Sarzana ’s historic Fortezza Firmafede will host the exhibition Giorgio de Chirico Organized by theAssociazione Metamorfosi in collaboration with the Municipality of Sarzana and Fondazione Giorgio e Isa de Chirico the exhibition offers the public an immersion in the great master’s neo-metaphysical phase presenting fifty works including paintings all from Fondazione Giorgio e Isa de Chirico in Rome.This exhibition is meant to be an opportunity to explore the work of the last ten years of the artist’s life a period of intense creativity in which de Chirico reinterpreted his youthful production mixing it with influences from the 1920s and 1930s in which the artist reworks his metaphysical universe with an innovative and conscious approach The exhibition focuses in particular on the lithographs born from the collaboration between de Chirico and the printer Alberto Caprini This association resulted in a graphic corpus of extraordinary refinement in which the painter freely explores the transition from drawing to print his most celebrated iconography evolves into a perfect synthesis of past and present: classical elements are interwoven with expressive distortions typical of his Parisian works of the 1920s resulting in a production rich in juxtapositions and stylistic variations One of the most iconic subjects of his production the “Troubadour,” returns in several lithographs in the exhibition including The Tro ubadour (1969) and The Troubadour with the Sword (1975) belonging to the “dummies” theme is reinterpreted with new nuances and settings Another recurring element is the Vaticinator evoked in The Metaphysical Architect (1970) while The Rest of Ariadne (1969) takes up the mythological figure of abandonment a subject that de Chirico represented several times throughout his career Another section of the exhibition is devoted to solar symbolism in the artist’s works Sun Off and Crescent Moon and Sun on the Temple in which the theme of the “black sun” is linked to an ancient melancholy already present in his paintings since the 1930s the exhibition includes some of the most significant paintings from the 1960s and 1970s such as The Astrologer (1970) and The Contemplator (1976) The exhibition is completed with an important selection of sculptures evidence of de Chirico’s interest in plastic art statues played a central role in his metaphysical works lending an enigmatic and suspended aura to the compositions leading him to the creation of actual bronze sculptures including The Archaeologists (Orestes and Pylades) (1966) and The Disquieting Muses (1968) “We are also grateful to all those who contribute to keeping de Chirico’s legacy alive pointing out his profound contemporaneity,” comments Pietro Folena which today expresses a formidable force of attraction MetaMorfosi’s is an invitation to immerse oneself in the colors and forms of a Master who knew how to give pictorial and artistic expression to the metaphysics of art and life.” “Sarzana has always been a city capable of uniting the depth of its own history with the vibrancy of contemporaneity,” says Sarzana Mayor Cristina Ponzanelli uniting an exhibition of national importance by a great master of art such as Giorgio De Chirico with important local artists such as Vitale Lazzoni and Alessandra Gasparini enhancing our Firmafede Fortress as an exhibition space Our city continues to consolidate its cultural vocation creating spaces where the past and the future meet and dialogue." The exhibition will follow two different schedules depending on the season Spring (March 22-June 20): Tuesday - Friday: 10 a.m.-12 p.m Summer (June 21-July 21) : Tuesday - Sunday: 10 a.m.-12 p.m Tickets: Full: €14.00; Reduced: €8.00 (youth 6-25 years old MIC and Sarzana City Council staff); Family kit (3 people): €24.00; Family kit (4 people): €32.00; Free: children under 6 For all information, you can visit the official website of the Firmafede Fortress SARZANA: Corona, Illuzzi, Rubio, Ortiz, De Rinaldis, Borsi, Manrique, Mattugini, Tognacca. All. Party. FORTE DEI MARMI: Gnata, Ambrosio F., Ipinazar F., Ipinazar P., Torner, Borgo, Rossi, Cacciaguerra, Giovannelli, Ciupi. All. De Gerone. Goalscorers: 20'08“, 19'43“ and 18'01“ Ambrosio F., 17'10“ Ipinazar P., 2'58“ Torner; 22'50 Ambrosio F., 16'50“ Torner, 16“ Illuzzi. And the sports director Antonio Agostini is also very happy. "A success signed by Mirko De Gerone - he specifies -, which launches us into another semifinal, as has been the case since 2011. We are proud of the team". Saturday the appointment is at the Forte for game 1 against Lodi, winner against Valdagno, of Gigio Bresciani. It is no longer a mystery that pizza can simultaneously step into the shoes of a first course if there is one thought you will take home with you after a dinner at Officine del Cibo it will be exactly this: harmony does not come through the usual “topping in trend” but -on the contrary- through the ability to go beyond the “already seen and already eaten” This is Giacomo Devoto and Gian Marco Ferrandi 's (the sign's chef-patron and master pizzaiolo respectively) answer to those who believe that the “pizzeria” palimpsest is now saturated with content: imagine the scarpetta al sugo converted into an appetizer All small agreements between typicality and new school methods capable of forging an authentic lab of leavened goods just outside the historic center of Sarzana today the treasury of awards sums up -just to name a few- Three Spicchi from Gambero Rosso and a solid placement among the 100 best addresses in Italy in the 50 Top Pizza ranking a tenacious cook and a plan to turn the “mass disc” into a pedestal for experimentation: Giacomo Devoto starts Officine del Cibo probing the potential of the Neapolitan tonda in Ligurian land to entice an audience hungry for novelty; rather aided and abetted by the teamwork that has nurtured his restaurant idea since its inception (we saw this in the in-depth look at Locanda de Banchieri) the imprinting-far from being a cold move studied at the table-starts from the warm “memories of the South” of the Sarzano chef since his great-grandmother (who later settled in Lunigiana) for a time lived precisely in the lively area of the Quartieri Spagnoli Devoto's curriculum also counts a formative parenthesis at Da Attiilio alla Pignasecca the picture is recomposed with the entry of Gian Marco Ferrandi a complementary young ace who insists on the diversification of doughs and the recovery of evocative recipes ready to extend the common notion of gastronomic slice pizza also appears steamed and pan-fried (subject to the classic Neapolitan according to the dictates of theAVPN with which the restaurant is associated); the Italian-style pan offers a gentle crunchy rather than abrasive with the fine body properly supporting the ingredient; the gluten-free variant gives the same satisfaction as the result obtained with standard flours The result is a continuous flow of shared insights; a chef-living double track on which the future of the pizzeria experience wizzes the journey starts from home: instead of supplì and crocchette the welcome includes native spezzafame such as Panizza and stoccafisso toasted bread and whipped butter or-why not- Impepata di muscoli (the renowned La Spezia mussels) in addition to a thoughtful selection of beers and wines the difference on the beverage front is made by the dedicated drink list for mixing put together by the talented cellar and dining manager Simone Bellè To him is owed an added share of thoughtfulness and empathy that you are unlikely to encounter in similar contexts as well as-precisely-the ability to think of the individual cocktail (or mocktail) in relation to each course gradually cushioning the escalation of baked goods from the fried to the epilogue composed of Vermentino from the surrounding hills Persichetto (a liqueur made from fresh infused peach leaves) It is Simone again who introduces us to the “blind” routes three alternative routes to the wide range of options on the menu Itineraries calibrated both in prices (“Ti raccontiamo la nostra pizza,” €25; Pizza Lab contemporanea and Degustazione Verace both €30) and in the number of runs and nutritional balance as we were able to see at the end of the tasting It starts with a gesture that acquires the autonomy of a dish in its own right: the Scarpetta materialized for the occasion in a bite of bread baked in a wood-fired oven with its crumb soaked in juicy ragu confirming the transversality of the cereal while you still have the echo of tomato in your head for the “Sunday lunch” revival “This is a pizza that is very common along