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The shadowy

L '"shady" in Mantua, which I have already said, the chiaroscuro-universality of all the circumstances of the classic' prerente hours and a certain landscape, according to the temperament of the individual variability of mood in which the artist is to form general expression-is it not to be found in the interpenetration of opposites characters of its cultural origin, being one of the extreme northern outposts of the universality of the solar Mediterranean within the continental Latin Lombard, the fabled Valley Rome from its principles, through the Tuscan who has revived the Etruscan origin, and the universe to be extreme southern Germany, the last make and garrison terminal severe and bizarre that order, in its descent to the valley beyond Trent, and Verona, to the fortifications on the latest certified Po? Where the two different manners are confused and do not blur the 'one another, each other does not oppose?

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Contemporary artists represented in the collection: Albani, Arcangelo, Barani, Bartolini, Bettineschi, Bianchi, Binga, Boero, Bonichi, Woods, Short, Buzzi, Calabria, Carmi, Carrera, Caruso, Casiraghy, Cascavilla, Ceccobelli, Celon, Collini, Stroke, Crespo, Di Stasio, Donzelli, Fedi, Fomez, Foschi, Galliani, Galliano, Giuli, Gini, Guzzi, Isgro, Larocca, Loi, Lorandi, Luino, Lunetta, Macalli, Mancini, Matalon, Mazzella, Miglietta, Minola, Notari Alders, Pasquini, Patella, Piperno, Pizzi Cannella, Wells, Priori, Renzetti, Stefanoni, Tommasi Ferroni, Verdirame, Vicentini, Xerra.

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COCTEAU LE JOLI COEUR Artist book

By Anna Woods, who oversaw the construction, we thought this book artist collective as the place of comparison not only between different orientations, but also among 63 Italian and French artists, as the versatile Jean loved the beautiful country and it was always returned.
For this experience have been invited: 8 artists (Albani, Binga, Boschi, Carrera, Travel, Wedding, Gini and Miglietta) already present with their works in the collection Uroburo, others 34 (Andolcetti, Baroni , Bentivoglio, Bertola, Blank, Bove, Cimino, Common, Conti, Correggio jars Diotallevi, Gennai, Giambarresi, Gut, Guzzonato, Iacomucci, Lora Totino, Lentini, Lucato, Maggi, Marquis, Magro, Menetti, Moio, Boredom, Osti, Perfetti, Persians, Roffi, Sassu, Savignano, Scorza, Torelli, Vitacchio) selected the most representative of the Italian; and again 21 leading artists from across the Alps (Aliotis, Art-no-dommain, Balmier, Bayle, Bensidon, Blaine, Charmot, Courtois, Daligand, Della Vedova, Duhaut, Fosse, Gallet, Hugues, Lenoir, M. Nomized, Penard, Rose, SOURDINE, Vannobel, Willems). volume, or rather the collective work of art that you are browsing is not the mere sum of individual boards, but the product of refined ingenious intellects and expertise. While offering this tribute to Cocteau as a chorus in unison, we perceive each table as a work in itself. We like to think that this fine collective work would have loved to Jean Cocteau, who besides being the dedicatee of this homage was among the pioneers of this way of producing art. Always available to the contamination and collaborations with other artists and writers of his time, from the avant-garde of the last years of his life he participated enthusiastically in many books and experiences unanimous, by Maria Lani (obvious model for this operation) to Anthologie Poétique just to name a few. We like to think that if he had not been intended for the celebration of river and so realized had it not failed half a century ago, would accede to our proposal with its elegance by joli cœur , his poetry of Orphée à la mode and its enthusiasm to eternal enfant terrible but irresistibly séducteur. Mauro Carrera

