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MENUFROM THE MAGAZINEPainting the World As They See ItThe artists Louis Fratino and Anna Weyant are bringing a fresh perspective to figurative work Louis Fratino in his Queens studio in front of various works in progress Fratino wears a Connor McKnight shirt and pants; Dior Men’s turtleneck; Church’s shoes; his own glasses Grooming: Remi Odunsi for R+co and Chanel Beauty; photo assistant: Janelle Jones..zone-213105890{--cardCount:3}Louis FratinoLouis Fratino has made a name for himself with his sensitive figurative paintings of male nudes that are loving and unabashed in their depiction of gay sexuality and desire But at a solo exhibition at New York’s Sikkema Jenkins & Co hung alongside less expected subject matter: a shadowy bird overtaking most of a nighttime composition; fish and an octopus on ice at a market; a bucolic backyard warmed by the sun and images of animals did not signal an abandonment of the ethos behind the Brooklyn-based 27-year-old’s depictions of gay life Fratino asserts that the expanded subjects “are about trying to get closer to a concept of queerness.” Standing in the converted ironworks foundry that serves as his studio Fratino explains that these departures from the body are intentionally “harder to pin down,” noting that he had occasionally begun to feel like he was performing a certain idea of gay artistic identity “The new paintings flip the question back onto the viewer what do you actually need to see to identify or celebrate something as queer?’ ” who grew up in southern Maryland and moved to New York in 2016 Fratino’s process begins with “almost automatic” sketches usually based on a -recollection or a feeling enlivening them with color and gesture on canvas he sometimes asks Barger for input on shades While attending the Maryland Institute College of Art where he studied painting and minored in illustration Fratino received the Yale Norfolk Painting Fellowship he went on a Fulbright scholarship to Berlin he brought his figures into three dimensions as terracotta wall sculptures He was 22 when he had his first New York solo exhibition and he now shows regularly with Sikkema Jenkins his first museum show will open at the Des Moines Art Center a far cry from the cosmopolitan and permissive art centers of Europe and the East Coast and the experience of queer people there is probably really different than here,” Fratino says but it’s going to be a privilege to be able to show in a context where I think the meaning of the work will change.” describes Fratino’s work as both earnest and poetic the quotes of his evident artistic passions and readings—they allow us to live some instants of Louis’s own private life which is what makes his work so unique today,” Levi says Fratino respects the lineage of painting history but also seeks to contend with it; Picasso is a predecessor often cited by observers of Fratino’s work There are similarities in the tilted and angular heads The Italian futurists also come to mind: The contours of the legs of two men spooning in The Sleepers with objects and inset “photographs” arranged and contained like items in a Joseph Cornell box there are traces of early American modernists—Arthur Dove where you can manifest something through it whether it’s something as simple as doing the dishes or feeling close to your family,” Fratino says He wonders whether painting might not affect our perception of the present the same way memories do “Maybe this is kind of a silly way of talking about it but it’s like you see or make this painting of dishes that you love a painting in which a drop of water is suspended midfall from the tap and a flower is arranged in an empty tomato can next to bowls and forks and cups waiting to be washed that simple image serves as proof that everyday life can be “stranger and more beautiful than what you could imagine.” DREW ZEIBA where you can manifest something through it,” Fratino says “Whether it’s something as simple as doing the dishes .zone-213105891{--cardCount:4}María BerríoGrowing up in Colombia in the ’80s and ’90s during the years of insurgency and drug wars María Berrío turned to myths and legends to help her find hope and meaning in a nasty world “There was always fantasy,” says the artist whose childhood was divided between Bogotá and a farm where her parents took the family for safety And it came from being in a place where nothing worked like the separation of families on the border that are not lost on a Latin American immigrant who is also a mother And the flailing response to the coronavirus pandemic attests to existential damage at a global scale I dig into those needs and beliefs,” she says Berrío makes large-scale works with a mood of reverie There are also unruly blossoms of bougainvillea; tigers owls; mystical landscapes with mountain ridges and umbrella-like Socotra dragon trees as well: flowers in vases contrasting with a sofa’s upholstery or barren decors with empty shelves that cry out loss She calls the pieces “paintings,” which