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M
SP sheep me nt Pr CIA And if I am your gre Bo rc
Andrea Simoncini
20DANGELO06
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2004 EDITION
26
many years IX
Staff Aldo Benedetti Andrea Bertoletti Donatella Bondanini Maurizio Bottoni Brem
bati Gabriella Grace Church Franco Sara Colnaghi Gianluca Corona Fontana Angela
Govi Emanuele Lazzati Alberto Mari Cristina Muccioli Mariacristina Pleva Robert
Plant Graphics Soddu Stefano Massimo Petrini Nicoletta Pellegatta Head of Sergio
Dangelo
Editors Barbara Frigerio George Lodetti John Serafini
Cover Andrea Simoncini - entranced IV Prize Winner of Mouth Movement Secret 2010
Editorial
The Secret to The Prize Movement of 2004 was organized by Giorgio Bocca Lodetti
in collaboration with Sara Fontana Paola Mazzaglia, Alessandra Colnaghi Delfino
and Franco with the dual aim of giving visibility to young artists and the histo
ric Library mouth. If you can make sense to show the works of artists, defined a
young oxymoron, because the mark 50 years of age to which Odysseus 10, had conq
uered Troy, across the Mediterranean, had returned home, clean them with a killi
ng from those who threatened his wife, son and property, and broken down beyond
the Pillars of Hercules, had disappeared in the ocean, leaving to posterity the
myth, or rather the archetype of the modern, less understandable and justified T
oday the presence of a library, when it seems not to serve just that, while his
most formidable competitors are just publishers, those that libraries should be
more to heart, publishers desperate for a sales trend from the third world . Sin
ce the sales languish, organize their own alternative channels, bypassing the bo
oksellers. Then conquer the Internet that allows buyers to arrange their home an
d have them delivered. Remains a sense, that of survival, if the library is hist
orical, and cultural heritage of the community and deserves to be preserved. In
that case the visibility is vital and promote artistic prize, even if one among
many, has its own function. Movement follows the award of six years that I organ
ized in 1998 with George, Luciano Caramel and Laura Horn, now no longer among us
, the Arts Award Meeting. In both the high adhesion of artists from all over Ita
ly, was a
James Lodetti
great success for the initiatives that saw the light most passion for promoters
for financial contributions, while the quality of participants in two events ver
y differently, deserves some consideration. The first, no doubt, that the amount
of litigants in this case is much thicker than the previous. Arts Meeting was w
on by an artist of 29 years, Augustine Arrivabene highly talented, which he had
cut, to vote, many lengths of the runner. Now at least ten of the candidates for
the prize are included in one gap of a few points, the first last. Overall ther
efore the quality has been improving, albeit in a relatively short period of tim
e. But the fact can also be read as increase attraction, in the art world, the L
ibrary Bocca, Landmark increasingly unavoidable, grew steadily over the years. T
his should please not only me that basically I'm one of the most tenacious suppo
rters, but to all our friends, partners and the city more generally, if the auth
oritative International Herald Tribune recently called the Library Mouth shop ic
on Galleria Vittorio Emanuele II, after Vogue a few years ago, had ranked among
the best four hundred stores worldwide. The second consideration is that which c
omes naturally to me, where present, the figurative genre that has seen decreasi
ng interest among collectors since the early sixties, is lukewarm in recovery an
d is characterized by brilliant distortions that lead to identify the artistic p
ersonality of proponents, even as old-fashioned kind, completely renovated ...
ALBERTO Rail
ALBERTO deceased JUCULANO
Sacred nature
ALDO SERGIO
ALESSANDRO Bulgarini
ALESSANDRA ROVELLA
ALESSANDRO Philander
ANNA IN BRIEF
Stems from the desire to promote the growing young Italian Contemporary Art, the
need of the historical library in Milan mouth to spread more widely than its Ne
wsletter: The Secret of Mouth. The magazine focuses on partnerships for improvin
g their own content through the endorsement and contribution of art galleries, a
s well as forge partnerships with front-line organizational structures on the na
tional territory.€Join this new publishing initiative and collaborates with The
Secret of Mouth, Artists Magazine.
