Calder: La Scultura è Mobile

CALDER-TATE.jpgPuò una scultura essere mobile, quasi eterea? Performing sclulpture, la mostra che la Tate Modern ha scelto di dedicare ad Alexander Calder , ci dimostra di sì.

Un delicato equilibrio di fili di ferro ( pionieristici per la scultura degli anni 20) sospesi ai soffitti e ombreggianti sulle pareti che assumono le forme delle loro proiezioni. La realizzazione di un ossimoro: Calder libera e rende cinetica la scultura, fino ad allora pensata come stabile e robusta, ora leggera e fragile . Ed ecco che Marchel Duchamp consacra questa “rivoluzione” coniando il termine “mobiles”: forme danzanti, che ondeggiano al minimo flusso di corrente..

“L’arte di Calder è la sublimazione di un albero nel vento”. ( M.D.)

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“Sandy” Calder, originario da una famiglia di noti artisti della Pennsylvania, studia come ingegnere meccanico presso il Stevens Institute of Technology di Hoboken, New Yersey.

Poco più che ventenne si sposta a Parigi. Qui viene da subito attratto dal mondo del circo, tanto da crearne uno tutto suo “: Le Cirque Calder”, smontabile e trasportabile in sole 5 valigie.. marionette, acrobati, personaggi sottili e aggraziati.

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Il 1930 è un anno decisivo: Calder visita lo studio di Mondrian, folgorato dalle sue forme geometriche colorate, immagina e presto dà vita ad un arte astratta in movimento.

L’ingegnere ottiene esattamente quello che voleva l’artista.

Una scultura aerea, sciolta dell’immobilità statuaria. Oltre ai “mobiles”, che affascinarono persino Einstein ( pare che rimase a fissarne uno per circa 40 minuti), la mostra propone anche alcuni progetti che testimoniano le sperimentazioni di Calder in altri campi, quali cinema, teatro, musica e danza. Ma soprattutto include anche quelli che Jean Harp nominò gli “stabiles”: bisogna camminare intorno ad uno “stabile” – il “mobile” invece danza di fronte a noi. In sostanza, nei suoi “mobiles”, il più delle volte manca la base tradizionale o un piedistallo che ancori l’opera al pavimento. Gli Stabiles, invece , sono sculture rigide, rette da una base poggiata a terra. Alcune di esse ricordano le contemporanee lampade di design Pallucco..unnamed.jpg

Una trasformazione radicale del concetto di scultura, che da oggetto tridimensionale diventa quadrimensionale – grazie all’aggiunta della dimensione del tempo, dovuta al movimento – e che in seguito assume ulteriori sfaccettature con la possibilità di interazione (tramite mani, dispositivi elettrici, correnti d’aria o il solo respiro umano) o di generare suoni. ( Si pensi al Gong)

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L’arte per Calder è sinonimo di spazio e movimento, sempre legata all’idea dell’Universo: volumi, masse, leggere, pesanti, di diversa taglia e colore, linee, vettori che rappresentano la velocità; forze, accelerazioni che creano angoli meravigliosi e ben studiati. Nulla è immobile, tutto può muoversi, oscillare, entrare in relazione con altri elementi.

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Tra una cascata di dischi bianchi e colorati di metallo, Foliage verticali,sfere che ricordano corpi celesti, arriviamo a “Black Widow”: realizzata nel 1948 e donata all ‘ IAB (Instituto de Arquitetos do Brasil), l’opera è una delle eredità più tangibili del viaggio di Calder in Brasile . Normalmente ammirabile all’interno in uno spazio centrale nella sede dell’Istituto di San Paolo, è anche visibile dalla strada attraverso le finestre. Black widow, in viaggio per la prima volta, dimostra che Calder era capace di ridefinire lo spazio architettonico, non semplicemente di occuparlo .

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A guardare le dimensioni imponenti e le forme aguzze dei lavori esposti, ci viene naturale chiedere come siano trasportabili. Ebbene Calder ha reso possibile smantellare anche le più grandi sculture in modo che potessero essere spedite evitando problemi doganali. Ha essenzialmente progettato opere d’arte “Flat pack”, coordinate con dettagliate istruzioni codificate e colori numerati in modo da poter essere riassemblate correttamente una volta giunte a destinazione. Questa tecnica permette alle opere di Calder di viaggiare. E questa è una fortuna universale perché, come dicono numerosi critici: “Non si può descrivere il lavoro di Calder- si deve vedere “. Ebbene cosa aspettate? Performing Sculpture, ( oltre cento capolavori) , curata da Ann Coxon, è visitabile alla Tate Modern fino al 3 Aprile!

