Friday, July 30, 2010
Thursday, July 22, 2010
Why Would One Compare Plates Amp/x-gal
U_TURN: Press on the web
A summary of press cuttings of U_TURN on the web:
Finesettimana.it
Artelabonline.com
Sienaffari.com 
A summary of press cuttings of U_TURN on the web:
Finesettimana.it
Artelabonline.com
Sienaffari.com
Wednesday, July 14, 2010
How Many Calories In Barbecue And Slaw Sandwich
Profile Francesca Lotti and Alessandro Gaggio
In the first triptych of stories will affect men consumed by their own love: Alessandro Gaggio interprets the mythical world of Euriolo and Nisus, and still thwarted love stories of Edward II, Conrad of Swabia and Duke of Austria with the real beauty of male bodies, clothes, and he put pose, drunk with desire and full of erotic tension.
Eroticism and sexual ambiguity that are repeated in the second triptych dedicated to affected and shameless mingling of human nature and animal yet, male bodies, dressed up to the caricature, with a morbid taste and irreverent, to laugh at any certainty of identity, existential and sexual health, the common feeling. A vision that is refined in the third triptych, where the homoerotic tension goes into a sophisticated game of disguises and oblique, open to innuendo oozing sensuality exhausted and especially transgressive. The bodies, transformed by the epidermis with the icy whiteness of the sun covered with masks and statuary and ceramic armor, arising from hedges of the Italian garden, emblems of an imaginary suspended in a constant tension of life and death, lust and violence, desire and murder. Each character is stopped in a snapshot that extols the full and uninhibited sexual expression, but implies, simultaneously, a deep reflection on the loneliness and the fragility of human existence. Images
where the complexity of artistic vision and the immediacy of instant photo of the two authors are sublimated into aesthetic and decadent atmosphere, in a visual and visionary of great evocative power. It is an ideal continuation of the fourth triptych, by Francesca Lotti dedicated to the theme of nature, where trees symbolically cast their shadow on the surface of bare walls, and joining dramatically to the profile of other plants, act out the eternal cammino metaforico fra realtà e visione.
Three triptychs spring from the double vision of Alessandro Gaggio and Francesca Lotti, three great slabs of glass in which the photographic lens, without any documentary design, registers only the capture of desire, of onyric vision, of myth. The first triptych relates the history of men destroyed by love: Alessandro interprets the mythical world of Euryalus and Nisus, as well as the contrasted loves of Edward II, Corradino di Svevia and the Duke of Austria, as he depicts the beauty of male bodies dressed and poised in an extasy of desire and erotic tension.
Erotism and sexual ambiguity return in the second triptych, dedicated to the delicate and immodest subject of combinations between men and animals; again we see male figures in morbid and desecrating disguises, depicted almost as caricatures, mocking all commonly accepted certainties of existential and sexual identity. This vision becomes even stronger in the third triptych, where the homoerotic tension reaches its peak within an oblique and refined masquerade, open to nuances of an extenuated and infinitely transgressive sensuality. The bodies, with their skins transfigured by an extreme statue-like pallor and clothed only in masks and ceramic armour, appear among the box hedges in the italianate garden, emblems of the imagination suspended in constant tension between life and death, between desire and murder. Every figure is transfixed in a still-life that sings in praise of a full and uninhibited sexuality, while also deeply reflecting on the solitude and fragility of human life. They are images in which a complex artistic vision contrasts with the instant immediacy of a photograph, combining an aesthetic and decadent quality with a visionary and evocative impact. The fourth triptych, dedicated by Francesca Lotti to the theme of nature, is the perfect continuation of this style. Here trees throw their emblematic shade onto barren walls, joining dramatically the profile of other plants, and metaphorically depicting the eternal path between reality and vision.
In the first triptych of stories will affect men consumed by their own love: Alessandro Gaggio interprets the mythical world of Euriolo and Nisus, and still thwarted love stories of Edward II, Conrad of Swabia and Duke of Austria with the real beauty of male bodies, clothes, and he put pose, drunk with desire and full of erotic tension.