ANTONIA CAVALERA
Antonio Salvador
Secret of Mouth
Via Molino delle Armi 5 (inner courtyard) 20123 Milan Monday at 18.30 Tuesday to
Friday from 10.00 to 14.00 from 16.00 to 19.00
(See program Thoughts and Words)
350/trecentocinquanta works received this national award for painting. Increase
participation enthusiastically along with the prescribed conditions, the writer
finds incomprehensible (70 x 70? A square, I must say). The artists, read the ru
les and rummaging through the 20x30, 60x60 to 80x120 and pledged to make one of
those exact measurements, so that the issue could be the perimeter inches, somet
imes sent el'hanno still fresh, the last day available. You could smell the pain
t this year in fact, why it happened to me before. It was exciting, seemed to vi
sit the studio, the den, the workshop, the 70x70 robbed the homes of artists. It
may seem that I dwell too much on the question of the measures, but the amount
for a painter is very important part of quality, denotes. The Renaissance, for e
xample, is the measure. The contemporary world is the absence of measurement, bu
t must still deny it after that. George Lodetti not play dice, he has had his re
quest because in this condition. Artists do not have unions, have made and sent
their first feature: it is not little, he asked the VIP as all'esordiente to cre
ate something new. My attention and admiration goes immediately to Children of M
ary, for various reasons. The first is surely that this picture is a 70x70 recta
ngle. This interpretation of the measure. Anyone would think a square with those
dimensions given. He did, galilenianamente, David also Avogadro, old fox, who h
as inscribed in a square round the invisible but measurable. The second reason i
s due to roses more graphic paintings, more modular and more dense and more simi
lar to the mentioned spiral of Internet addresses that usual vezzeggiante floret
. With a dirty finger painting of a child could belittling. Yet they are undenia
bly ornamental flowers, Upholstery, specifically roses. To complete the mystery
tangible and measurable-Hail Mary's are the third reason-the dialogue between su
bject and title. A girl, not particularly beautiful according aestheticization t
oday, about to cry, with the bit reverse to hold a grudge and burst into tears,
her eyes focused on the whole body feels sadness, perhaps for having been captur
ed in a portrait, something that caused her to stand still to pose, not to its w
hims sacrosanct, no one knows. The hands are chapped, red not believe, as part o
f the nose and cheeks. When children feel shame or anger, you see it from the ha
nds, nose, face even before the eyes, which many players savvy gentlemen adults
have delegated too, depleting the dialogue, the written word and the messages in
two fingers of epidermal greasepaint . That's a real girl, the more true as fal
se, sought in the fiction of representation, the halo and thick gold equivalent
to the genuflection of the painter, and simultaneously with the viewer. Hello, M
ary. Said that Mary loses sacredness of preciousness and uniqueness. So fits the
latinorum, contradicted by the archaic snail flower pink rosae rosarum. The Duo
mo is dedicated to Mary infant, a girl not yet a saint, unaware of his destiny n
ell'atrocità big to survive on his son. A girl like many others, Palestinian poo
r and chapped skin, not at all softened by heroic deeds and theological purity.
Mary is the innocent unaware of the majesty of the cathedral is its purity. Davi
de Casari apparently detaches from figuration to define, in its way, the essence
: the profile, track, and the ghostly dream epiphany, the sacredness of existenc
e warned of internalized rather than naturalized. The shape-mentioned because of
us, if all goes well, it remains as a sign-not a crucifix, but a crucified man,
whoever he is and we want to see. A bust emptied and stripped, just cropped by
a line with a knot
ANGELO CRAZYONE
ANNALISA DI MEO
ANTONIO DEODATO
ATTILIO ROOT
WHITE VENTIMIGLIA
BRUNA LANZA
giorgio.lodetti @ libreriabocca.com
2
www.libreriabocca.com
we are online
Augustine Arrivabene
3
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BRUNELLA ROSSI
Bruno Ferrari
BRUNO VIGOLO
CARMEN Panciroli
CATHERINE TOSONI
CAESAR GARDENS
CLARA BARTOLINI
CLARA BRIGHT
CLAUDIO MARTINI
DANILO SANTO
approximated instead of eyes,€to draw the symbol for infinity. Figure drowns and
emerges at the same time in the languor of pink meat that has diluted the physi
cality of the body, which is diluted and watered down his blood. Thus the painte
rs created the pink whitening red. Under the skin of the canvas we see a nail, t
hen stuck everywhere. To his left foot, all that remains of a foot, nail anatomi
cal prey, omitted the incorrect character, of going for a world that is all ther
e, wrapped in infinite measure will be 70 times seventy, unrecognizable from afa
r desirous of our neighborhood.
Danio BEST
DOMINIC BONO
ELIZABETH TREVISAN
LAURA Zuccarello
FEDERICO CASATI
Alone and without sleep, without even the farewell is entranced, the female body
laid on the table, Andrea Simoncini. Clear and accurate aesthetic reinterpretat
ion of Mantegna's Dead Christ, with the frontal view which starts from the feet
and ends with a head without relics of earthly victory, no crown of thorns or ha
los. The breasts are not flourishing, if no-would become the not faint pallor wi
ll turn into nothing more, the softness of the meat which averts the onset of ri
gor mortis (the title hesitate to say the word death, referring instead to paral
ysis, suspension of meaning), perhaps a stole silk, or cloth to light pink peony
ornarle legs, exposing what he called Corot The origin of the world. This woman
is even more naked hairless because, without shame that the thick hair of femal
e genital French artist set up in defense of a mystery still not "pluck". Simonc
ini is not concerned that he may please or not, may solicit guardoneschi instinc
ts. The crack of the vulva returned to artificially age child is the revelation
of a crack from which we are born, from which the young woman was born, omen of
our constitutive fragility of being mortal, in all the exuberance and prosperity
that youth can give us. The body is lying on a drape covering light and softens
the harshness and cruelty of a dissecting table. The face is tilted, leaning on
his left shoulder, eyes shaded, close to the abysmal darkness and compact that
we can imagine, the thicker black and dramatic cropping that surrounds it, entra
nced by making a source of pure light, an epiphany of 'another side of life, emb
odied in it again, lauded a ripe fruit and warm orange tones that takes care not
to leave her alone.
