“Eating with Pope Francis”, by Roberto Alborghetti, published in Italy by Mondadori, has just been released in Spain, where – as it is happening in Italy and other European Countries – it is receiving an impressive media coverage. “En la mesa con Francisco” is the title of the Spanish edition of the volume, published by Editorial Larousse. Daily newspapers, magazines, weekly magazines and online newspapers are giving ample space to the Pope Francisco recounted in his relationship with food and all today the  food represents (food waste included). Here a photogallery of some articles published by various newspapers. Below, a series of links to online pages. As you can see, it’s really great the attention that Spain is dedicating to the book.

SPAIN: MEDIA ON En la mesa con Francisco by Roberto Alborghetti, Larousse






More random (and not manipulated) images from Fuerteventura, (Canary Islands, Spain). I usually capture and document my “Lacer/actions” – images of torn and decomposed posters or cracks – wherever I travel. However, something I found in Morro Jable town (a nice city of “Peninsula de  Jandia”, in the South) captivated my attention. In Plaza don Carlos, near Riu Hotel, there stood a platform of bins to separate waste collection. The outside of a blue container designated for paper showed strange cracks with shapes and signs. Most compelling, though, were the incredible, blue-based scenes created from varied layers of paper residual, crevices, rusts, dusts, sand, cuts. I’m pleased to present some more abstract (and conceptual) images I took around the blue container…

Related article:

Roberto Alborghetti / Seascape stories from cracks of an “art installation” (but it’s a waste-container)



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I’ve already written some posts about Fuerteventura, a beautiful and wild part of the Canary Islands where I found fascinating beaches, dunes, hills, towns and a blue, limpid sea… but for me there was another Fuerteventura: one I happened on through my art research.

I usually capture and document my “Lacer/actions” – images of torn and decomposed posters or cracks – wherever I travel. However, something I found in Morro Jable town (a nice city of “Peninsula de Jandia”, in the South) captivated my attention.

In Plaza don Carlos, near Riu Hotel, there stood a platform of bins to separate waste collection. The outside of a blue container designated for paper showed strange cracks with shapes and signs. Most compelling, though, were the blue-based scenes created from varied layers of paper residual, crevices, rusts, dusts, sand, cuts. I worked a lot with my cameras around the big blue trash container and I imagine passers-by were asking themselves if I had some problems.

I’m pleased to present, in two parts, a small selection of those abstract (and conceptual) images I took around the blue container.  I see the images as unique expression revealing some of the seascape stories of Fuerteventura.



In Bilbao (Basque Country, Spain) I visited the incredible Guggenheim Museum, where I saw stunning art installations and masterpieces (unfortunately, the Jeff Koon’s Puppy was packed up for restoration). It’s all the whole building to fascinate in its unmistakable style. The Guggenheim Museum in Bilbao has become the cultural and tourism driving force of the Basque Country. This spectacular building – designed by Frank O. Gehry, 1997 – is covered in titanium panels and has its own important collection, as well as sharing the largest private modern and contemporary art collection in the world with New York and Venice.

I saw there (January 2009) an unforgettable exhibition: the tribute to american artist Cy Twombly, who died in Rome in 2011. Organized in the occasion of the 80 years of the artist, the Cy Twombly exhibition featured focused groups of related paintings, drawings and sculpture, multipark works, and works in series, highlighting the artist’s use of themes of classical art. The Guggenheim Bilbao magazine dedicated its cover to Cy Twombly’s masterpiece “Wilder Shores of Love” (1985).

The Guggenheim Museum Bilbao, at that time, had just acquired the series “Nine Discourses on Commodus” (1963), the work around which the exhibition was designed. It consisted in nine distinct canvases and was the first of the artist’s series to be conceived as a unified whole. That beautiful and unforgettable exhibition featured Twombly’s work in series, including the earlier five-canvases “Ferragosto” (1961) which can be viewed as individual paintings. Other important series included in the exhibition were “Hero and Leandro” (1984) and “Quattro Stagioni” (1993-94).

Cy Twombly ‘s artworks offered a closer look at the spirit of a marvelous artist who “not only irradiates a fascinating personal magic, but has also taken us to the most intricate frontiers of contemporary painting”. I had the permission – as a reporter – to take a few pictures, that I have the pleasure to share in the photo-gallery.

Always in Bilbao I visited the Fine Arts Museum which is one of the best in Spain and has a complete and priceless art gallery with three collections: old art (El Greco, Zurbarán, Goya or Van Dyck), contemporary art (Gauguin, Bacon or Tàpies) and Basque art (Regoyos, Zuloaga or Iturrino).

The Basque Museum includes Basque prehistory and archaeology; the Diocesan Museum of Religious Art and the Easter Pasos Museum hold religious works connected with Bizkaia. Other museums in Bilbao are the Maritime Museum and the Bullfighting Museum. The Rekalde exhibition hall holds top class contemporary art exhibitions. There are also about twenty other galleries with permanent  plastic art exhibitions.