our coasts,“ explains Gian Marco ”which we replicate through a dry biga dough pre-dough using whole wheat flour" to enter into a sprightly dialogue with the traditional garnish-"a mix of olives ‘left to pull’ to the maximum degree of concentration to extract the vigorous scents of the material a green comma that dampens the rush of iodine on the run The pizzaiolo's work on “gluten-free” is interesting well summed up by the ethereal steamed slice “Che cavolo di pizza,” to which the specific cooking method gives extra thickness and extrasoft texture which I wanted to reinterpret thanks to a blend of three flours including that of Riso Buono Artemide." The crumb takes on a particular purple hue that pendents with the ragu of black cabbage and the sprouts of the vegetable lying on top the sulfurous notes are at times mitigated by the buffalo mozzarella at times pushed discreetly by the smoked Parmigiano making an objectively complex combo to manage enjoyable The Sarzana-Naples section is anticipated by the service of the cornicione only “We reflected on the tendency of guests to advance it often since it represents the backbone of our pizza," confesses chef Giacomo Devoto the ends return to the center with the help of a double inner and outer topping: “Soft potato cream We call it 'The Best Part of Pizza.'" Never was the name more apt given the unanimous feedback from diners: mission accomplished It comes to change the register with the open Montanara with its slightly golden wrapper and fresh heart of burrata and prescinseua that cushions the blow of fried food in the middle of the menu chlorophyll drops and yellow Piennolo tomatoes; the geographical element returns with the “fishy” persistence of smoked eel Small digestive pause and the yeast thins out in the Marinara Spezzina garlic oil and muscles first steamed and then beaten together with herbs Noteworthy here is the unprecedented fusion of the Neapolitan “veg recipe” with Ligurian peach booty plus the “Italian-style” baking pan on the northern model An enjoyable equation that reunites pizza culture on the North-South axis leaving behind the memory of a coast-to-coast delicacy We tasted it at Quattro Formaggi (fior di latte blue) with some unexpected inserts to contrast the “milky way” of the dressing Let's talk first of all about the coffee powder with a pungent aroma that gives depth to the whole; following that lemon zest and marinated fennel wash away the residual fattiness Banish the glycemic-soaring ultra-filled creams: Giacomo and Gian Marco dust off the Italian-style slice offered with tomato jam-in which an elegant undertone of vanilla is caught- lemon ricotta mousse and white chocolate No compunction in closing on sweetness: when pizza has something to say Via Brigata Partigiana Ugo Muccini, 181, 19038 Sarzana SP Phone: 393 958 4694 Website Do you want to discover the latest news and recipes of the most renowned chefs and restaurants in the world La nostra società utilizza inoltre cookie funzionali per registrare informazioni sulle scelte dell’utente e per consentire una personalizzazione del Sito; ad esempio Questi cookie possono essere installati dalla nostra società o da Terze parti In caso di disabilitazione di questi cookie la qualità e l’esperienza di navigazione potrebbe non essere soddisfacente Questi cookie sono installati da social media per consentire la condivisione dei contenuti del presente Sito Essi sono in grado di monitorare la navigazione compiuta anche in altri siti e creano un profilo dell’utente sulla base dei suoi interessi Ciò potrebbe avere un impatto sul contenuto e messaggi visualizzati sugli altri siti visitati non sarà possibile utilizzare o visualizzare questi strumenti di condivisione per l’installazione e l’uso di tali cookie occorre il consenso dell’utente Per maggiori informazioni consulta la pagna cookies policy FEZZANESE: (Subs: Agolli, Medusei, Carli, S. Corrado). Coach: Gatti. GHIVIBORGO: Bonifacio; Barbera (69' Signorini), Bura, Lopez Petruzzi, Campani, Nottoli (79' Noccioli), Giannini, Conti, Fischer, Vari (89' Larhib), Gori (82' Bifini). (Subsidized: Gambassi, Simonetta, Bassano, Coppola, Bonafede). Coach Bellazzini. Referee: Chirnoaga of Tivoli (assistants: Cirillo of Rome 1 and Manfredini of Biella). networks: 12' Fischer, 22' Mariotti, 35' L. Fiori, 49' Gori, 59' Cantatore, 83' Signorini. Footnotes: in the 86th minute Pucci saves a penalty from Vari. At 49' Gori made it 2-2 from close range, on a cross from Fischer. At 57' and 59' Cantatore first tested Bonifacio with a clever lob and then scored the 3-2 home team with a tap-in, recovering a save from the goalkeeper, on a previous shot from Mariotti. At 62' and 81' Lunghi and Gori wasted two great chances with the goal almost at bay. In the 83rd minute, the new arrival Signorini scores the 3-3 with a slide. In the 86th minute, Ghiviborgo has a great chance to win the match, but misses it with Vari who sees his penalty blocked by the excellent Pucci (the home goalkeeper himself had committed a foul in the area on Noccioli). In the 95th minute Pucci saves the result again, blocking the sure shot, again by Noccioli. Cardelli & Fontana Gallery in Sarzana is hosting Classica the fifth solo gallery exhibition by Fabrizio Prevedello (Padua The artist presents a new cycle of works that explore the boundary between sculpture and performance inaugurating a new creative dimension.Classica was born from a simple yet extraordinary gesture: a dance Prevedello embraced a large sculpture-compass furrowing bitumen surfaces with steps that left white traces on a black background This physical dialogue between artist and work resulted in abstract fragile yet powerful signs that expand the sculptural language toward a form of performance painting The title of the exhibition refers precisely to this fusion of disciplines: the movement of the body and the construction of form meet while remaining faithful to Prevedello’s poetics introduce a component of action and immediacy The gallery is developed in two distinct environments the visitor is confronted with the traces of Prevedello’s creative “dance”: signs and sculpture-drawings that arise from a direct and physical relationship with the material The initial room houses a large sculpture-compass the starting point and symbolic focus of the exhibition made of raw and refined materials together embodies Prevedello’s approach: a balance between instinct and control features works closer to the artist’s traditional language: wall sculptures that evoke the landscape of Versilia natural materials such as stones are mixed with industrial fragments masterfully transformed into forms that manage to surprise with their delicacy Central to Prevedello’s reflection is the idea of trace: the compass-sculpture not only supports the structure but also becomes a creative tool in a play of rotations that tells of a romantic and at the same time carnal relationship between artist and work This performative practice marks a new stage in Prevedello’s journey holding firm to his focus on material but opening it up to a more direct interaction with gesture “The works are animated by density and lightness darkness and light,” writes curator Saverio Verini respectively inspired by Marcel Duchamp and Jean Arp had coined the terms mobiles and stabiles to describe the two types of sculptures with which he indelibly marked the history of contemporary sculpture: the first marked by a kinetic tension the ability to hover and be ’an extension,’ to paraphrase Arturo Martini; the second firmly planted on the ground still conditioned by the memory of statuary and the idea of monument wanted to give mobility to a sculpture that is entirely stable; that he wanted to animate it recording the consequences of this action that makes us perceive The Classica exhibition is on view at the Cardelli & Fontana gallery. Opening hours are Monday from 5 to 7:30 p.m., Tuesday through Saturday from 12:30 p.m. and 5 to 7:30 p.m. For more information, you can visit www.cardelliefontana.com or write to galleria@cardelliefontana.com This site uses technical (necessary) and analytics cookies Sito ufficiale Ambasciata d'Italia a Washington The Embassy of Italy in Washington DC hosted the final event of the two-year twinning project between the Italian Istituto Parentucelli-Arzelà of Sarzana and Annapolis High School of Anne Arundel County which involved more than 300 Italian and American students and the Casa Italiana Language School of Washington “The project confirmed the value of partnerships between Italian and American schools as tools for the promotion of the Italian language