THE SPECTACULAR EFFECTS OF RUST / PICTURE #1

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© Roberto Alborghetti

Time and rust have the fascinating power to change things without the contribution and conditioning of the human being’s hand. The work and the creative action that rust can do are truly surprising. They can compose and model endless scenes in which our eyes can see and perceive horizons without limits.

Like in this series of images. We can glimpse scenes that remind us of dry leaves, fronds of trees shaken by the wind, red flowers of indecipherable plants … In short, the effects of rust can be spectacular.

But the image you see above is not a painting, but simply a macro photograph of the rusts I saw on a billboard. Everything is created casually, without a precise intent, without a reason which is not that of the normal process accomplished by the natural decomposition of the elements.
This abstract and macro photo is are part of “Lacer/actions”, a multidisciplinary project and research about the apparent chaos of ripped and decomposed publicity posters, natural cracks, crevices, scratches and urban and industrial signs and tokens, like these trails of rust (I’ve collected so far more than 100.000 photos…). Transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks, corrosions and scratches give new meanings and expressions to paper lacerations and matters decompositions.

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Interested in purchasing these images in exclusive and original copies? Please contact: ro.alb@alice.it ; funtasyeditrice@gmail.com

Il tempo e la ruggine hanno il fascinoso potere di modificare le cose senza l’apporto e il condizionamento della mano dell’essere umano. Sono davvero sorprendenti il lavoro e l’azione creativa che può compiere la ruggine. Possono comporre e modellare scene infinite nelle quali i nostri occhi possono vedere e percepire orizzonti senza limiti. O cieli nei quali le nuvole lasciano incredibili scie, come le pennellate che un pittore lascia sulla tela. Ma queste immagini non sono dipinti, ma semplicemente fotografie dal vero, ravvicinate, delle ruggini che ho visto su un vecchio cancello. Tutto è creato casualmente, senza un preciso intento, senza una ragione, che non sia quella del normale processo compiuto dalla decomposizione naturale degli elementi. Sorprendente, non è vero?

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THE “GHOST BUS PROJECT” IN GIF: COLORS FROM A VINTAGE VEHICLE (NOTTINGHAM, UK)

theghostbusgif

Can you believe that this art is from an old bus?“… The few pictures you see in this gif are not paintings, but simply photos I took in Beeston, Nottingham (UK) around an old bus at the garage of Bartons family. They are part of “The Ghost Bus Project” that I have brought forward in collaboration with Bartons Plc and its owner Simon Barton, ACT Group (Art-Culture-Tourism) and its founder Marysia Zipser. It all started in October 2014 when Marysia Zipser took me to  Bartons huge garage of vintage buses and cars.

 I was really impressed by one of the oldest buses,  the so called “The Ghost Bus”, a piece of history of English public transport: it’s a URR 865 vehicle AEC Reliance made in 1956! Simon Barton told me that a vehicle-sister of the   “ghost bus” was documented in 1959 on a wonderful and unmissable film telling a beautiful journey through Italy by a group of English ladies and gentlemen. It was another great reason to establish a collaboration building a bridge  between the Land of Robin Hood and Italy…

So, I began to work and create on the “ghost bus” for my “Lacer/actions” project concerning realistic images of decomposed publicity posters, natural cracks and scratches, urban and industrial tokens and materials. The project consisted of two short movies for public performances and video shows, a cards series (reproducing 16 artworks selected from the 109 ones that has been created) and special events that took place in Beston, Chilwell, Nottingham and in Tuscany (Mount Amiata, Siena).

Infos, galleries and flyers at:

https://robertoalborghetti.wordpress.com/the-ghost-bus-project/

 

CORROSIONS ON THE SURFACE OF AN IRON GATE: WITH A TOUCH OF YELLOW #3

© roberto alborghetti (9)

© Roberto Alborghetti

© Roberto Alborghetti

© Roberto Alborghetti

Yellow varnish on a peeling metal surface can lead to truly surprising results. Time, weather conditions, smog, dust and rusts act effectively on materials and offer scenes of singular charm at the end of their corrosion process. Just like this yellow paint that the lens of my camera has caught on the pole of a gate. And so, the grays, blacks, blues of the corroded metal, welcome yellow fragments and cracks that are randomly dispersed, without a prearranged order, on the iron surface. They compose a palette of a harmonious mixture of colors. But, as I like to say, these are not paintings made by human hands. They are macro photos of the spectacle of passing time that leaves its scars on materials and matter.