Slaughter of the innocent in Eugene Moi tells of a younger child of Mary. Falls
off a ladder quick, sharp edges. Ruin themselves and alone, caught in a placenta
of vibrant colors and pasty. The chalk white skin and dark pink outline, eyes c
losed and hands, not knowing, not looking for a foothold. The disquiet quell'ing
ombro architectural threshold decontextualized nature amid a saturated bright in
difference, which is what serious falls, increases when you load hazard. It is a
n unnecessary danger, the child must have dealt with the persistent warnings fro
m devoid of conscience, who wants to test, challenge, understand the secret hidd
en in a doll, in the belly of an alarm. This child not only plays with the world
before which we remain perplexed and safe distance weighted, but played on the
world. In its inconstancy the child can do anything, can cry and laugh within se
conds. The baby round and plump, eternally roll down without that we can stop hi
m, rescue, making us feel our own solitude, our inadequacy in the face of scenar
io building, which houses the white rose as a symbol of the tragedy of childhood
into the world . For this reason we speak of massacres, dropping the term from
its underlying numeric value. A child "one" not only represents them all but the
re is also learned in our childhood. Our own world, there is a stranger. Surpris
ingly unprepared to face it as scouts, while we give in sometimes very easy game
to hurt us. We find and even tried to innocence when one can not speak more ins
idious architectures and thresholds turned into dangerous impulses and practices
of self-harm, where after choosing which world to belong, we climb the ladder o
f an altar, there to be sacrificed representatives, sacrifice the whole of life,
in exchange for having nothing more than slipping and falling. We are all child
ren appeared and reappeared, but we do not find anyone to expect or understand o
urselves.
DARIO AGUZZI
DAVIDE Coroneo
The king is naked, warns Francis Diotallevi homunculus with a turreted nose, rea
lly naked, fetish and pay his crown,€Spadina and a little sharp with which galla
ntly but full of bravado is to fight for his possessions and powers. There is no
thing else around, with some childish floret. The temporal power and the spiritu
al are under its domain, in his head with eye gratings and empty sockets. The lo
ng horizontal segment to mark the mouth, gives the idea of opening a box, not a
head, much less thinking. The journey of reading this work is clear and strong t
radition handed down from fabulistica: the body of power, richly decorated effig
y from doxa, the common opinion as gullible, is stripped of frills and a pretens
e to act ethically loud that only ' irrepressible spontaneity of a child or be a
ble to see acute and disenchanted artist may show in all its real and regal, rid
iculous littleness. The way in these times Diotallevi reinterprets the sacraliza
tion fake and charlatan man of power is entirely new: the graphic image is desec
rated and greasy oil, avoiding the delicious concessions figurative handed irony
hands and feet exposed, shows us a realistic dimensional measurement and appear
ance of the object of our adoremus (!) mass. Conclude by pointing to my sympathe
tic and patient readers, the 70x70 Daria Palotti, borrowed from insects called m
y house, I fell asleep. Flies, bees, grasshoppers, dragonflies have woven a more
geometric shrine, about a young girl seduced and squatting. With its little hea
rt and lips red as crimson, eyes Byzantine bilayer profile, their bare feet to f
eel comfortable in his dreams, often accused of being lightweight, probably. And
she responds with a deep sleep, where I finally found home. Happens due to anim
als not only considered unimportant, but also unpalatable, wars fought with chem
ical canisters and platelets intelligent. The insects escape from a world bellig
erent, loud, and offered for competitive. The grant to rest secure in the corner
of his own that has never had, to smile while sleeping in a little precious tim
e of separation, without a cable connection, pin and password. The sacredness of
life is made of inaccessibility. The steady hand, the brilliance of timeless ic
onography tract Palotti are a valuable ally to give us back through a little smi
le with closed eyes, the secret of femininity at all coarse, of which we had for
gotten: the hands, the intersection legs, a touch of phard cheeks, silicone impl
ants are over a thousand seasoned with botulism and activators of youth. There w
ould be no room in the house veritàcostruita transparent-like insects to a range
of sound irrational, in a space-time crowds efficiency. Cristina Muccioli
And then I ask where is the merit of this pictorial step.
DAVIDE ODDENINO
Elena Amodei
ELENA HALL
ELISA Berardinelli
ENRICO LAZZINI
Erika REIHLE
ERNESTO ACHILLI
EULALIA ALLEVI
FABIO SIGNORELLI
FEDERICA NANNI OLCELLI
FLORINDA RECCHI
FLYCAT
FRANCISCO MAN
EUGENIO MOI
4
5
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FRANCIS OF CHRISTMAS
FRANCESCO SCOPOLATEMPORE
GRACE Pulvirenti
LUKE JACOB
MARCO SCOGNAMIGLIO
Mariane COMPASS
MAXIMUM BOLLANI
The conviction of a valued friend, writer and art historian, who should be appro
ached with reverence for the sacredness of art. Probably meaning that art should
belong to the category of the divine, leading as a form of transcendence above
our poor rationality, thus requiring a priori reverence and respect. We are rath
er of the opinion that the art itself does not exist, but there are works of man
which are sometimes considered "art." And this according to personal assessment
s of packaging a casual trendy market, pressure from not disinterested experts.