http://www.mailartmeeting.com/

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FRENCH CULTURAL CENTER

Centre Culturel Français
Milan, Palazzo delle Stelline, Corso Magenta, 63
THE JEAN COCTEAU Joli Coeur
FREE 'fashionable' A SEDUCER
24 October to 4 December 2008
On 24 October 2008, at the French Cultural Centre in Milan, will open the Jean Cocteau joli cœur. Tribute "hip" of a seducer event dedicated to interactivity with the audience, who will present the polymorphous talent of the great poet and artist. The event - until December 4, 2008 - curated by Mauro Carrera, together with Fermi and Helen Dalley Marzio, sees the sponsorship of the Embassy of France, the Comité Jean Cocteau, Paris, and the University of Piccolo Teatro di Milano, Accademia di Belle Arti and the State of the Superintendency of Archives and Parma in Emilia Romagna. Made in collaboration with Mailartmeeting Archives, Artist's Book Store (MI), André Beucler Association and Studio Art Carrera is supported by Fondazione Cariparma. Jean Cocteau Le Joli Coeur. Tribute "hip" of a seducer revolves around the exposure of the same name, hosted by the French Cultural Centre Gallery at the Palazzo delle Stelline. Will be exposed, from public and private collections, drawings, autographs, prints, posters, artists' books (the very rare and enigmatic with original Maria Lani by Matisse, de Chirico, Derain ) and its famous erotic illustrations made by Cocteau for White Paper. will also set out the precious Portrait of Roland Garros of Raoul Dufy , one of two run by the renowned artist for the magazine Le Mot Cocteau and Iribe, then mysteriously re-designed and signed Jim (Cocteau). The second drawing, recently acquired by the Musée d'Art Moderne de la Ville de Paris will be there in the exhibit dedicated to Dufy 16 October 2008-18 January 2009. addition to original works by Cocteau, in Milan presented for the first time to the public in its entirety the collection Uroburo (homage to Cocteau) that documents the various codes of expression (from figuration to abstraction, from photography to visual poetry, from computer-art anachronism, by the installation to mail art), offering a representative overview of contemporary art through the works of some of the major Italian artists: Arcangelo, Bartolini, Boero, Calabria, Carmi, Casiraghi, Ceccobelli, Crespo, Di Stasio, Galliani, Isgro, Notari, Alders, Patella, Pizzi Cannella, Wells, Xerra and many others. Among the Collection Uroburo shows the artist's book, edited Anna Woods and Mauro Carrera made for the occasion as a single copy that each visitor can browse, which was attended by 63 Italian and French artists including: Albani, Bentley, Binga, Blank, Boschi, Carrera, Run, Fedi, Gini, Gut, Lora Totino . protagonist of the film festival in Venice and Cannes, Cocteau is considered a master of the Nouvelle Vague. During the event there will be two screenings to be held Thursday 6:13 November at the Cinema Hall of the Centre Culturel Français starting at 20. will also be presented: the Catalog (Uroburo Editions) of the event which contains, for the first time in Italy, Beauty Secrets unpublished Cocteau's masterpiece, the recent publications on Cocteau ( Cahier Cocteau, The mystery revealed , etc..) and a preview of the f moistened The artist Chanson de Jean on the relationship with Edith Piaf. opening of the exhibition Thursday, October 23 17 hours for the occasion is provided an interactive workshop Le Livre d'or open to the public by the Archives Books Artist of Milan and the preview of original music created for the event. The paint will be accompanied by a parade of models. The exhibition, as well as all events are FREE ENTRY to the following times: Monday - Friday 10-19 hours / Closed Saturday and Sunday and holidays.

Information: Centre Culturel Français de Milan tel. 0248591927 fax 0248591952
http://www.culturemilan.com/ cocteaumilano@gmail.com

