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Palazzo Giustiniani Lolin a major exhibition celebrating the designer of the "rebirth" of the country and the Olympic Games in Rome 60. Among icons Nerviani, new projects, challenges and stories, we talked about his grandson Marco Nervi
LAURA Larcan
The architect who remade Venice Italy to the challenge of Nervi
VENICE - It 's been the architect the "rebirth" of Italy on the ashes of World War II. One of the main characters of the Roaring Twenties who wrote the chapter on the economic boom of those fabulous Sixties that changed the spirit and ambitions of generations. Pier Luigi Nervi (1891-1979), but enlightened visionary, a dreamer, but practical and socially engaged, so much so that, as he recalls his grandson Marco Nervi, would often say with pride that the main reason for which his designs were winning races tender because it was economically more advantageous than others. Fifty years on from the Olympics in Rome (who saw "signs" of choice for sports facilities) and twelfth in the forthcoming Biennale of Architecture "People meet in Architecture", celebrates a major exhibition, "Pier Luigi Nervi - Architecture as a Challenge ", from August 28 to November 14 at Palazzo Giustiniani Lolin under the care of Carlo Olmo, organized by Pier Luigi Nervi and Research Knowledge Management Project, chaired by Marco Nervi with the aim of bringing the figure and work of Pier Luigi Nervi at the center of reflection on the culture of the twentieth century, not only Italian. Partner of Excellence, the Centre International pour la Ville, l'Architecture et le Paysage, Brussels (Shiva), where the show debuted in June, and Maxxi, National Museum of XXI Century Arts in Rome, where he will arrive in December next. We talked with Marco Nervi.
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from the title of the exhibition "Architecture as a challenge." What was the "challenge" for Pier Luigi Nervi?
"The 'challenge' is to be understood clearly as a challenge to himself and his creative abilities in design and produce works of increasing complexity, structurally and technically, often with very short time available. These conditions placed him in front of 'challenges' techniques, but also constructive and organizational difficult. These 'limits' are clearly also added to the' challenges' intellectuals associated with the use and capabilities of individual projects, I think in particular the Chamber of Audience at the Vatican for which it was necessary to achieve 'a work is not petty or trivial, but aware of Its prime location and its ideal destination '(speech delivered by Pope Paul VI, June 30, 1971, the day of inauguration of the House). We also think the 'challenge' posed by the economic needs of Italian and European civil society in the postwar years, when the limited resources available require rigorous planning and organization. "
challenge, then, more social and democratic in the sense of the word ...
" My grandfather had a very high conception of the role the manufacturer, and the role that this figure can play in society. For him up was the importance of its function to the community, from which I derive the concept its great moral and intellectual integrity. So I think the challenge for each project on Pier Luigi Nervi was always represented from getting maximum strength, functionality, economy, speed of execution, all criteria that were inextricably part of its design language. But the biggest challenge always remains the combine all these parameters in a pure architectural form, where aesthetic language and structure are merged into a unique harmony.
We can tell from his point of view the man and the architect Nervi, reveals his personality, his temperament, his temper. What moved him and what disturbed him?
"I worried the mediocrity and lack of intellectual rigor and moral. He was sometimes very hard, but it was in the first place to himself. He knew, however, be generous when recognized in the other a real commitment and a passion for their work. It is demonstrates the commitment that he dedicated to his students at the Faculty of Architecture of Wisdom, or the very special relationship with the workers of his company, with whom he often entertained you in on solutions to long to be taken in different sites. Shy and folded on the affected families, especially in an almost exclusive relationship with his wife, however, had developed a very complex social life around the profession, maintaining relationships with leading personalities from the worlds of architecture, culture and international politics. "
What was the greatest dream of Pier Luigi Nervi? He created?
"For me it is difficult to answer, but I think it was the live in fact as he then lived, pursuing what he once called his 'abstract passion engineering design'. A passion that has sacrificed a lot, in a totally aware, this also involving his family, but I think - just for his intellectual honesty, that he could not have done otherwise. "
How has Italy with Nervi architect?
"I guess you could say that my grandfather was the right person at the right time. The capacity building of Pier Luigi Nervi - speed, creativity, innovation and cost - and the management model represented by his construction company meets the high demands of civil society Italian and European post-war and I believe have made their contribution to the economic recovery of those years. "
What you will find that nerves in this exhibition in Venice? What is its leitmotif. What are the" icons Nerviani "that mark the path?
