Hidden next to a regional road close to Cagliari this sculpture garden is the brainchild of artist Fiorenzo Pilia. The garden is an allegorical tale of Mother Earth and what is at stake when nature is thrown out of balance The world’s religious and political forces often bring imbalance to the organic flow of events Pilia had no formal artistic training when he began creating sculptures in the early 90s He owned an orchard outside the village of San Sperate in Sardinia and began filling it with his sculptural works made from recycled materials and industrial scraps.  Inside il Giardino Fantastico (the Fantastic Garden) Pilia uses the analogy of a woman as a creative and progressive source that brings equilibrium to the world The centerpiece of the garden is the figure of a reclining woman that measures approximately 15 meters (almost 49 feet) long which consists of a chicken wire base covered with foam and paint Most of the sculptures are variations on the theme of balance and the giant woman’s legs house a bedroom and a dressing room The garden can be visited anytime the artist is present He will be happy to guide you around and activate the water-based moving sculptures 100 massive sculptures in the Hudson River Valley made from recycled wood and materials found in nature Papier-mâché folk art recognizing horrors of slave trade A unique collection of figures perform down the facade of the Gene Frankel Theatre A collection of whimsical metal sculptures scattered along a forest path A sculpted indigenous garden featuring more than 60 works by Dylan Lewis 3D-printed clay figures captures the essence of local young people Hundreds of "animals" created from scrap metal which have been shown in various exhibitions worldwide and renzo piano’s parco della musica in rome particularly known for his ‘sound stones’ sciola was able to make rocks ‘sing’ by carving patterned fissures onto them with a circular saw designboom visited the artist’s sound garden in san sperate to discover how running a smaller rock over a carved piece of stone can transform it from art object to musical instrument pinuccio sciola first presented his ‘sound stones’ in 1996 at the ‘time in jazz’ festival in berchidda where he performed with swiss percussionist pierre favre where he played the rocks with italian trumpeter paolo fresu in front of assisi’s basilica san fancesco his sculptures produce various sounds similar to those of bells evoking a mystical atmosphere from a prehistoric time the artist has manged to release sounds that for millennia have been trapped inside the material itself.  the singing sculptures and their musical properties follow on mankind’s centuries-old infatuation with stones and sound starting from the prehistoric rock art of indigenous people in australia to the numerous engravings in egypt and mesopotamia stones were also used in various musical ceremonies around the world and in the ancient confucian court music of china and korea sound was already considered magical and mysterious by people from the paleolithic age finds that the sounds produced in such environments range around an 110 Hz frequency (the second lowest level of the male singing voice) which stimulates a certain electrical brain rhythm associated with a trance-like state AXOR presents three bathroom concepts that are not merely places of function but destinations in themselves — sanctuaries of style This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page “My sculptures for now are here, in the places where I planted them for them to take root and return to life. One day I don’t know, I hope they will return to the Universe that generated them.” That was what Pinuccio Sci ola (Giuseppe Sciola; San Sperate 2016) said about the works he had collected in the Giardino Sonoro in San Sperate the village in southern Sardinia where he was born: the Giardino which in the 1960s was the place where Sciola worked and created his works is now a park that collects several of his sound sculptures He had begun this particular and unusual quest in 1996 the year to which dates the first public exhibition of his stones capable of producing sounds: in an exhibition held in Berchidda Sciola had brought a sculpture entitled Jazz Stone (a tribute to the festival that hosted his work: it was a jazz festival) which was capable of producing melodies if played in the right way a concert was held with the celebrated Sardinian trumpeter Paolo Fresu (a native of Berchidda himself) and Swiss percussionist Pierre Favre Sciola’s sound sculptures have toured all over the world (and continue to do so despite the fact that the artist passed away prematurely in 2016) and still feature in concerts where they act as real musical instruments Underlying this is