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- l’aperitivo illustrato - No.66/14 - summer issue -
English language international edition
L’APERITIVO ILLVSTRATO
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the
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> Elena Prette, Aqua, 2012
No. 66
L’Aperitivo
Green Apple_Between the Lines
Illustrato
GREEN APPLE - between the lines -
R
eading in between the lines is a concept that is well suited to art, in all its fields. Especially in the ancient world artists have often “hidden” messages in their works that went beyond the requirements of their clients, or even in total contradiction to them. Leonardo da Vinci, Giotto, Mantegna, Vassilachi, Michelangelo, but also Picasso, Bosch, and many others in the modern era, all have hidden something in their work, for different reasons and with different purposes, but they did it. Throughout the middle ages, the clergy and the courts commissioned works by artists, carefully specifying their wishes often in exact detail. And yet, in timely fashion, they were partly misled, not aware of the hidden messages from the artists themselves, who despite everything did not forgo their artistic freedom. In more recent times, the evolution of abstract art has probably made it easier for artists to present their own ideas, not to mention the fact that the nature of the clients has changed significantly, they are no longer the king or the church, but collectors or entrepreneurs. However, in substance things have not changed much: there are those who go along with the market, attempting to satisfy it sacrificing their own instincts, and those who want absolute control over their career path, possibly isolating themselves from the commercial context and therefore paying the price. Or else, once again, there are those who can, as in the past, satisfy their customers and also pass on their message. New technologies have certainly allowed the proliferation of “artists” and the publication of their work: anyone can now take a picture, make a painting, a sculpture or a song and, through the web, make it known to all (almost) the inhabitants of the planet in a few moments, without the need for patrons and their authorization. This, of course, makes possible a great freedom of expression. But it does not guarantee subsistence, partly because the same opportunities are offered to anyone, regardless of the quality or the purity of the work. In short, we are almost back to the point of departure: artists, the good ones, must sweat seven shirts to continue to create, and today they must also deal with marketing, business, and any other task that permits them to continue to produce their art. Perhaps this is why we must learn to read between the lines of anyone’s work, whether we are dealing with artists or any others: to understand if there are other meanings and if so reflect on them.
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eggere tra le righe è un concetto che ben si adatta all’arte, in tutti i suoi campi. Specialmente nel mondo antico gli artisti hanno spesso “nascosto” nelle loro opere messaggi che andavano ben al di là delle disposizioni dei propri committenti, se non addirittura in totale antitesi. Leonardo da Vinci, Giotto, Mantegna, Vassilachi, Michelangelo, ma anche Picasso, Bosch, e tanti altri in epoca moderna, hanno tutti nascosto qualcosa nei loro lavori, per motivi diversi e con diverse finalità, ma l’hanno fatto. Per tutto il medioevo il clero e le corti hanno commissionato lavori agli artisti, specificando con cura i propri desideri e pretendendone spesso un esatta realizzazione. Eppure, puntualmente, sono stati in parte raggirati, non accorgendosi dei messaggi nascosti dagli artisti stessi, che nonostante tutto non rinunciavano alla propria libertà artistica. In tempi più recenti l’evoluzione dell’arte astratta ha forse reso più facile agli autori l’espressione delle proprie idee, senza contare che è notevolmente cambiata la natura dei committenti: non più la chiesa o i re, ma i collezionisti o gli imprenditori. Però le cose non sono poi molto cambiate nella sostanza: c’è chi si piega al mercato, cercando di soddisfarlo e sacrificando le proprie pulsioni,
editor’s
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e chi pretende il controllo assoluto sul proprio cammino, isolandosi magari dal contesto commerciale e pagandone dunque lo scotto. Oppure, ancora, chi riesce, come nel passato, a soddisfare i propri clienti e a far passare i propri messaggi. Le nuove tecnologie hanno di sicuro permesso la proliferazione degli “artisti” e la pubblicazione del loro lavoro: chiunque oggi può scattare una foto, realizzare un dipinto, una scultura uno scritto od un brano musicale e, attraverso il web, farlo conoscere a tutti (quasi) gli abitanti del pianeta in pochi istanti, senza bisogno dei committenti e delle loro autorizzazioni. Questo, ovviamente, rende possibile una grande libertà di espressione. Ma non garantisce la sussistenza, anche perché le stesse opportunità vengono offerte a chiunque, indipendentemente dalla qualità o purezza del lavoro. Insomma, siamo quasi al punto di partenza: gli artisti, quelli bravi, devono sudare sette camicie per continuare a creare, ed oggi devono anche occuparsi di marketing, business, e di qualsiasi altra cosa che gli possa far continuare a realizzare la loro arte. Ecco perché forse bisogna imparare a leggere tra le righe del lavoro di chiunque, che si tratti di artisti o di altri: per capire se ci sono altri significati e nel caso rifletterci.