in the United States and vice versa,” highlighted the Embassy’s Consular Coordinator the students of Sarzana and Annapolis worked together on topical issues from personal data protection to the Bilingual Guide to the City of Washington DC created with the contribution of Serena Riglietti the well-known illustrator of the Italian version of the Harry Potter books and finally the Italian translation of the brochure of the Italian American Museum of Washington The Legacy Brought by Italians to Washington DC – Thirty Places to Discover created by the students of the liceo scientifico (scientific lyceum) of Sarzana The meetings between the students of the two countries were attended — in presence or remotely — by prestigious guests such as the commanding officer of the Amerigo Vespucci who talked about the numerology in the works of Dante Armaments and Planning Director of the European Defence Agency who explained the Italian Armed Forces’ organization and their integration into the transatlantic defense system The experience will be replicated in the next two years with two other Italian and two American schools to build new bridges and create further links between Italy and the United States on behalf of young people and intercultural enrichment “Le D.I.V.E.” (Donne Italiane che Vivono all’Estero = Italian women living abroad) is a non-profit.. The Ambassador of Italy to the United States Organized by the Embassy of Italy in Washington in collaboration with Netflix On the occasion of the 80th anniversary of the liberation of Auschwitz-Birkenau On the 25th anniversary of the opening of its current location 2024 – Italian Ambassador to the United States Today marks the conclusion of an intense week of work at the Embassy of Italy.. yesterday opened the event “Partnerships.. Tel:+1 (202) 612-4400 E-mail: washington.ambasciata@esteri.it PEC: amb.washington@cert.esteri.it Contact our offices Farnesina – the MAECI Diplomatic network Viaggiare sicuri Dove siamo nel mondo  Italian Government  Europa.eu Faqs – MAECI About us Italy and USA Consular Services and Visas Contacts Transparent administration Transparent administration – MAECI We use cookies to help you navigate efficiently and perform certain functions You will find detailed information on all cookies under each consent category below “Necessary” cookies are technical cookies stored in your browser as they are essential for enabling the basic functions of the website We also use analytics cookies to collect information about the number of users visiting the site and how they interact with it In order to respect the privacy of our users the IP addresses of those who browse the website are made anonymous You can choose whether to enable or disable analytics cookies FORTE DEI MARMI: Gnata, Ipinazar F., Torner, Ambrosio F., Ipinazar P., Borgo, Rossi, Chereches, Ambrosio F., Ciupi. All. De Gerone. SARZANA: Corona, Borsi, Ortiz, De Rinaldis, Illuzzi, Manrique, Mattugini, Tognacca, Angeletti. Coach: Festa. Referees: Galoppi-Giangregorio. Goalscorers: 21'07“ pt Ambrosio F., 18'01“ Ipinazar P., 11'22“ and 6'46“ Torner; 22'39“ st Borgo, 16'40“ Ambrosio F., 11'20“ Borgo. Sarzana ’s Firmafede Fortress is preparing to host the XXXVI edition of the City of Sarzana National Antiques Exhibition a prestigious event to be held from August 9 to 18 Organized by the Sarzana Antique Dealers Association and curated by Elisabetta Sacconi the exhibition enjoys the patronage of the City of Sarzana and the support of Confcommercio La Spezia in collaboration with the Liguria Regional Museums Department.After the success of the previous edition in 2023 which saw more than 2,000 visitors and consolidated the Exhibition as an important annual event this year’s edition promises to confirm and exceed expectations saw the birth of the National Antiques Exhibition in 1978 becoming a landmark on the national scene for art and antiques enthusiasts a jewel of Florentine Renaissance architecture will be the stage that will host exhibitors from all over Italy The evocative spaces of the Fortress will host objects of great refinement and historical value the result of careful research and an authentic passion for antiques Authenticity is the fundamental criterion in the selection of the exhibitors who will present a wide range of unique pieces: furniture furnishings from the high period up to the 20th century antique carpets from different cultural traditions (Anatolian designer glassware and works by world-renowned designers some pieces of exceptional historical and artistic value stand out: a Still Life of Flowers and Fruit by Maximilian Pfeiler apainting on wood panel by Ludovico Tommasi from 1898 apink porcelain and gilt bronze clock from 1820 (presented by Sine Tempore Studio (Milan) confiscated from the Rothschild family by theEinsatzstab Reichsleiter Rosenberg following the Nazi occupation of France in May 1940 and returned to its rightful owners in July 1945 with the imposing dimensions of 287x513 cm anoil on canvas by Stefano Maria Legnani known as Legnanino exhibited by Fabio Di Ruggiero Dipinti Antichi (Cuneo) teaching them to discover and appreciate art and antiques The event also aims to bring a wide audience closer to the knowledge and appreciation of works of art offering an exciting journey through different eras and styles The Exhibition will be open to the public daily from 6 p.m So beware of lowering your attention, is the company warning, but with this group you can be sure of it. "Despite the objective difficulties - the sports director recognizes - everyone has shown the utmost professionalism, as well as great respect for the red and blue colors. For this reason we reiterate the invitation to the Forte dei Marmi public to follow the boys, starting from the next home game". Home game that, in case of passing the round and simultaneous success of Lodi, could see a head to head (this time best of 5 games) with the Forte dei Marmi player Gigio Bresciani. "It would be nice - concludes Agostini - because Gigio is one of us, but in the meantime we overcome Sarzana". After having recharged the batteries from the accumulated tiredness, the Canniccia Motor Club throws itself back into its natural habitat. That of the Playoffs Scudetto. The derby against Cgc Viareggio was avoided, at PalaForte tonight at 20.45pm the Sarzana for another sort of derby, given the short distance that separates the Ligurian city from the Forte. A match that is anything but simple and valid for the quarter-finals. In short, it is not an easy match and it will be important to keep your nerves, considering that it will be played at least on a double clash (game 2 will be scheduled for Sunday in Sarzana, while the possible game 3 would be played, again at Forte, on Wednesday 7 May). Forte dei Marmi will be able to count on a full squad. "They are all available - he assures Mirko De Gerone - and this is the most important thing, because from now on the matches will also be won on the details and being able to rotate the guys will be a decisive aspect. We are facing a very dangerous team, who has shown during the season that they know how to put us in difficulty. A team that has found the right balance in the second half of the season. We start as favorites, yes, but it will certainly be anything but easy". For the occasion, the rossoblù club has also launched a season ticket campaign for the playoffs. This Forte deserves a full PalaForte. HOCKEY SARZANA: Corona, Rubio, De Rinaldis, Borsi, Ortiz, Mattugini, Illuzzi, Manrique, Tognacca. All. Party. CGC VIAREGGIO: Gomez, Lombardi, Rosi, Cinquini, Muglia, D'Anna, Mura, Raffaelli. All. Cupists. Markers: 7' pt Manrique; 13'49'' st Illuzzi, 11'42'' and 10'43'' Muglia. CGC VIAREGGIO: Gomez, Cinquini, Rosi, Mura, Lombardi, Muglia, D'Anna, Raffaelli. Cupisti Coach. SARZANA: Corona, De Rinaldis, Xavi Rubio, Borsi, Ortiz, Mattugini, Illuzzi, Manrique, Tognacca. Party Coach. Scorers: 16'44“ pt De Rinaldis, 12'54“ pt Muglia, 2'59“ pt Ortiz; 24'54“ and 19'51“ st Lombardi, 14'56“ st Tognacca. The start of the second half is sparkling and in black and white. Just 6" and Lombardi scores the 2-2 from his own half of the pitch. After a poisonous diagonal from Muglia, Lombardi is once again the firecracker to excite the PalaBarsacchi with another shot, again from his own half of the pitch, which is worth the overtaking of Viareggio. Gomez bravely blocks Ortiz, but he can do nothing about the young Tognacca who takes advantage of a defensive lapse by Cgc. There are 10 minutes left, but after so many emotions the pace slows down. Cgc tries but Gomez saves the result on Ortiz with 