These abstract and macro photos are part of “Lacer/actions”, a multidisciplinary project and research about the apparent chaos of ripped and decomposed publicity posters, natural cracks, crevices, scratches and urban and industrial signs and tokens, like these trails of rust  (I’ve collected so far more than 100.000 photos…). Transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks, corrosions and scratches give new meanings and expressions to paper lacerations and matters decompositions.

*

Interested in purchasing these images in exclusive and original copies? Please contact: funtasyeditrice@gmail.com

a1 - Copia - Copia

Con un tocco di giallo… La vernice su una superficie metallica scrostata può portare a risultati davvero sorprendenti. Il tempo, le condizioni atmosferiche, lo smog, le polveri e le ruggini agiscono in modo efficace sui materiali e offrono, al termine del loro processo della corrosione, scene di singolare fascino. Come appunto questa vernice gialla che l’obiettivo della mia fotocamera ha colto sul palo di un cancello. E così, i grigi ed i neri del metallo corroso, accolgono frammenti gialli che si disperdono sulla superficie ferrosa, componendo una tavolozza di colori di grande effetti. Ma, come mi piace dire, questi non sono dipinti realizzati da mano umana. E’ solo lo spettacolo del tempo passa e che lascia le sue cicatrici sui materiali e sulla materia.

FLORENCE: GREAT EXHIBITION OF THE MASTERPIECES RECENTLY ACQUIRED BY THE ACCADEMIA GALLERY

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Cecilie Hollberg, director of the Accademia Gallery in Florence, is pleased to inaugurate the rich program of events organized by the Museum in 2019 with the 2016-2018 New Acquisitions exhibition. The exhibition, which can be viewed from January 22nd to May 5th 2019, presents some masterpieces that have merged into the Museum’s permanent collections thanks to the commitment of various organizations, expertly coordinated by the Director, who also conceived and curated the exhibition project.

The aim of the exhibition is to make the general public understand how the Accademia Gallery of Florence, universally known for its impressive collection, is constantly engaged, not only in conservation activities, but also to increase its artistic heritage. With the New Acquisitions exhibition, it is possible to see how this intense work took place on several fronts and directions following different paths: four fragments of an altarpiece were purchased by the Gallery on the antiquarian market; a sculpture by Lorenzo Bartolini came thanks to a generous donation; two tables have been entrusted to the Gallery after confiscation by the Patrimonio dei Carabinieri; four paintings, finally assigned to the Gallery, come from the deposits of the Certosa di Firenze.

The amazing works with a golden background like the two saints by Niccolò di Pietro Gerini and the Madonna dell’Umiltà of the Master of the Bracciolini Chapel, were entrusted to the Gallery after the brilliant confiscation by the Operative Department of the Carabinieri Command of the Cultural Heritage Protection Unit of Rome. The two tables were still in Florence in 2003 when they were illegally exported to Switzerland. The investigations, initiated in 2006 by the TPC Operative Department of the Carabinieri Command under the coordination of the Public Prosecutor’s Office of Rome, have allowed the identification of a group of Italian professionals and a London antique dealer specialized in the illicit exportation of cultural heritage. Thanks to the collaboration with the Swiss Judicial Authority it was possible to seize the works and repatrate them in Italy in 2009.

Also worthy of mention is the beautiful bust of the playwright Giovan Battista Niccolini (1782-1861) by Lorenzo Bartolini. The sculpture was exhibited during the last edition of the International Antiques Fair in Florence and was generously purchased and donated to the Museum by the Friends of the Galleria dell’Accademia di Firenze immediately after its foundation. The history of the work is shrouded in mystery, in fact, it was not present in the study of the sculptor during the drafting of the inventory compiled at the time of his death but appears, a few years later in Florence, on the occasion of the Italian Agricultural Exposition, industrial and artistic of 1861. Given for lost, the bust has reappeared on the antiquarian market after more than a century and a half and, thanks to the generous donation, it can be definitively exposed together with its plaster model, already kept in the Museum.

LACER/ACTIONS IN GIF / 8 PICTURES FROM THE WORLD AROUND US

lacer-actions gif

“LaceR/Actions” is a multidisciplinary project and research about the apparent chaos of ripped and decomposed publicity posters, natural cracks, crevices, scratches and urban and industrial signs and tokens, like these 8 pictures in gif (I’ve collected so far more than 100.000 photos…). Transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks, corrosions and scratches give new meanings and expressions to paper lacerations and matters decompositions.