Every human being, with its different culture and its wealth of individual sensi
tivity, must have the right to express an opinion, even the most bizarre, on the
work of his fellows (there are no supermen), with full and proper respect for a
ll opinion. It is the basic principle of "one man, one vote". We intend to argue
that the recognition that art can not be delegated nor impose, although some cl
aim to determine how art only that they considered politically correct, trying t
o make with various forms of blackmail, a public-approval Thinking (and market)
only. Furthermore, the trial of a man on the work of another man is still a sove
rchieria and that it should be reasoned and constructive break free from the sus
picion of arrogance.€In this repeated experience of judges in the IV Painting Pr
ize - Secret of Mouth Movement in 2010, we relived the perplexity of the judge a
nd the discomfort of the censor, aware of having before his eyes in silent trepi
dation works in which the authors, at the time for us faceless, they had focused
their highest technical and creative skills. But we have not been to invent the
ruthlessness of the competition and seeing the world "everything is mounted to
fight," we are prepared to function falcidiante breeder. Uniting all'infaticabil
e Lodetti enthusiasm of George, who has devoted a whole day to each member of th
e jury - separately incorporated to avoid constraints - removing every meeting r
eceived the 350 square (70 x 70 cm., The only constraint to participation) and p
resenting patiently in the right light to our survey, we compiled the inexorable
ranking, summarizing in dry arid a number of evaluation certainly worthy of muc
h more articulate arguments. Classifications obtained by summation - expressed b
y two juries and the public votes - emerging as a finalist and the winner, with
understandable dismay of the excluded, some with embarrassing surprise turned to
judges to ask why the "rejection" of certain you run a real marvel unfortunatel
y been misunderstood. The overall impression was not the most exciting: lack of
imagination and increasingly rare skill have characterized most of the papers pr
esented, grim relics of the long fault produced by the illusions and misleading
misconception that informal improvisation and fragments can be art as well as in
evitable result of aberrations of most academies that a growing number of young
artists to be unnecessarily time denouncing. On the other hand emerged with a cl
ear indisputable evidence the authors of mastery, satisfying our appetite for be
autiful and well done, in revealing the true talent of young artists and to obta
in confirmation of clear statement. These include the opera The Saturn Sisters o
f Butte - now considered an out-smart the competition for the maturity of style
and originality of themes - including a sublime spell ambiguous charm of meat an
d an ill omen of squalor, contamination between throbbing female figures, the 'c
ompelling clarity of a face and turbid insert a form of depravity, and the forth
coming neglected lie a toothless vanitas blind orbits from which all passion has
fled nell'impassibilità time. Elena Monaco, another established artist of absol
ute importance, presented one of his wrongs female bodies exacerbated by the con
trast of passions, reaching for
Sublime sufferings of a premium
Françoise Calcagno
FULVIO KUMURA FAIONI
JACOB FALATO
GIORDANO REDAELLI
GIORGIA Oldani
GIULIO D'AMICO
JOSEPH ABBATE
CLARA BRIGHT
MIRELLA Ramond
LION OF THE HOLY
LUISA BERGAMINI
MANU BRUNELLO
MARCO ZONDINI
MARIA BUTTI
GUIDO CADINI
impossible to escape from intolerable human condition, whose title Hiding in the
folds of life contains the statement of capitulation, an inability to contain a
n invincible destiny. The young Andrea Bovara with extraordinary Face leaves eme
rge from a dark oval sidereal lunar brightness of a feminine face, gaze fixed in
the distant a memory worth the thrill of the nostrils and the mention bitter tw
ist of the lips in a veering just welcomed disenchantment. A magical, endless ar
ray of marks, scratches, ulcers, a scratching of pitting, as if every moment of
existential sentence or enjoyment had accumulated an indelible mark on his face,
it brightens dimly light touches of color and more infinitesimal delicate arabe
sques of color invisible - except by very close observation - but very effective
in determining the intense refinement of the whole. Children of Mary is the tit
le that David gave to his Avogadro round edged gold which inscribes the pain of