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Bilbao (Basque region, Spain) is one of the most amazing cities of Europe. It had the courage to develop itself in a new identity based on culture and art. I had the pleasure to visit it a few years ago. And I was really astonished by a city where I had the sensation to walk in the future and in the past in the same time.

Its 700 years history can be seen in its buildings and constructions. The old town is an Historic-Artistic Monument and a reference point for reconstructing the city’s history from its beginnings. It is an example of urban regeneration, with more than 400 shops of all kinds. The city centre is an example of the best 20th century architecture, with buildings that have been housing the main institutions and companies in Bilbao for more than a hundred years. It is an outstanding architectural site, always designed by the best local architects. 

Nonetheless, the city continues to expand: alongside the skill of local architects, the top international firms are represented with works by Foster, Gehry, Calatrava, Isozaki, Pelli… I visited the incredible Guggenheim Museum, where I saw nice art installations and masterpieces (see the next second part of the post). Along the “Gran Via”, in the city centre, I admired a beautiful “open air” exhibition of seven Rodin sculptures, with the famous “Thinker”. In Bilbao culture and art become life. Despite the social problems of the region (autonomist movements), people are really friendly – but don’t call them “Spanish”, they are “Basques” – and conscious to be and to live in a city which walks in the future.



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24 ORE Cultura – Gruppo 24 ORE Press Office

Palazzo Ducale Fondazione per la Cultura Press Office



Palazzo Ducale in Genoa (Italy) is hosting, from 5 October 2012 to 7 April 2013, an exhaustive exhibition of the works of Joan Miró (1893–1983), the great Catalan artist who left his unmistakable mark on the European avant-garde art movements. This exhibition features over 80 works never before shown in Italy, including 50 surprisingly beautiful, large-format oil paintings, but also terracotta sculptures, bronzes and watercolours. The masterpieces that can be admired include the oil paintings Woman in the Street (1973) and Untitled (1978); bronzes such as Woman (1967); sketches including that for the mural for Harkness Commons-Harvard University, all from the Fundació Pilar y Joan Miró in Palma de Mallorca, which owns many works by the artist and has granted them on extraordinary loan for their Italian debut.


Sponsored by the Municipality of Genoa and the Palazzo Ducale Fondazione per la Cultura, the “Miró! Poetry and Light” exhibition has been produced and organized by the Arthemisia Group and 24 ORE Cultura – Gruppo 24 ORE in collaboration with the Fundació Pilar i Joan Miró and Ajuntamento De Palma De Mallorca. It is curated by María Luisa Lax Cacho, considered one of the worldʼs leading experts on Miró, who has wished to illustrate the last stage of the production of the artistʼs long life, when he finally made one of his great dreams come true in Majorca in 1956: a huge space of his own in which to work, protected by the peace and silence that only nature could offer him. On occasion of the exhibition Miróʼs long-desired studio will be wholly reconstructed within the gallery space.




Miró was born and grew up in Barcelona and attended La Llotja Academy of Fine Arts, where he studied under Modest Urgell and Josep Pascó. He started drawing when he was very young and his earliest oil painting to have survived is a landscape made in 1908. At 18 years old he exhibited his work at the 6th International Art Exhibition in Barcelona and the following year he started studying at the art college run by Francesc di Galí (1912–15), who taught him how to draw after having felt the model with his eyes closed.

He subsequently studied at the Círcol Artístic de Sant Lluc, where he drew nudes, circus performers and street and port scenes. The style of his early works was influenced by Impressionism, Fauvism, Futurism and Cubism. However, his first trip to Paris, in 1920, brought him closer to Dadaism and, subsequently, Surrealism.

In 1929 Miró married Pilar Juncosa in Palma de Mallorca, with whom he later had a daughter. The same period marked the start of his artistic experimentation, and he turned his hand to lithography, etching, sculpture and painting on tarpaper and glass. He increasingly sought the stimulating tranquillity of the countryside, and a place where he could freely dedicate himself to his work. Consequently, following the outbreak of the Spanish Civil War and a period of exile in France until 1942, he found refuge in Majorca, his motherʼs homeland.

In 1954 Miró left his home in Barcelona, moving permanently to Son Abrines in 1956, where he had arranged for the construction of his longed-for studio, which he commissioned from his close friend, the architect Josep Lluís Sert (Barcelona, 1902–83). In order to conserve this much loved property, which was a quintessential creative place for him, in 1980 Miró donated part of it to the city of Palma, and in 1981 the Fundació Pilar i Joan Miró was established. In 1954 Miró also won the Grand Prize for Graphic Work at the Venice Biennale, and in 1958 the Guggenheim International Award. However, he had to wait until his old age and the fall of Francoʼs regime before he received any

acknowledgements in Spain. Consequently, in 1978 he was awarded the Medalla dʼOr de la Generalitat de Cataluna; in 1979 the University of Barcelona awarded him an honorary degree (Harvard University had already done so in 1968); in 1980 he received the Gold Medal of Fine Arts from King Juan Carlos of Spain; and in 1983 Spain paid homage to him, with an event organized jointly by the Municipality of Barcelona, the Generalitat de Cataluna, the Ministry of Culture and the Fundació Joan Miró of Barcelona. He died soon after in Majorca and was buried in Barcelona, in Montjuïc cemetery.



