Your Secret Door to Italy
favorite places, walks, eats, recipes       & more!

Archive for November, 2011

Vanni Saltarelli’s Sultry Female Form – Vernissage at 6° Senso Art Gallery in Rome on 11.11.11

Saturday, November 12th, 2011

The opening of the solo show for Vanni Saltarelli this past Friday at Rome’s 6° Senso Art Gallery was an extraordinary experience, akin to encountering an old friend. The charming, charismatic artist came down from his native region of Lombardy with a small group of friends to celebrate his first show in Italy’s capital. Saltarelli has had solo exhibits all over the world in the galleries of Paris, Vienna, Rotterdam, New York, Hamburg, Monte Carlo, Venice and Milan, displaying works in which he consistently celebrates the magnificence and strength of the female form.

“Perhaps not it is not a very original thing to say”, explains the artist, “but for me the female body is the shape of life. It’s the beginning of life. Something constantly beautiful. Animals fascinate me because they too are constant and unchanging, undergoing only minor mutations throughout the centuries. Nothing crucial in either physical aspect or habit. Putting these two subjects alongside one another is my quest for perfection”.

Despite maintaining his single distinct style throughout his body of work, Saltarelli’s pieces surprisingly accomplish to evoke moods of very different eras. The exhibit’s central work titled ‘Chicco D’Oro’ is modern, sexy, and suggestive. Whether intentionally or not, his crimson-lipped siren absolutely recalls the delicious pin-ups of the great Gil Elvgren. The work’s theatrical glam-grunge factor seems to almost mock the rest of the exhibition’s somber and dark tone; the schematic, dynamic nude exudes power, her steaming espresso suggesting energy and the cerise shoes her fleeting quality. In other words, if this were the world of fashion, these would be front row seats to an Alexander McQueen show: experimental, dark, and infinitely racy.

One the other hand looking at ‘Voglia di Volo’, depicting a crouching female nude from the back, overpowered by celestial force, introduces a different concept. Many of Saltarelli’s paintings, due to their inclusion of animals and nude female forms, unmistakably recall scenes from Greek mythology. ‘Voglia’ may be read as a sinister interpretation of the infamous encounter between Zeus and Danaë, during which the god turns into a shimmering cloud and visits the latter, fathering in this fantastic manner the hero Perseus.

A certain tension prevails between the graphics and the color in Saltarelli’s work: color is used scantily, yet when applied it often overwhelms the canvas, rendering an uneasy effect. The uncontrollable use of black, the artist explains, comes from the very same search for perfection – the painter begins with a rudimentary form and re-works it in the manner of a Penelopewerk, until all that is worthless disappears to reveal the principle and perfect, faceless female figure.

 

‘Corpi di Vento in Scena’ by Vanni Saltarelli

November 11 – Novembre 30, 2011
6° Senso Art Gallery – Via dei Maroniti 13/15 – Rome, Italy

 

by Ally Novgorodtseva

 

 

 

blogged by ally

Bosch, Bugs & Brutality – “Tribute to Hieronymus Bosch in Congo” in Rome’s MAGAZZINO Gallery

Friday, November 11th, 2011

He is known from the Venice Biennale, renowned for his cerebral sculpture, his outspoken political views, his writing and his theatre production: all-round talent and infamous Beetle Boy Jan Fabre strikes again at MAGAZZINO Gallery in Rome’s Via dei Prefetti, with a one-man show presenting seven newest works. Titled “Tribute to Hieronymus Bosch in Congo” the politically engaged Fabre tackles the historical subject of Belgium’s involvement in the Congo during its colonial era, while simultaneously tying it to classical sadist iconography applied by Bosch in the late 15th Century.

