“SOON”:THE NEW VIDEO WITH J.BARTON. MUSIC, COLORS, BEES (AND POLES…)

This is a new collaboration with jazz singer and composer Jeanie Barton. Her  wonderful voice  goes with my abstract photos from “Lacer/actions” project and research. Pictures and great vocals. The macro-photos of cracks and scratches on poles were taken in Beeston-Nottingham on March 2017.

The videoclip is part of “The Ghost Bus Roads” project promoted by Bartons Plc, Roberto Alborghetti Lacer/actions and ACT Group.
Jeanie Barton sings: “Stay a while /Hold me/ If you look / More closely/Flowers bloom/To give bees perfume/ Open soon” (Lyrics by J. Barton).

Jeanie Barton lives in Nottingham (please, read some few lines of her biography I reported below).  She was impressed by this idea and let me free to create… I’m so proud about this clip which mixes and matches again Jeanie’s wonderful voice and music with my visual works; they aren’t paintings or digitally made compositions, but macro pics of cracks and corrosions on poles I took along Beeston streets.

Infos about the videoclip: “Soon” :  Composition, vocals, keys and synths by Jeanie Barton; Acoustic fretless, bass, production by Simon Paterson – Angels of Architecture;  Art, photography and video by Roberto Alborghetti.

Jeanie Barton and Roberto Alborghetti talkin’ with the Lord Mayor of Nottingham, dr.Mohammed Saghir.

 

JEANIE. GREAT VOICE AND GREAT REVIEWS

“Jeanie’s vocals are a touch of class with a sound that is both stylish and personal and characterized by a refreshingly English delivery…” John O’Neill, former jazz critic of The Sunday Times

“Jeanie is a joyous performer with an effortless style…” Neil Bennison, Music Programme Manager, Theatre Royal & Royal Concert Hall, Nottingham

“Jeanie’s infectious smile, great diction and rapport with her audience make it a joy and a real pleasure to listen her” Chris Moore, BBC Radio ‘Jazz Incorporated’

“Absolutely spot-on” LondonJazz News

“The hot chick had mellow tones….” Richard Roundtree (Shaft)

 

ABOUT JEANIE BARTON

Jeanie Barton is a jazz singer and songwriter from Nottingham in England.   After training with the National Youth Music Theatre she studied jazz harmony at Morley College in London and improvisation with BBC Jazz award winner Anita Wardell, she also cut her teeth as singer and compere for bebop pioneer Laurie Morgan and his trio (fronting their famous North London weekly gig, Downstairs at The King’s Head in Crouch End for over a decade).

Jeanie has gone on to support Georgie Fame, sing backing vocals for Luddy Samms (The Drifters) and recently performed for Samuel L Jackson as well as other A list celebrities, singing Bond songs in front of British Icons like Shirley Bassey and Pierce Brosnan.  Credits include performances at The Jazz Cafe, The 606 club, Ronnie Scott’s and The National Theatre, as well as a cruise on the Seine in Paris.

www.jeaniebarton.com

http://jazzandcocktails.co.uk/

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© Roberto Alborghetti – Lacer/actions

ABOUT MY LACER/ACTIONS PROJECT

“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 (during my research around the world  I  collected so far about 100.000 images). Transferred on canvases, reproduced on lithographic prints or textiles (as pure silk), re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks give new meanings and expressions to paper lacerations and matter decomposition.

One of my shows was displaced for 100 days in the enchanting Aldobrandesca Fortress (XIII Century) in Tuscany (Piancastagnaio, Siena, Italy). In the last years I worked on these projects:  “Contemplations and Lacer/actions” (album, videoclip, installations, inspired by Thomas of Bergamo Scripts, 1563-1631), “Atelier of Colors and Emotions” (a project which involved autistic kids), “Lacer/actions on Aluminium” (11 installations for Fai Private Collection, Italy), “The Volcano Dress” (with fashion designer Yarden Mitrani). My works are part of Contemporary Art Collection (Mercatello sul Metauro, Marche, Italy) and participating to “An Exhibition, a Restoration” in Norcia (Umbria, Italy).