4' and 51" to go. It ends in a draw and Sarzana will only need to draw to reach the quarter-finals, against Canniccia Motor Club Forte. For this Cgc, however, the feat does not seem impossible at all. "Great performance by the boys, everything is still open", is the hot comment of ds Nicola Palagi. CGC VIAREGGIO: Gomez, Lombardi, Rosi, Cinquini, Muglia, D'Anna, Mura, Raffaelli. Cupisti Coach. Goalscorers: 7' pt Manrique; 13'49'' st Illuzzi, 11'42'' and 10'43'' Muglia. CGC VIAREGGIO: Gomez, Cinquini, Rosi, Mura, Lombardi, Muglia, D'Anna, Raffaelli. Cupisti Coach. SARZANA: Corona, De Rinaldis, Xavi Rubio, Borsi, Ortiz, Mattugini, Illuzzi, Manrique, Tognacca. Party Coach. Art and music come together at Sarzana ’s Cardelli & Fontana Gallery with the new solo exhibition of Piedmontese artist Mirco Marchelli (Novi Ligure presents his latest works in the exhibition entitled Buoni offici 2024.The exhibition revolves around Marchelli’s original sound composition of the same name for solo violin and percussion instruments (violin is played by Luca Santariello which originated from fragments of Widmung The music emanates from a large workshop cabinet placed in front of the entrance; on the walls a new series of works a combination of poor materials and golden ornaments The inspiration is somehow related to the very city hosting the exhibition Sarzana is in fact the city of three popes: St Sergius IV (1009-1012) and Nicholas V (1447-1455) Marchelli decides to deal with papal intercession and workshop industriousness and dedication(widmung) doubling the meaning of the exhibition’s title with the irony that has always distinguished his work we find in the plastic application of the polymaterials a reference to the themes inherent in the ecclesiastical world the world of the work is musically evoked by the clear rhythmicity and cadence of the use of percussive organ The exhibition catalog, with a text by Daniela Ferretti, will go to press in January 2024. The exhibition opens Monday through Saturday from 10 to 12:30 a.m. and 5 to 7:30 p.m. For all info: www.cardelliefontana.com galleria@cardelliefontana.com, telephone 0187.626374 and 339.607927272 The city of Sarzana is dedicating an exhibition to Pablo Picasso (Malaga 1973) on the 50th anniversary of his death: the City of Sarzana with the organization of Paloma and in collaboration with the Museo Casa Natal Picasso de Málaga is in fact setting up the exhibition Pablo Picasso is one of the few cultural projects organized in Italy in the anniversary year it gathers more than 100 including lithographs ceramics and a painting Tête de femme an oil painting from a private collection inspired by one of Picasso’s muses Dora Maar.Picasso’s printmaking activity is one of the most important of his career With the series of the Barcelona Suite and the Suite des Saltimbanques visitors will get close to Picasso’s early creative years the melancholy blue period or the much sweeter pink period He will walk among portraits of young women and be confronted with the figure of Harlequin Bullfighting was a place for him linked both to his childhood when the artist went to the bullring with his father in Malaga and to his nostalgia for his home country of Spain In the first of these series Picasso also pays homage to Francisco de Goya a painter who had illustrated the fate of Pepe Hillo a few centuries earlier Another series featured in the exhibition is Dans l’Atelier a set of lithographs and lithographic reproductions published in 1957 in La Californie the studio house he bought in 1955 seduced by its isolation and splendid view of the Bay of Cannes and which he shared with Jacqueline Roque Here art and life intersected: at La Californie Picasso studied In Dans l’Atelier various themes compete and dialogue with each other; this is the case with still lifes the most important genre in Picasso’s painting after the representation of the figure The exhibition also features a selection of nine photographs taken by Robert Capa of the Picasso family on vacation in Golfe Juan who had met Françoise Gilot years earlier in Paris captures the artist’s more intimate side with his beloved and their son Claude They play on the beach in front of the calm waters of the Côte d’Azur in snapshots that transport us to Picasso’s most personal moments outside his studio and his creative universe a selection of nine photographs of Pablo Picasso from the Gyenes bequest of the Museo Casa Natal Picasso in Malaga a Hungarian-born photographer who is considered a master of light Selected snapshots in this exhibition correspond to three encounters between Picasso and Gyenes “Picasso’s family was Ligurian and so this is an exhibition that also acquires an even deeper meaning because of that it is a return to his origins,” explains exhibition curator Lola Durán Úcar “If there is anything that can go so far as to explain Picasso’s complex personality his immense eagerness to know and experiment Picasso uses a marked and unmistakable pictorial language that revolutionized the 20th century and made him a myth.” appears in the inscription we see immediately below the titulus crucis the cartouche bearing the reason for the condemnation that was customary to affix to crosses and which in the case of Jesus also took on cynically sarcastic tones: we see this clearly in the Sarzana Cross because the author has written the titulus in full(Iesus Nazarenus Rex Iudeorum Although the epigraph attests that it was made by an unspecified “William” (here is the text: Anno milleno centeno ter quoque deno octavo pinxit Guillielmus et hec metra finxit “in 1138 William painted the work and wrote these verses,” i.e. those in the epigraph but also those in the panels below with the Passion stories we actually have no other documents concerning the author and obviously this is the only certain work of his that we know of By virtue of the fact that this Guglielmo (or “mastro Guglielmo,” as he often happens to be named) knew Latin to the point of composing the inscription and captions in hexameter and at the same time had a good familiarity with the paintbrush and since a number of miniatures have been attributed to him (on a stylistic basis) art historian Marco Ciatti in a recent study contained in the volume La pittura su tavola del secolo XII has judged likely the possibility that the author of the Sarzana Cross was “a religious industrious in a kind of monastic workshop particularly active in that period both in the field of paintings on wooden support in miniatures.” Let us not forget that a thorough knowledge of Latin to the point of writing verse belonged coming almost exclusively from ecclesiastical circles Critics have long established that our Guglielmo must have been an author from the Lucca area Not only because there is in Lucca a large group of later painted crosses (such as the one in San Michele in Foro or the one preserved in the National Museum of Villa Guinigi originally at the church of Santa Maria dei Servi) that share forms and style with the one in Sarzana but also because as early as 1953 the American scholar Edward Garrison had related Guglielmo’s Cross to the so-called Passionary P+ in the Capitular Library of Lucca: this is a manuscript containing the Gospel passages narrating the Passion of Jesus which shares several stylistic solutions with the Cross (the connotations of the face the way the characters’ robes are depicted is the comparison between a telamon that appears in the Passionary and the figure of the right-hand henchman in the Flagellation scene that appears next to the legs of Jesus in the Sarzanian Cross: the charged faces of the two characters appear quite similar The Sarzana Cross has long been thought to be the first painted cross in history While it is true that it is the first of which we know the date it should nevertheless be emphasized in the meantime that it cannot be the first work on wood panel produced in Italy (since as the scholar Ciro Castelli also pointed out in the above-mentioned book “the manner in which it is made shows that the craft tradition behind it is and then that there have been art historians inclined to identify in other painted crosses the dating of which we do not know for sure earlier experiences than Guglielmo’s work one of the greatest scholars of medieval art in recent years according to whom a work such as the Rosano Cross (a painted cross found in the monastery of the locality near Fiesole and also dating from the 12th century) could be older than the Sarzana cross because of the fact that although we are talking about two distinct geographical areas (Florentine area and