"The exhibition opens with a reading of 12 exciting projects Nerviani made by Mario Carrieri, one of the greatest Italian photographers. Berta stadium in Florence Italian Embassy in Brasilia, passing the Palazzo Torino Esposizioni, the UNESCO building, the Hall of Audiences, Carrier offers a contemporary reinterpretation that helps us to look at these structures in a new, also interrogated on their current use and recovery.
There are two projects which are then analyzed in detail, the municipal stadium of Florence and the Palazzo Torino Esposizioni. There are two projects that mark a bend in the creative process and the reputation of Pier Luigi Nervi. The Municipal Stadium in 1932 led him to the forefront of the international architectural scene, Palazzo Torino Esposizioni it reaffirms the success after years of war in 1948. In Venice, will present new aspects of both projects.
The themes also interact with the theme of this year's Biennale in Architecture-People-making absolutely meet the current work of Nervi, who during his long career as a designer and manufacturer mainly produces large structures in service of social life.
Do not miss the depth that we present on Intervention of nerves in the building of the Cassa di Risparmio di Venezia, set up their own spaces in the hall of the bank in Campo Manin, which will allow the public to better understand international and Venetian this little gem great engineer of Sondrio in the heart of Venice.
There are new elements (materials, studies, projects) that stand out? About
Berta Stadium in Florence, working in the archives, there was a story (and a project) above, a story that allows you to replace this famous project even in a context of development and different cultural. It 'a real novelty, is for drawings that will be exposed, both in research, not only of starvation, but also analyzing its way to design, here comes sharply into focus. In the case of Torino Esposizioni
present instead the relations between father and Hector Sottosass Nervi for pre-existing plan of the Palace of Fashion, on whose postwar ruins my grandfather erect Torino Esposizioni. This is interesting material for understanding the relationships between nerves and Italian architects.
Also in the multimedia section which anticipates the broad review contained in the program MAXXI and an extensive video section which will offer period documentaries on the work of Pier Luigi Nervi, will be premiering a film on the teaching Pier Luigi Nervi, for the exposition by Folco Quilici with Science by Lucio Barbera. They use the
50anni the Olympics in Rome, a scenario that will be discussed further with the show at the Maxx. Since the Olympics are a very timely topic, describes the Olympic Games in Nervi (maybe even some of those great historiographical background sites)?
Being born after 1960, precisely in 1964, I have no personal memories linked to that event. Surely, however, the period of construction of the Roma 60, as best recalled recently from my brother Pierre in a series of articles, was, for my grandfather and our family, a terrific time for ingenuity, creativity, commitment and organization put into the creation of such works as the Sports Hall, in collaboration with Annibale Vitelli, Stadio Flaminio, in collaboration with his son Anthony, the viaduct of Corso Francia and the Palace Sports in collaboration with Marcello Piacentini. The preparation and execution of the Olympic construction sites were the time when the sons of Pier Luigi Nervi entered a full part of the work and the study of the nerves. My uncle works with her father Antonio architect in the design, my father Mario, an engineer, and my Uncle Victor, who was an architect especially in the management and enforcement of building sites.
The result of this work is still celebrated in the history of the Olympics as one of the best examples of collaboration, trust, rationality, persistence of all those institutions, organizers, managers, technicians who have contributed to achieving the target set in the time and, more importantly, within the limits spending imposed. So I think it is right in celebrating the 50th anniversary of the Rome Olympics Pier Luigi Nervi remembered as one of the protagonists of that "wonderful summer" of '60, which marked the start for Italy's economic boom.
And what you personally think of the new application of the 2020 Rome Olympics. It 's a city that can support the architectural firm?
"As with any opportunity for possible large-scale projects and investment in the urban fabric, is potentially a great opportunity for the city of Rome. And 'perhaps the most beautiful stage, a fascinating and exciting world for an event of these characteristics. It will not be easy, however, confronted today with the urban and architectural complexity of a Rome radically changed from fifty years ago. However it seems that there are promises to do well, given the great unity of purpose between the municipality, Olympic Committee and the Government. The commitment on our part, as a family Nervi, will ensure the proper integration of the structures built by my grandfather in the preparation of different racing venues.
A About Maxxi, what he thought nerves of this museum that has attracted so many conflicting readings?
"I do not think it is for me to say what he thought of Pier Luigi Nervi of the project. For my grandfather's work to be considered right or rather 'real', as he defines it in an interview that will be on display, must be conceived and executed with full satisfaction of the characteristics of good functionality, structural stability, good economic performance, reliability and aesthetic composure. Respect means that features that were built correctly and honestly I think the most important things for him in a work of architecture.