they seem to be from afar they are collages of a very particular kind plant-dyed Japanese paper that she obtains from a master artisan in Osaka Each artwork involves thousands of tiny pieces of paper that she cuts She uses watercolors to fine-tune nuance and tone The women and girls who populate her scenes are imaginary but intimately felt: The artist bases them on herself and on the host of female figures who gather in her mind whether drawn from her memories of Colombia or from documentary research “I want to project the courage and the strength She moved to New York for art school and completed degrees at Parsons School of Design and the School of Visual Arts She found her collage technique later and has refined it for nearly a decade experimenting with different types of paper before landing on her Japanese supplier when she was selected for the Prospect 4 triennial which migrants ride through Mexico to the U.S Women cluster with animals and birds in scenes that convey the bravery and peril of the migration experience “Her work has this connection between humanity and nature,” says Trevor Schoonmaker the triennial’s curator and now the director of the Nasher Museum of Art at Duke University “She makes it clear that we’re all part of the same ecosystem.” Berrío is currently enjoying her first solo museum show in which she imagined the lives of women in a Colombian fishing village that had been depleted of its men through some catastrophe The pandemic arrived while she was making this work “There’s this extraordinary empathy,” says Cheryl Brutvan the Norton’s director of curatorial affairs At her studio, Berrío, who is invariably warm and gracious, points to a pile of art books that have inspired her lately. “I feel like you have to have the spirits present,” she says. The range spans Lucian Freud to David Hockney, Kerry James Marshall to Jordan Casteel The Indian interiors in the photography of Dayanita Singh remind her of architecture in Colombia The Spanish painter Antonio López García fascinates her for his command of watercolor Sheets of colored Japanese paper lie on a table Their standard use in Japan is for lamps and for wrapping gifts She and her supplier have no common language but he insists on showing her each sheet over Skype for her to approve “I have to go through the ritual,” she says “It feels like a collaboration.” The plant dyes lend the paper a watercolorlike subtlety so that her own cutting and collaging process has aspects of both transformation and a cycle being completed Berrío’s method sets her apart from much of the collage tradition in the lineage of artists such as Hannah Höch with their use of photomontage and an array of original and found materials Her works share some energy with those of Wangechi Mutu and Njideka Akunyili Crosby other female hybrid collagists with Global South roots and migration stories One piece in the studio is nearly complete It shows three women enjoying a card game on a patio backed by a turbulence of plants in bloom drawn from memories of women Berrío saw at flower markets in Colombia with red flowers embroidered on its collar this blurred memory—I like it when it infuses the work in this way.” SIDDHARTHA MITTER María Berrío’s paper and watercolor collage Esperando Mientras la Noche Florece .zone-213105892{--cardCount:4}Anna WeyantThe preteen and teenage years are both the most frivolous and the most intense periods of human experience but the vocabulary and maturity to express it is often just out of reach glances and gestures do the talking—often with muddled The 25-year-old artist Anna Weyant explores the discomfort and naivete of that age in her glumly hued often featuring women who closely resemble the artist and her friends Sometimes presented as different chapters of the same narrative Weyant’s compositions chart the mischievous self-discovery of someone anxiously sidling through spaces that are half memory with her inclusion in the group show “Of Purism,” at Nina Johnson gallery in Miami curated by the multidisciplinary design firm Charlap Hyman & Herrero could quickly be read as an odalisque for the Pilates-practicing Instagrammer Reclining in a bathrobe with a leg in the air she poses for someone (likely another woman) just out of sight whose presence is indicated only by a handheld iPhone reflected in a gilt oval mirror The room she is in is minimally but sumptuously decorated dark olive walls with a repeating diamond pattern subtly hinting at the padded walls of a mental institution Right behind the shoulder of Weyant’s odalisque are peonies in the same shade very little is going on in these paintings but the ambiguity of Weyant’s figures can still hold the viewer in steady and consistent conversation her head about to crash down on the step below her “This image is derived from my own thoughts and experiences,” Weyant says reclining in a corner of her apartment (a spare sunlit space that doubles as her studio) on New York’s Upper West Side even though she’s inches away from her demise.” Playing with scenarios that