the world in infant touching character still unaware of the divine and tragic fa
te that awaits him. The age is innocent, but the penetrating expression between
angry and sad the little Mary suggests the discomfort of a disappointment and a
vague decay of roses on the bottom macerante adds a note of sadness. His reddene
d hands to emphasize the paleness of the body, vague plot uncertainty are the wi
nning touch to give the connotation of a concrete framework, original deterrence
. Chaos white authentic poet Lorenzo Perrone, white sculpture of broken wide ope
n book from which the words have disappeared,€mere physicality that has lost all
meaning of memory to regain virginal condescension, is yet another metaphor for
this whimsical artist inexhaustible inventiveness that time will impress with i
ts sardonic vein and allusive. David Dalla Venezia with its cabalistic N.617 giv
es a pictorial example of effectiveness and mastery of color, held here on Franc
iscan brown tone with virtuoso rough texture of the sweater, giving the characte
r portrait explosive vigor and prominence in the successful three-dimensional pe
rspective game. Emanuele Dascanio, winner of last edition's ability to invent un
usual views of still lifes, shows the unusual subject of how complicated a nice
female body on his back, hit by sciabolanti light beams, but with perhaps too sc
rupulous control true, the perilously nearly photographic representation. Photog
raphy itself, however, which would be appropriate to devote a separate section i
s not comparable with the medium of painting, from Andrea Simoncini titrated ent
ranced. The image of a highly prospective and prosperous hairless female nude ly
ing on silk sheets with a transparent pink cloth on the legs is to take your fia
to.Vengono to mind the "Scurto Christ" by Mantegna, the "body of Christ" Carracc
i, the "Dead Christ" by Button, analogies with the striking photos of Serrano. E
yes wide open expanse of attractive model would suggest a woman alive, and then
inviting the nudity seems sinful carnality. But a wound on his right forearm, th
e white meat and the apparent fixity abandoned might instead suggest that it is
a corpse and in this case the hot, provocative nudity brain would turn into grue
some, pious, repulsive connotation of death. Formidable enigmatic image, perfect
composition of formal simplicity of accurate color in sharp contrast with the b
rightness of dark impenetrability of the fund, where you feel the threshold of p
aradise is right on the edge of the door of hell. Gabriele Buratti interesting w
ith his donkey unemployed before the Pirelli skyscraper, Silvio Tomasoni with in
cisive and dramatic portrait, Ester Negretti with its vivid, intelligible and fi
nally, the face of Africa, Sebastian Sutera bandage denying that in a world that
, Guido Cadini quartered with his ox, Matthias Montemezzani with the stark naked
Ionica, the nice pictures of Daria Palotti, Cristina Gandini and Donatella Ribe
zzo, in addition to several other authors whom you speak also widely cultivated
and brilliant Cristina Muccioli el ' George Lodetti passionate. Finally, dedicat
ed to the excluded any case thank you, a consideration of Degas: "Painting is ea
sy when you do not know how to do it, but very difficult when you do." John Sera
fini
LINO Portalupi
MANUELA FURLAN
MARIA RICCOBENE
Massimiliano ROBINO
CHRISTMAS PASCALE
6
7
final page
04/27/2010
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IV Award
f
the
n
to
l
the
s
t
the
DAVIDE Avogadro
STEFANO BOLCA
ANDREA Bouvier
Gabriele Buratti
SATURN BUTT
DAVIDE CASAR
GIORGIO SNIPER
EMANUELE DASCANIO
FRANCESCO Diotallevi
ELENA MONACO
Lorenzo Perrone
Andrea Simoncini
REMO SUPRANI
SILVIO Tomasoni
FRANCIS HORN
Movement
in
King S and g t and d i c a B or C
final page
04/27/2010
11:11
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special jury mention quality
ADRIAN ALTAMIRA Sergio Dangelo
SIMONE Gilardi
JEANNETTE Rütsche SPERYA
PHILIPPE DAVERIO
Riccardo Bergonzi
Giacomo Poretti
ARTURO SCHWARZ
SEBASTIAN SUTERA
DONATELLA Ribezzo
the secret maggio2010
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Nicasio PIZZOLATO
PAOLA CARLINI
A special edition
Leonardo da Vinci
PAOLA JOINTS
PAOLA Scafuri
EASTER Carucci
PATRIZIA DAMON
PILAR DOMINQUEZ
RENATO SORRENTINO
RICCARDO Dametto
RICCARDO NEGRI
"Painting can be taught only to those who by nature are endowed ......"
RICCARDO PUCCI
SARA AROSIO
ELIZABETH TREVISAN
TONINO MATTU
Marija Sarac
A special edition of this fourth prize of Painting Movement in Secret of Mouth.