Useful
- "Pier Luigi Nervi - Architecture as a Challenge ", from 28 August to 14 November 2010, Palazzo Giustiniani Lolin, the site of Permasteelisa, Venice
Hours: Monday-Thursday 11-18, Friday and Saturday 11-20.
Closed Wednesdays Admission free.
Information: 2 www.pierluiginervi.org
Catalogue: Silvana Editoriale
(August 11, 2010)
Giancarlo Rossi - (save) stockbroker - How do you portray a garden so reminiscent of the Impressionists Edinburgh
http://www.repubblica.it/speciali/arte/recensioni/2010/08/06/news/come_ti_ritraggo_un_giardino_cos_edimburgo_ricorda_gli_impressionisti-6114954/
The National Gallery is celebrating the move with a major exhibition theme. On stage, a hundred works by Monet, Sisley and Van Gogh comes a curiosity: the botanists have identified all the plants in the pictures painted by LAURA
Larcan
How do you portray a garden so reminiscent of the Impressionists
Edinburgh EDINBURGH - If the unbridled force of Impressionism was to experiment with ecstasy blood painting landscapes en plein air, "where the light is no longer unique - just like he said Emile Zola - but there are multiple effects," then the big show at the Royal Scottish Academy Building (on the whole of the National Galleries of Scotland) into the heart of the movement and captures the purest essence. "Impressionistic Gardens" (Impressionist gardens) becomes the subject guessed, almost brazen in this really great collection of nearly one hundred works, the result of collaboration between the institution and the Scottish Museum Thyssen-Bornemisza in Madrid, under the care of Michael Clarke and Clare Willsdon was able to orchestrate quality parts authoritative using loans from a number of important museums in the world.
IMAGES 1
The garden, this microcosm infusion of the Wild or tamed, private or public, green, floral, revitalized and energized dall'incostante and indomitable light, is the key to a beautifully predictable journey to the center of 'Impressionism, where parade side by side chromatic virtuosity of his mentors. Monet, who built his personal garden at Giverny in Normandy, "his most beautiful work of art", his paradise, his bucolic utopia where to chase the endless mutability of a reality at the mercy of the effect luministic brought increasing his painting to the extreme edge of an informal taste. A Sisley who loved to capture the perfect harmony with existing color of the gardens of Louveciennes, Pissarro and Berthe Morisot in chasing liberty with instant heat and the gentle beauty of small, well-ordered gardens in the villages around Paris, Renoir used as a fifth dramatic portraits of his wild looks out upon the garden his studio in Montmartre.
The garden as a place for experimental research hub outside and from life had already been the vision of the painters of the first half of the nineteenth century, and the exhibition reward you. Track this the dawn of a revolution in those painters of the Barbizon School, which had denied the construction of classical study, highlight characters such as Delacroix and Corot who had caught the constructive force in the color of the representation. But the exhibition does not end the season then only the most authentic of Impressionism. Leveraging the leit motif of the garden, chasing the souls of this style outsider, the protagonists of a more personal and transfiguring processing, such as Gauguin and Van Gogh, those who have written a new chapter, as Seurat, to the chromatic subtleties of a troubled young Klimt pre-secession. It 'a short slide show airy leaving an epic style where the color went protagonist, merging into one with the emotion of the individual artist.
And the masterpieces on display appear as pure color surface, where the matter chromatic flickers with frenzy and excitement, torment and passion to capture the flash of light and density of the atmosphere. Still, the record also shows can give unprecedented criticism: "For the first time we have worked closely with scholars at the Royal Botanic Garden Edinburgh - tell the curators of the exhibition - for a careful and limited joint analysis of the paintings. We were able to identify where it can all types of plants described by the artists in the paintings of the exhibition. This result, as also pointed out the director of the Botanical Gardens David Mitchell, now helps us to demonstrate the high level of specialized knowledge in horticulture, which had some Impressionist painters, real expertise in botany. "The brush stroke short, quick stroke, the emotional dynamism of the colors that have made great and unique the Impressionists, they never canceled the reality of nature. And their gardens today reveal this great truth.
Useful - "Impressionist Gardens", from July 31 to October 17, 2010 , Royal Scottish Academy Building, National Galleries of Scotland, Princes Street, Edinburgh, Scotland.
Hours: Daily, 10-17 (until August 18), Friday until 19.
Admission: £ 10, concessions £ 7.
