ROBERTO ALBORGHETTI – LACER/ACTIONS PROJECT – “Dancin’ Branches?” / Canvas, 2012, 70×50 / On display at “Colors of an Apocalypse” Show, Tuscany, Italy (October 6 – November 4, 2012).

People usually have doubts about the origins of my “Lacer/actions” artworks. As I like to repeat, they are realistic and natural images of torn and decomposed publicity posters I see everywhere, all around the world… People think that they are manipulations or enhanced works made with some software programs…

So, I created a collage series which will be displayed in a special room at my “ Colors Of An Apocalypse” Show, at the enchanting Aldobrandesca Fortress (XIII Century), in the beautiful Tuscany (October 6 – November 4, 2012). They are five works I created using small paper pieces from real torn posters I collected along the streets during my wandering around the world…

Fellow blogger Meredith Deerheart had the way, in the past days, to see a preview about my collages and she wrote a story at her Blog: http://healingminds.wordpress.com/

Meredith kindly sent to me a “special review” of these collages, which represent for me a sort of funny game (and a new expression of my research). I love so much what she wrote – many thanks Meredith! – and I’m pleased to share her thoughts here…

ROBERTO ALBORGHETTI – LACER/ACTIONS COLLAGES – “He Loves His Chaos From A Distance” (title from a Meredith Deerheart story), Collage on wood, 2012, 90×40




Meredith Deerheart

Dear Roberto, this work (collage) is beautiful and wild.  Yes, I like it very much.  It seems to have so much energy, yet I see cheerful calm…. like breakfast at the dining room table, before children leave for school. 

I don’t see the same thing in your collage as I see in your photos. The collage has rhythm and thought worked into it, but your photos are very naked, very raw… and not self-conscious. 

I noticed that the your collage is composed, but your pictures are not “humanly composed” beyond your framing the shot with your camera.  This is very provocative because it demonstrates that you’re the composer of the collage, not the environment, so your collage has abstract qualities… but not like those left by time, and neglect. And it can’t, of course, but people don’t always know what they see until they’ve been taught to see differently.  (Have you thought of bringing in a dumpster to do a show?) 

Your whole concept of making art from industrial deconstuctionism, caught on camera, on macro scale, is revolutionary, and something that some photographers may also notice… but your shots actually capture the randomness of deconstructionism, and you let the picture tell the story.  This, I think, is what makes your work unique and hard to comprehend.  You don’t change what you see.  There’s nothing contrived, or worked in… you show what you saw.  That’s gutsy.

People aren’t used to this kind of art, yet.  It’s new.  Your results are tactile in ways that other photography often goes flat because you actually catch the flakes of paint in their true state and experience the environment while you’re shooting the pictures.  But, many people do spend hours trying to create similar results in Photoshop, preferring to manipulate images to their preconceived ideas.  They construct what the viewer sees, whereas you allow the viewer to construct their own conclusions about the pictures.  Disbelief about your work may be a result of people not being able to conceive that such beautiful art is always present, always accessible.  Folks do not look around their world.  They often don’t see… and so your work teaches them how to see something new, I think.

I recognize the deconstructed, natural lines and colors created by the elements from studying buildings and sites during architecture…I see that organic quality… and that you’ve made an art form of this kind of macro photography.

You’re years ahead of the curve, Roberto.  Maybe that’s the curse of your passion.  People hear and know Photoshop… but that’s often where the ‘knowing’ stops.  That’s what they know.  You are the leader in this venue, though.  You are the only one who knows how and what you do, at this point, and markets it.  I don’t see similar kinds of non-manipulated photography elsewhere… so no wonder people don’t understand.  Artists are teachers, and I sometimes think we must be patient with the world while they decide what they think art is all about.

The collage… it’s so cool!  And it’s not the same as your photography. People will see.



The Italian Weekly Magazine “Il Punto”, in his last issue ( March 2, 2012) dedicates text and pic to Roberto Alborghetti ‘s Limited Edition Silk Scarves from his “Lacer/actions” Art Project  about images of torn posters and urban signs. The article – introduced by “Lacer/actions at your neck” headline – is edited by journalist Roberta Maresci for the Fashion section of the review.  