Christina
Magnanelli
weitensfelder
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No. 66
L’Aperitivo
Green Apple_Between the Lines
Illustrato
contents visual
ART
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PHOTO
«You can’t depend on your eyes when your imagination is out of focus». «Non potete fare affidamento ai vostri occhi se la vostra immaginazione è fuori fuoco». (Mark Twain)
27 The sober elegance of Irving Penn exhibit | by Michele de Luca
10 Michael Brus interview | by Vincenzo Circosta 12 Illustrated Fantasies interview | by Adele Rossi
28 Locus amoenus: a mediation of nature photo interview | by Gaia Conti
14 Beetween The Lines about photography and law by Cristina Manasse, lawyer
32 Nicola Samorì profile| by Luca Maruffa
16 The photograph in the ancient land of freedom interview | by Eric Mc Grath
34 Green, white and red interview | by Marco Vincenzi
20 The Echo Of The Time interview | by Roberto Palumbo
38 Portfolio Fratelli Calgaro
24 The flight of man or the flight from man? interview | by Debora Ricciardi
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Fabiano Parisi, The Empire of Light 03, 2007, giclèe print on Canson Infinity paper
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No. 66
L’Aperitivo
Green Apple_Between the Lines
Illustrato
contents style
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50 Abu Dhabi: here the future of art has already begun profile | by Giacomo Belloni
62 Phyllis Lambert, Golden Lion at the 14th Biennale profile | by Laura Migliano
52 The princess’s secret arts&crafts | by Alessandra Baldassarri
66 The new Scottish Parliament - Edinburgh profile | by Alessandro Antonioni
54 When the treasure is the safe arts&crafts | by Michael Sägerbrecht
68 Between the lines feed grows think | by Benedetta Alessi
55 The ocean’s star arts&crafts | by Alessandra Baldassarri
71 Grizzana remembers Morandi exhibit | by Stefania Dottori
56 Fitting Art arts&crafts | by Vincenzo Circosta
72 The Agenda, must-see art shows by Adele Rossi
58 Anna Paghera green care arts&crafts | by Luca Magnanelli Weitensfelder
75 The miserable girl replied think | by Alessandro Di Caro
60 The eye of the observer interview | by Christina Magnanelli Weitensfelder
76 Nothing is known, everything is imagined profile | by Luca Maruffa
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Green Apple_Between the Lines
L’Aperitivo
No. 66
Illustrato
michael Brus interview
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VINCENZO
CIRCOSTA
Jochen & Jörg, Studio, Wien, 2012, 70x100cm
Anthony, Belleville, Paris, 2011, 70x100cm
M
ichael Brus is a photographer born in Poland. Today he lives and works in Vienna, New York and Paris. His work is coherent, full of pathos and always searching for light. His portraits are intimate performances that immortalize the individual by penetrating him, as if to expose his soul. Light and shadow are calculated to make everything clear, to give everything its own nuance, starting from white through grays finally to be enveloped by absolute black. The gaze of those being photographed often is directly into the lens as if to invite us to understand their intimate recesses, to invite us to comprehend them. Brus‘s photographic project therefore is not only portraiture, but also becomes anthropological vision. It’s like viewing the extraordinary portraits of Walker Evans and Dorothea Lange, where the subjects resonate with great pride and dignity. In much the same way the photographs of Michael Brus are presented to to us with the same incisiveness and the same pride. They are full of life, intensity and a strong sense of dignity. His subjects are captured in various cities around the world, so we have a thesis based on real people, with different realities that seem be there to tell everyone their story, almost to challenge us and make us understand the individuality of each portrait... Leaving us all suspended, between rigor and passion. Vincenzo Circosta: «How and when did you decide to become a professional photographer?» Michael Brus: «I have always been interested in taking pictures of people around me. That’s also why I always take a camera with me whereever I go. When I walk outside I like to observe and try to capture a moment that can be anything from an homeless person to an old lady refreshing her make-up in front of a shop window. My interest in fashion photography developed when I was living in Paris five years ago. I first started portraying artists and actors for different magazines, before I was asked to shoot my first fashion editorial. However, what inspires me most is the mixture of real-life, portrait and fashion photog-
raphy». «How do you choose your models?» «I don’t go for a special type when I choose the model for a shoot. S/he could look like the person next door you would never consider to be a model or someone who is already known in the industry. Once I know location and styling I instinctively choose the person that would be the best for the story». «Models or sets? How do you get inspired for your pictures?» «I like watching old movies, mainly in black and white or flip through my favourite photography books. I try not to plan too much ahead as most of the things happen while you are on set». «Black and white or colors?» «To me black and white photography is timeless and reflects the emotional substance of a moment on a deeper level».