Lucca area) our Guglielmo would seem to be a more evolved artist than the one who produced the Florentine area cross some of the details of the Passion stories that we find in the panels next to the legs of Jesus (such as the way the characters arrange themselves around Christ in the panel with the Kiss of Judas and the greater realism in the Deposition scene) would be indicative that the Sarzana Cross may have been produced with greater awareness due to an increased demand for works of this type conducted between 1991 and 1998 by theOpificio delle Pietre Dure in Florence confirmed that it is a complete repainting dating from a period that the latest hypotheses place fifty years after the date of 1138 attested by the epigraph the restorers deemed it appropriate to avoid removal although the result of this decision consists in a perception of the work that is different from the one that could be had before the Cross as soon as it left the workshop in which it was made in one of the last contributions on the Cross has given an account of how the figure of Jesus must have looked originally: "it is possible to recompose at least the original situation of the face through an X-ray that gives us back a more pronounced frontality of the head the terribleness of the large wide-open eyes the ’camused’ structure of the nose which were not touched in the later intervention great differences from how it was originally believes that the repainting had become necessary not so much for reasons of iconographic modernization but to “repair some small faults suffered.” However an update conducted on the basis of an execution “more sensitive to chromatic subtleties and plastic softnesses” would have been sufficient “to make the figure of Christ closer to the humanity of the Christian faithful.” The recent restoration that led to all these reflections is but the latest chapter in a story spanning nine centuries: it is worth retracing its main stages The most recent reconstruction of the documentary history of the Cross of William is the merit of Piero Donati who dates the first secure document concerning the work to 1602 It dates to June 25 of that year an agreement between the Chapter of Sarzana Cathedral and the Cattani family one of the most prominent in the Ligurian town: this agreement provided for the Cross to be transferred from what was then its location the wall above the door of the sacristy of Santa Maria who were moreover allowed to adorn the chapel The document reports that the terms of the agreement were agreed upon with the then bishop of Luni and Sarzana who headed the diocese for a full forty-two years after the Cross was transferred to the chapel of St the work became the object of heartfelt popular devotion so much so that the bishop was prompted to issue rules to regulate the flow of offerings left in the cathedral: among the administrators appointed by the bishop to deal with the economic management of the alms was Canon Ippolito Landinelli (1568 - 1629) Dell’origine della città di Luni e di Sarzana Landinelli reported the rumor that the Cross was originally in the ancient city of Luni and was brought to Sarzana later The historian also attests that in Sarzana the work first found hospitality in the church of Sant’Andrea it found a worthy location in the Cathedral in the exact spot where documents attest its presence in 1602 Landinelli did not show much conviction of the hypothesis of a Lunense provenance (“whether said miraculous crucifix came out of Luni [it was] apeso per cintinaia d’anni a una longa trave che divideva il Choro dell’antica Parochia nostra di Santo Andrea”) more recent criticism (beginning with Donati himself) considers it more plausible that the work was made precisely for Sarzana a city whose cathedral was in 1138 “in full decay,” as Donati points out was to be suitably adorned with a beautiful crucifix John the Baptist was transferred to the powerful Sarzana cardinal Lorenzo Casoni (the Cattani family obtained in exchange the juspatronage of the third chapel in the left aisle): the latter initiated renovations that gave the chapel its present appearance commissioned one of the most prominent painters of the time the city where the prelate had been apostolic nuncio from 1690 to 1702 to paint a canvas “to which was entrusted the task of protecting the Cross of Guglielmo.” in the painting who appears along with Saints Philip Neri and Lawrence inside which onlookers could observe the face of William’s Christ (the rest of the cross was concealed by the painting) The separation of the canvas from the Cross a time to which the first restoration of the canvas also dates conducted by the Opificio delle Pietre Dure: this is the last chapter in the history of the Cross one of the most important works in our art history Flower Riviera Palms Riviera Genoa and surroundings Portofino and the Tigullio The Cinque Terre Gulf of Poets The beautiful story of Sarzana’s typical dessert steeped in great tradition and perfect for Christmas There are things that welcome you when you arrive in a place or sound like a warm “goodbye” when you leave. Even Liguria, despite its gruff reputation, has several of these. One, undoubtedly, is the Spungata of Sarzana If you’re travelling on the A12 heading south towards Tuscany or if you travel north and are entering Liguria stop by Sarzana; you won’t regret it is a fantastic hybrid that seems to have sprung from the genius of some writer: no longer Tuscany but not yet Liguria It is turreted and elegant like Tuscan cities but is closer to Genoa and the Riviere is also a strange hybrid: no longer a Sienese panforte model but not a frugal Genoese sweetbread either but it also contains products from the deep hinterland a historic pastry shop on the central Via Mazzini right where Via Aurelia and Via Francigena intersect daughter of the historic pastry chef Silvano Gemmi who was an absolute reference for Spungata for over sixty years showing one in the lively coming and going of her pastry shop a true museum of Spungata – is a very ancient dessert definitely medieval but with roots in Latin culture and the late empire Its name derives from Latin “spongia,” the sponge It is typical of Sarzana and other locations The one we produce here follows the recipe transcribed by the Robbi family who opened this pastry shop before the Unification of Italy Spungata is made like a large dumpling of fine puff pastry containing a compote of apples and pears hand-mixed with other ingredients such as toasted almonds and Pisa pine nuts grated wild orange peel that gives a slightly bitter touch which not only imparts a good fragrance but also helps preserve the product longer but a skilled pastry chef is also a good magician: we follow Gemmi’s pastry chef he has hidden his secret to maximize the taste of his Spungata it is carefully distributed on an ancient beechwood mold and covered with pastry which is then trimmed with an ancient compass Spungata should be served warm to release all its mix of flavours and aromas It doesn’t suffer anything except the cold it’s still delicious: just put it in the oven and heat it slightly so that the aromas return perfectly Sarzana’s Christmas is Spungata and Sciacchetrà Stai già fantasticando su un viaggio in Liguria?Trasforma la tua fantasia in realtà e pianifica la tua prossima vacanza Are you already fantasising about a trip to Liguria?Turn your dream into reality and plan your next holiday Are you already fantasising about a trip to Liguria Turn your dream into reality and plan your next holiday Stai già fantasticando su un viaggio in Liguria Trasforma la tua fantasia in realtà e pianifica la tua prossima vacanza Dichiarazione di accessibilità Accessibility statement Amministrazione trasparente fino al 28.02.2025 Transparent administration until 28.02.2025 Amministrazione trasparente dal 01.03.2025 Transparent administration from 01.03.2025 PagoPA One of the earliest Italian photo-books and a landmark example in the history of photo-texts a writer and intellectual among the main theorists of Italian Neorealism made famous by his artistic association with Vittorio De Sica an internationally renowned American photographer a non-stereotypical restitution of life and places on which the spotlight is not normally shone the time was ripe for a collaboration that would come to fruition in 1952 had long been pursuing the idea of a story in pictures along the lines of Edgar Lee Masters’ Spoon River Anthology On the other Zavattini had recently launched the idea of Italia mia an unsuccessful film project converted for Einaudi into a photobook publishing project or