My “The Ghost Bus” project was carried out with Bartons Plc and Act Group, Beeston, Nottingham, UK (January-March 2015) with a great short films premiere in Chilwell and Nottingham. My last solo show (“Colors of an Apocalypse 2015”) was on Lake Como, Lenno, Italy, in the special and spectacular location: the St. John Baptistery (XI Century), a beautiful example of Romanesque art.

 

www.robertoalborghetti.wordpress.com/

I already posted an article about this images series: https://robertoalborghetti.wordpress.com/2015/05/11/the-nottingham-you-didnt-expect-modern-art-under-the-sky-and-along-the-streets-2/

“THE PRINCESS, THE FIRE AND THE CASTLE” SHORT FILM IS PARTICIPATING AT FASHION FILM AWARD…WATCH THIS MODERN FAIRY TALE

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LINK TO FASHION FILM AWARD WEBSITE:

http://showstudio.com/project/fashion_film_award/mitrani_yarden_and_roberto_alborghetti_the_princess_the_fire_and_the_castle?utm_campaign=shareaholic&utm_medium=facebook&utm_source=socialnetwork

 

Foto Roberto Alborghetti - Mitrani Yarden 2 - Copia

THE LAVA AND THE FIRE…SPECIAL PREVIEW OF THE FABRIC PRINT OF THE “VOLCANO DRESS”

THE VOLCANO DRESS: ORIGINAL PICTURE BY ROBERTO ALBORGHETTI, FABRIC PRINT & CREATION BY MITRANI YARDEN, SOUNDTRACK BY EYLON MALHI

THE VOLCANO DRESS: ORIGINAL PICTURE BY ROBERTO ALBORGHETTI, FABRIC PRINT & CREATION BY MITRANI YARDEN, SOUNDTRACK BY EYLON MALHI

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This is a special preview of the fabric print of the VOLCANO DRESS. From the original picture from ‪#‎theghostbus‬ by Roberto Alborghetti, Yarden Mitrani worked out this textile print for the VOLCANO DRESS, and Eylon Malhi composed and performed “Amore #1”

Special presentation on Mount Amiata (Tuscany, Italy) on October 24-25-26… ‪#‎mitraniyarden‬ ‪#‎robertoalborghettilaceractions‬ ‪#‎eylonmalhi‬‪ #‎volcanodress‬ ‪#‎hopes‬ ‪#‎hopesproject

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CLICK AND WATCH THE VIDEO: “TEARS OF VOLCANO” BY R.ALBORGHETTI M.YARDEN E.MALHI

http://roalb9.wix.com/hopes?fb_ref=Default#!THE-VOLCANO-DRESS-AN-HOTCOUTURE-CREATION-FOR-HOPES-PROJECT/c1sp5/561bb2230cf2c6c643700fd7

21 TWEETS TO TELL MY “COLORS OF AN APOCALYPSE” EXHIBIT @ THE ROMANESQUE TEMPLE ON LAKE COMO

FROM TWEET # 21 TO # 1… 

#colorsofanapocalypseshow : Twitter top trend.

#colorsofanapocalypseshow : Twitter top trend.

  1. Roberto Alborghetti‏@RobAlborg  7h7 hours ago

Last scene @ my #colorsofanapocalypseshow, Silk stairway to heaven… I Thank You All!

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (10) (480x640)

  1. Roberto Alborghetti‏@RobAlborg  8h8 hours ago

Scene 20 @ my #colorsofanapocalipseshow, Last visitors: Mrs. and Mr. Crowl from London-UK…

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (11) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  8h8 hours ago

Scene 19 @ my #colorsofanapocalypseshow , Blessed touch…

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  1. Roberto Alborghetti‏@RobAlborg  19h19 hours ago

Scene 18 @ my #colorsofanapocalypseshow, Great days, I’m now thinking about The Next Things…

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OLYMPUS DIGITAL CAMERA

5.Roberto Alborghetti‏@RobAlborg  21h21 hours ago

Scene 17 @ my #colorsofanapocalypseshow. Visitors Book:”Bello e inaspettato /Beautiful and unexpected”.