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Michael Brus di Vincenzo Circosta Michael Brus è un fotografo nato in Polonia. Oggi vive e lavora tra Vienna, New York e Parigi. Il suo è un lavoro omogeneo, ricco di pathos e di ricerca della luce. I suoi ritratti sono delle performance intime che immortalano l’individuo entrandogli dentro, quasi a farci sentire la sua anima. Luci ed ombre sono studiate in maniera che tutto sia evidente, tutto abbia la propria sfumatura, partendo dal bianco passando per i grigi fino ad essere avvolti dal nero assoluto. Lo sguardo dei fotografati spesso è dritto nell’obiettivo, quasi a invitarci a capire il loro intimo, ad invitarci a conoscerli. Il progetto fotografico di Brus diventa così non solo ritrattistica ma anche visione antropologica. Sembra di guardare gli straordinari ritratti di Walker Evans e Dorothea Lange, in cui i soggetti risuonano di grande fierezza e dignità. Allo stesso modo le fotografie di Michael Brus arrivano a noi con la stessa incisività e
la stessa fierezza. C’è vita, intensità e forte senso di dignità. I suoi protagonisti sono immortalati in varie città del mondo, abbiamo così una teoria di persone vere, con realtà diverse che sembrano star lì a raccontarci ognuno la propria storia quasi a sfidarci e farci capire l’individualità di ogni ritratto… Sospesi, tutti, tra rigore e passione. Vincenzo Circosta: «Come e quando ha deciso di diventare un fotografo professionista?» Michael Brus: «Sono sempre stato interessato a fotografare le persone intorno a me. Questo è anche il motivo per cui porto sempre una macchina fotografica con me dovunque io vada. Quando passeggio, mi piace osservare e cercare di catturare un momento che può essere qualsiasi cosa, da una persona senza fissa dimora a un’anziana signora che rinfresca il suo trucco davanti ad una vetrina. Ho sviluppato il mio interesse nella fotografia di moda quando vivevo a Parigi cinque anni fa. Ho iniziato ritraendo artisti e attori per diverse riviste, prima che mi chiesero di scattare il mio primo editoriale di moda. Tuttavia, ciò che m’ispira di più è la miscela tra vita reale, ritratto e fotografia di moda». «Come sceglie le sue modelle?» «Non previlegio un tipo speciale quando scelgo il modello per un servizio fotografico. Lui/lei potrebbe avere lo stesso aspetto del vicino di casa che non sarebbe mai stato considerato come modello o come personaggio già noto nel settore. Una volta che conosco la locazione e lo stile, istintivamente scelgo la persona più idonea per la storia». «Modelli o set? Cosa ispirano le sue foto?» «Mi piace vedere vecchi film, principalmente quelli in bianco e nero o sfogliare i miei libri di fotografia preferiti. Cerco di non pianificare troppo in anticipo poiché la maggior parte delle cose avviene mentre si è sul set». «Bianco e nero o a colori?» «Per me la fotografia in bianco e nero è intramontabile e riflette la sostanza emotiva di un momento a un livello più profondo. • Opposite page: Peter, Canal, Wien, 2012, 100x70cm
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Green Apple_Between the Lines
L’Aperitivo
No. 66
Illustrato
Illustrated Fantasies interview
Elena Prette, Question, 2010
E
lena Prette is a young Italian illustrator, born in Monza (Italy), who fell in love with illustration for children thanks to an exhibition she visited while attending high school. Her career path, which she pursued with resolution and determination, was thus decided. Alongside the work dedicated to children, which also involves her in the toy sector, there is, of course, also room for advertising work commissioned by major corporations. A particular feature that distinguishes her work is her ability to impart great warmth to digital work done on the computer. It is no coincidence that Apple selected the work done in collaboration with her friend and colleague Stephen Bruscolini: the interactive app for children The Monster Pino, which has been placed among the best apps of 2012. Thereby carrying the tradition of illustration into the future, which, through best practice, sets an example for many young practitioners. Adele Rossi: «Hello Elena, tell us a bit about yourself. Where you live and what do you do when you are not drawing?» Elena Prette: «I live in the province of Monza (Italy), I’m married