SIGNS OF OUR TIMES / MACRO PHOTOS OF A DISFIGURED TRAFFIC SIGN #1

© Roberto Alborghetti

These are not modern art paintings or pop art works. They are just macro and abstract photos of details of a disfigured traffic sign… The pictures are part of my “LaceR/Actions” project-research, which now has reached 110.000 photos taken across the world.
“LaceR/Actions” is a multidisciplinary project concerning researches about decomposed and torn publicity posters, natural cracks and scratches, urban/industrial tokens. Impressed by photocamera and transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the details of torn and decomposed publicity posters give new life to waste-paper and decomposed matters. Like the pictures above.

For Informations and Exclusive Acquisitions:
funtasyeditrice@gmail.com

*
Or go to ACS Artsy Gallery Page:
https://www.artsy.net/artist/roberto-alborghetti

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THE STREET IS A FREE ART GALLERY: TORN PUBLICITY POSTERS, SLIDESHOW #2

 

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Are these modern art paintings? Are these pop art works? Are these acrylic pictorial paintings? No, they are just photos of details of big torn publicity posters on an outdoor advertisings billboard. For me, the street is a real free art gallery, where we can perceive wonderful pieces of art. The pictures above are part of my “LaceR/Actions” project-research, which now has reached 110.000 photos taken across the world.
“LaceR/Actions” is a multidisciplinary project concerning researches about decomposed and torn publicity posters, natural cracks and scratches, urban/industrial tokens. Impressed by photocamera and transferred on canvases, reproduced on lithographic prints or textiles, re-built on collages or scanned in videoclips, the details of torn and decomposed publicity posters give new life to waste-paper and decomposed matters. Like the picture above.

For Informations and Esclusive Acquisitions:
funtasyeditrice@gmail.com

*
Or go to ACS Artsy Gallery Page:
https://www.artsy.net/artist/roberto-alborghetti

THE GHOST BUS IS BACK IN THE LAND OF ROBIN HOOD!

GUEST WRITER: MARYSIA ZIPSER – FOUNDER OF ACT GROUP

A visual arts creation by Roberto Alborghetti developed from his “Lacer/actions” project, which concerns realistic images (macro photography not manipulated) of decomposed publicity posters, natural cracks and scratches, urban and industrial tokens and materials.

Roberto says, “While touring Bartons garage in Chilwell, Nottingham (in October 2014) I chanced upon classic vehicles including ‘The Ghost Bus’, a 1956 URR 865 Reliance, which had spent 20 years slumbering in an open field in Suffolk.”

The Ghost Bus ‘Roads’ Project consists of two 14 minute films for public performance; “The Ghost Bus” and “Land Rover Mapping”.  Each has a short film trailer which can be viewed “Can you believe that this art is from an old bus?” and “Can you believe that this art from an old Land Rover?”  In addition he has produced 4 related short videos of macro images taken around Beeston and on Nottingham’s streets: Ghost Bus Seaside Town with music by Simon, Richard, James and Tom Barton Colours of Nottingham Streets to “Can I think of Love” a song by Jeanie Barton Images of Beeston Streets ‘like blossom’ accompanied by “Soon” a song by Jeanie Barton Beeston Rylands – a short film along the Canalside

These are available to view together on a YouTube playlist   http://www.artculturetourism.co.uk/blog/land-rover-mapping-electronic-press-kit-epk

The Ghost Bus Project exhibits the power of combining visual and musical arts; the wonder of family history (the Barton family firm was for a time the largest independent bus operator in the world) and the beauty of what human beings can do through creativity and mutual cooperation.  It encourages us to take the time to look more closely at our surroundings and discover the stories our environment can tell us.

This visual arts film project is now touring! Next stop: in Beeston and Nottingham again, at the beginning of June 2019 (5-8). Let’s get on The Ghost Bus!

The Ghost Bus film premiere at Bartons Plc – Photo by Christopher FROST

EIGHT MACRO PICTURES FOR THE #EarthDay2019 (TODAY, APRIL 22)

© Roberto Alborghetti

© Roberto Alborghetti

Today, April 22, the world celebrates the Earth Day 2019, #EarthDay2019. I wanted to dedicate eight of my most recent images from reality, from the surrounding world, to this important day. They are part of my “Lacer/actions” project, which investigates the world of decomposition of natural elements and urban life, which appears to us from another point of view.

The idea for a national day to focus on the environment came to Earth Day founder Gaylord Nelson, then a U.S. Senator from Wisconsin, after witnessing the ravages of the 1969 massive oil spill in Santa Barbara, California. Inspired by the student anti-war movement, he realized that if he could infuse that energy with an emerging public consciousness about air and water pollution, it would force environmental protection onto the national political agenda. Senator Nelson announced the idea for a “national teach-in on the environment” to the national media; persuaded Pete McCloskey, a conservation-minded Republican Congressman, to serve as his co-chair; and recruited Denis Hayes from Harvard as national coordinator. Hayes built a national staff of 85 to promote events across the land. April 22, falling between Spring Break and Final Exams, was selected as the date.

On April 22, 1970, 20 million Americans took to the streets, parks, and auditoriums to demonstrate for a healthy, sustainable environment in massive coast-to-coast rallies. Thousands of colleges and universities organized protests against the deterioration of the environment. Groups that had been fighting against oil spills, polluting factories and power plants, raw sewage, toxic dumps, pesticides, freeways, the loss of wilderness, and the extinction of wildlife suddenly realized they shared common values.