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Poet, playwright, novelist, critic, filmmaker, set designer, writer, versatile artist, Jean Cocteau was born in Maisons-Laffitte, near Paris, July 5, 1889, from a family belonging to the high bourgeoisie of Paris. It grows in a worldly environment characterized by love for the arts and matures very early a passion for the theater. The mysterious suicide of her father in 1898, leave him alone with the mother who strongly condition its literary and artistic maturation. Lazy student, left the school in 1907. In 1908, his mother introduced him to the salons of high society, where he distinguished himself as a dandy and as late-Symbolist poet. Between 1909 and 1912 publishes the first books of poetry (La Lampe d'Aladin, The Prince frivolous, La Danse de Sophocle), who later denies it. He attended Proust and some leading figures in the Belle Epoque Paris and knows D'Annunzio. Enters into a relationship with Diaghilev and Stravinsky Set in the Ballets Russes. In 1913, attends the premiere of Stravinsky's Sacre du printemps. The scandal caused by the representation confirms the idea that artistic creativity can not exist without nonconformity. For Cocteau is the turning point, marked by the preparation of the novel-The Potomak pastiche. Lives of the Great War years - which will be tackled in the novel Imposteur Thomas (1923) - between the front and in the cultural life of Paris became one of the protagonists. Paul Iribe public with the magazine Le Mot, on which he signs his drawings with the pseudonym of Jim, is introduced by Valentine Hugo Gross among the painters of Montparnasse; know Modigliani, Severini, Kisling, Apollinaire and comes into contact with Satie and Picasso, which proposes collaboration on the ballet-pantomime Parade. In early '17 he was in Rome with the English painter to work on the project to be undertaken for the Ballets Russes, and here comes in contact with the Italian Futurists. The first ballet, the Théâtre du Châtelet, a scandal is unprecedented and marks a point in favor of modernity in the controversy between it and the tradition. Died in 1918, Apollinaire, Cocteau became its spiritual heir, the protagonist and promoter of all manifestations garde. Have in recent years: the pamphlet Le Coq et l'Arlequin, in which one defender and spokesman of the musicians gathered in the Groupe des Six (Auric, Durey, Honegger, Milhaud, Poulenc, Tailleferre); Carte Blanche, a series of critical articles written for the newspaper Paris-Midi and Les Maries de la Tour Eiffel, play by surrealist. The relationship of deep friendship with the poet and writer Raymond Radiguet, known in '19, leads him on his way rappel à l'ordre. This is a theory that proposes to overcome the avant-garde for a new classicism that recovery through a novel reading, the roots of European civilization. In this climate are devised, in '22, the critic wrote entitled "The Secret professionnel and Antigone, who resumed play in the famous myth in a modern classic. In December '23 Radiguet causes the death of Cocteau in a serious crisis; tries to escape through the opium from which employees do not deliver anymore despite repeated attempts to detoxify. In recent years close to the neo-Thomistic philosopher Jacques Maritain, which leads him on the path of religion, soon abandoned. During a stay in Villefranche, in '25, he met the painter and decorator Christian Berard, who will hold the designer's favorite show, in '27, the poetry collection Opéra. After the trauma, Cocteau begins to work hard: the play Orphée public in '26 and the collection Le Rappel à l'Ordre criticism, the year following the continued recovery of classical myths writing the drama Œdipe roi. With the 'essai' The Mystery of the laity in 1928, took the defense of Giorgio de Chirico in opposition to the Surrealists. The Italian painter decorates the cocteau edition of the text with five drawings, and in 1934, and is still with Cocteau, enriched with ten lithographs volume Mythologie. In 1929, during a detoxification funded by Coco Chanel, writes Les Enfants terribles, his most famous novel, and Opium, a memoir of his addiction. It dates back to 1930, its first test film, Le Sang a poet, followed, in the Forties and Fifties, La Belle et la Bete, adaptations of Les Parents terribles pièces à deux têtes and L'Aigle, and then Orphée and Le Testament d'Orphée, as well as several movies for which a writer (L'Eternel Retour, Le Baron fantôme, Les Enfants terribles, Ruy Blas, Les Dames du Bois de Boulogne).
In '37 he met Jean Marais, his alter ego stage, the star of almost all his plays and his future films. Began in the '40s friendship with the singer Edith Piaf, for whom the monologue consists Le Bel Indifferent. E ', 1943, meeting with the writer Jean Genet, Cocteau that helps to launch and for which he made drawings of his masterpiece, the novel Querelle de Brest. Since 1950, he divides his time between Paris and the Villa of the Holy Sospir Saint-Jean Cap-Ferrat, belonging to her friend and patron, Francine Weisweiller. These are the years of international fame, which they see as the main cultural and social events of Europe, the Film Festival and the Venice Biennale, the Festival of Cannes - which presides over the jury on several occasions - and that of Spoleto. Urged by many, spoke on presentations, writing prefaces, outlines programs, creates posters. It was the era of official recognition: the entrance and the Académie Royale de Belgique Académie française of '55, an honorary degree at Oxford in the '56 election prince of poets in 1960, succeeding Paul Fort. His interests are addressed in this period, the applied arts: dedicated to the fresco, tapestry, ceramics, to glass art. A friend of Picasso and Matisse, in his lifetime has relations with artists (Modigliani, De Chirico, Tzara, Picabia, Man Ray, Delaunay, Soutine, Kisling, Savinio, Dali), directors (Welles, De Sica, Rossellini, Visconti, Fellini, Bresson, Truffaut and the youth of Nouvelle Vague) and the jet-setters (Manolete, Dominguin, Lucia Bosé, Aznavour, Coco Chanel, Yves Saint-Laurent, etc...) Its image, set by the shot of the main photographers (Man Ray, Beaton, Penn, Halsmann, Clergue) becomes a true icon of the twentieth century, as confirmed by the series of portraits dedicated to him by Andy Warhol, the man who will inherit in contemporary art in a way his role as a privileged witness. Told reporters after a piece of Edith Piaf, who died a few hours earlier, died on October 11, 1963 at Milly-la Forêt, is buried in the chapel of Saint-Blaise des Simples he painted.

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The hidden campanilino

After the " cathédrale engloutie " So, nevertheless, that a bell imprisoned in my own city ...., one of the original church of Santa Caterina d 'Alexandria, as old as the' settling in the city of Gonzaga dynasty ...

seemed that it did and had to be just so, according to the authority of unquestioned and unquestionable source, Stefano Scansani , in " Mantua Omnia" hot off the press and reading, on page 436 last proposed route, the Trastevere, in Mantua water south-east over Garibaldi Street, between Porto and Gradari Chain.

Incredible, but true, undoubtedly.

Animated by the fervor of the certificate to match the true meaning of the fabulous news, I head for us in cycling, not just the evening following the reading of revealing.