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (4) (640x364)

  1. Roberto Alborghetti‏@RobAlborg  22h22 hours ago

Scene n. 16 @ my #colorsofanapocalypseshow, Textile designer Bruno Boggia and daughter Lucia visiting the exhibit.

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  1. Roberto Alborghetti‏@RobAlborg  Jul 5

Scene n.15 @my #colorsofanapocalypseshow, Visitors Book:comment by Victoria, 3 years old! Wow!

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  1. Roberto Alborghetti‏@RobAlborg  Jul 5

Scene n.14 @ my #colorsofanapocalypseshow, Also the American guy doesn’t feel like touching…

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (1) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 5

Scene n.13 @ my #colorsofanapocalypseshow , she doesn’t feel like touching#2…

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Roberto Alborghetti ‏@RobAlborg  Jul 4

Scene n.12 @ my #colorsofanapocalypseshow. Red&Hot day today… But Panama helps…

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  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.11/2nd part @ my #colorsofanapocalypseshow , observing the picture, tripping through my mind…

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (6) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.10 @ my #colorsofanapocalypseshow, Visitors Book: “Dear Roberto, I want to say you that…”

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  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.9 @ my #colorsofanapocalypseshow. Visitors from San Francisco, California, USA.

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  1. Roberto Alborghetti‏@RobAlborg  Jul 4

Scene n.8,@ my #colorsofanapocalypseshow.Wonderful natural light in the XI Century bapstistery on @lakecomolake

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (8)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n. 7 @ my #colorofanapocalypseshow, They don’t feel like touching…

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  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.6, my #colorsofanapocalypseshow.From Visitors Book: “Ask the artist… You’ll be amazed”.

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (5)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.5 from my #colorsofanapocalypseshow,special silk scarves4special silk dreams…

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (2) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.4 from my #colorsofanapocalypseshow, past-present-future…

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ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (9) (640x480)

  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.3 from my #colorsofanapocalypseshow, Mailys and Aurelien first visitors from Paris.

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  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.2 from my #colorsofanapocalypseshow, all is ready.

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  1. Roberto Alborghetti‏@RobAlborg  Jul 3

Scene n.1 from my #colorsofanapocalypseshow, great article on Settimanale di Como magazine.

ROBERTO ALBORGHETTI - COLORS OF AN APOCALYPSE 2015 Lake Como  (7) (640x227)

LACER/ACTIONS ON ALUMINIUM: THE VIDEOCLIP / CELEBRATING 20.000 DOWNLOADS ON MY YOUTUBE CHANNEL

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“Lacer/actions on Aluminium” videoclip celebrates 20.000 downloads of my videos at YouTube Channel. The clip shows eleven aluminium installations for my “Lacer/actions” Project and created for Fai Bergamo, Italy  (private collection).

After being re-produced on canvases, lithographic prints and textiles (silk and cotton), my images about decomposed publicity posters, cracks and “road signs” have found a new way to be shown and represented. Now they are on aluminium plates… Maybe due to a surprising chemical reaction, aluminium metal gives brilliancy, depth and strenght to colors and shapes, releasing chromatic effects and emphasizing textures.

All the eleven installations are now part of private collection of Fai Bergamo, in Italy, who participated to this “experimentation” curated and produced by “Passepartout” (Bergamo, Italy). So, enjoy this special gallery about “Lacer/actions on Aluminium” “as an unmistakable complement of interior design and decoration…”

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For infos: ro.alb@alice.it

© ROBERTO ALBORGHETTI – LACERACTIONS (3) 

 

 

KANDINSKY, A GREAT EXHIBITION IN MILAN: 80 MASTERPIECES FROM THE CENTRE POMPIDOU COLLECTION. A JOURNEY WITH A PIONEER OF ABSTRACT ART

 

Vassily Kandisky, The Centre Pompidou Collection” show opened in Milan, at Palazzo Reale, yesterday December 17 recounting the artistic and spiritual journey of Vassily Kandinsky, one of the pioneers of abstract art (the exhibition will run until April 27, 2014).