Roberta Maresci writes: “A silk scarf to remember the Fallen of Nine Eleven, although his most famous art images come from trash of the cities walls. Glamorous accessories are borning from waste dirty, ripped, torn and worn paper. It is called “Lacer/actions” the project by which Roberto Alborghetti turns trash into an art subject, or at least into an watchable product as a textile design. It’s an unique experimentation which has become reality thanks to Bruno Boggia who in his Studio in Como for over sixty years has been working on textiles design and with the most famous designers in the world (as Capucci, Lacroix, Valentino, Lancetti, Mila Schön, Chanel, Celine, Dior, Yves Saint Laurent, Etro, Escada, Donna Karan Paul Smith, Rolando Santana).


Da “Il Punto” – Settimanale / 2 marzo 2012

Pagine Moda – A cura di Roberta Maresci

Una sciarpa in seta per non dimenticare i caduti dell’11 settembre. Anche se le sue più celebri sono ricavate dalle immagini dei muri-trash. Dai rifiuti di carta sporca, strappata, lacerata e usurata nascono accessori glamour. Si chiama Lacer/azioni il progetto di Roberto Alborghetti che trasforma il trash in un soggetto d’arte, o quantomeno in un prodotto guardabile: textile design. Una singolare sperimentazione diventata realtà grazie a Bruno Boggia che nel suo Studio di Como da oltre sessant’anni lavora con i tessuti e i più famosi stilisti del mondo (da Capucci a Lacroix, Valentino, Lancetti, Mila Schön, Chanel, Céline, Dior, Yves Saint Laurent, Etro, Escada, Donna Karan, Paul Smith e Rolando Santana).


 The Italian magazine “Isola 21”, in its last issue, has dedicated one full page to Roberto Alborghetti “Lacer/actions” Art. The article is signed by journalist Laura Di Teodoro who reports about Roberto visual research devoted to torn posters and urban signs. During his interview, the Italian artist talks how and when he began to collect the incredible images of ripped ads he finds on the cities walls around the world. Laura Di Teodoro writes: “Roberto Alborghetti Art is essentially based on the observation of all what passes under our eyes… Sometimes we risk not to see the colors that surround us – Alborghetti points out -. If we try to stop for some seconds maybe we have the way to discover that even some paper wastes can give unrivalled chromaticisms… Paper doesn’t dye; the more it is decomposed, the more it is astonishing”.

Laura Di Teodoro writes: “In fact – as Roberto Alborghetti says – we find difficulties to think that behind faded and torn messages there may still be “something” to be seen or discovered. But these lacerated images – from this term comes the “Lacer/actions” brand – continue to be a mirror of the talking city. They are the post-communicating findings of a product, an event, a performing idea… 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.”  

“Isola 21” (“Island 21”, from the name of a territory in Milan area) is a full-color review edited by journalist and author Giuseppe Zois.  



Il periodico “Isola 21”, nel numero uscito pochi giorni fa, dedica una intera pagina a Roberto Alborghetti ed al suo progetto artistico “Lacer/azioni”. L’articolo è firmato da Laura Di Teodoro. “Isola 21”, 42 pagine, a quattro colori, è diretta dal giornalista e scrittore Giuseppe Zois. Pubblichiamo qui sopra la riproduzione della pagina con l’articolo.


Two days ago I posted “My art gallery? It’s along Amsterdam streets”. Thanks to all visitors who send me comments and “I like”! The nice new is that “Amsterdam Magazine” –  the most important monthly review of the city: I recommend you to ask for it when you’re in Amsterdam- put up a link on its Facebook page to my WordPress blog so “our readers can have a look at your beautiful pictures.” (Lea Harbo, Journalist intern at Amsterdam Magazine & Schipol Magazine). “This is cool! – is written on the post – . Italian reporter and visual artist Roberto Alborghetti recently visited Amsterdam where he captured details of torn posters and urban signs. Check out the slides”.

I thank Lea and Bieneke Van der Does (Amsterdam Magazine’s Editor in Chief) for their kind collaboration and appreciation.  