 

AnnaChiara Della Corte

Annunci

SAATCHI TURNS WOMAN

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Saatchi Gallery, the hot-spot for contemporary art based in the heart of Chelsea , London, just opend “Champagne Life”, an exhibition that celebrates the Saatchi Gallery’s 30th anniversary presenting the first all-female show.

Charles Saatchi has been collecting during the years works of emerging and recognised artists: this extensive collection will honour the contribution of female artists (working in a variety of mediums and on a variety of subjects) to the ongoing development of art today

The title itself is taken from one of the works , by Julia Wachtel. It comes from a succesfull song of American singer Ne-Yo, who refers to a lifestyle involving the enjoyment of luxuries pleasures. A life “where dreams and reality are one in the same” : the stereotype of a culture driven by the pursuit for celebrity, and the symbol of champagne as an affordable luxury. Indeed, the perception of art word is mostly linked to the idea of glamour, prestige and success, that the exhibition’ title revokes. . However, on closer inspection, it reveals the reality of many labourious, lonely days ( or even months) working on a piece of art. Bringing together 14 emerging women artists,Champagne Life allows us to reflect on what it means to be a female artist working today.

Let’s pick some of the most impressive artworks displayed.

Alice Anderson: Bound

 Quoting the artist: “The digital revolution is probably going to turn out as decisive for the mechanisms of human memory as the invention of writing was. This evolution is a fascinating process, and I keep track on it by crystallizing its phases. “

Alice Anderson artworks lead us to think about the act of memory. How we create, record, and transform the present and how we imagine the future?

ring.pngInspired by the digital evolution, Anderson developed a unique weaving technique with copper wire initially taken from inside an alarm clock.

 

Mummifying an object as an act of protection, preservation and resistance. The sculptures are the result of performances revealing a process similar to the shamans’ dances.

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It’s good to know that the artist founded the Welcome Collection: itinerant studio, open to anybody who wishes to contribute to a collective archive by recording with copper wire significant objects of our time. People can take part not only in the performances but also in choosing what is to be archived or not.

According to the Guardian ( Johnatan Jones):

“This might be in a museum a thousand years in the future, dedicated to the strange artefacts of the 21st century. Why, archaeologists will ask, did the people of that time choose to mummify their old TV screens, obsolete telephones and loudspeakers? Was it a bizarre religious attempt to apologise for the culture of waste that was at that moment eating up the planet? ”

 

Anderson is not the first artist to have wrapped up everyday objects. Wrapping indeed is a modern tradition. German sculptor Joseph Beuys wrapped a grand piano in grey felt .

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Rene Magritte represented lovers with a sheet covering their faces.

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So Alice Anderson is working in a tradition almost a century old.

Coke bottle, bicycle, tools, telephone, suitcase, canoe, and even a mummified car. This way of recording no longer consists in representation by the image, rather it takes shape through the presentation of the object, which the artist and the participants choose from among the everyday shapes of contemporary life. She revisits what Magritte referred to as “the treason of images”, the original title of his late 1920s painting of a pipe. Just as the surrealist pipe wasn’t the object it was intended to be, so Anderson’s mummified objects are no longer the objects they once were.

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“This is not a pipe – it is a mummy. It is a ghost.” A.A.

Sounds like the Magritte of the third Millennium.

“Will this collective ritual of mummification awaken the gods of mass production? Can things come to life if we love them and respect them as Anderson does? “

Why Copper?

Copper is the most ancient metal in terms of human usage . It was mostly mined on Cyprus, therefore the name. The “red metal”, key to the fortunes of the Minoan, Mycenean and Phoenician cultures, shows remarkable conductivity and malleability and is resistant to heat and corrosion. Last but not least, it was associated with femininity by the alchemists.

N.B: Anderson’s hairs are red, and sometimes she used her own mane in her artworks.

She captures an aspect of how the brain makes possible the creation and re-creation of our familiar and unexpected visual worlds by connecting our perceptions over time.

We can properly remember people, places and things we have seen because images of them have been imprinted and permanently stored in our brains. But we are much better at recognition than this would suggest. We recognise people despite their ageing. We recognise Picasso’s style even in a painting of his that we have never seen before. When we do this, we are recognising categories that can include variation.

Our capacity to remember, then, is not about recall of a specific image stored somewhere in our brain. Rather it is an ability to organise the world around us into categories – some general, some specific.