*

Interested in purchasing these images in exclusive, unique and original copies? Please contact: funtasyeditrice@gmail.com

CORROSIONS ON THE SURFACE OF AN IRON GATE: WITH A TOUCH OF YELLOW #2

© roberto alborghetti (4)

© Roberto Alborghetti

© roberto alborghetti (5)

© Roberto Alborghetti

© roberto alborghetti (6)

© Roberto Alborghetti

Yellow varnish on a peeling metal surface can lead to truly surprising results. Time, weather conditions, smog, dust and rusts act effectively on materials and offer scenes of singular charm at the end of their corrosion process. Just like this yellow paint that the lens of my camera has caught on the pole of a gate. And so, the grays, blacks, blues of the corroded metal, welcome yellow fragments and cracks that are randomly dispersed, without a prearranged order, on the iron surface. They compose a palette of a harmonious mixture of colors. But, as I like to say, these are not paintings made by human hands. It is only the spectacle of passing time that leaves its scars on materials and matter.

These abstract and macro photos are part of “Lacer/actions”, a multidisciplinary project and research about the apparent chaos of ripped and decomposed publicity posters, natural cracks, crevices, scratches and urban and industrial signs and tokens, like these trails of rust  (I’ve collected so far more than 100.000 photos…). Transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks, corrosions and scratches give new meanings and expressions to paper lacerations and matters decompositions.

*

Interested in purchasing these images in exclusive and original copies? Please contact: ro.alb@alice.it ; funtasyeditrice@gmail.com

a1 - Copia - Copia

Con un tocco di giallo… La vernice su una superficie metallica scrostata può portare a risultati davvero sorprendenti. Il tempo, le condizioni atmosferiche, lo smog, le polveri e le ruggini agiscono in modo efficace sui materiali e offrono, al termine del loro processo della corrosione, scene di singolare fascino. Come appunto questa vernice gialla che l’obiettivo della mia fotocamera ha colto sul palo di un cancello. E così, i grigi ed i neri del metallo corroso, accolgono frammenti gialli che si disperdono sulla superficie ferrosa, componendo una tavolozza di colori di grande effetti. Ma, come mi piace dire, questi non sono dipinti realizzati da mano umana. E’ solo lo spettacolo del tempo passa e che lascia le sue cicatrici sui materiali e sulla materia.

CORROSIONS ON THE SURFACE OF AN IRON GATE: WITH A TOUCH OF YELLOW #1

© roberto alborghetti (1)

© Roberto Alborghetti

© roberto alborghetti (2)

© Roberto Alborghetti

© roberto alborghetti (3)

© Roberto Alborghetti

With a touch of yellow … Varnish on a peeling metal surface can lead to truly surprising results. Time, weather conditions, smog, dust and rusts act effectively on materials and offer scenes of singular charm at the end of their corrosion process. Just like this yellow paint that the lens of my camera has caught on the pole of a gate. And so, the grays, blacks, blues of the corroded metal, welcome yellow fragments that are randomly dispersed, without a prearranged order, on the iron surface. They compose a palette of a harmonious mixture of colors. But, as I like to say, these are not paintings made by human hands. It is only the spectacle of passing time that leaves its scars on materials and matter.

These abstract and macro photos are part of “Lacer/actions”, a multidisciplinary project and research about the apparent chaos of ripped and decomposed publicity posters, natural cracks, crevices, scratches and urban and industrial signs and tokens, like these trails of rust  (I’ve collected so far more than 100.000 photos…). Transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks, corrosions and scratches give new meanings and expressions to paper lacerations and matters decompositions.

*

Interested in purchasing these images in exclusive and original copies? Please contact: ro.alb@alice.it ; funtasyeditrice@gmail.com

 

a1 - Copia - Copia

Con un tocco di giallo… La vernice su una superficie metallica scrostata può portare a risultati davvero sorprendenti. Il tempo, le condizioni atmosferiche, lo smog, le polveri e le ruggini agiscono in modo efficace sui materiali e offrono, al termine del loro processo della corrosione, scene di singolare fascino. Come appunto questa vernice gialla che l’obiettivo della mia fotocamera ha colto sul palo di un cancello. E così, i grigi ed i neri del metallo corroso, accolgono frammenti gialli che si disperdono sulla superficie ferrosa, componendo una tavolozza di colori di grande effetti. Ma, come mi piace dire, questi non sono dipinti realizzati da mano umana. E’ solo lo spettacolo del tempo passa e che lascia le sue cicatrici sui materiali e sulla materia.