Link to Facebook and Amsterdam Magazine site:




Author and Psychologist Elizabeth Cygan brings to life a pair of adventurous cats to help expand children’s vocabulary in “A Tale of Two Tails: The Adventures of Ben and Bel”



Cat-astrophe and cat-atonic. Cat-aclysm and Cat-acomb. Cat-call and cat-apult… Welcome to the world of cat-words. Elizabeth Cygan ‘s recent book is so funny and incredible. It presents a collection of true tales about Benjamin and Annabel, her Siamese cats. The book – A Tale of Two Tails: the Adventures of Ben and Bel – gives a history of Siam and the siamese cat, using cat-words. The two playfully mischievous cats are on a mission to teach children some new words.

With each chapter, Ben and Bel find themselves encountering a different crazy adventure, and Cygan hopes readers will learn throughout the journey. Whether the cats deal with a catapult or a giant catastrophe, Cygan aims for the funny felines to help readers expand their vocabulary.

Intended for readers to get more than a vocabulary lesson, “A Tale of Two Tails” also aims to provide history lessons behind Siamese cats and Old Siam, where they originated. Ben and Bel soon begin to run the house, creating all kinds of lovable trouble.
“Since I have tested and advocated for special-needs students, I’ve seen the kind of material that works for children,” says Cygan. “Right now, there’s a surplus of books that have high interest, but with low vocabulary. This book will engage them and also supply them with a wider range of words to use daily.”
Besides her two cats at home, Cygan cites the 16 countries ahead of the United States in educational achievement as her inspiration behind “A Tale of Two Tails.”  

The author points to studies reflecting that many students and adults find difficulty in reading simple books and newspaper articles. Cygan hopes to offer readers an educational yet entertaining tale with Ben and Bel, but also seeks to provide a tool that will help work toward the reversal of the country’s illiteracy rate.

The book shows watercolors, ink and pen drawings and photos illustrating the tales. The premise is kids enjoy it when the cats run the household with their mad antics. Also kids learn best when they are engaged, having fun and don’t realize that they are learning. Illustrator: Randy LaSage; photos:Elizabeth Hill.

“A Tale of Two Tails: The Adventures of Ben and Bel” (ISBN 978-1439273937) is available for sale online at Amazon.com and other channels.



Elizabeth Cygan has been a counselor, psychologist and special education teacher. She writes about history, economic and educational articles. Elizabeth has undergraduate degrees in English, history and education, and graduate degrees in history, business and psychology. She has worked as a special-needs teacher and counselor in elementary schools, and writes a column in “The Sudbury Town Crier.” As literacy rates continue to plummet in the United States, Elizabeth Cygan aims to further educate school-aged children. Cygan lives in Massachusetts, is married and she has two sons and two grandchildren.





MODA e TENDENZE” (“Fashion and Trends”) – review published by L’Eco di Bergamo newspaper – in December 2011 issue, out in these days, pays attention to Roberto Alborghetti’s Lacer /actions” project, focusing on silk scarves made with images of torn posters and urban signs. “Fashion and Trends” – which is curated by Fabiana Tinaglia – writes: ” The torn, dirty and worn paper of ripped posters sticked on the walls of our cities is now also become a fashion accessory and, specifically, silk scarves… After to be transferred on canvas and lithographs, “Lacer / actions” artworks by Roberto Alborghetti are now silk textiles, thanks to collaboration of Bruno Boggia, the Italian textiles designer who has been working with the most famous fashion houses in the world, as Valentino, Chanel, Dior, YSL.”

“Lacer / actions” – “Moda e Tendenze” writes – is a project created by Roberto Alborghetti, professional journalist, author of essays and biographies, photographer. For years he has been “catching” around the world the details of the apparent chaos of torn posters on billboards or on city walls. So far he has collected approximately more than 30.000 images, taking on new forms of artistic expression now adopted by fashion. “