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Another remarkable artwork is the one of Sohelia Sokhanvari. Her taxidermied horse revokes magic realism, in which reality is revolutioned with imaginary events, revealing meanings more profound that naturalism could do. Sokhanvari shows the use of the form as a method by which artists have been able to create an open-ended narrative to promote or resist a totalitarian political system.

Indeed, the title Moje Sabz refers to the ‘Green Movement’ uprising of 2009, in which violent protesters’ demonstrations lead to the annulment of a fraudulent election result.

 

Also here, we can go around the art piece, an look at it in its entirely. And I think it’s no coincidence it is exhibited in the same gallery of the work “Jerusalem Donkey”.

 

Sohelia research is about collective trauma and collective amnesia interpreted through irony and absurdity.In her drawings and paintings she often uses earth elements like crude oil or natural pigments like Lapis lazuli, malachite etc., she wants the earth being part of the work.

“Moje Sabz” represents a taxidermied horse mounted onto a jesmonite ( a mix of gypsum and resin) blob. Through the denaturalisation of the horse, Sokhanvari shows us a open-ended narrative, with the intention of encouraging discussion about worldwide political systems.

Describing herself as a “cultural collage between East and Western philosophy” the work of Iranian-born artist Sohelia Sokhanvari are both methaphorical and politic, they deal implicitly with the Iranian state.

“Things are always what they are but also point to something outside of themselves, the art object then becomes a metaphor for an event, emphasising the mutability of meaning and form through viewer participation.” ( S.S)

 

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Copper tools, bodies (human and animal) and why not..pots!

Food for Thought, by Maha Malluh. She lives and works in Saudi Arabia, her installations are assemblages of found objects from junk shops and flea markets, reflecting on the impact of globalization and consumer culture in her country. “My inspiration for art comes from my country, a country of contrasting images and ideas. Good art forces us to take a pause, to contemplate and take greater account the surrounding environment.”

Al-Mu’allaqat” (the artwork takes its name from the most famous collection of Arabic poetry of the sixth century) consists of 233 aluminum cooking pots- I would say heavily used- – across the Arab world.

A wall of pots, how many stories and how many lives could tell ..

Women codes and practices deserve representation, as subject and object of art. Not only in the UK.

Coming back to Italyto, do not miss Veritas Feminae, the Art Contest to be held in Matera from the 24 to 31 March 2016, an open call for artists inspired by a project by Alec Von Bargen: photographs, portraits –all about marginalized women. And of course, I invite you to consult the profiles of the artists on artooms.it: in spite of national and international ranking that see women always considered still too little compared to the male universe, our portal has a massive presence for women (about 50%)

AnnaChiara Della Corte

 

 

 

 

 

 

Oliver Glowig: Tradition always wins

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Some people are born with a silver spoons in their mouths, others with a white double-breasted jacket. The career of Oliver Glowig, among the most renowned and competent Chef of the international scene, is a kind of predestination.

“ When I was a child, my parents took me out to eat, we used to have dinner in prestigious restaurants. Even then, I was fascinated by this world.

Oliver attended the hotel school in Düsseldorf, “here it began my passion for cooking”. After the military service, he moved to Munich in the French restaurant of Otto Koch, Le Gourmet, one Michelin star.

“I learned French techniques applied to traditional Bavarian cuisine.”

The fist culinary contrasts that will influence Oliver’s path.

“Then I worked for a year as a chef de partie at the restaurant Acquerello (in Munich), where it started my curiosity for Italian cooking. But I was interested to know the true Italian cuisine and not the one that was in Germany.”

Then, in ’96, thanks to Gualtiero Marchesi, I arrived at the Quisisana (historic and iconic grand hotel of the island). During the winter I was in Erbusco with Marchesi, I learned so much about Italian cooking and about the importance of raw materials.

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In Capri Oliver consecrated his success, but above all, he found the love: “My wife Paola is caprese, I fell in love at the same time with her and the island .” When I ask him to name people crucial for his career Paola comes first, “she stands by me all the time and respects my profession despite its crazy rhythms: I often travel abroad, I work almost every evening, bank holidays included.

To follow: Otto Koch – “he linked French techniques with traditional Bavarian cuisine”.

Gualtiero Marchesi – “a superb chef , with a revolutionary philosophy.”

Ermanno Zanini – “the greatest manager I’ve ever met in my career. “ He says, without hesitation.

But let’s step back to Oliver’ life: in ’98 married Paola then left the Quisisana and moved to Munich at the restaurant Acquarello, where he did his first experience as a Chef. The 2000 is a lucky year: “I got my first Michelin star and my daughter Gloria was born,” he reminds with emotion.