Particularly the Prado’s treasured “Garden of Early Delights” proved inspirational to Fabre, who borrows much of his imagery from the Dutchman. Bosch’s central “Garden” panel depicts a man carrying a large black mussel shell, inside which a couple succumbs to earthly pleasures while small loose pearls roll around inside the shell, touching one of the figure’s back and buttocks. Jan Fabre chooses to have the shell devoid of sexual reference and any aphrodisiac quality; instead, the dark shell acts as a prison cell for a black Congo slave. The shell violently spits large pearls into space, as the man’s hands, firmly tied with a thick rope, are fruitlessly attempting to rip apart its entrapping walls. Similarly, following what can be best described as Bosch’s anal fixation, Fabre presents an image of a black slave defecating diamonds. This not only, and more obviously, refers to the Belgian abuse of the Congo for the purpose of obtaining the valuable raw materials, but interestingly has a very literal significance as well. Often a slave who stole a diamond would be punished by being made to eat the raw gem; this gruesome sentence was followed by the slave’s internal bleeding and death.


Jan Fabre’s technical mastery is, of course, beyond doubt and the process by which these large works are created is fascinating. As these are made exclusively from dried wings of the jewel beetle, the artist mass-purchases these from local restaurants in Thailand; the beetles are a part of the Thai cuisine however their rough, hard, fingernail-shaped wings are not eaten and discarded by the Chefs before serving. Fabre employs a complicated, pain-staking technique that leaves his finished monumental pieces to look like intricate patterns on wicker furniture: hand-woven, thick, tactile, and seemingly in motion. The colors glint and shimmer with shades of forest green, turquoise, gold, and burnt sienna. The work is tremendously beautiful and, much like with Hirst’s “Cathedral Prints”, it is easy to forget the origin of the medium at hand.

 

‘Tribute to Hieronymus Bosch in Congo’ by Jan Fabre
November 10 – January 8, 2011
MAGAZZINO Gallery – Via dei Prefetti 17 – Rome, Italy
by Ally Novgorodtseva

blogged by ally

Solving Big Problems – New exhibition at 10b Photography Gallery in Rome

Tuesday, November 8th, 2011

This past Friday, November 4th 2011 witnessed the opening of a new exhibition at 10b Photography Gallery in Rome, with a show called “Solutions”. Hosted by the photo agency NOOR (based in Amsterdam and New York) it comes as an optimistic sequel to its ominous predecessor “Consequences”. Nine superstars of NOOR – Nina Berman, Philip Blenkinsop, Pep Bonet, Alixandra Fazzina, Stanley Greene, Yuri Kozyrev, Kadir van Lohuizen, Jon Lowenstein and Francesco Zizola – come together from every corner of the planet to record the positive steps, however small, that are being made to improve the dire situation in which the majority of our world’s population finds themselves. While there is some range in subject matter, the underlying themes of the exhibition remain climate change and the goal of sustainable development. The photographers demonstrate, using the examples of Iceland, China, Russia, Cuba, Bangladesh, Brazil, the United States, and Kenya both the suffering that the local population is currently undergoing (or has had to bear in the past) and the current attempts made to improve living conditions and slow down the devastating effects of climate change. The exhibition is beautifully diverse, and leaves you with the ambiguous and contradicting feelings of both hope and despair.

Opening with the exquisitely sterile photographs from Iceland, Pep Bonet’s work advertises clean Nordic efficiency in the country’s ability to use its natural geothermal heat for tourism, agriculture, farming and fishing. On the other hand images from the once infamous Bronx slums demonstrate, poignantly, local inhabitants’ incredible will power and eventual success at working together in fighting crime, poverty and pollution to create little oases of green and tranquility. Yuri Kozyrev tears us away to paint a very different picture: one of denial and escapism, as hundreds of Russians (among them teachers, physicists, and other scientists) rebuke the corruption and consumerist of our modern world in favor of simple living in the wilderness of Karelia and Altai. These photos, hauntingly beautiful and sensitive, as all of Kozyrev’s work, are in a way a sorrowful contribution to the show, as they do not in fact offer a solution for change, but rather depict a nation’s preference to abscond, turning back the hands of time, rather than facing the music. Finally, the story told through the stunning and moody photographs of Stanley Greene takes us to Kibera, a grim slum in Kenya’s capital Nairobi. Home to almost 1 million slum dwellers it is the biggest slum in Africa and one of the biggest in the world. According to statistics available, at best only 20% of the area has access to electricity. The battles with crime, unemployment, drugs, alcoholism and rape are daily, and the absence of streetlights at night only increases their number. Greene tackles this problem and follows the lives of several locals who seem to have found a light at the end of their tunnel: solar energy. Not only increasing safety on the streets but also work productivity, the gradual introduction of solar energy to this community is helping, one step at a time, toreach a brighter future.