Eroticism and sexual ambiguity that are repeated in the second triptych dedicated to affected and shameless mingling of human nature and animal yet, male bodies, dressed up to the caricature, with a morbid taste and irreverent, to laugh at any certainty of identity, existential and sexual health, the common feeling. A vision that is refined in the third triptych, where the homoerotic tension goes into a sophisticated game of disguises and oblique, open to innuendo oozing sensuality exhausted and especially transgressive. The bodies, transformed by the epidermis with the icy whiteness of the sun covered with masks and statuary and ceramic armor, arising from hedges of the Italian garden, emblems of an imaginary suspended in a constant tension of life and death, lust and violence, desire and murder. Each character is stopped in a snapshot that extols the full and uninhibited sexual expression, but implies, simultaneously, a deep reflection on the loneliness and the fragility of human existence. Images
where the complexity of artistic vision and the immediacy of instant photo of the two authors are sublimated into aesthetic and decadent atmosphere, in a visual and visionary of great evocative power. It is an ideal continuation of the fourth triptych, by Francesca Lotti dedicated to the theme of nature, where trees symbolically cast their shadow on the surface of bare walls, and joining dramatically to the profile of other plants, act out the eternal cammino metaforico fra realtà e visione.
Three triptychs spring from the double vision of Alessandro Gaggio and Francesca Lotti, three great slabs of glass in which the photographic lens, without any documentary design, registers only the capture of desire, of onyric vision, of myth. The first triptych relates the history of men destroyed by love: Alessandro interprets the mythical world of Euryalus and Nisus, as well as the contrasted loves of Edward II, Corradino di Svevia and the Duke of Austria, as he depicts the beauty of male bodies dressed and poised in an extasy of desire and erotic tension.
Erotism and sexual ambiguity return in the second triptych, dedicated to the delicate and immodest subject of combinations between men and animals; again we see male figures in morbid and desecrating disguises, depicted almost as caricatures, mocking all commonly accepted certainties of existential and sexual identity. This vision becomes even stronger in the third triptych, where the homoerotic tension reaches its peak within an oblique and refined masquerade, open to nuances of an extenuated and infinitely transgressive sensuality. The bodies, with their skins transfigured by an extreme statue-like pallor and clothed only in masks and ceramic armour, appear among the box hedges in the italianate garden, emblems of the imagination suspended in constant tension between life and death, between desire and murder. Every figure is transfixed in a still-life that sings in praise of a full and uninhibited sexuality, while also deeply reflecting on the solitude and fragility of human life. They are images in which a complex artistic vision contrasts with the instant immediacy of a photograph, combining an aesthetic and decadent quality with a visionary and evocative impact. The fourth triptych, dedicated by Francesca Lotti to the theme of nature, is the perfect continuation of this style. Here trees throw their emblematic shade onto barren walls, joining dramatically the profile of other plants, and metaphorically depicting the eternal path between reality and vision.
Thursday, July 8, 2010
Dog Has Whooping Cough
Profile Joanne Lysy
Da La Foce e dalla Val d’Orcia il lavoro di Giovanna Lysy trae la propria linfa vitale: born from the intimate and enigmatic fertility of this land who is engaged vigorously in the depths of his creativity. The materials - travertine, glass, iron - are the result of old memories: "I still remember the warmth of the travertine after sunset under my bare feet - said in an interview with Giovanna Elisa Gradi; remember the iron as a symbol of strength and work man on earth. " The parts of material are slowly their balance, as the force of a magnet that attracts the various parties. All the sculptures of Joan are formed around a core element, gradually, by force of strata: never start a project from static and unchanging. And è la luce il fattore finale e decisivo, che definisce caratteristiche e struttura dello spazio scultoreo, ne sviluppa il potenziale espressivo, e conferisce significato a tutto quanto si sottopone al suo raggio.
The spirit of Giovanna Lysy’s work comes straight from the rich texture of her home, La Foce, and this extraordinary valley that becomes the root of her creative vigour. Travertine, iron, glass – these are the materials she uses – spring from ancient memories of childhood. “I still remember the heat of the travertine paths on the soles of my feet” says Giovanna in an interview given to Elisa Gradi. “Iron was the true symbol of strength, of man’s untiring work on this harsh soil”. All the materials slowly find their own composite equilibrium, as if drawn by a magnet that attracts each and all. Giovanna’s sculptures are inspired initially by one principal element, gradually coming together in stratified forms: they never derive from a static or predefined project. But light is the final and defining factor that characterizes each sculpture and its spatial effect, developing its expressive potential and giving significance to all the materials that come within its rays. 
Da La Foce e dalla Val d’Orcia il lavoro di Giovanna Lysy trae la propria linfa vitale: born from the intimate and enigmatic fertility of this land who is engaged vigorously in the depths of his creativity. The materials - travertine, glass, iron - are the result of old memories: "I still remember the warmth of the travertine after sunset under my bare feet - said in an interview with Giovanna Elisa Gradi; remember the iron as a symbol of strength and work man on earth. " The parts of material are slowly their balance, as the force of a magnet that attracts the various parties. All the sculptures of Joan are formed around a core element, gradually, by force of strata: never start a project from static and unchanging. And è la luce il fattore finale e decisivo, che definisce caratteristiche e struttura dello spazio scultoreo, ne sviluppa il potenziale espressivo, e conferisce significato a tutto quanto si sottopone al suo raggio.