the idea that typical elements of sculpture can engage not only the sense of sight Sciola carefully selected the material (a local stone) subdividing the works into geometric lines that since their shape recalls that of the megaliths of the peoples who inhabited the island in prehistoric times “The large boulders of trachyte or basalt,” wrote Paolo Fresu in his book Musica dentro “were sheared into the bowels with large saws that cut them cleanly modifying their shapes or creating deep grooves similar to thin blades In addition to their purely artistic function thus porous and full of airy constellations that made it resemble a potential musical instrument.” The resulting sound had something celestial about it Gillo Dorfles was well aware of this: “Pinuccio Sciola’s sound stones,” we read in a testimony reported on the Sound Garden’s website “have the power to arouse in us the equivalent of a sacred event; or at least of an event where the symbolic factor is embodied in a work that (before being of man) is of creation.” The stones have evocative names: there is a Homage to Piet Mondrian where the cuts take on the textures typical of the father of neoplasticism works in which Pinuccio Sciola’s thaumaturgic power reaches its highest degrees which dematerializes the strength and hardness of stone into an unexpected lightness where Sciola’s geometrism takes the form of an elegant boat that we seem to see blown by the wind “that expresses itself in all the languages of the world where basalt and limestone produce evocative archaic ancestral and mystical sounds; where stone ’seeds’ are sown so that culture fertilizes nature; where granites reveal through grazing light new three-dimensional surfaces down to its most immobile and silent element: stone.” analytics and third-party cookies.By continuing to browse The Italian Cultural Institute of Prague pays tribute to artist Pinuccio Sciola with ‘Il mio tempo non ha tempo’ (My Time Has No Time) an exhibition of sound sculptures by the great Sardinian artist who died in 2016 made available by the San Sperate Foundation set up in the the Institute’s Baroque chapel designed by the architect Pierandrea Angius opened to the public on 8 September and will be open to visitors until 8 October An internationally acclaimed artist with solo exhibitions and works exhibited all over Europe Pinuccio Sciola is known for his Pietre sonore (Sound Stones) while taking up the forms of prehistoric Sardinian megaliths through symmetrical intersections of lines abstract forms that play with the relationship between art and nature The exhibition is an integral part of the multidisciplinary project ‘Sardegna L’isola delle meraviglie’ (Sardinia: The Island of Wonders) sponsored by the Autonomous Region of Sardinia in collaboration with ENIT – the Italian National Tourism Agency CAMIC – the Italian-Czech Chamber of Commerce and Industry the restaurant Ichnusa Botega Bistro and the Sardegna Travel travel agency in Prague For more information, go to iicpraga.esteri.it Farnesina Digital Art Experience is the first video mapping event that transformed the façade of the Italian Ministry of Foreign Affairs.. 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Simone Schirru ­ guitar；Simone Schirru is a guitar player He graduated in “Jazz Guitar” Academy of Music “G.P da Palestrina” in Cagliari studying with M Afterwards He got his master degree in Jazz Guitar at “Lemmens Institute” in Belgium studying with P.Hertmans In 2005 and 2008 won the Scholarship of the International Festival of Sant’anna Arresi as best guitarplayer and best Band studying with G Pixeldrama in many festivals and prestigious places around the world like: Ai Confini tra Sardegna e Jazz (IT) Les Arts Florissant del la Sardigne (Paris,FR) Fred Andreson’s Velvet Lounge (Chicago,USA) Start here The Ministry of Culture has just released the shortlist of cities that have applied to become the Italian Capital of Culture 2021 from 17 regions: the only three regions that have not expressed candidacies are Val d’Aosta All the others have at least one nomination Here are which ones.Abruzzo: L’Aquila; Basilicata: Venosa; Campania: Capaccio Paestum Unione dei Comuni della Romagna Forlivese; Sicily: Catania, Modica the smallest is Arpino (in the province of Frosinone) a town famous for being the birthplace of Cicero and Cavalier d’Arpino the great 16th-century painter from whose workshop passed Caravaggio also passed through and known for its beautiful acropolis known as “Civitavecchia,” for its historic center that holds vestiges from every era the Latin translation championship that annually attracts the world’s best students in Latin Pictured: panorama of Genoa. 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