The exhibition is divided chronologically and thematically in the rooms of the itinerary, where visitors can admire the production of Joan Miró during the last 30 years of his life in Majorca. The story of the master is inextricably bound up with this island that, as his own words convey, represented poetry and light for him.

From the outset of his career Miró maintained that the artistʼs objective should focus on large-scale projects, such as murals and other public art works, which also offered the opportunity to work together with architects and craftsmen, relegating easel paintings to a secondary role. Miróʼs public art projects, characterized by a combination of architecture and sculpture, derived in part from his deep admiration for Antoni Gaudí, are represented in the exhibition by works such as Sketch for the Mural of the Terrace Plaza Hotel in Cincinnati (1947) and Sketch for the Harkness Commons Graduate Center, Harvard University (1949–51), and the drawings for his Mural Project for the United Nations Building in New York (1952-1953).

Miró was in Palma from 1956 onwards, marking the beginning of an intense period of work that also led him to criticize his old sketches and paint over them. Among these paintings and drawings, the exhibition features the aforementioned oil painting from 1908, the earliest one by Miró to have survived, which the artist had covered during this purging. This untitled work thus became the recto of an oil painting made in 1960.

This period is also represented by another untitled work, an oil and acrylic on canvas depicting a figure, a sort of doll, in which the disappearance of the artist’s figurative style starts to become perceptible. During the 1960s and ʼ70s the images and titles of his works continue to refer to his favourite themes, such as women, landscapes and birds. However, the iconography becomes abstract and the figures are amplified. The coexistence of different styles and techniques gave rise to static works like Mosaic (1966) and others with confused brushstrokes, such as Poem (1966). It was also the period in which Miró set aside his easel and started painting on the floor, walking on his canvases and lying on them, creating sprays and drips, as in Untitled, also made in 1966, using oil, acrylic and black charcoal with red and blue marks.

The 1970s witnessed a series of monochrome landscapes, such as Untitled, painted in 1973, and other substantially monochromatic paintings like the large-format canvases and another series of five later oil paintings, made in 1978 and displayed in a single room, which are blurred, visionary, minimalist, evanescent and animated, and illustrate Miróʼs predilection for the black of the American abstract expressionists and Oriental calligraphy.

The artistʼs last years – when he painted with his fingers, applying colour with his fists, and got to grips with matter painting, spreading the impasto onto plywood, cardboard and recycled materials – are illustrated by works such as Figure, Bird (1976), an oil on glass-paper, wood and nails. The works with ethereal, modulated blue backgrounds, of which several examples are featured in the exhibition, including the intense Untitled (1978), also date from this period of his production.

Finally, it includes several sculptures that are the result of the experiments that the artist made during his lifetime with various materials and techniques, such as collage, object paintings and other works that, as the years progressed, were inspired by what he collected and that otherwise, as he himself wrote, “would be dead things or museum pieces”. The exhibition includes bronzes such as Woman (1966) and The Tightrope Walker (1969), assemblages like Figures (after 1973), which combines painting and sculpture and is directly descended from the object paintings of the 1930s, and terracotta sculptures, like the mask (Untitled, 1981) and the ceramic head (Untitled, 1981) that belong to a series of pieces that Miró made together with Hans Spinner, in Saint-Paul-de-Vence.

We have already noted the importance of the workplace for Miró which is why the Studio Sert in which he created some of his masterpieces has been reconstructed in the exhibition space. It includes all the objects, brushes and tools that Miró used, which have been preserved by the Fundació Pilar i Joan Miró. “The meeting between fantasy and control, prudence and generosity, which perhaps can be considered a feature of the Catalan mentality may explain, at least in part, the fundamental basis of the art and personality of Joan Miró,” Gillo Dorfles wrote in an essay on the Catalan artist.














My “Lacer/Actions” images against oil spill disasters: “And the sea waters rose and screamed all their fury”. This clip was created with my art pieces  – realistic and not manipulated images of torn and decomposed posters – and it supports Fuerteventura campaign against the central government’s decision (Spain) to allow oil exploration in Canary Islands (Biosphere Reserve). 

I been in the beautiful and wild Fuerteventura last june. And I approached its problem. Local people and associations are raising protests. Greenpeace told that the planned oil spill – located in deep waters, at 3000 meters – would required 500 boats to act immediately in order to contain it. Fuerteventura doesn’t have the structure to be able to defend itself immediately against such a disaster…   

Natalia Evora, Environment and Trasports Councillor in Fuerteventura, said to “Fuerteventura Magazine Hoy” : “First of all we must remember that in 21st Century we must speak of energies that do not pollute and we therefore think oil has become an obsolete industry… We must take into account the great damage and risks that this would create in our marine element, for biodiversity and for tourism…The Islands that are Biosphere Reserves, such as Fuerteventura, are creating another energy model and not one that is already being eliminated in many countries because of the problems it has created… An oil spill would immediately close the desalination plants that provide the water we consume”.