Information: www.nationalgalleries.org
2 (06 August 2010)
Giancarlo Rossi - (save) stockbroker - Rimini Enizyme the laboratory to the forefront of tomorrow's art
http://www.repubblica.it/speciali/arte/recensioni/2010/08/27/news/a_rimini_il_laboratorio_enizyme_l_arte_di_domani_alla_ribalta-6544067/
Rimini laboratory Enizyme
The art of tomorrow to the forefront at the Rimini Meeting 2010
Eni launches an innovative and interactive space dedicated to contemporary art. Between performances and shows on the theme of Energy, parade graphics, video makers, photographers and musicians of the latest generation of
LAURA Larcan
Rimini Enizyme the laboratory to the forefront of tomorrow's art
RIMINI - The Rimini Meeting 2010 arrives Eni. Did not matter if one considers that the historic Italian company founded by Enrico Mattei brings with it, until today, a stable of young artists, designers, graphic designers, illustrators, videographers, photographers, copywriters, musicians and actors to transform their trade fair stand in Hall D5 in a "square of culture" to the sound performance, performances, video installations, laboratory meetings. A non-random event, but also at all obvious to the parent company of the infamous six-legged dog, which has now based with conviction and a hint of romantic folly of corporate communications projects on a forge (Enizyme) of young creative talent recruited from all over the world the common thread of the trial. And in the days of the Meeting of Rimini Eni space becomes a stage dedicated to dynamic interactive and engaging from day to evening, to discover and experience. For the first time ever, in collaboration with NUfactory, there is a real team of artists who, in recognition between the exhibition spaces, realized in real time, through their own eyes, sensitivity and style, works and events inspired by the issues raised in the course of several days. Always keeping faith with philosophical beliefs of Eni: "The future belongs to those who know imagine." It is from this improvisation "inspired" you write the program for the stand hi-tech Eni.
by the illustrator Roman Chiara Fazi, '84, formed the Academy of Fine Arts in the capital, with an elegant and simple narrative style, the sculptor "anthropologist" traveler and amassing Damiano Tullio, Class '79, to the sophisticated and visionary video maker Daniel Spano, born in '79, the photographer Guido cazzilli underground, class '83, video Giorgio Varano artist, born in '81, grew up in shorts and documentaries, to Florence Emily Mattes, actress and author. They were added to the logbook, Eni-Café, the literary cafe that night by reserving a course in creative writing produced by the Holden School in Alessandro Baricco, to the sound of meetings with various authors on the process of constructing a narrative . To these, at night, combine virtuoso solos actor Raffaello Fusaro director and author who, with his "Dante remix_reload" mixes the poetry of the Divine Comedy with the power of images of our time, and performance to shock the saxophone Sebastiano Ragusa twenty-seven, with acrobatic improvisation of music borrowed from the corners of the world, but playing the funny uncensored chronological with the melody of the first Western to 900 today, crossing the swing-era '20s, electronic music and avant-garde of the '70s, even the Italian pop , to the latest research. For aspiring graphic designers, two technology-based totem iPad offer visitors the chance to rework, according to their creativity, the logo of Eni. Finally, two totem "I and the six-legged dog," are available for those who want to talk about their memories of the company.
(August 27, 2010)
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http://www.repubblica.it/speciali/arte/recensioni/2010/08/27/news/a_venezia_piano_a_wenders_ma_una_biennale_al_femminile-6545715/
Opens the twelfth edition, directed by the Japanese Kazuyo Sejima Pritzker Prize, the first woman the historic event. On the topic of "dynamic relationships" parade 46 holdings between architects and artists. Are 53 national pavilions, with the new entry of Malaysia and Thailand. Between the present and future play the Italian Pavilion
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A Plan to Venice but Wenders is a two-year female
VENICE - The director Wim Wenders who signs a passionate and intimate documentary about his intriguing Rolex Learning Center opened last March at the Ecole Polytechnique Fédérale de Lausanne, the Thai artist Fiona Tan in a video that tells its pioneering projects for the islands of the Seto Inland Sea in Japan, his "master" Toyo Ito (with whom he immediately after graduation worked for six years of enlightened strategic training) that passes between the designers 'historical', and a title / theme "People meet in Architecture", driving across the twelfth edition of the International Architecture Exhibition of Venice Biennale , starts from August 29 to November 21, vehemently that reveals his personal conception of contemporary architecture: that of the connective tissue spaces like theaters or osmosis, are able to encourage with natural relations between interior and exterior but also the dynamic and fluid communication between individuals.