 “Moda e Tendenze”, magazine de “L’Eco di Bergamo”, nel numero di dicembre 2011, in questi giorni nelle edicole, dedica attenzione al progetto “Lacer/azioni” di Roberto Alborghetti, focalizzando l’interesse sulle sciarpe di seta realizzate con le immagini dei manifesti pubblicitari strappati. “Moda e Tendenze” – che è curato da Fabiana Tinaglia – così scrive tra l’altro:La carta sporca, strappata, lacerata ed usurata della pubblicità affissa sui muri delle nostre città è ora diventata anche accessorio moda e, nello specifico, sciarpe in seta… Dopo essere diventati tele e litografie, e pure videoclips, gli artworks “Lacer/azioni” di Roberto Alborghetti si sono trasformati anche in seta grazie alla collaborazione di Bruno Boggia che da oltre sessant’anni lavora con i tessuti e collabora con le maison più famose del mondo, da Valentino a Chanel, da Dior a Ysl. “Lacer/azioni” è un progetto di Roberto Alborghetti, giornalista professionista, autore di saggi e biografie, fotografo. Da anni ha l’hobby di “catturare” in giro per il mondo particolari e dettagli dell’apparente caos della carta lacerata delle affissioni. Finora ha raccolto circa 30 mila immagini che, trasferite su tela e su tessuto, riprodotte su litografia o scansionate in un videoclip, assumono nuove forme espressive. E di moda”.



 The incredible story of a poet and theater director who is living together with the Amyotrophic Lateral Sclerosis.


Words that come from blinkings. Words that take life and form from the soul’s deepest places. Words that flow from pain and from days, months and years marked by a terrible disease, the ALS, Amyotrophic Lateral Sclerosis. And this three letters word ironically and provocatively stands on the cover of a recent book by Roberto Fabbrini, edited by non-profit organization Osa and published by Fondazione Alberto Colonnetti. Its title is “Cantata in Sla Maggiore” (“Cantata in Major ALS”).

The book also collects the previous works that Roberto Fabbrini had published since 2006/2007: “Le ombre lunghe della sera” (“The evening’s long shadows”), “Controcanto” and “Il respiro degli angeli” (“The breath of the angels”) . The 256 pages tell – in the harsh, cruel, atrocious and vehement poetry language – the human journey of Roberto Fabbrini. Born and living in Abbadia San Salvatore (Siena, Italy), writer and theater director, lover of life and art, since 2004 Roberto is living together with ALS, a disease that attacks and destroys the motor neurons which determine the muscles movement. The book follows the same progressive “way” of Roberto, who at the beginning was still able to compose on the laptop keyboard, moving hands and fingers. Then, the progression of disability, up to total paralysis, pushes Roberto to communicate only with his eyes: special pc sensors “translate” blinkings in written words.

The eyes are the only body part that is resistant to paralysis. And the eyes become the filter, the special screen, from which Roberto’s life passes and flowes. Roberto is spectator and protagonist at the same time. A book, this one, that displaces us. It catches us off-balance. It throws us in the row of those thoughts inevitably ending in silence. Faced with searing poetry of Roberto Fabbrini – rooted in the devastation of a disease that takes away everything but the awareness and lucidity to be – there’s nothing to say, there is nothing to comment, there is nothing to whisper.

We only need the silence. The real, dark, deep, mysterious and deafening silence. The true silence, which is also expressed through the wonderful photos accompanying the poems; the images were taken by my fellow photographer Andrea Fabbrini (he’s Roberto son).

It’s only in the silence that we can hear Roberto Fabbrini’s cry. A chilling, hard, upsetting and poignant cry, which echoes from page to page. A cry that creates pain. A suffering voice that creates a “controcanto”. These are the thoughts that the great Italian author Andrea Camilleri wrote introducing “Controcanto” chapter: “I was really striked by the term “contro” (it means “against”, in Italian). In Roberto Fabbrini condition, being “against” could easily and perhaps naively be interpreted like to be “against” his illness, his misfortune, as poet Leopardi says. But the amazing thing it is that – thanks to this “against” – Roberto lyrically got rid of prisons of his body and he was able to draw, from this experience, a positive message for everyone. “

It’s true. Though he’s imprisoned in his ALS disease – relentless and inexorable disease – Roberto Fabbrini screams his humanity as a free man. A scream without a voice. A scream that has the lightness of an eyelid beat. A scream that leaves us stunned and, for this, even more conscious.