frighten her gives Weyant a feeling of control A sense of macabre humor both tempers and heightens the emotional intensity of her subject matter but I don’t want them to be a joke,” she says she had no plans to share the finished product with anyone but her friends and family but she eventually started working with the Lower East Side gallery 56 Henry after an introduction by Talmadge in 2018 (she showed with the gallery a year later but is not represented by them) Weyant’s paintings—with their references to Dutch masters like Frans Hals, Gerrit van Honthorst, and Judith Leyster, as well as to contemporary artists like John Currin, Ellen Berkenblit, and Lisa Yuskavage—soon garnered a following Weyant will have a solo show at Blum & Poe in Los Angeles “Anna is clearly extremely gifted as a painter,” says Tim Blum the gifts of painting are coupled with an inherent self-awareness She’s just going to get more and more complicated in all the best ways.” Weyant is still getting used to the exposure She often paints family and loved ones into her pictures but her only model during the pandemic has been herself and the large-scale results of those introspective months will be on view at Blum & Poe “I love the idea of having these sorts of desperate and feeble characters be “But I think of the paintings as little pages in my diary so it’s difficult to have people reading them.” CAMILLE OKHIO Anna Weyant in her New York studio next to Loose Screw Hair and makeup: Remi Odunsi for R+co and Marc Jacobs Beauty “I think of the paintings as little pages in my diary,” Weyant says “So it’s difficult to have people reading them.” who recently opened a project in the art space in Albisola Superiore – a hotbed of creativity for the great masters of ceramic in the middle of the last century – reflects on the importance of miart for the city The largest diffusion magazine in the luxury & design world Privacy Policy(function (w,d) {var loader = function () {var s = d.createElement("script") tag = d.getElementsByTagName("script")[0]; s.src="https://cdn.iubenda.com/iubenda.js"; tag.parentNode.insertBefore(s,tag);}; if(w.addEventListener){w.addEventListener("load" false);}else if(w.attachEvent){w.attachEvent("onload" loader);}else{w.onload = loader;}})(window Located on the beautiful Riviera Ligure di Ponente Savona is a port city that combines history The city is dominated by the majestic Priamar Fortress an imposing construction that offers panoramic views of the sea one can admire architectural gems such as the Cathedral of Our Lady of the Assumption and the Leon Pancaldo Tower cobblestone streets lead to picturesque squares.But Savona is not only history and art The city boasts some of the most beautiful beaches in Liguria with golden sand and crystal clear waters that invite relaxation and water sports Some have been awarded Blue Flag status for the quality of their waters lovers of good food will find a paradise of flavors in Savona The local gastronomic tradition includes delicious dishes such as farinata and the famous pesto alla Genovese (which is also eaten in Savona) Local markets and artisan stores offer typical products and fresh ingredients perfect for taking a piece of Savona home with you: above all which celebrates the ancient ceramic tradition of nearby Albissola Easily accessible Savona is also a great starting point for exploring other fascinating locations in Liguria Its strategic location and well-connected transportation network make it easy to get around and discover the region’s hidden treasures Here are 11 things to see and do in Savona Did you know that chinotto is Savona’s most distinctive food product a unique citrus fruit and Slow Food Presidium this fruit is handcrafted to create drinks Savona’s chinotto is processed using an artisanal method that traces a centuries-old tradition Because chinotto is not eaten in its natural state but must be processed into drinks There are several places where you can taste it in the form of a drink with a bitter aftertaste including the old Besio pastry shop in Piazza Mameli which has guarded the secrets of candying and processing chinotto since 1860 the bell at the War Memorial strikes 21 chimes Fun fact: It is the highest rated Savona attraction on TripAdvisor and Daniele Panucci in collaboration with Francesca Anfossi a solo exhibition by Tommaso Corvi Mora curated by Daniele Panucci with critical contributions by Irene Biolchini and Luca Bochicchio are the two exhibitions on view at the until Feb The two projects deepen the research that the Savona-based museum is conducting on the most recent developments in contemporary ceramic art in relation to the artisanal and productive fabric of Savona and the Albisole Following the success of Lam et Les Magiciens de la Mer the first Italian exhibition dedicated to the ceramic work of Cuban Wifredo Lam the Museo della Ceramica shifts the spotlight to London.The two exhibitions present the work of Anfossi and Corvi Mora-both Italian artists who have been active in the United Kingdom for decades-created