It’s out in UK the new issue of “The Beestonian” magazine with a great page about “The Ghost Bus” project I’ve created with Bartons Plc and Act Group. Journalist and photographer Christopher Frost reports about the short films in Chilwell-Nottingham, at Bartons Plc. It’s a wonderful story about this artistic and human experience made and developed around an old and rusty vehicle… Thank you so much Christopher Frost for your great article! The Beestonian mag is also available in the e-version at Issuu.com platform.
Guest Writer: MELVYN RAWLINSON ( ACTOR, DESIGNER, DIRECTOR, PUPPETEER)
So often it is time which robs us of our memories and our faculties: to be able to function in the same way we once were able to. The archive film gives us back those memories, a glimpse of the past. But the bus itself has also travelled through time, and like its passengers has also been robbed of many of its faculties. Yet time is also our travelling companion as it takes us on a journey to discover what lies beneath the outer surfaces. Time is stripping back the layers to reveal other landscapes in a different dimension. It’s as if time is moving in two directions and where the two cross is where you find the Ghost Bus. It’s a curious contradiction. In this instance, the bus is the zeitgeist, the receptacle from which these images and emotions spring.
There were all sort of secondary thoughts about Roberto’s images not being abstract because they’re not abstracted from anything; they are an honest representation of what already exists, if only we take the time to look – so if anything they are extracted images. I guess in some ways we’re already aware of archive footage and even Roberto’s images, however beautiful even mesmerising, seem familiar. Yet the bus is different. To my mind the bus is the star and deserves to be at the heart of the installation and I’m not sure the films and the music should be experienced as separate fragments but more as facets of the central jewel – The Ghost Bus. I think it’s an extremely exciting project and I envy you all!
As a lone film maker – and a part-time one at that – and as a performer I really appreciate the hard work which was needed to get to the point of last Friday’s presentation. It was a brilliant evening and full of images and emotions which will stay with me for a long time. There’s so much potential there I’m sure you’re going to have great fun exploring the project even further. And I don’t need to tell you of the amazing resource you have right in the heart of Beeston and I raise my hat to you and your small team who achieve so much.
Toton, Nottingham, UK
Guest Writer: ROBERT RICHARDSON, Photographer, Visual artist
PHOTOS BY ROBERT RICHARDSON
The narrative of “The Ghost Bus” is compelling. An Italian artist encounters an old, decaying bus in the middle of England. He photographs details of its surface and returns to show, in the garage where it is kept, a video artwork made from his singular documentation.
I was one of an intrigued and fascinated audience who enjoyed an array and succession of vibrant images. We could also reflect on the inherent wonders of the mundane, meaning it is not mundane at all.
Afterwards, and behind the screen, was “The Ghost Bus” itself. Along with others, I approached it almost as if it was a holy relic. Roberto Alborghetti’s vision is one of transformation: what was dying had been given a new and spectacular life.
I’ve posted a few “snaps” on my Facebook artist’s page. Here’s the link:
Robert Richardson, Melton Mowbray, Leics.
Guest Writer and Photographer: CRISTOPHER FROST (Nottingham Daily Photo, The Beestonian, PostLite)
There was an unusual, and exciting event that took place in Beeston (March 27, 2015), a world premiere film show based on close up photographs of the ‘Ghost Bus’; the old dilapidated Bartons bus that was found rotting in a Suffolk field.
The bus made its first appearance at Bartons in October 2012, and of course I popped along to see and write about it for this blog. Last October a well known Italian writer and visual artist called Roberto Alborghetti saw the bus for the first time and was amazed at the state of the vehicle. He then spent a couple of hours taking 500 close up photos of the rust, peeled paint and general distress on the buses bodywork and has turned 130 of them into a thirteen minute film, naturally called The Ghost Bus.
Besides seeing the film, Bartons had put lights and a smoke machine inside the bus, to give it a supernatural and atmospheric air, amplified by the darkness of the garage setting. Would you want to spend the night alone on this bus?
Roberto has also made a shorter, six minute film, using some of the other photos called Seaside Film, Both films were impressive and well received by the audience. There was also time for a small question and answer session.
It was a wonderful event, and for those that are curious about what the film looks like, Roberto has put a small extract on YouTube – https://youtu.be/1YWqP38vHQo
Guest Writer: PAM MILLER, Fine Artist
Photos: Roberto Alborghetti
What a great evening last Friday at Bartons was, when Roberto Alborghetti presented his Ghost Bus films!
Initially, the audience was treated to archive film of the Bartons’ bus in service, as the first tour operator in Italy and beyond. How fascinating this was and appeared to totally captivate its viewers.
As if this wasn’t spellbinding enough, what came next was even more enthralling, presented very professionally by its producer, Roberto Alborghetti (introduced by Marysia Zipser, Art-Culture-Tourism Group Founder). Nothing had prepared me (and it seems the rest of the audience) to the exciting spectacle that followed, a dramatic, emotional series of images created from photographs taken of the scratched and deteriorating paintwork from the surface of the old Bartons bus that had been ‘put out to grass’, at the end of its service.
These images, entitled ‘Lacer/actions’, were projected onto a large screen, incredibly imaginatively, like abstract paintings, juxtaposed alongside quotes from writers, such as Tennyson and with such intensity of rhythm and power and incorporating music of equal emotive force.
The film was projected from a Bartons’ vehicle in deep darkness within the Bartons’ building and, as I was sitting at the side of the vehicle and slightly lower, the vehicle had a massive presence, giving me the sensation of being transported right into the film and the imaginary world of Roberto – the abstract images, the titles of which were maps, lands, skies, horizons…….indeed, I was transported back to Zambia (where I lived in the mid to late seventies), when viewing the orange and gold abstracts – ‘Lacer/actions’ inspired by the surface of a Land Rover – a truely emotional experience for me.
Roberto’s second film inspired by The Ghost Bus was also exciting to view. In this instance, the film was more experimental, an attempt to combine watercolour painting with the more hard-edged abstract photographs of The Ghost Bus. If anything, I do believe he will progress this idea further if he softens the edges of the photographic images of the scratches and deteriorating paintwork on the bus, to ‘marry’ the organic quality of watercolour with the photographed scratches/deterioration of paint. Tom, James, Richard and Simon Barton’s incorporated music complimented well the visual display of imagery.
To conclude, Roberto, in my opinion, is to be congratulated on his highly professional production and presentation of his Ghost Bus body of work, as is Marysia, who has shown much vision in engaging such a talented Italian artist/writer within The Creative Industries of Beeston and Chilwell. Congratulations, too, are due to Simon Barton (and Marysia) who has demonstrated such creative thinking in the hosting of this event. Grateful thanks, also, go to Simon for providing refreshments on the night and for being such an excellent host, along with members of his family.
Finally, it must be said that it was interesting to ‘meet’ the owner of ‘The Ghost Bus’, after the films; also, to witness Roberto’s kindness, in presenting her, along with Marysia and Simon, with printed canvases of his ‘Lacer/actions’ and wonderful printed scarves (also of the Lacer/actions) for Marysia and Jeannie Barton.
Many thanks to Roberto – long may he continue with his ‘Lacer/actions’ project. Printed ceramics next? Yes, a great idea of Roberto’s, I do believe. Mille grazie!
Very best wishes.