One issue I would call mature, either by imposing a participation of over three
hundred and fifty artists, you finally a quality that has made it difficult to s
elect thirty-one works, because you are officially fifteen finalists. An issue w
here even the novice art, given the opportunity to express an opinion on favorit
e painting, find difficulty in choosing. Also an issue where the writer would ha
ve large uncertainties in identifying a single work to be awarded. Unlike the ea
rlier edition that finally found the features to exit from the places of the eve
nt and gather support of external stakeholders;€there have been many voiceovers,
who expressed a positive opinion on the selection, as has happened recently at
MiArt where more than one dealer and expert made reference to the authors! So a
big thank you to all participants. Now if I were to take stock of who might win,
first write the final result declared by the Jury of Assessment Quality and des
erves a separate chapter, is not attributable to a painting but at least five, e
ven though each of the finalists there would be a good reason to be rewarded. St
arting with The King is naked Francesco Diotallevi, acrylic on canvas work is th
e simplest of all and free of special pictorial, but precisely these characteris
tics combined with a fun and funny as the character, ironically came from a revi
ew of the typical comic fifties and sixties, painted on a background of Pop, a b
right green with daisies flying, is less frivolous than it seems, is imprinted i
n the mind of the observer force game! A simple so common, that leaves its mark,
like Marilyn by Andy Warhol. The Saturn Sisters of Butte, who as author is amon
g the most mature and successful participants. In its composition exudes a littl
e pictorial skill comparable with colleagues, you can not judge a work by any st
ylistic point of view, because of the wisdom and the use of technology to which
the author has come to perfection, the only parameter and represented an aesthet
ic choice, and then the image, but again who knows the work of Butte can not mis
s a favorite subject of almost obsessive cleaning effect and more satanic, thoug
h not totally lacking form and see skull, here go far in the background. While s
aying Sublimations desirable painting / by Riccardo Bergonzi, that the impact co
uld be confused with an already seen some of the authors of the New Realism or i
f one of the most represented: Arman, but would be a superficial reading and ina
ppropriate too simplistic. Richard can also start from a concept Nouveau but rei
nterprets it by putting his own, combining the casting resin, where among other
things does not leave the object, but only a trace, and creating a fund on the s
ame painting with traditional techniques. Not bad right?! In Infazia Mary David
Avogandro you get lost and you moved with the subject, this little girl surround
ed by so much light, the artist has created a gold leaf frame, appears as a smal
l contemporary Madonna sad and inconsolable. A punch to the stomach that is popu
lation survived the skills of painting techniques that David has managed to crea
te a pictorial oxymoron! I could go on with other authors no less interesting, w
ho participated in this edition, Remo Suprani that fascinates us with a surreal
sunrise on the banks of a river great and impalpable. Valentina by Emanuele Dasc
anio, winner of the previous edition, which has competed in achieving not just a
figure, though not completely successful is certainly premiabile the effort and
desire to get involved, Bravo!
ROSANNA FIORINO
ROSARIA STEVENAZZI
SILVIA DE Sutta
STEFANO SIMONE
VITTORIO ZUCCHELLI
WILLIAM G. Vezzoli
VALENTINA GALLETTI
VINCENZO TODARO
The portrait, I and one of Silvio Tomasoni that with extraordinary technical cap
abilities, gives us a graphite sculpture by appearance and texture, its main abi
lity. O release, contemporary technique for the female subject of the Dead Chris
t of Mantegna by Andrea Simoncini, charming and fascinating composition! Or the
wreck drifting Alberto Storari interesting use of various materials for dramatic
composition! Or the visual poetry that manages to convey with a rational and as
eptic nothing idyllic computer, Jeannette Rütsche! What about Face, that struck
me the moment I saw you, I speak of the face painting by Andrea Bovara, young se
lf-taught beginner! If this is the beginning is not bad!. Influenced by the grea
t architect Renzo Vespignani reinterprets the ability with clever use of colors,
painting a face emerging from darkness, incarnate in particular refers to an in
formal abstract painting of sublime beauty. Last but not least, but for special
and indecision continues to proclaim my least favorite is the Crucifixion by Dav
id Casari. What can I say! One thing above all: the least popular, least conside
red, the least watched, the less flashy, the less decorated, the less pictorial,
the least ironic, the least colorful, the less suitable for a painting prize, t
he less but the more works, the truest, purest,€not for a moment but forever, th
e work does not tire, which I appreciated only pausing, observing, reasoning! Ye
s, the artwork in its crude simplicity, in its full substance. Bravo David for t