Promoted and produced by the Milan department of culture, Palazzo Reale, the Centre Pompidou, 24 ORE Cultura – Gruppo 24 ORE and Arthemisia Group, this major exhibition presenting over 80 key works by Kandinsky in chronological order is curated by art historian Angela Lampe  of the Centre Pompidou and, for Italy, by Ada Masoero.

Deeply impressed by Monet’s Haystacks series at the Impressionist exhibition of 1896 in Moscow, Kandinsky abandoned a university career to become a painter. In addition to undertaking the classic course of studies under the guidance of masters such as Anton Azbé and Franz von Stuck in Munich, he stayed at Sèvres near Paris from 1906 to 1907 (Park of Saint-Cloud, 1906). He thus developed and artistic vision encompassing numerous fields, from painting to music and theatre, in which he sought and defended what he defined in his well-known text as “the spiritual in art”.

The show is organized in sections corresponding to the major periods in Kandinsky’s life, from the early years in Germany to those in Russia and then France, providing an opportunity to discover a host of crucial works such as Old Town (1902), Windmill in Holland (1904), In Grey (1919), Yellow-Red-Blue (1925), Colourful Ensemble (1938) and Sky Blue (1940).

The exhibition opens with a surprise, plunging visitors into an environment endowed with “the power to transport them outside space and time”. The wall paintings of this initial room, recreated in 1977 by the painter restorer Jean Vidal, faithfully reflect the five original gouaches that Kandinsky produced for an octagonal room at the Juryfreie Kunstausstellung, the “jury-less show” held annually in Berlin from 1911 to 1930. The gouaches were among the works donated to the Centre Pompidou by the artist’s widow Nina in 1976.

The exhibition develops in chronological order in four sections over eight rooms.

Munich, 1896–1914

Kandinsky moved from Russia to Munich to study painting in 1896, when the city was abandoning Symbolism to become a European capital of the Jugendstil or Art Nouveau, a movement pursuing the path of art through decorative projects. Kandinsky began with small, late-Impressionist landscapes like Schwabing (1901) and works of glowing colour in tempera inspired by ancient Germanic legends and the life of old Russia (Old Russia, 1903–04). It was, however, as from 1908, during summer stays at Murnau, where his mistress Gabriele Münter bought a house, that he created the first works using bright colours to translate reality into flat, two-dimensional images inspired by Fauvism. Landscape thus became a pretext for exercises on form and investigations into the power of colour leading to the initial process of abstraction (Improvisation III, 1909).

Kandinsky wrote Concerning the Spiritual in Art in Munich, a lucid theoretical analysis of his pictorial experimentation, from the relationship between form and colour to that between colour and sound. He led the Blaue Reiter project with his friend Franz Marc, which was to hold two shows in the period 1911–12 and produce in May 1912 the celebrated Blaue Reiter Almanach, where music and visual arts were closely entwined and popular and where “primitive” arts were assigned a primary role in a radical renewal of painting. Kandinsky created his first works totally detached from reality during this period (Painting with Red Spot, 1914), translations of his inner world into abstract images.

Back in Russia,1914–21

When World War I broke out, Kandinsky was forced to return to Moscow and left nearly all the works produced in Munich with Gabriel Münter. He worked exclusively on paper in 1915 (Untitled, 1915) and only resumed painting in 1916. After marrying the much younger Nina Andreyevskaya and returning briefly to figuration, he was caught up in the aftermath of the October Revolution and occupied key roles in the new cultural institutions until 1920. While he painted little due to his official commitments, he now espoused abstract art definitively (as in the crucial work In Grey, 1919). Having come under attack from the younger and more radical constructivist avant-garde for his spiritual expressionism, he thus decided to return to Germany in 1921.