as they called them “films on paper”: a choral work by photographers designed to illustrate postwar Italy through the voices and faces of its inhabitants Each issue was to focus on a different place Zavattini decided to dedicate his own to Luzzara Paul Strand moved there for six months with his wife Hazel Kingsbury Strand Of the history of the book and its design Laura Gasparini writes with Alberto Ferraboschi in Un paese released on the occasion of the exhibition held in 2017 in Fotografia Europea not a mere didactic accompaniment to Strand’s photos but a poetic-descriptive collection of villagers’ confidences first among experiments of its kind in terms of idea opening up new and unprecedented research in literature and cinema Despite the fame of the two and the major announcement of the initiative The Italia mia project was soon discontinued it was republished in 1997 by Fratelli Alinari IDEA with Aperture Foundation which holds archive and rights to the Strand couple’s works the long history of artistic pilgrimages to a mythologized Luzzara The first to return to the village was Gianni Berengo Gardin who organized his sixth Photography Workshop there Marco Baldassari and Marco Signorini (now established authors) participated among others; in 1996 Olivo Barbieri; in 2004 Marcello Grassi and Fabrizio Orsi; in 2007 Vittore Fossati; between 2014 and 2017 David Maialetti; and in 2021 Kai-Uwe Schulte-Bunert The exhibition itinerary opens with photographs by Hazel Kingsbury (1907 - 1982) Together they moved to Europe in 1951 and carried out photographic reconnaissance and in turn making very personal reportages The rediscovery of the works on display occurred in the 1980s thanks to the work of Luigi Ghirri and Paolo Costantini who in 1989 published with CLUP the book Strand reconstruct and contextualize the figure of Hazel Kingsbury Strand The found photographs seem to underline the thesis of the construction of a work carried out on the basis of a rough script the drafting of a project for which Ghirri uses the term “sinopia.” After the experience of Zavattini and Strand the first to return to Luzzara are Gianni Berengo Gardin (Santa Margherita Ligure for different reasons and in different ways but close at least in terms of interest and sensitivity The former is challenged by Zavattini himself to tell that same country in his own way the latter because of that tension that always recalls him to the province the “place par excellence.” It was 1976 when the volume Un paese vent’anni dopo by Berengo Gardin was published by Einaudi: the Ligurian photographer was already collaborating with Zavattini and was his friend for him “the image of Luzzara that came out of it did not correspond to reality Strand had daot a highly poetic reading of it Berengo Gardin decided to photographically census all the inhabitants of Luzzara researching in particular the people photographed by Strand “playing to the differences,” with the 1950s all in a reportage style: there is the entry into modernity and in Luzzara as elsewhere the characters of the society of the 1970s emerge The project was to make a work of social documentation This is the only work after Un paese to involve Zavattini (for the preface) Luzzara is an easy and obligatory stop: from 1973 is a photo of the Caffè Zavattini from the first series for the author linked to a commission and then the return with Paolo Costantini for the rediscovery of the photos of Hazel Kingsbury Strand the opportunity to make the stage official: in the 1990s Ghirri was supposed to hold the workshop promoted by Linea di Confine on Luzzara What remains are photographs that are daughters of a precise poetics The exhibition continues precisely with the Linea di Confine Workshop: due to Ghirri’s untimely death an author to whom the new Italian landscape photographers referred since the 1980s especially in order to break out of post-neorealist stereotypes His approach was opposite to Berengo Gardin’s: in fact the artist did not want to document changes in landscapes and people “those kinds of people and houses and landscapes still exist in virtually the same form,” only “side by side in today’s world.” Of life in Luzzara of traditional elements: this is what his work focuses on the exhibition displays some prints produced in the same workshop by Luca Andreoni invited by the weekly magazine Specchio for the fortieth anniversary of Un paese: Barbieri publishes his photos in an article entitled Quarant’anni ma sembra ieri an overt homage to the work of Strand and Zavattini to seek out the people portrayed by his predecessors but in different forms: in diptychs that capture movement by breaking the convention of the unrepeatable moment Among the people portrayed is Angela Secchi who was portrayed as a child by Paul Strand and later appeared in several other projects it is the turn of Marcello Grassi (Reggio Emilia is the same: to follow in the footsteps of the masters Orsi is a portraitist: they capture architecture Luzzara remains an emblem of being a village of changing while remaining true to itself and its own peculiar characters 2007 is the year of Vittore Fossati (Alessandria rediscovering the presence of men even when they are out of sight Fossati comes to Luzzara precisely at the invitation of Fondazione Un Paese in an initiative prpromoted in collaboration with Fotografia Europea Throughout Fossati’s work there is that tension toward the place to be found as a space that is not claustrophobic Last in order of appearance is David Maialetti (1967) photographer for The Philadelphia Inquirer newspaper initially sent to Luzzara for a reportage in 2014 The occasion is provided by an anthological exhibition on Paul Strand by the Philadelphia Museum of Art and in the same days there are plans to bring Paul Strand to Italy in an exhibition as part of the Fotografia Europea festival in Reggio Emilia in 2017 Maialetti works on Luzzara: his project will later become a book entitled Luzzara Maialetti’s new look shows a narrative construction capable of making use of the speed of reportage The exhibition closes with Kai-Uwe Schulte-Bunert (Aschersleben An appendix to An Idea of a Village is the Archivio project These are photographs intended to contribute to the construction of an “idea of a village,” a collection of vernacular photography made for Archivio Bellosguardo (2019) and Archivio Atena (2021) conceived by Alessandro Imbriaco and coordinated with Alessandro Coco arise from a strong rootedness in the territory: in both cases it was chosen to work in a village in the Cilento National Park where young authors were invited to conduct their visual research over the course of a few days a collection of vernacular photography was activated in the same villages which the inhabitants made available to create a digital archive of family photographs The two strands of activity thus led to the creation of a reservoir of images highly articulated in terms of eras The young authors have moved not only within the more established tradition of Italian landscape photography but have investigated the multiple possibilities of the medium: a technological device for shooting a tool for narrative invention and documentation of gestures expressions almost with an anthropological attitude Photography was used for its ability to ask questions to enter into dialogue with a curious and willing local community that not only posed but also told its story through its oral histories The exhibition itinerary is developed by favoring retinal stimuli to better account for multiple languages rather than a chronological or narrative strand The exhibition crumbles the projects of each author precisely because of its inherent qualities is intended to contribute to the proposal of a country idea The Cardelli & Fontana gallery in Sarzana is hosting the solo show Oltre (Beyond ) by Mirko Baricchi who thus returns to exhibit at the Ligurian gallery with a review for which a title rich in implications was chosen “Beyond” suggests in fact a passage which plays with the title of the previous solo show at Cardelli & Fontana where the first “selve” of the La Spezia artist’s production were exhibited."Beyond," writes critic Giuseppe Frangi in the text accompanying the exhibition "is a title that also tells of a constant in Baricchi’s painting it tells of his determination to settle on the one-dimensionality of the surface of the canvas as the surface has an absorbing energy and encompasses The surface is like a fabric that in its weaves holds a whole The series of recent works that we might rename ’open-air’ also suggest another hypothesis