IMAGES 1
First Lady Kazuyo Sejima. And 'perhaps the first time that a Biennale of Architecture is so deeply imbued with the personality of its artistic director, in this case, the first woman in the history of the event, Ms. Kazuyo Sejima cinquantaquattrenne Japanese, who won this year with his partner Ryue Nishizawa ( with whom he established Sanaa) of the prestigious Pritzker Architecture Prize. But not a bad thing, this bit of self when the main idea is to "overcome the conditions of isolation - to quote her - at a time when the most advanced technologies replace direct dialogue between people, returning a new sense of community. "
The Show. It is on this idea of" relationship "at times utopian and romantic, but also adventurous and fearless, and on its precise indicating each of the forty participants, including studies, architects, engineers, but also real artists from around the world that make up the exhibition of the newborn Palazzo delle Esposizioni in the Giardini and the Arsenale, reserving his personal and unprecedented interpretation, elaborating " autonomous scenarios of interaction between environment and society. "You are the Italians wanted by Sejima with choices not so obvious. Renzo Piano, Aldo Cibic (Cibic & Partners) that brings a new version of the "Microrealities (microrealtà as special forms of society based on the interactions of people with their environment). By Andrea Branzi, artist Luisa Lambri, by photographer Walter Niedermayr that processes three different visions of public space in Tehran, the homage to the architect Lina Bo Bardi (1914 - 1992) who worked mainly in Brazil in Sao Paulo focusing its projects on the concept of the report. As warns Kazuyo Sejima "begins every project by drawing the environment and the people who inhabit it. What more striking is the way the Brazilians occupy the space with their bodies. Create amazing environments, starting from these premises."
surveyors and outsiders. Among the star-bows, stands out, as previously announced, the Japanese Toyo Ito & Associates, with its walls to "Swiss cheese" Imagine a way to redefine the division inside-out, and the Dutch "flying" with his Rem Koolhaas OMA (Office for Metropolitan Architecture) which will receive the Golden Lion for Lifetime Achievement (while the memory will be for the Japanese Kazuo Shinohara, who died in 2006) so that his special talent to create "buildings that encourage interaction between people, thus achieving ambitious goals for the architecture, this inspiring people of different disciplines that take great liberties with his work. " In addition to the memory of Cedric Price (1934-2003). Among the most borderline attendance, outstanding artists Janet Cardiff, Do Ho Suh, Olafur Eliasson, Marcela Correa that Smiljan Radic, influenced by the recent experience of the earthquake in Chile, has on display a huge stone on which is carved a cavity that receives only one viewer at a time. "An area that is conducive to reflection and meditation," said Sejima. Still highlight artists, like German Thomas Demand and Cerith Wyn Evans. And there is as an engineer Matthias Schuler of Transsolar, in collaboration with Tetsuo Kondo, offers a cloud of size "to its indefinite nature, ephemeral, installation stimulates a new interpretation of space by the spectator," Sejima says. And the critic Hans Ulrich Obrist performer who likes to design scenarios report through the word and the face, interviewing all the participants invited by Sejima and Arsenal making an installation with all the interviews collected.
national pavilions. This trip is then assisted in the metropolitan osmosis, according to tradition, from fifty-three holdings of national pavilions in the Giardini, which would exceed even with their presence between the Arsenal and the historic center of Venice. The newcomers see slide Albania, Bahrain, Iran, Rwanda, Thailand and Malaysia, the Artillery Arsenal, with the "Re / mixed", dedicated to thirty-seven projects selected among the most interesting Malaysian studies in progress, completed, or ideas that have been selected for several international competitions, all played on the relationship between architecture and nature. Browsing, who wants to discover what the future skyline of Copenhagen, Denmark can enjoy the pavilion that shows off an array of strings-star for the project Urban Questions, by Zaha Hadid, Rem Koolhaas, Daniel Libeskin. And France leaves extract the architectural perspectives of Greater Paris, next to Lyon, Bordeaux and Marseille with the project "Metropolis." And if Britain plays with "Villa Frankenstein," Singapore offers fascinating models of compact cities.