and I have a two year old son, so when I am not working I spend a lot of time in the role of mother which is a good ‘excuse’ to spend time in libraries amongst albums and illustrated books as well as in shops for children. I have always had a passion for design, games and books for children. It was passion for this sector that prompted me to pursue artistic studies in the form of a course in illustration and multimedia animation at the European Institute of Design and to follow it through to making it my profession. The proximity to Milan (Italy) allows me to participate in the events offered by a city so rich and vital in culture. Getting to know colleagues and interacting with them remains for me a crucial resource both on a personal as well as a work level. Furthermore, cinema, trips, or even a stroll around an
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ADELE
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Elena Prette, Aqua, 2012
old store, in some way, all find their way into my illustrations». «What do you think of illustration ‘made in Italy’?» «In recent years, there are many young illustrators with good taste and technical skills coming onto the Italian scene who are finding innovative ways of proposing illustrations at the highest level. I think it’s an excellent state of affairs achieved thanks both to our heritage, which has a great tradition in illustration and more generally in all the arts, as well as to the opportunity of coming into contact with stimuli from different cultures provided by the web. In Italy there is a lively confrontation and the kind of healthy competition that drives us to give the best from the very
“Among the countries with which I have worked and from the experiences of other illustrators I can say that the United States provides a continual confirmation to me” outset. I think that our country has a lot to offer in this sector although there is still some way to go in safeguarding the legitimacy of the work of the illustrator, in both economic and cultural terms. The Associazione Autori di Immagini right now is the single point of reference for professionals in the sector due to the lack of a professional register». «What is your working method and how do you produce your works? Do you use different techniques and, if so, which ones do you prefer?» «I go down two different avenues depending on what
I have to deal with. For commissioned works I read the story or the brief provided several times, I highlight the keywords and make notes of other perceptions that might be useful. Then begins the phase of iconographic research online, which is essential to fully understand what I’m working on so that I’m able to reinterpret it in a structured way without falling into banality or the ‘already seen.’ I sketch a first proposal in pencil and then send it to the customer after which I switch to digital creation. For personal work, on the other hand, I have total freedom and a greater lightness of mind. Usually I do not start from a concept or a story but from an image that has struck me, an atmosphere that I would like to convey or a subject that I find particularly intriguing. From this point I follow a path that can change course several times: what starts as a portrait can become something quite different for the pure pleasure of experimenting until I get an unexpected result which is surprising even to me. In these cases especially, working in digital becomes essential because it allows me to track the evolution that eventually leads to the final image». «What is the one country in the world, which, according to you, gives most space to the professional illustrator, and why?» «Among the countries with which I have worked and from the experiences of other illustrators I can say that the United States provides a continual confirmation to me. The world of illustration is also well known by ‘non-experts’ there and the illustrator is a professional who is recognized, respected, and rarely underrated. Copyright issues are also taken very earnestly and therefore proposing the work is a serious matter. Illustration thus finds space in a variety of areas and this allows the industry to grow and develop with ever-greater variety and quality».
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