The spirit of Giovanna Lysy’s work comes straight from the rich texture of her home, La Foce, and this extraordinary valley that becomes the root of her creative vigour. Travertine, iron, glass – these are the materials she uses – spring from ancient memories of childhood. “I still remember the heat of the travertine paths on the soles of my feet” says Giovanna in an interview given to Elisa Gradi. “Iron was the true symbol of strength, of man’s untiring work on this harsh soil”. All the materials slowly find their own composite equilibrium, as if drawn by a magnet that attracts each and all. Giovanna’s sculptures are inspired initially by one principal element, gradually coming together in stratified forms: they never derive from a static or predefined project. But light is the final and defining factor that characterizes each sculpture and its spatial effect, developing its expressive potential and giving significance to all the materials that come within its rays.
Thursday, July 1, 2010
Romeo And Julliet Ice Skating Dresses
INTERVIEW WITH LOTS AND FRANCESCA ALEXANDER GAGGIO Elisa Gradi
UTURN, inversione di marcia. Quale significato assume per te Francesca?
F.L: fondamentalmente che ho raggiunto un momento in cui faccio cose che mi danno enorme soddisfazione.
Non è allora U-turn from the path he thought he had undertaken, and that instead you are forced to change the historical moment we are experiencing?
FL: I would say that to me is a way to get back to basics, start to make choices with their hearts and not with a commercial sense, although in my work with companies and fashion magazines feel completely satisfied with all my creative needs though, because they always work leaving my mark, my unique interpretation of the subject that the photographer, this show allows me to focus even more on a path to more reflective and personal.
assumes a particular value for each of the artists on display. What is your Alessandro?
GA is a U-turn over all the bad roads that we gathered to walk in life.
is a shared decision?
FL: everyone has a career and life differently, but we have in common a choice: you have always followed our feeling, perhaps at the expense of a richness and fame easier and more immediate. What
UTURN then your project?
FL: I have chosen to expose a series of photographs were born with the collaboration that goes on for two years, with Alexander. We share a design: the idea was born from my interpretation and the work we're going to expose. In this case we focused on the lives of four historical characters consumed by love homosexuals, and yet another series where I play the relationship between the nature of man and animals, always with Alexander will be two triptychs, with a photograph printed on glass. Then there is the triptych dedicated to the living statues in the garden of La Foce, which are also part of the light sculptures of Joan Lysy, we have chosen as the symbol of the exhibition. More of my photographs will then be displayed in the showroom dedicated to the work of Joan, in the old mill of La Foce.
set before any work is also your exclusive design?
FL: the triptych will be dedicated to silence, trees that shed their shadows, creating a disturbing perspective on the ground and walls. There are four situations that I still open the way to different interpretations of photographic, with different types of light and special techniques. Even if I play in the first three concepts of Alexander, is in every way and a director of light construction purely personal.
As the project instead of Alexander Gaggio for UTURN La Foce?
AG: for the installation of living sculptures have been inspired by the revival of the Italian garden Pincent Cecil: I found it challenging to superimpose my personal view, with the inclusion of my ceramic masks, which are actually designed statues, scattered in the path of the historic park.
The vision of homosexual love Euriolo and Nisus, Edward II, the Duke of Austria and Conrad of Swabia, how it fits in the exhibit?
GA is a subject that I studied for a long time. They're all lovers who have suffered terrible fates, both persecuted because of their passion, both for political reasons. My work, however, always deals with erotic themes, and UTURN seemed the perfect opportunity to take this project forward.
Eroticism is immediately linked to the theme of the mask
AG: Recall the relationship between imagination to be a dominant, visible in his face, and dominated the other, wearing a mask. In reality, the mask is running the show, to be able to completely reverse the situation. However, beyond the erotic speech, it is clear that we're all wearing a mask, is a condition that affects us all across the board.
the mask to get the armor then
AG: It is my installation in the greenhouse of La Foce, with photographs of Francesca. They are sculptures for which I was inspired by the Capuchin crypt in Palermo, with the theory of the remains of the bodies exhibited in galleries in tuff would like to recreate this atmosphere in the front wall of the lemon, exposing the screen accompanied by a armor (which will also work in bronze) and bones. Masks are all reminiscent of the killing, also a reminder of UTURN, killing the past.