Italian Pavilion. Do not miss the Hall Arsenal Italy with the exhibition "Ailati. Reflexes from the future", curated by Luca Molinari trying with reckless air of a survey of the recent past and imminent future of contemporary Italian architecture. Almost a diplomatic process to good and evil of a construct of creativity made in Italy. Between a crisis of conscience and ferments buttons. The path is complex, sometimes cumbersome to read, but ambitious enough to do downtown. The balance sheets of the last twenty years of Italian architecture, current affairs of this all to sound (through works constructed in recent years divided into 10 thematic areas emerging solidarity between projects, live below 1000 € per square meter, what to do with property seized at Mafias, emergency landscape, community spaces, new public spaces, cities rethink, archetype / prototype work in progress, grafts). To close with the most urgent future, mapped with a more meditative section and pretentious, and in collaboration with Wired magazine calls together fourteen scientists, thinkers, film-maker "producer" to indicate the priorities of the future. Useful
- "La Biennale di Venezia. 12. International Architecture Exhibition. People meet in architecture, from August 29 to November 21, 2010, Venice (Giardini and Arsenale).
Hours: 10:00 to 18:00 (closed on Mondays except Gardens Monday, August 30 and Monday, November 15, 2010), Arsenal closed Tuesdays (except Tuesday, August 31 and Tuesday, November 16, 2010).
Admission: Arsenal ticket, Gardens and Bridge of Thoughts, Adults € 20, reduced € 16
Information: www.labiennale.org 2, tel. 041 5218828
Catalog: Marsilio
(August 27, 2010)
Giancarlo Rossi - (save) stockbroker - * You are in: Republic * / * / Special * Art / reviews * / * Arte Povera, immersion in nature A ... * + * - * Comment * Email * Share * Print * Delicious * Facebook * Twitter * Buzz * OKNOtizie IDEAS Arte Povera, immersion in nature A Vassivière is Marisa Merz
http://www.repubblica.it/speciali/arte/recensioni/2010/08/20/news/merz_a_vassivire-6395805/
In regional park Millevaches, France, a major solo exhibition in Turin. Among new works and new works, the artist tells the natural beauty of this part of France
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Arte Povera, immersion in nature is Vassivière Marisa Merz
Vassivière - Marisa Merz, Turin, Class '31 , a prominent figure of Arte Povera, wife of the great Mario (without being obscure, with celebrations from behind Documenta in Kassel at the Centre Pompidou in Paris, the Tate Modern in London until the special prize at the Venice Biennale in 2001) is one of those artists sums, original and evocative grace that knows how to explore light and finest in the intimate link between art and life. He does it with his introspective and fragile creatures, wax and clay sculptures, soft materials, thin metal surfaces and threads woven copper, but also large canvases that trace in limbo evanescent bloodless female faces that speak in a deafening silence. Energy of a feminine aesthetic that is vibrant today its ideal location in the halls of Centre international d'art et du paysage de l'île de Vassivière that its structure is perfectly balanced with the environment, a real island, in harmony with the talks Vassivière Lake, one of the largest reservoirs of France, nestled north of the regional park Millevaches, which offers breathtaking views of natural jewels.
PICTURES AND first
'here until September 26 can be seen the exhibition of Marisa Merz by Chiara Parisi that curls exceptional new works and new productions created especially for the exhibition French, deeply inspired by the feminine dimension , where the remains of everyday life are transformed in appearance evocative of intimate spaces. As the curator says, "Marisa Merz is the image of a powerful and very feminine, or energy primordial. The fragility that at first seems to dominate his work, is none other than the appearance which shows the strength and gradually the great transgression of his work. "
The path within the Centre international d'art et du paysage becomes a paradigm of this force, so that we can say that the island is the show. The idea of the artist is to establish affinities between his visionary universe and the natural energies that characterize the island of Vassivière. An intimate fusion of nature and life that starts from the cylindrical core of postmodern Aldo Rossi, the summit climb of the entire museum center. Here the grass in a meadow green converse with needle blue figures that animate a large picture made on Japanese paper and illuminated by a frame with textures of copper, in a perfect musical counterpoint with the oval blue wax.
The path then becomes a wedge within the warmth of the center through the game works meticulously arranged. Here are the faces splattered in the middle of the canvas as "an emptiness, an emotion," to quote the artist, a tangle of wavy lines and thin, ethereal female faces appear slowly, with infinite delicacy, faint signs that suddenly come body laid at the feet of clay heads of the canvas. "The artist - says the curator, sees his art 'as all life', sees the world as subject to constant change, a shift of the chemical and alchemical, a progressive evolution, which is implied in all the forms that carry within their structure, can become another form. "
" In my imagination - reveals Marisa Merz - what I find, do not call it knowledge, to me, is happiness. As soon as it becomes knowledge, happiness is lost. Okay, I can not always do so it becomes knowledge, but sometimes I get this moment of happiness. E 'happiness linked to contact with myself and with the world, and the relationship between the two. The transformation into knowledge is almost simultaneous, inevitable. I do not know if it contains the knowledge pain. I think it's the repetition, something that you already know. Unlike the happiness that is a surprise, astonishment, quell'instante precise here. But I have a weird mind. "A curious, audio-guides are in iPod format and contain thoughts, concerns and stories about the artist's work by scholars and personalities from the art world, Danilo Eccher Dieter Schwarz.