as part of two separate residencies held in local workshops and laboratories investigating the different modes of expression with which the two artists explore the fabric of relationships and processes of sharing and experience At the heart of the project A tavola con Rochester Square (Francesca Anfossi Paulina Michnowska and Lex Franchi) curated by Alessio Cotena Marco Isaia and Daniele Panucci is the social and convivial vision of ceramic art that the London-based studio led by Francesca Anfossi (Genoa On the fourth and fifth floors and on the terrace of the Savona Ceramics Museum are the collective works designed by Rochester Square artists - Francesca Anfossi (IT) Paulina Michnowska (UK) and Lex Franchi (UK) - during a residency organized in late August by the Exhibitions and Educational Programs departments of the Savona museum Professional and nonprofessional ceramists brought the exhibition’s design to life with the support of local artisan workshops and creative centers the Municipal School of Ceramics of Albisola Superiore Casa Museo Jorn and the Ceramics Museum workshop On display are terracotta stools made by Rochester Square artists along with earthenware and straw pots inspired by museum collections decorated tableware and lathe-made containers dedicated to food fermentation The terrace houses large vases made from plaster casts in homage to the International Movement for an Imaginist Bauhaus The main room is set up like a banquet: bread sculptures are installed on the walls and the works are displayed around a large table handmade by children during summer workshops which at the opening was transformed into a real table set for guests to enjoy art in all senses The top floor of the museum was repurposed as a workshop where for the duration of the exhibition the public could try their hand at making sculptures for the earth garden set up on the terrace and intended to transport the atmosphere of the Rochester Square nursery from London to the heart of Savona It has a more intimate character Diario di Tommaso Corvi Mora curated by Daniele Panucci with critical contributions by Irene Biolchini and Luca Bochicchio: a diffuse exhibition that is hosted by the Museum of Ceramics in Savona the Laundry in Albissola Marina - home of the Angelo Ruga Cultural Association The project originated in 2021 from an idea by Irene Biolchini and investigates the artist’s practice in his intimate and everyday universe through the expressive media of drawing with which Corvi Mora has been dealing since 2009 Diary presents works made during the residencies he had in the last two years within the Albisola-based manufactures Ceramiche San Giorgio and Studio Ernan Design ceramic slabs with explicit references to the artist’s experience some plates and a series of coat hangers-an object with a liminal position that welcomes and accommiates-a tribute to the work of Luciano Fabro and works dedicated to Albisola inspired by the graphics elaborated by Milton Glaser for the city of New York Flanking them is a series of weavings testifying to the genesis of the project Also enriching the exhibition are a number of photographs taken in 1988 that develop the artist’s reflections on everyday life time conceived as the raw material of the work current events and the relationship between the public and private spheres Several ceramics have also been “entrusted to the city,” left on the streets of Albissola Marina available to the public who can take them in and insert them into the flow of everyday life At Table with Rochester Square is a project of the Museum of Ceramics in Savona carried out in collaboration with Francesca Anfossi’s Rochester Square studio Diary is a project coordinated by the Angelo Ruga Association realized with contributions from the De Mari Foundation and the City of Albissola Marina in collaboration with the Museum of Ceramics Savona Savona Hours: Mondays 9:30 a.m.-1 p.m.; Fridays and Saturdays: 9:30 a.m.-1 p.m and 3:30 p.m.-6:30 p.m.; Sundays 9:30 a.m.-5 p.m Tickets: full 5 euros; reduced 3 euros; free under 18 and people with disabilities Info: info@museodellaceramica.savona.it; +39 331 891 6650 museodellaceramica.savona.it "I am particularly happy about this collaboration," explains Francesca Anfossi "the first for me and Rochester Square with a museum institution to tell the artistic but also social value of ceramics inclusive material that can be humble and at the same time very sophisticated So versatile that it can create extraordinary sculptures and be used every day for the most common activities “I started working on this exhibition in January 2021 during the longest lockdown I have had in the UK,” explains Tommaso Corvi Mora “creating weavings on a small loom to be held on my lap The abstract motifs represented in these works are linked to intimate narratives and reflections stimulated by the repetition of the weaving gesture the connection of this practice with ceramics What they have in common is the simplicity the everydayness and the ”non-artistry“ of the final object.”