk scarves.
Me too, when I passed the scarves in my fingers, I was really impressed and moved. I think that, in some ways, it’s an extraordinary and innovative result. The photographs of a couple of scarves, reproduced in this page, they are going to demonstrate it. And even better, aesthetically, it was when young women of Bruno Boggia Studio wanted to wear “Lacer-ations” silk scarves. It was a sort of personal “defilèe” where they were highlighting the uniqueness of images taken from reality. Images that were originally ripped and dirty advertisings, left to decompose on the walls or billboards.
Now, they have become soft and beautiful silk scarves. Incredible, but true. Thanks to Bruno Boggia, to Lucy, to all the Studio in Como, to have participated to this unimaginable and creative development of my project.
By Roberto Alborghetti
LINK TO VIDEOCLIP
Have 30 seconds of relax with my videoclip in which I show some of my blue coloured “lacer/actions” artworks.
I collected the pics around the world, as the other 30.000 I own.
Some of them are now canvases and lithographies.
Enjoy the clip that I made with the beautiful soundtrack “After Afterall” by William Fitzsimmons.
LINK TO THE CLIP:
Massimo Lallai, so attentive to the world of communications and medias, sent me some interesting considerations about my artworks “Lacer/actions”. I’m glad to share them on this page.
I read your brochure “Lacer/actions – Pics of torn (publi)city” and your experience reminded me that recently I supported an examination whose title was “The City ‘s Writing”. It was concerned about historical and economic development of Latin American cities, particularly Buenos Aires, Mexico City, Lima and Havana, and the way they were portrayed in literature.
I read several works by authors who recreated those cities in their books (in physical and socio-cultural terms) and some of them speak and analyze popular forms of art such as graffiti or wall paintings in Mexico City or in La Havana, where those drawings and “signs” really works as advertisings for restaurants, bars and food shops; others authors analyze other forms of written expressions on the walls, called “Las Maras” by local street gangs.
In fact, with your “Lacer/actions” artworks, you too are acting as a “voice of the city” because every lacerations is typical of a certain place and culture. I’m not only speaking about showing written words artworks but, above all, about the colors pictures. They are really beautiful! My compliments again! “
BY MASSIMO LALLAI
VOCI E SCRITTURE DELLE CITTA’
L’amico Massimo Lallai, persona attenta a tutto ciò che è e fa comunicazione, mi ha inviato alcune sue riflessioni sui miei artworks “Lacer/actions”. Sono considerazioni molto interessanti, che voglio condividere con voi.
“Ho letto il tuo opuscolo “Lacer/azioni – Fermi-immagine sulla (pubbli)città strappata” e la tua esperienza mi ha riportato alla mente un esame sostenuto da poco il cui titolo era “La scrittura della cittá”. Trattava dello sviluppo storico ed economico delle metropoli latinoamericane, ed in particolare di Buenos Aires, Cittá del Messico, Lima e La Habana e del modo in cui queste venivano rappresentate nella letteratura.
Lessi diverse opere di autori che ricreavano tali metropoli nei loro libri (sia dal punto di vista fisico e socioculturale) e alcuni di loro parlano e analizzano forme popolari di pittura come per esempio i graffiti di Cittá de Messico o i dipinti murari che fungono, a La Habana, da vere e proprie “insegne” pubblicitarie per ristoranti, bar o negozi di articoli alimentari; altri analizzano altre forme di espressione come le scritte murarie delle bande di strada chiamate Las Maras.
In effetti anche tu, con le “Lacer/azioni”, fungi da “voce delle cittá” anche perché ogni lacerazione é tipica di un certo luogo, della sua cultura e non parlo solo delle lacerazioni che mostrano delle scritte ma anche, e soprattutto, dei colori. Sono veramente belle… ancora complimenti!”
This is the review about my artworks “LACER/ACTIONS” recently wrote by a famous Italian critic, Lino Lazzari, journalist, writer, one of the historic leaders of art communication in Italy, author of essays and studies, including the monumental books about “Accademia Carrara”.
BY LINO LAZZARI
One of the fundamental principles of physics says: “In nature nothing is created, nothing is destroyed”. “Nothing is created” because each reality that is invented by men, comes from a pre-existing reality and “nothing is destroyed” because a reality defined as “destroyed” or ” consumed” it is actually “re-created” or converted, buying a whole new identity.
And that is what Roberto Alborghetti can do with posters that appear on walls or on the expositive spaces in the streets of our cities, “destroyed” by the time, or torn by unknown. The interest for those posters that, while being exhibited in public, clearly appeared, no longer exists. There remain only shreds of paper, colourful images of which you can’t “read” anything of the advertisement that was announced before, meaningless “things” to be thrown in the incinerator.
Roberto Alborghetti, however with a surprising insight, thought to give those images a new identity, to transform them into other images, in a word, to re-create them. But for which purpose?
Easy for him, but unimaginable for us.
The purpose of this “re-creative” act was that to snap what remained of those “pieces” and, perhaps, drawing meaningful “artistic subjects.” Impractical project? Not at all. Looking carefully at these completely insignificant remainders, it’s possible to notice that these remainders are really “artistic subjects” with precise, new messages, completely different from the original and from those which had the poster when it had been posted up. Saying that Roberto Alborghetti has managed to do all this, is simple observation.
Those “tears” of posters, “re-created” by Roberto Alborghetti, have become true artist’s paintings: at first glance they can be attributed to contemporary avant-garde painters, with authentic and precise messages on which our attention should linger. The observers may see in these paintings blue skies and seas, beautiful sunrises and sunsets: the scenery would call “bucolic” and so on. All this with a clear and understandable “language”.
As described here, can all this be defined as artistic expression? I would say so. In fact “Pop Art” has done the same, so it isn’t difficult to associate the pictures of Roberto Alborghetti to the real ‘”Pop Art”. There is both the “creativity” of the artist and his sensitivity to the beauty of chromatic variations, his emotions for those images which really lead to the marvellous vision of new reality “ri-created” by a lively fantasy and a genuine poetic feeling that can’t leave nobody indifferent. Visual art is all that, thanks to the imprinted images on canvas or on sculptures, can arouse feelings in a context of values that can be deeply appreciated.
For what concerns the technical side, it requires a just settlement of the spaces (we refer in particular to painting), a chromatic, harmonious “game” or a balanced structural composition, an image that is not static but, on the contrary, in continuous movement. The “paintings” by Roberto Alborghetti have all these features, so the great appreciation from the artistic critique goes to this artist.
We are confident that Roberto Alborghetti will continue this artistic “journey” because he doesn’t lack the artistic ability. And the successes obtained with the presentation of his works in several shows will continue to occur. His paintings deserve attention: from those “torn pieces” of billboards, now “re-created”, comes an authentic message of poetry, of serenity, of admiration for everything that objectivity can present as beautiful and artistic. The material used to create a work of art and to convey positive messages of humanity isn’t as important as the ability to use “tears” of coloured paper to exalt the features of a reality that becomes a striking, persuasive image for what concerns the dictates of visual art.
Roberto Alborghetti has given evidence.