wo months I have had, watched, observed, scrutinized, thought about this for two
months work and I could not even click! But the question is, is huge, it's real
ly hard, your work leaves me fills me with dismay and questions! It is the work
that extends its presence, calling you and if you look enchanting! I could go on
but the list is too long I close by thanking everyone for making possible the r
ealization of this edition, the great personalities who have participated over t
he years as members of the juries, and therefore have believed in him who writes
, in support with their presence the realization Prince Body of a competition, I
remember: Valerio Adami, Adriano Altamira, Sergio Angeletti, Aldo Benedetti, Ro
ssana Bossaglia, Grace Church, Sergio Dangelo, Sarah Fountain, Cristina Muccioli
, Alessandro Papetti, Giacomo Poretti, Alexander Quasimodo, Giovanni Serafini, L
uca Tommasi, Tommaso Trini, Maria Cristina Vicamini and the most diligent, tirel
ess, nimble supporter - participating as a key figure since the first edition an
d my tireless encouragement of two years to two years in continuing to move forw
ard - Philippe Daverio. Last sincere thanks, from a historical and artistic poin
t of view, it is up to Arturo Schwarz, who was introduced to me by my common Ser
gio Dangelo. It was for me an immense joy to be able to involve a character that
represents the full history of one of the fundamental movements of the contempo
rary art world: Surrealism; carry the text written by the Minister for Arts and
Culture Italian, in the preface catalog of Dada and Surrealism Rediscovered, the
Victorian event in Rome: "The exhibition is curated by a simple scholar, as the
most illustrious, but a true hero of that time and those movements. ..." thank
you very much Arturo Schwarz will remain an indelible memory in my soul as long
as you wanted for artists of this special edition! George Lodetti
ROSITA MEZZELA
TONINO CIMINO
ERNESTO ACHILLI
VITO TRIOLO
MICHELA VINICIO
NADIA Mologna
Judith usually
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Anna Laura Cantone
Julian Costa
David Dalla Venezia
R. R. Calonega FAID
all the arts contribute the greatest of all art: that of living Bertolt Brecht
SELE UNCLE BORN
Cristina Gandini UGO Levite
MATTIA MONTEMEZZANI
DARIA PALOTTI
ESTER Negretti
All the drawings published in this article are taken from the TV series in flash
animation pee poo and rosemary, conceived and directed by Enzo d'Alo, written w
ith Vincenzo Cerami, characters and environments Anna Laura Cantone. Produced by
Comet Film, Rai Fiction and PTD. On Rai Tre on Sunday morning at 8:30 am
Ugo Romano
ALBERTO Storaro
Valerio Saltarelli
Why are not there comic abstract or informal? For the same reason why there are
pictures, billboards, television ads, movies, election posters, cartoons that ca
n be effectively represented if not good, traditional, everlasting figurative ex
pression. Communication, even the most banal, is made of images because the imme
diacy of the above languages, transcends the ages, the nature of a universal und
erstanding. Nobody would give a dime to a campaign that would be made of any pro
motional message scribbled, sbrodolature, blur of color, such as scribbles we ho
rribly crowded museums and art galleries wrongly considered deposits. In every f
ield of human relations will require skill, competence, professionalism, competi
tion, industry production services, from sporting events to any other human mani
festation. Only in art last to die, now centuries-old buffaloes, the abstract an
d the sad turlupinatura duped improvisation. And nothing so blatantly lie to the
spurious grounds of abstract art as the profession of illustrator as well know
Anna Laura Cantone (Alexandria, 1977) that has the difficult task of providing o
utlines and vague connotations plausible to readers' imaginations, transforming
stories of words consistent image. Anna Laura Cantone fragility of Wren and silv
ery voice from dreamy fairy were capable of miracles as trifles, some ten years
amazes us with its fruitfulness as an illustrator, but also the author of painti
ngs and sculptures which gives life to his singular imaginary world aimed at chi
ldren but adults are more aware capture.€The County as a child turns extrovert a
nd imaginative and original creator of bizarre characters - next to the "thought
s" felt the urge to fill the page with drawings that depicted them - so parents,
once prone to meeting its skills, enter the Art Institute of Acqui Terme and la
ter at the European Institute of Design because it demonstrates a firm predilect
ion for painting. Still a teenager visiting the Children's Book Fair itself as a
n illustrator in Turin, Bologna, for every occasion by presenting his portfolio
and in '99 at the Frankfurt Book Fair meets Giorgio Bocca Lodetti the Library th
at will display for the first time in 2000, its original work with immediate fee
dback of sales and audience and the unexpected arrival in Pine Strabioli Rai 3 w
here the presents under the heading "good start". Even Charles Lovati discovers
his curious characters in Galleria Vittorio Emanuele and exits with an eye-catch
ing article in the Corriere della Sera called "The girl that turns dreams into r
eality."