Roberto Alborghetti

“CORRIERE DI SIENA” newspaper has published (Decembre 11, 2011) ROBERTO ALBORGHETTI’S article dedicated to ROBERTO FABBRINI ‘s POETRY

IL CORRIERE DI SIENA (11 dicembre) ha pubblicato l’articolo di Roberto Alborghetti dedicato a Roberto Fabbrini


Parole che nascono da un battito di palpebre. Parole che prendono vita e forma nei mendri più profondi dell’anima. Parole che sgorgano dal dolore, dai giorni, dai mesi e dagli anni di una malattia, la SLA, sclerosi laterale amiotrofica. Ed è proprio alla SLA che queste parole si collegano, fin dal titolo – “Cantata in SLA Maggiore”– che campeggia ironicamente e serenamente provocatorio, sulla copertina di un recente volume di Roberto Fabbrini, curato da Osa Onlus ed edito dalla Fondazione Alberto Colonnetti. Un libro che raccoglie anche i precedenti volumi che Roberto Fabbrini aveva pubblicato a partire dal 2006/2007: “Le ombre lunghe della sera”, “Controcanto”, “Il respiro degli angeli”.

Le 256 pagine raccontano, con il linguaggio della poesia – cruda, crudele, atroce e veemente – l’itinerario umano di Roberto Fabbrini. Originario e residente ad Abbadia San Salvatore (Siena), scrittore e regista teatrale, innamorato della vita e dell’arte, Roberto dal 2004 convive con la SLA, malattia che aggredisce e distrugge i motoneuroni che determinano il movimento dei nostri muscoli. Il volume segue progressivamente lo stesso “cammino” di Roberto, che all’inizio riesce ancora a comporre sulla tastiera del computer, muovendo mani e dita. Poi, la progressione dell’infermità, fino alla totale paralisi, spinge Roberto a comunicare solo con lo sguardo, percepito dai particolari sensori di un pc che “traducono” in parole scritte i battiti delle sue palpebre. Gli occhi sono l’unica parte del corpo che resiste alla paralisi. E gli occhi diventano il filtro, lo schermo speciale, da cui passa e transita la vita di Roberto, spettatore e protagonista allo stesso tempo.

Un libro, questo, che spiazza, che prende in contropiede, che scaraventa nel girone di quei pensieri che inevitabilmente si concludono nel silenzio. Di fronte alla lancinante poesia di Roberto Fabbrini – radicata nella devastazione di una malattia che toglie tutto, ma non la consapevolezza e la lucidità di essere – non c’è nulla da dire, non c’è nulla da commentare, non c’è nulla da sussurrare.

Serve solo il silenzio, quello vero, cupo, profondo, misterioso e assordante, come è solo il vero silenzio: lo esprimono anche le stupende fotografie che accompagnano le composizioni poetiche, immagini fotografiche scattate dall’amico Andrea Fabbrini, figlio di Roberto. Ed è solo nel silenzio che possiamo udire il grido di Roberto Fabbrini: risuona di pagina in pagina, agghiacciante, duro, sconvolgente e struggente. Un grido che è dolore e crea dolore. Un grido che si fa canto e controcanto, appunto. Giungono a proposito le parole dello scrittore Andrea Camilleri che nella prefazione a “Controcanto” scrive: “Questo “Controcanto” mi ha veramente colpito. Mi ha colpito proprio il “contro”. Nelle sue condizioni il contro potrebbe facilmente e forse ingenuamente essere interpretato come un “contro” verso la sua malattia, la sua sfortuna alla Leopardi, diciamo. Invece la cosa sorprendente è proprio che grazie a questo “contro” si è riuscito a sbarazzare liricamente delle sue prigioni corporee ed è riuscito a trarre da questa esperienza un messaggio positivo per tutti.”

E’ vero: pur imprigionato nella malattia – una malattia implacabile ed inesorabile – Roberto Fabbrini urla la sua umanità di uomo libero. Un urlo senza voce. Un urlo che ha la levità di un battito di palpebre. Un urlo che ci lascia attoniti e, proprio per questo, anche più coscienti.

Roberto Alborghetti

Se vuoi, puoi lasciare il tuo messaggio per Roberto Fabbrini.