The Bauhaus years, 1921–33

Kandinsky, who gained recognition for his written work, was invited by Walter Gropius to teach at the prestigious school of architecture and art known as the Bauhaus. He took charge of the wall paintings course in 1922 and produced the huge decorations for the atrium of the Berlin Juryfreie Kunstausstellung with his students in the same year. 1922 also saw the Small Worlds portfolio of prints, a synthesis of his pre-war Expressionist works, the new and more geometric style of the Russian period and the new developments of the Bauhaus (Black Grid, 1922). The years at the Bauhaus saw close friendship with Paul Klee and the publication of Kandinsky’s other major theoretical work Point and Line to Plane (1926). The titles of his paintings – Orange (1923), On White II (1923), Yellow-Red-Blue (1925) – highlight the relationship between colours and geometric shapes. The first organic forms made their appearance in 1930. The closure of the Bauhaus in 1933 under pressure from the Nazi regime forced him to move again, this time to Paris.

Paris, 1933–44

Kandinsky arrived in Paris in 1933. While indisputably the capital of the art market, the city was also devoted to its own artists (Picasso and the Surrealists above all) and had little interest in the pure abstraction of a Russian artist with German citizenship. Kandinsky moved into a house at Neuilly-sur-Seine looking onto the river and the Bois-de-Boulogne. Enchanted by the limpid, crystalline light, he lightened his palette. At the same time, not least through the influence of his Surrealist friends Jean Arp and Joan Miró, his paintings and works on paper saw a proliferation of biomorphic forms, amoebae, creatures of the depths, embryos and insects (Colourful Ensemble, 1938; Sky Blue, 1940; An Intimate Celebration, 1942). Kandinsky plunged into this microcosm, also in order to escape from the anguish of war. He died on 13 December 1944 without seeing the end of the fighting.

VASSILY KANDINSKY

The Centre Pompidou collection

Palazzo Reale, Milano | 17 dicembre 2013 – 27 aprile 2014

MON 14.30 – 19.30 | TUE, WED, FRI, SUN 9.30 – 19.30 | THU, SAT 9.30 – 22.30

Info and booking: +39 02 54916

http://www.kandinskymilano.it

#kandinskymilano

“THE NEXT APOCALYPSE”: MY COLLAGE-WORK FOR “ART TOPPLING TOBACCO”

Roberto Alborghetti - “The Next Apocalypse: no Heaven or Hell, only Smoking or Non-Smoking”; Collage made with 150 small pieces of waste-paper of decomposed publicity posters; sizes: 47x47 - 2013.

Roberto Alborghetti – “The Next Apocalypse: no Heaven or Hell, only Smoking or Non-Smoking”;
Collage made with 150 small pieces of waste-paper of decomposed publicity posters; sizes: 47×47 – 2013.

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“The Next Apocalypse: no Heaven or Hell, only Smoking or Non-Smoking”;

Collage made with 150 small pieces of waste-paper of torn and decomposed publicity posters;

Sizes: 47×47 cms.; 2013.

This work takes part to “Art Toppling Tobacco”  

http://www.arttopplingtobacco.com.au/

 

Tobacco lacerates (and detroys) our lives. I wanted to express this concept working on lacerated and destroyed waste-paper from torn and decomposed publicity posters I usually find along the streets. So, for my “Lacer/actions” project, I’ve created this collage using about 150 little paper pieces of worn-out and ripped outdoor advertisings. De-struction (and de-construction) to communicate how those dark and disqueting clouds of smoke intoxicate and ruin body and soul, degenerating cerebral system. I worked on an abstract scene coming from exhausted materials to say that smoke, ash and tar are here with us… The next apocalypse: no heaven or hell, only smoking or non-smoking.

This work has been admitted to “Art Toppling Tobacco” project and competition created in Australia by Fay Thomson (browse the web site  http://www.arttopplingtobacco.com.au/ : Submissions 2013, category “Other” and click to the end).

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Il fumo lacera e distrugge le nostre vite. Ho voluto esprimere questo concetto lavorando, come mi è solito, sulla carta straccia dei manifesti pubblicitari decomposti visibili lungo le strade. Ho creato questo collage, per il mio progetto “Lacer/azioni”, utilizzando circa 150 pezzetti di carta stracciata. Il linguaggio di un materiale distrutto e de-strutturato per comunicare, in un’immagine astratta, come l’uso del tabacco intossichi corpo ed anima. Fumo, cenere e catrame: la prossima apocalisse…

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