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14
In the same year Anna Laura, still a student at IED, click the story "The Empero
r's New Clothes" by Andersen and introduced his first book to be published in En
glish by a Taiwanese publisher. His teacher does not allow however to bring this
work as a thesis and Anna Laura decides to bring the pictures of five new stori
es including "A tangled history" invented by her and "Little Red Riding Hood", f
ollowing disputes between two houses publishers. Anna Laura decided to recklessl
y go, despite his uncertain English, even to New York by Simon & Schuster but if
not get the immediate attention overdue. But the following year, the stand of B
ologna's famous American publisher, art director acknowledges his "voice of cart
oon and proposes a test of color illustration of a testo.Trasgredendo the inform
ation received, deemed essential for American tastes, Anna Laura makes her own:
the results are brilliant and thankfully the fruits several contracts with the p
ublisher. A few years later, being still in New York to autograph his most famou
s books in the library for children "Books of Wonder", the Madison County knows
Allan, author of several books she illustrated with the individual who will deci
de to publish a new series of limited circulation, but that let you know an inte
resting slice of American life. Followed by other exhibitions including the Nuag
es Gallery in Via S. Andrea. It is the beginning of an unstoppable crescendo of
young illustrator who gained various international markets, without interrupting
the production of sculptures and paintings in their own, authentic artistic dep
th, which will continue to submit personal exposures. Now the author has taken w
ing, has over one hundred publications in which at least thirty different langua
ges, careful to choose wisely one publisher in each country. Among the many pict
ure books Zoo animals without Gianni Rodari elegantly bound Prout and the editio
n of Mammoths in France that sells incredibly more than thirty thousand copies a
nd is still required. In 2004, in Taipei County is Italy with Roberto Innocenti
and Giuliano Ferri for Illustration Italian with meetings and interviews in vari
ous universities. Fantasy that is expressed through images, Anna Laura laughs of
ten within himself, even at a funeral the priest imagining an improvised karaoke
, or watching how they dress unaware eccentric, as they walk, how to express the
ir tics, becoming irresistible in specks personal world of the characters in his
drawings. Finally in 2006 comes the opportunity to be able to see its beautiful
animated characters. Internet was discovered by Enzo d'Alo, director of interna
tional reputation (among his most famous films: The seagull and the cat, delicio
us masterpiece that has reached record collections), who calls himself the secre
tary, without announcing who it is, suggesting a general partnership. A week aft
er the director went to visit with Maricla Affatato, tireless collaborator and w
ife, and realizing his explosive and fresh creativity, decided to entrust the ex
ecution of the characters and environments in a series of 52 episodes of animati
on for RAI Fiction . The commitment is exciting beyond excellent opportunity to
work with the director of Alo (which involves the project pee, poo and rosemary)
. In this series as important as participating authors Vincenzo Cerami author of
screenplays, Giancarlo Giannini narrator,€with music by Daniele Di Gregorio his
torical collaborator Paolo Conte (Italy-Luxembourg co-production). On Air with w
ide acclaim on Rai3 public, the series was sold in several countries, including
Holland, the country has always been very attentive to children, reaching an ave
rage 80% share of the target to which it is addressed! Anna Laura, revealing an
intimate candor in the wonder of fairy tale that makes the silly to the company
of humans, with language and writing deliberately "childish" regressed to the pe
riod of innocence, liberal fantasies, ideas primeval and pristine, it was felt a
kind of incredulous and happy Geppetto in a woman find that his designs had tak
en voice, will, emotions, movement, words had "come to life! Alo of emotion rene
wed when called by a recording studio in Canada to make them listen live actors
who gave voice to the characters. Anna Laura now teaches at I.E.D. drawing illus
trations of children's books, follows the thesis projects of III year ago the ma
ster Japanese students, organize workshops and Sarmede Macerata (TV). He also pe
rformed various logos including the bar of Chocolat
Mariella Burani and that for the Turner Library of Lugano. In recent years dozen
s exposures are made by the State, the Palazzo Crepadonna of Belluno to the Imag
e Gallery of Rimini, the Gallery of Ancient Kilns of Macerata Tower Avogadro Lum
ezzane well as in various public spaces in Italy and abroad, collecting several
awards including the Premio Andersen and several selections to the Book Fair Bol
ogna Children, the Biennale of Bratislava, NY American Society of Illustration,
Tiberius Fair 2004 in Taipei in Taiwan. But his most authentic masterpiece was c
reated in 2007 and is called Greta extraordinary creature born from the union wi
th George Lodetti determined at least her in his exciting work
bookseller arts and cultural promoter, who years before they became husband and
with his compelling character knows how to support and encourage in inevitable t
imes of difficulty and uncertainty. "Laughing with the eyes" was the title of a
funny show by Anna Laura a few years ago that is a bit 'a life of its slogan "be
cause - he says - with my positive vision of the world (a little' less of people
, indeed, very disappointing), work well when they are happy and therefore able
to focus on the reasons for the smile. Inspiration can come from that inner peac
e. I do not watch the news, I keep away as possible from the tragic reality that
to maintain that inner peace is a precondition of creativity. Are in fact hyper
sensitive observer and sometimes are attacked by a thousand fears. I believe str
ongly in my ability. When a publisher asks me to do something that excites me or
wants to give me too many descriptive elements, I can not complete the work. Gr
eta and then take the port to the park. I pledge to provide confidence in teachi
ng my students avoid them sinking their faults, to limit the possibilities, urgi
ng them to give their best, never make them feel incapable of. "Chasing Anna Lau
ra irony. In Frankfurt the pigeons seemed to walk with more decision, articulati
ng the goose step. If they told her that a boy was a thread asking: who is? A sp
ider? Irony derived affinity with his father who taught her to grasp the ironic
side of life with which Anna Laura loves to smile in the world, remembering past
Sunday at home with puppets shaping bread dough or when returning from school h
e retired in the back the store, always referring to the last homework, fun to d
iscover the strangest materials in drawers and small objects with which to inven
t its strange sculptures. "The beauty is not determined by material that uses th
e ideas but you know draw," he says. The poetic and funny characters who can inv
ent Anna Laura, adding inserts of cloth and a thousand other things minimum, are
ironic fantasies materialize on defense, his and ours, from the squalor of the
day, a sort of festive exorcism, those indispensable " a walk in the clouds for
a breath of fresh air in his vision of innocent affection and tenderness for the
endless human tragicomedy. Because after all we ask is for poets to save life.
John Serafini
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