Earth Day 1970 achieved a rare political alignment, enlisting support from Republicans and Democrats, rich and poor, city slickers and farmers, tycoons and labor leaders. By the end of that year, the first Earth Day had led to the creation of the United States Environmental Protection Agency and the passage of the Clean AirClean Water, and Endangered Species Acts. “It was a gamble,” Gaylord recalled, “but it worked.”

As 1990 approached, a group of environmental leaders asked Denis Hayes to organize another big campaign. This time, Earth Day went global, mobilizing 200 million people in 141 countries and lifting environmental issues onto the world stage. Earth Day 1990 gave a huge boost to recycling efforts worldwide and helped pave the way for the 1992 United Nations Earth Summit in Rio de Janeiro. It also prompted President Bill Clinton to award Senator Nelson the Presidential Medal of Freedom (1995)—the highest honor given to civilians in the United States—for his role as Earth Day founder.

Meet the organizers of the very first Earth Day.

As the millennium approached, Hayes agreed to spearhead another campaign, this time focused on global warming and a push for clean energy. With 5,000 environmental groups in a record 184 countries reaching out to hundreds of millions of people, Earth Day 2000 combined the big-picture feistiness of the first Earth Day with the international grassroots activism of Earth Day 1990. Earth Day 2000 used the power of the Internet to organize activists, but also featured a drum chain that traveled from village to village in Gabon, Africa. Hundreds of thousands of people gathered on the National Mall in Washington, DC for a First Amendment Rally. Earth Day 2000 sent world leaders the loud and clear message that citizens around the world wanted quick and decisive action on global warming and clean energy.

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“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.

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

© Roberto Alborghetti

© Roberto Alborghetti

 

ABSTRACT MAPS FROM A METAL PLATE: CLOSE UP PHOTOGRAPHY #2

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© Roberto Alborghetti

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© Roberto Alborghetti

Even a simple metal plate, seen on a street in the city center, can reveal and hide really surprising shapes and colors, like the images published above, for my research project “Lacer / actions”. In this photo-gallery some of the photographic images that concern some scratches produced and created by time, which  gave birth, over the course of months and years, to this surprising natural palette, which seems to come from the hands of an artist. But instead everything is close-up photography. Nothing but photography.

  • Created by Roberto  Alborghetti  for his Lacer/actions project-research about torn and decomposed publicity posters, natural cracks and scratches, urban and industrial matters. © Roberto Alborghetti 
  • Are you interested in these original images? Please contact:  funtasyeditrice@gmail.com

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Anche una semplice lastra di metallo, vista su una strada del centro città, può rivelare e nascondere forme e colori davvero sorprendenti, come le immagini pubblicate qui sopra. In questa foto-galleria alcune delle immagini fotografiche che riguardano alcuni graffi prodotti e creati dalll’usura e dal tempo, che hanno dato vita, nel corso di mesi e di anni, a questa sorprendente tavolozza naturale, che sembra uscita dalle mani di un artista. Ma invece tutto è fotografia a distanza ravvicinata. Null’altro che fotografia.

SCRATCHES AND GRAFFITI ON BLUE: NOTHING BUT PHOTOGRAPHY #2

© Roberto Alborghetti

© Roberto Alborghetti

© Roberto Alborghetti

The city walls, in this case Milan, always reserve great surprises for my research project “Lacer / actions”. In this photo-gallery some of the photographic images that concern some scratches produced and created by wear and time. The wall had a blue base. And so the blue has given birth, over the course of months and years, to this surprising natural palette, which seems to come from the hands of an artist. But instead everything is close-up photography. Nothing but photography.

  • Created by Roberto  Alborghetti  for his Lacer/actions project-research about torn and decomposed publicity posters, natural cracks and scratches, urban and industrial matters. © Roberto Alborghetti 
  • Are you interested in these original images? Please contact:  funtasyeditrice@gmail.com

*

I muri delle città, in questo caso Milano, riservano sempre grandi sorprese per il mio progetto-ricerca “Lacer/actions”. In questa foto-galleria alcune delle immagini fotografiche che riguardano alcuni graffi prodotti e creati dalll’usura e dal tempo. La parete aveva una base di colore blu. E così il blu ha dato vita, nel corso di mesi e di anni, a questa sorprendente tavolozza naturale, che sembra uscita dalle mani di un artista. Ma invece tutto è fotografia a distanza ravvicinata. Null’altro che fotografia.

SCRATCHES AND GRAFFITI ON BLUE: NOTHING BUT PHOTOGRAPHY #1

DSCN1309 (800x600)

© Roberto Alborghetti

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© Roberto Alborghetti

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© Roberto Alborghetti

The city walls, in this case Milan, always reserve great surprises for my research project “Lacer / actions”. In this photo-gallery some of the photographic images that concern some scratches produced and created by wear and time. The wall had a blue base. And so the blue has given birth, over the course of months and years, to this surprising natural palette, which seems to come from the hands of an artist. But instead everything is close-up photography. Nothing but photography.

  • Created by Roberto  Alborghetti  for his Lacer/actions project-research about torn and decomposed publicity posters, natural cracks and scratches, urban and industrial matters. © Roberto Alborghetti 
  • Are you interested in these original images? Please contact:  funtasyeditrice@gmail.com

*

I muri delle città, in questo caso Milano, riservano sempre grandi sorprese per il mio progetto-ricerca “Lacer/actions”. In questa foto-galleria alcune delle immagini fotografiche che riguardano alcuni graffi prodotti e creati dalll’usura e dal tempo. La parete aveva una base di colore blu. E così il blu ha dato vita, nel corso di mesi e di anni, a questa sorprendente tavolozza naturale, che sembra uscita dalle mani di un artista. Ma invece tutto è fotografia a distanza ravvicinata. Null’altro che fotografia.