for reading Baricchi’s painting In these canvases an upward movement is grasped which from the clumps of color juxtaposed at the base pushes in the direction of chromatically brighter and rarer areas Exchanges of chromatic reflections then occur between the two areas of the canvas giving a very lyrical unity to the composition Baricchi’s painting proposes this continuous ambiguity between vertical and horizontal we can ask ourselves: with the works of the Selva cycle are we dealing with a recreation on canvas of the forest surface as if it were a freehand frottage or is Baricchi working in section and what we see is actually a stratigraphy Is Baricchi more on the side of Monet’s expansive painting or Cézanne’s tectonic painting overthrust faults of the earth’s crust?" “always lets these slippages happen in his paintings They are slippages consequent to a precise starting condition: his painting does not contemplate that the landscape Landscape is thus something that must happen on the canvas something consubstantial to the painting itself: in this approach one senses the mark of Courbet’s great lesson which is grafted onto the enamored persistence of a Venetian imprinting For painting to take place Baricchi must necessarily undergo a kind of executive asceticism It is no accident that he speaks of ’an obsession with an objective mode.’ That is why in so many cases we see his painting act by subtraction; it is scratched or it dematerializes into liquid conglomerates This is why Baricchi always squeezes the space into close-ups that exclude vanishing points ascetically forcing himself to a tenacious concentration on single patches of land (or even air): the landscape for him is not a view it is the visual matter that reveals itself before his eyes every morning when he lifts the shutter of his studio It is at that point that the alchemy is activated: the canvas functions as an incubator and new landscape takes root on its surface each time.” The exhibition opens Tuesday through Saturday from 9:30 a.m. to 12:30 p.m. and 4:30 p.m. to 7:30 p.m., Mondays from 4:30 p.m. to 7:30 p.m., closed Sundays. Free admission. For information: www.cardelliefontana.com, galleria@cardelliefontana.com In that thin strip of plain on the border between Tuscany and Liguria squeezed between the hills on one side and the sea on the other the traveler driving along the Aurelia moving toward Sarzana will notice at a certain point warehouses and cultivated fields that dot this industrious area an anonymous-looking nineteenth-century church and preceded by three linden trees that almost seem to guard it a hamlet of Sarzana: a handful of cottages and warehouses in the middle of the countryside watched in full view by the Colline del Sole where vineyards and olive trees vie for the gentle slopes that slope down to the Magra plain.Here stood the ancient hospital of which all that remains today is a ruin on the Aurelia a few hundred meters south of the church: mentioned since the 12th century it offered shelter to wayfarers and pilgrims on their way to Rome along the route of the Via Romea (or the “Via Francigena,” to use the terms of contemporary tourist categorizations) that descended from Lunigiana passed the Apuan Riviera and continued in the direction of Versilia there was once nothing: just a hospital surrounded by scrubland which was transformed so that its facilities were put to agricultural use: the story of the ancient wayfarers ended And the convent chapel had an heir: in 1842 the parish of St Lazarus was established and the decision was made to build the new church which was begun the following year and consecrated in 1880 the little chapel began to be emptied: local historian Achille Neri had complained about the deterioration of the lazaretto wishing for a more worthy location for its riches one of the most fascinating paintings of seventeenth-century Liguria: the Saint Lazarus Pleading with the Virgin for the City of Sarzana The great artist from Sarzana had executed the work in 1616 upon his return from a ten-year long formative stay in Rome: evidently Fiasella must have sensed from a very young age that he had exceptional talent since he manifested very early on his intention to travel to the capital of the Papal States to observe at close quarters what neither his hometown nor Genoa where he had moved shortly before to study under Giovanni Battista Paggi could give him: the chance to learn the craft from the greatest Fiasella had the opportunity to observe the paintings of Caravaggio and the Caravaggeschi as well as the most distinguished exponents of the manner we find many of the cues that Domenico Fiasella knew how to draw from observation of the most up-to-date artists of his time It is an easy-to-read work: a characteristic that will be typical of almost all Fiasella’s production who appears to him seated on a throne of clouds but they could not be farther apart: the rough folkish profile of Saint Lazarus is the exact opposite of the candor and purity of this adolescent Virgin who looks at him compassionately as she holds in her hands the Child But there is no contrast: the encounter between naturalism and classicism is balanced And it will become one of the distinctive elements of Domenico Fiasella’s great art accompanied by one of the dogs that lick his sores in the Gospel parable is invoking protection for the city of Sarzana: we see its skyline below amid clouds heralding gloomy thunderstorms with the Porta del Mare no longer standing the bell tower of the Cathedral and that of the church of Sant’Andrea silhouetted against the buildings around it and in the middle the mighty outline of the Sarzanello Fortress which actually dominates the city from the top of a hill but the painter painted it as if it were in the center The painting had been commissioned on March 4 from Domenico Fiasella by the Protectors of the Opera di Santa Maria The young painter did not disappoint expectations: he had delivered “a work of great commitment,” wrote Piero Donati wanted to show his fellow citizens that he had well spent the long years he had spent in Rome.” What we see before our eyes in the church of San Lazzaro is thus a masterpiece of “tempered naturalism or revisited Caravaggism,” to use Donati’s expression again: “one can see here a convinced participation of Fiasella in the experiments on the natural conducted by the followers of Caravaggio and in particular by Baburen and Jusepe de Ribera.” Fiasella had long observed the works of the Dutchman and the Spaniard in the collection of Vincenzo Giustiniani whom the painter had met in 1611: the Genoese nobleman since in the inventories of his collection compiled shortly after his death four works by Domenico Fiasella are mentioned Caravaggio’s naturalism is thus the beacon under which the sarzanese artist models the body of Saint Lazarus a body that is alive and present: the light brings out the muscles of the arm the olive coloring of the beggar’s skin is accentuated by the whiteness of the rags knotted haphazardly around his waist and realistically soiled by the artist’s brush (right down to the passage of the bloody bandage that wraps around Saint Lazarus’ leg) reminiscent of the art of the Carraccis or Giovanni Lanfranco exactly like the Madonna of the Sarzana Altarpiece by Andrea del Sarto a masterpiece that later ended up in Germany and was destroyed in the fire of the Friedrichshain Flakturm The Florentine’s work had been one of the founding texts of Domenico Fiasella’s training: Raffaele Soprani returns the image of a Fiasella who observed carefully studied and drew over and over again the panel of Andrea del Sarto who “so well taught him in the true rule of good drawing and beautiful practice of coloring with sweetness that he succeeded in making himself conspicuous among all those who in our day have with exquisite brushwork colored canvases.” It is nice to think that Fiasella wanted to pay homage to his ideal master: the band that holds the Virgin’s hair in place decidedly démodé at the beginning of the seventeenth century is identical to what could be seen in Andrea del Sarto’s altarpiece And it is interesting to think that the altarpiece was meant to save Sarzana from dangers that might have threatened it Dangers referred to by the allegorical storm that looms over the town menacingly obscuring the buildings and the few human presences glimpsed there since Lazarus was revered as the protector of lepers: disease we relied on the saints: and so that masterpiece by Domenico Fiasella is no longer just an extraordinary work of art a living testimony that reminds us of how we were and makes us think about how we are the Cardelli & Fontana gallery in Sarzana opens the exhibition Esposizione di Luca Lupi (Pontedera which thus returns for the third time to the premises of the Ligurian gallery because it is about new photographic works executed by the artist during the lockdown in April 2020 They are images that are part of the typical research of the Tuscan artist on the infinite (such as the photographs dedicated to the sea) or on the finite embraced by the gaze (for example surfaces and simple shapes produced by light eroding the pigments of colored papers in the time of exposure Lupi felt the need to devote himself to this new series at a time when it was not possible to go out and the photographer therefore could not go to the seas and coasts that are the most typical objects of his research.