How do you see your work that falls within a historical context so important from an aesthetic point of view?
FL: All triptychs will be mounted along the length jumps through the space of limonaia. A beautiful setting, even in its architectural simplicity, what excites me aesthetically, even in relation to our work, the background color of the walls, with their coppery shades and obtained over time. It gives me a thrill.
What do you expect to forward who will see your show?
FL: as for me my desire for peace, the desire to live day by day. And 'This is the sense of the depth of my UTURN: do not change course because I find myself facing a wall, but I choose to go another way. This already makes me feel my vision to lead a new growth. 
UTURN, inversione di marcia. Quale significato assume per te Francesca?
F.L: fondamentalmente che ho raggiunto un momento in cui faccio cose che mi danno enorme soddisfazione.
Non è allora U-turn from the path he thought he had undertaken, and that instead you are forced to change the historical moment we are experiencing?
FL: I would say that to me is a way to get back to basics, start to make choices with their hearts and not with a commercial sense, although in my work with companies and fashion magazines feel completely satisfied with all my creative needs though, because they always work leaving my mark, my unique interpretation of the subject that the photographer, this show allows me to focus even more on a path to more reflective and personal.
assumes a particular value for each of the artists on display. What is your Alessandro?
GA is a U-turn over all the bad roads that we gathered to walk in life.
is a shared decision?
FL: everyone has a career and life differently, but we have in common a choice: you have always followed our feeling, perhaps at the expense of a richness and fame easier and more immediate. What
UTURN then your project?
FL: I have chosen to expose a series of photographs were born with the collaboration that goes on for two years, with Alexander. We share a design: the idea was born from my interpretation and the work we're going to expose. In this case we focused on the lives of four historical characters consumed by love homosexuals, and yet another series where I play the relationship between the nature of man and animals, always with Alexander will be two triptychs, with a photograph printed on glass. Then there is the triptych dedicated to the living statues in the garden of La Foce, which are also part of the light sculptures of Joan Lysy, we have chosen as the symbol of the exhibition. More of my photographs will then be displayed in the showroom dedicated to the work of Joan, in the old mill of La Foce.
set before any work is also your exclusive design?
FL: the triptych will be dedicated to silence, trees that shed their shadows, creating a disturbing perspective on the ground and walls. There are four situations that I still open the way to different interpretations of photographic, with different types of light and special techniques. Even if I play in the first three concepts of Alexander, is in every way and a director of light construction purely personal.
As the project instead of Alexander Gaggio for UTURN La Foce?
AG: for the installation of living sculptures have been inspired by the revival of the Italian garden Pincent Cecil: I found it challenging to superimpose my personal view, with the inclusion of my ceramic masks, which are actually designed statues, scattered in the path of the historic park.
The vision of homosexual love Euriolo and Nisus, Edward II, the Duke of Austria and Conrad of Swabia, how it fits in the exhibit?
GA is a subject that I studied for a long time. They're all lovers who have suffered terrible fates, both persecuted because of their passion, both for political reasons. My work, however, always deals with erotic themes, and UTURN seemed the perfect opportunity to take this project forward.
Eroticism is immediately linked to the theme of the mask
AG: Recall the relationship between imagination to be a dominant, visible in his face, and dominated the other, wearing a mask. In reality, the mask is running the show, to be able to completely reverse the situation. However, beyond the erotic speech, it is clear that we're all wearing a mask, is a condition that affects us all across the board.
the mask to get the armor then
AG: It is my installation in the greenhouse of La Foce, with photographs of Francesca. They are sculptures for which I was inspired by the Capuchin crypt in Palermo, with the theory of the remains of the bodies exhibited in galleries in tuff would like to recreate this atmosphere in the front wall of the lemon, exposing the screen accompanied by a armor (which will also work in bronze) and bones. Masks are all reminiscent of the killing, also a reminder of UTURN, killing the past.
How do you see your work that falls within a historical context so important from an aesthetic point of view?
FL: All triptychs will be mounted along the length jumps through the space of limonaia. A beautiful setting, even in its architectural simplicity, what excites me aesthetically, even in relation to our work, the background color of the walls, with their coppery shades and obtained over time. It gives me a thrill.
What do you expect to forward who will see your show?
FL: as for me my desire for peace, the desire to live day by day. And 'This is the sense of the depth of my UTURN: do not change course because I find myself facing a wall, but I choose to go another way. This already makes me feel my vision to lead a new growth.
Bicycle Themed Parties
Giovanna mounting a sculpture in the garden of La Foce, filmed by 'channel operator "Art" Alessandro
Subscribe to:
Posts (Atom)