Mistakes obviously the first attempt to access, based on the vague memory of what I just read a spell, I open the book, I follow the directions on time, deviate away from Gradari , where I had sent in a messy yard of waste and scrap, take Via Santa Caterina , and this is indicated to deliberately inattentive to the reader expected, the cylindrical pillars of the atrium of access, which Stephen Scansani was precisely accurate reference, the railing overlooking the courtyard where I see nevertheless stunned, at first only the base of the tower, then his entire body segregated between the condominiums, with "all things Roman in its place" in the warmth of its rustic stone valley, exactly as in "Omnia Mantova" featured beautifully described: paired windows on each side, of which the momentum of the ascending central pilaster, only slowed by the sawtooth molding, corbels on humble and took over the inarcatura because it would unify the lovely mullioned window above and in its framing. .

And surrounding the 'far-fetched "yet true picture offered by the court, in the words of my guide irreplaceable," the bell tower tenant if they are face to face with kitchenettes, stairwells, living rooms and bedrooms, enjoying the company of the apse at the bottom of the new church of Santa Caterina D'Alessandria ".
The hour of the evening makes me particularly sensitive to the melancholy fascination of a ruin wall next to it, which is surrounded by a garden bathed in light from a streetlight, which alone quickens and exalts' the cobblestone pavement, And that my backyard turns out to be a hint of the square, which ennobles a solitary tower remains of the elite that has occasioned.
In India, days of the last week, before my sore back, not one of apsaras CARRY whose back was to review in the temples of Khajuraho that m 'he transformed, like the campanilino humble and neglected, yet magical spell 'of' unexpected unexpected, of 'incognito in reality of every day, that proves true as it is true what you know is more of it, estranged in a fantastic dimension of fable its ordinariness usual.

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THE VANITY 'E' A sigh NIGHT

Show Staff

LIBRARY MASSENA 28

Via Massena 28 Torino

from March 15 to April 5, 2008

are in front, once again, the new production of Giorgia and Claire Once again I find myself looking forward to the interior of a human being who expresses the his desire to claim a Generic individualism away from any pretense of universality.
Almost a need, yea, a need for the absolute. But not taking part in a vague undifferentiated perfection but a simple meeting with his ego.
's all I want to be ".... a free ....". This is the one that echoes in front of the beautiful paintings. Freedom, a strong sense of freedom. Above all, free to be themselves stessa.Opere dense memory. Each canvas makes each track appears unsettled, which is absorbed and transformed the face structure, in fact. The fragments of the spaces that emerge as this year. At times like blinding flashes of a magma istante.Come of wires that branch off continuously, memory persists and continues, digs deep to play the outside, seen you somewhere.
The information thus becomes a form, the topical summary of past and present, memory is part of the work echoing a mood that invokes an ideal future as possible. Always on the edge between inside and outside, the work then listen to the sounds of silence in contrast to the noise esterno.In this contrast, this apparent paradox is inherent in the magic of his rarefied dipingere.Giorgia see the peeling walls, the plaster overblown , evokes the shadows that lurk in dark corners of his ego. Once discovered, waiting for the light come tumbling down to crush the compactness, scatter the shadows, so that it could unravel the secrets that surround those shadows. And as if to stop time, no, it is as if he wanted to create a level playing field to upset the normal passage of minutes, hours, stagioni.E of 'just from those dark corners that the heat is spread and spreads, as the boundary of a fading memory. It 's like to evoke the complex of Novalis, "dreams of intimacy as others dream land the size of the sky." His language alludes to such an intricate and indefinite bloom of life. Life, which is the only sure thing that the artist can feel the same because he is involved and dragged. And with a shiny giddiness he pours the results on the canvas. From
good alchemist, assembles, stratified on its fiber hidden drawing a thin patchwork of evocative poetic impressions of realtà.Consapevole that the manual is the only process leading to the conscience of art, through painting Giorgia describes itself through tension then suggests that the structural with the softness of the lumpy material, its roughness and its fissure, with signs that cross the areas of consolidation and which accentuate the plasticity. And when it extends to the area, when you compact (the whites with blacks, yellows with orange, red) here are the small cracks that interrupt the path. Tiny craters that open slots as the bubbles of light here is ready to explode. Regardless of a modernism that sought to dismiss too hastily the season of the informal, Giorgia lives then his own tradition in the manner of their own intellectual charge translating emotions into the pages of that experience which is its long, slow work vissuto.Il drying processes then the whole matter, so as to make the work self expression, open to an infinity of horizons in which the images are a metaphor for problems in general, emphasizing reflection on the meaning of existence and the passage of time. In this way freely reaches its intent not on anything but flat gestural and enlivens all finished with the effect of a swarm, trepidation and ferment of matter. The repertoire that she gives us is therefore a repertoire full of suggestions and impulses emotive.Ognuno of us can hook you you can, everyone can identify.

Michele CARANO