“Luca Lupi,” writes critic Ilaria Mariotti in the exhibition’s introductory text “seems here to experience all the work with light but shifting the plane of research to a sphere that I would define as parallel the image is formed by light captured by more or less sophisticated devices this is the title for all the works in the new series rectangles that sometimes suddenly expand) or definable as surfaces that camp on the plane [...] [Luca Lupi] began exposing the colored sheets to sunlight experimenting with tightness and effects A process of experimentation that starts from simple He began constructing increasingly elaborate masks vertical to the surface: screens with which to hide portions of the paper alsole studying the way light penetrates the cracks a month and even two sometimes to get a significant result: and it’s not always the same for all colors because yellows The Cardelli & Fontana gallery is open within the limits set by the anti-Covid decrees with hours 10 a.m.-12:30 p.m. and 4:30-7:30 p.m., excluding Sundays and by appointment. For info you can visit Cardelli & Fontana’s website CONTEMPORARY ART MAGAZINE SINCE 1980 More... is present in photography and around photography and it captures an identity reason extended from the medium to the author and then forcefully returns to the instrument able of exploding an almost infinite search term which we can now be gladly interpreted as an “event” it is clear how much its nature is suspended halfway between the subject-object and its representation we welcome with satisfaction the Luca Lupi exhibition Esposizione at the Cardelli & Fontana gallery in Sarzana Lupi’s evolution certainly depends on its relation with the landscape or rather by “difference”: the usual fruition ceases the year of almost all the works on display so the Tuscan photographer has taken his research to an extreme minimalism full of all the visual sublimation in favor of a procedural observation and it cannot be represented in its temporal dimension Lupi’s formal passage from a recognizable though absolutist photograph [3] to a media analysis with multiple semantic results is symptomatic of an informal European path from the avant-garde to the current historical moment never deprived of a sentimental and transcendent spark fact well exposed by Rosenblum in his theoretical assumption interpreter of a romantic continuity between the nineteenth and twentieth centuries in Europe [4] both when it manifests an icastic eloquence and when it reflects a philological purity has never been immune to spiritual reading rather it has been a collective consciousness’ trigger on the image timelessness and existential proof of Matière et Mémoire [5] through light The romantic significance of current artists is evident they are the most effective in bringing aesthetics to a post-media level and involving the user participates in the final rendering of the work departing from the individualism of classical Romantic painter in our age we can speak about Relational Romanticism The work of Luca Lupi is relevant; the temporal transience of the landscape already present in works categorized by the author as Spazi (2010-2012) which the curator Mariotti punctually summarizes the exhibition in a hinted and delicate narrative proposal resists in the chromatic geometries of his very recent Esibizione (2020) which by virtue of the physical erosion of light on the paper support return a nostalgic distance (romantic matrix) to the viewer active in a gnoseological response filled with image and memory [6] Interesting and further explaining is the same attitude to graphism both past and present romantics artists also persistent throughout Lupi’s work “skeleton”: the perfect image of the suspension halfway between substance (object) and thought (representation) This reduction is due to the strong temporal presence of Lupi’s work; here time is the “difference” it is Michelangelo’s “levare” [7] capable of making photography like sculpture Valtorta’s words (translate by the reviewer): «Thus photography takes on the meaning of an experience with regard to the outside world with a stronger conviction and a more conscious intentionality also on the part of photographers and no longer just artists (the distinction between “artists who use photography “and” artist photographers “lasted a long time and perhaps in part still lasts the process of interpenetration between the media has progressively corroded this historic distinction «In cerca di luoghi (non si trattava solo di paesaggio)» Luogo e identità nella fotografia italiana contemporanea [3] Lupi own is a reading of the surrounding with a sober but powerful look able to deforming the slightest identifiable references in supporting apparatus for the vacuum The visual chromatic research has evolved into an empirical process on colors and light returning suprematist geometries in total harmony with the previous work: if as a photographer the authorial presence was canceled by a geophysical distance in Esposizioni the author’s intervention is also reduced in its physicality entrusting the process to natural elements despite the association between Friedrich and Rothko has become a critical icon: from Giorgio Agnisola to Ilaria Mariotti herself there are many voices that welcome this pictorial “Alpha and Omega” as well as a mystical reflection of the contemporary Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko [5] The reference to Bergson’s essay is purely intentional said (translate by the reviewer): «That hic et nunc that had never left a trace before photography is formalized in the frame by means of it thus gaining access to visibility and memory the unrepeatable is what by definition has no place in the series the photographic eye always fixes an absence and the story it contemplates is a story of voids and cracks the only true story that can be built up through photography can only be the story of its own look.» Cf [7] A question well suggested by Mariotti in the critical text of the exhibition to which it is worth adding the reflection by László Moholy-Nagy on the potential inherent in the medium itself well reported in the publication by Clément Chéroux petite histoire de l’erreur photographique probably the most acute written on photography and perhaps by the French semiologist himself installation view at CARDELLI & FONTANA artecontemporanea courtesy CARDELLI & FONTANA artecontemporanea he lives in Prato working in the Florentine metropolitan plain (Pistoia-Prato-Florence) He has curated exhibitions in private galleries international fairs and public installations including a review in historic buildings of Pistoia and the scenography of a musical show at the Textile Museum of Prato He writes for various magazines both in print and online His critical research starting from the art graphics expanding the study to the time synchronization between past and present and cultivating curatorial practice as an artistic medium Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" ASSOCIAZIONE JULIET – via Battisti 19/a – 34015 Muggia (TS) Juliet art magazine è pubblicata a cura dell’Associazione Juliet - direttore responsabile Alessio Curto autorizzazione del Tribunale di Trieste registro informatico C.F./P.IVA 00699740320 | c/c postale 12103347 | SWIFT UNCRIT M10MC | IBAN IT75C0200802242000005111867 | UNICREDIT Banca Trieste “represent visual glimpses of the landscape that Hélène discovered during her walks bringing back to the canvas a nature transformed into an almost abstract and dreamy impression with mythological connotations.” The exhibition was also made possible thanks to the collaboration of sculptor Walter Tacchini who inherited Hélène’s house as well as several of her works including those that make up the nucleus exhibited in Sarzana