 

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“The following year I went back to Capri with Paola for personal reasons and I started working in a small restaurant, the Biberius. Then I was proposed to be the Chef at L’Olivo, Capri Palace. Again one Michelin star in 2004 and the second star in 2007.

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Oliver and his team at L’Olivo, Capri Palace

During these three years, Oliver has the opportunity to celebrate the best of our Mediterranean flavors.

Ravioli capresi

Ravioli Capresi

Typical Capri recipes you’ve revisited and made famous to the Michelin clients?

“Ravioli capresi. I tried to change them at the beginning. Eventually, I realized that the original ones are the best. Ravioli are worldwide in my menus , I’m proud to present them in the most traditional way .

And then, to complete every meal, potato doughnuts , learned by my mother-in-law Anna. They are in Toronto, Bahrain, Cairo and Saas-Fee menus. The biggest success!

My relationship with the island is very deep, I’d say total. I love nature, its wild herbs, sea … I could go on endlessy .. I prefer it in the spring or autumn, when it is less crowded and even beaches are more enjoyable.

A place I’m particulary fond of is Bagni di Tiberio. The restaurant there is very good.

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Bagni di Tiberio

Also, I find very good Tonino, at Piazzetta delle Noci ( Nord-East side of the Island).”

No coincidence, two areas of Capri that Imperator Tiberio liked most.

From 2010 until a few weeks ago Oliver was the Executive Chef at Aldrovandi Palace, where he ran a restaurant that bore his name. “An important achievement. Shortly after the opening, I immediately regained two Michelin star.” The first case in Italy.

IMG_9808-2.jpg“Now I work as consultant at the Ritz Carlton in Toronto, Bahrain,  in Cairo and at La Capra in Saas-Fee, Switzerland. My aim is to bring the true Italian cuisine around the world. Ravioli caprese are always part of my menus!

Most of my dishes come from tradition.”

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Eliche Cacio e Pepe

In Campania the so called “married soup”, or the baba etc.

In Rome, cheese and pepper (but with sea urchins).

“Good cuisine is always based on dishes that have a story to tell.. ”

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Pesce Rombo in Vignarola

Has the target of Michelin restaurants changed over the years? “Yes, but it is still very high, considering the prices. I also see young people begin to appreciate good food. Perhaps thanks to the TV, and its various Masterchef .. personally I am a bit contrary to these reality shows. They do not sell to the public the truth. They just try to capture attention, making everything a show.”

Staff: how do you choose your brigade?

“I do not need a great CV. Essential is the desire to work and learn. The rest comes by itself. I saw guys with no experience that are now chef in starred restaurants. I am very proud of my “children”. He used exactly this word, I swear.”

Capri Palace 2007

The new consultants abroad. Tell us how you can decline your kitchen, based on careful research of raw material quality, with foreign products and different flavors?
“When I cannot find the raw materials that I like I do import them from Italy: Pasta, olive oil, tomatoes etc. I try to contaminate these tastes with local products. For example, making a fish in crazy water with the Hamour , in Bahrain, (similar to our stone bass), I find it interesting.

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Oliver and Ritz-Carlton Bahrain Brigade

The Italian regions that have the most significant influence on your training are Campania that offered you the raw material of traditional cuisine, and Lazio, the fifth quarter kitchen, you’ve always loved. But there is one ingredient other Chefs often envy , especially to the Italian ones, it is often said that that they”put their heart into their jobs”. What does it mean for you “mettere il cuore”?

O.GLOWIG“Joy of cooking. Not just stay in the kitchen, for me it is a constant delight, a sort of rapture: it all starts from product selection, continues with the creation of the dish, and ends when the customers at the end of evening thank me for having eaten well. It ‘a huge treat when they tell me that they liked my cuisine and also the service.

Create a dish from a high-quality product is for me the greatest satisfaction.”

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Maintain high standards of starry restaurant is essential, how can you succeed in all your challenge?” It’s increasingly important to recognize what you find in your dish. The flavor and raw materials count more than anything else. I don’t mind about excessive decorations and I don’t like to have a dining room “heavy” and stiff . I prefer more informal waiters, without forgetting their professionalism, of course. What matters it’s the food, not having a perfectly ironed tablecloth. Better not having it at all as happens in many restaurants in the world like London, Berlin, NY. Then there is a increasingly predominant trend of healthy cuisine. Seasonal vegetables and high quality meat and not farmed fish or from organic farming. I think about the meat of Chef Paolo Parisi.

I’m not a trend person.

Tradition always wins, with some small and wise retouching … even better.”