A powerful show, ‘Solutions’ gives us an insight into some of the most extreme examples of both human suffering and human resourcefulness. What should not be dismissed, however, is the importance of this message in the context of our own lives: only very recently the Italian government was forced to shut down the city center of Milan to vehicles for 10 hours, due to a health violation as the level of pollution had been exceeding the legal EU limit for 12 consecutive days.

‘Solutions’ by NOOR
November 3 – December 16, 2011
10b Photography – Via San Lorenzo da Brindisi 10b – Rome, Italy


by Ally Novgorodtseva

blogged by ally

Magical Enough To Dream – Rome’s Quartiere Coppedè

Monday, November 7th, 2011

 

It is a typical Sunday in the Eternal City – the sun is shining, comfortingly warm on my shoulders despite it being the beginning of November. And while normally Rome is bursting with traffic, noise and general chaos, here and today is different.

Away from the bustle of Piazza Navona, the crowds of the Vatican and the lights  of camera flashes  surrounding the monumental Trevi Fountain, I find myself in a magical place: a place where time seems to have stopped, cloaking its dreamlike landscape in serenity and beauty. I’m in the very heart of Quartiere Coppedè.

Earlier today, strolling down Via Chiana, passing its closed shops and cafés, it felt like I was the only living soul on the planet. I knew what it was that I came here to see, but did not know how to get there. I continued walking, hoping to stumble across something that would point me in the right direction. Finally, I saw my clue – a regular building, a residential ‘palazzo’. At first it seemed unremarkable: it was just as tall as all the others around it; lined with high windows and shallow balconies; painted a muddy brown color. And yet, as I looked closer, I noticed remarkable detail – carved vines growing around its columns, human faces peering out from within its façade, and angry lions roaring down at me. I intuitively made a left, and found myself here – at Coppedè’s Piazza Mincio.

The Quartiere Coppedè is named after the architect who designed it, the Florentine Gino Coppedè. Completed around 1925 this architectural gem marks the end of the Art Nouveau movement in Italy – a style that is found in abundance, for instance, in cities like Vienna, Barcelona and Paris, and is characterized by the use of elements inspired by nature: animals, birds, insects, trees, flowers and roots. As in the work of both Klimt (Austria) and Gaudí (Spain), Coppedè made use of all of these elements, as well as bright colors and tasteful gilding, creating masterpieces that are not only striking and exquisite, but at the same time also entirely bizarre and dreamlike. The death-mask of a stern-looking king hangs above the depiction of a large golden spider weaving its delicate web (Palazzina del Ragno); gargoyles spit flames; tiled salamanders burn beside swimming sea-horses; a wooden medieval-style Madonna, surrounded by mosaics and frescoes of Renaissance Florentine nobility, adorns the turret of the piazza’s most remarkable building (Villini delle Fate). The late afternoon sunlight, reflecting off the water in the Fontana delle Rane, magically lights up the façade of the Palazzina del Ragno and all of its shimmering detail. Gino Coppedè was the son of an artisan furniture-maker, and was influenced by different time periods and styles that one may easily observe in the piazza: the Medieval Ages, the Baroque, and Liberty. The Florentine used a myriad of different materials to create his wonderland, such as for example marble, ancient Roman brick, glass, wood, glazed ceramic and wrought iron for the elaborate gates.

 

Looking across to the other side of the piazza is a large, beautifully carved entrance archway that leads out on to Via Tagliamento, and ends at Piazza Buenos Aires that, in turn, has a gem of its own: the stunning Church of Santa Maria Addolorata. Built and consecrated in 1930 this church, whose façade mosaics are equal in beauty to those of the great Basilica San Paolo, is the Argentinian national church in Rome and is dedicated to Our Lady of Sorrows.

As the sun begins to set, I find myself on Viale Regina Margherita. Leaving behind Coppedè’s silent, magical kingdom is a strange and almost surreal sensation … not very much unlike that of stumbling upon it in the first place.

 

by Ally Novgorodtseva

 

 

blogged by ally