And for those who want to explore in detail this unique museum, the building end of Aldo Rossi, what is its cafeteria, which overlooks the lake Vassivière, stands out the tea pavilion created especially for the space by ' architect Kengo Kuma. It 's the Fu-an, see until September 5, "a space for the tea ceremony that floats in the air", defines the artist himself: "And 'focusing on the essential and strong sense of poetry, we can create, in unfinished areas , an elegant living space that generates new ideas and important '. Kengo Kuma reinterprets the cafeteria of Aldo Rossi, transforming it into a bright, light, inviting contemplation and meditation, in which aesthetic experience and taste as found in traditional Japanese homes, the space devoted to the tea ceremony.
Useful - "Marisa Merz, until September 26, 2010, Centre international d'art et du paysage, Ile de Vassivière, France. Hours: open daily from 11 am to 19. Admission: € 3 €, reduced € 1.5 €. Information:.: +33 (0) 5 55 69 27 27 2 www.ciapiledevassiviere.com
(August 20, 2010)
Giancarlo Rossi - (save) stockbroker - in honor of the museum myth Cousteau becomes a seabed
http://www.repubblica.it/speciali/arte/recensioni/2010/08/20/news/cos_in_onore_del_mito_cousteau_il_museo_diventa_un_fondale_marino-6396197/
In Venice, Fondazione Bevilacqua La Masa, an exhibition recalls the experiment of the French scholar, who tried to live under the sea. Hilario Isola and Matteo Norzi reflect on the mythical adventure in underwater installations and sculptures aquariums
LAURA Larcan
So in honor of the museum becomes a myth Cousteau seabed
VENICE - A home under the sea, overlooking the world of Poseidon and the sirens as condominiums. Jacques Cousteau with the myth was almost at hand. In the early Sixties the great French oceanographer tried the incredible experiment to live under the sea. He chose the plateau south of Sh'ab Rumi, off the coast of Sudan, to implant a viallaggio structures on the seabed, through clouds of all types and colors of fish, including sharks and barracuda. A team of divers lived for almost forty days in the depths, bringing out the operation of underwater life "Precontinente two." A little less than fifty years to recall the company we think of two Italian artists, Hilario Isola and Matteo Norzi, with a fine show "A Ballad of the Flooded Museum, from 26 August to 10 October at the Palace of Titus Fondazione Bevilacqua La Masa, event organized with the support of the Contemporary Art Project, which opens in conjunction with the twelfth Biennale of Architecture.
IMAGES 1
It is no coincidence, because the exhibition, curated by Paola Nicolin, and it is recommended for lovers of sea and underwater worlds, for the bold of the seabed and the dreamers of underwater adventures, but it points above all, with the delight transfiguring typical of contemporary art and opera, to reflect on the concept of depth and abyss, in physical terms but also emotional. And the water, that water and ruthless magic of Jacques Cousteau, became the reflection of the extraordinary theater, with its ephemeral and unpredictable spatial dimension, where everything is played between reality and a distorted perception of reality. Almost a metaphor, warns the curator Paola Nicolin, the nature of the work of art itself staged in a museum, in the balance, if not the chasm between reality and fiction.
Turin Both, class '76, New Yorkers by adoption, and Norzi Island, in collaboration since 2003, focus their research and conceptual, in eposta Worldwide, about tricks of museology and architecture, flooded, to remain in the topic, with strong ties to art history. And their exhibition in Venice becomes a "dip" unusual and not at all trivial, meditative but never granted, the universe of saltwater. Appropriatisi experience of Jacques Cousteau, whose residential settlement is still visited by scuba diving in the Red Sea of Sudan, the two re-propose, in addition to collecting materials and documents related to the history of the pioneer of the seas, their review atraverso installations, sculptures, photographs, videos and drawings, with strategic jumps of scale affect the viewer by altering the perception of the exhibition space.
If the water is the element "heard" that creates and destroys, floods and protects, alters the essence of things, here the isolation and Norzi think about this borderline nature. It happens with underwater installations, sculptures, aquarium creatures in between plexiglass and sponges, glass with natural settlement of marine algae, paintings that evoke deep. A portion of the sea seems to live again in these rooms, as if to re-activate the utopian spirit of daring and fascinating, a great man of the sea. Useful
- "A Ballad of the Flooded Museum. Norzi Island and, from August 26 to October 10, 2010, Fondazione Bevilacqua La Masa, Palace Tito, Dorsoduro 2826, Venice.
Times: WEDNESDAY 10.30-17.30-Sunday, closed Monday 'and Tuesday'.
Admission: € 5, reduced € 3.
Information: 041-5207797, www.bevilacqualamasa.it
2 (August 20, 2010)
How Many Combinations With 8 Characters
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Giancarlo Rossi - (save) stockbroker - * You are in: Republic * / * / Special Arts * / * ... http://pi.pe/-e9qydy
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Price For Eye Laser, Malaysia
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Varicose Veins In Labia During Pregnancy
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Testing for new services Pixelpipe WebRing600 Platform ...
How Much Is A Playpus?
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Monday, August 23, 2010
Does Dannon Yogurt Cure Bv
I Do not Like Mondays @
My latest song obsession (and what better day than monday to post it?)
Because, honestly, sometimes all you want to say has already been written in a song.
The silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s gonna make them stay at home
And daddy doesn’t understand it
He always said she was good as gold
And he can see no reasons
'Cos there are no reasons
What reason do you need to be show-ow-ow-ow-own?
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
I wanna shoo-oo-woo-woo-woo-oot the whole day down
The Telex machine is kept so clean
And it types to a waiting world
And mother feels so shocked
Father’s world is rocked
And their thoughts turn to their own little girl
Sweet 16 ain’t that peachy keen
Now that ain’t so neat to admit defeat
They can see no reasons
'Cuz there are no reasons
What reasons do you need?
Oh Oh oh whoa whoa
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
I wanna shoo-oo-oo-woo-woo-oot
The whole day down, down, down, shoot it all down
And all the playing's stopped in the playground now
She wants to play with the toys a while
And school's out early and soon we'll be learning
And the lesson today is how to die
And then the bullhorn crackles
And the captain tackles
With the problems of the how's and why's
And he can see no reasons
'Cos there are no reasons
What reason do you need to die, die?
Oh Oh Oh
And he silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s gonna make them stay at home
And daddy doesn’t understand it
He always said she was good as gold
And he can see no reasons
'Cos there are no reasons
What reason do you need to be show-ow-ow-ow-own?
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
Tell me why
I don’t like
I don’t like (Tell me why)
I don’t like Mondays
Tell me why
I don’t like
I don’t like (Tell me why)
I don’t like Mondays
Tell me why
I don't like Mondays
I wanna shoo-oo-oo-woo-woo-woot the whole day down
My latest song obsession (and what better day than monday to post it?)
Because, honestly, sometimes all you want to say has already been written in a song.
The silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s gonna make them stay at home
And daddy doesn’t understand it
He always said she was good as gold
And he can see no reasons
'Cos there are no reasons
What reason do you need to be show-ow-ow-ow-own?
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
I wanna shoo-oo-woo-woo-woo-oot the whole day down
The Telex machine is kept so clean
And it types to a waiting world
And mother feels so shocked
Father’s world is rocked
And their thoughts turn to their own little girl
Sweet 16 ain’t that peachy keen
Now that ain’t so neat to admit defeat
They can see no reasons
'Cuz there are no reasons
What reasons do you need?
Oh Oh oh whoa whoa
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
I wanna shoo-oo-oo-woo-woo-oot
The whole day down, down, down, shoot it all down
And all the playing's stopped in the playground now
She wants to play with the toys a while
And school's out early and soon we'll be learning
And the lesson today is how to die
And then the bullhorn crackles
And the captain tackles
With the problems of the how's and why's
And he can see no reasons
'Cos there are no reasons
What reason do you need to die, die?
Oh Oh Oh
And he silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s gonna make them stay at home
And daddy doesn’t understand it
He always said she was good as gold
And he can see no reasons
'Cos there are no reasons
What reason do you need to be show-ow-ow-ow-own?
Tell me why
I don’t like Mondays
Tell me why
I don’t like Mondays
Tell me why
I don’t like
I don’t like (Tell me why)
I don’t like Mondays
Tell me why
I don’t like
I don’t like (Tell me why)
I don’t like Mondays
Tell me why
I don't like Mondays
I wanna shoo-oo-oo-woo-woo-woot the whole day down
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