AI | SPRING 2015 | PREVIEW | 69th

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reportage: art basel (CH) frieze (UK) Tashkeel (UAE) PARIS PHOTO (FR)

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SPRING 2015 | No.69 | EUR 12,00 ( Italy only ) - EUR 17,00 ( A - E - P ) - EUR 20,00 ( b - D - F - l ) - GBP 17,00 ( uk ) - Chf 24,00 ( ch ) - Chf 22,00 ( CH TICINO )

a photography & CONTEMPORARY cultures’ mag.

About spring: Everything is blooming most recklessly; if it were voices instead of colors, there would be an unbelievable shrieking into the heart of the night.

(R. M. Rilke)

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2015

Editor’s letter

by Christina MW

Editor’s letter

by Sergio Signorini

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Time Never Stops interview by ANDREA TINTERRI

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Images beyond the lens interview by GAIA CONTI

MIA 2015

about by ROBERTO PALUMBO

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Loaded with possibilities:

BIENNALE, VENICE

about by FEDERICA FACCHINI

My collection: The Balloon DoG collection by

SERENA BERSELLI

ART BASEL

about by ALESSANDRO BENETTI

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THE

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Interview + Portfolio

Gianni PEZZANI

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PARIS PHOTO LOS ANGELES 2015 about by BENETTI

ALESSANDRO

FLUX-LABYRINTH

about by ROBERTO PALUMBO

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WRITING BECOMES ART IN 3D

exhibit by GIACOMO BELLONI

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FORNASETTI & VALENTINO

about by MICHAEL SÄGERBRECHT

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MIA 2015 > Above:

Edward Quinn, Brigitte Bardot during “Dieu crea la femme”, Nice, 1956, Hahnemühle Baryta fine art print, cm 85 x 120, ed. 1/5, courtesy Suite 59 Gallery

PORTFOLIO

Fabio BIANCO -7-

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hair

My

hurts

profile by MARCO VINCENZI

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The painter of origins who examined the future profile by FRANCA SEVERINI

The Red bus case

photography and law by CRISTINA MANASSE

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State of art

about by Luca Magnanelli

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2015

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LUXURY CHINA 2015

about by Luca Magnanelli

MAISON&OBJET ASIA 2015 about by MICHAEL SÄGERBRECHT

Coral-ARCHITECTURE

profile by BENEDETTA ALESSI

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Accelerations

about by ALESSANDRO DI CARO

Must-see

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The ‘steely-eyed goddess of the machine age’

Tamara de Lempicka exhibit by Brian Midnight

PORTFOLIO

Federica LANDI

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I CAN PAINT and draw exhibit by

MICHAEL SÄGERBRECHT

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the agenda

by Stefania Dottori

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AI MAGAZINE a

photography

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cultures’

mag

/ SPRING 2015

This issue is dedicated to RED CORAL colour and to methaphorical meaning of ‘The Breaking Time’.

MASTHEAD

This Review is published quarterly a year and was founded in 2007

by Greta Edizioni and is a collaboration between BAG Photo Art Gallery, BILDUNG INC. and Zeitgeist Association.

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Subscription Customer Service: telephone +39 0721 403988, Monday - Friday, 9AM – 6PM e-mail: abo@aperitivoillustrato.it Advertising departement: Bildung Inc. - Exclusive AD Company for contact@bildung-inc.com Italy Office,Headquarters: Greta Edizioni, via degli Abeti 102-104, 61122 Pesaro, Italy telephone: +39 0721 403988 fax: +39 0721 1792507 e-mail: greta@gretaedizioni.com United Arab Emirates Office: Marina Square, Building 2, Al Reem Island, Abu Dhabi, United Arab Emirates Giacomo Belloni | telephone: +971 55 367 9446 e-mail: giacomo.emirates@bildung-inc.com editor at large: Alberto Bevilacqua Editor in chief and creative director: Christina Magnanelli Weitensfelder Art director: Roberto Palumbo editorial staff director: Luca Magnanelli Weitensfelder Editorial staff: Stefania Dottori redazione@aperitivoillustrato.it Paper distribution: Europe and rest of the world: Aie - Agenzia Italiana di Esportazione Srl Via Manzoni, 12 - 20089 Rozzano (MI) - Italy, telephone: +39 02 5753911 fax: +39 02 57512606 www.aie-mag.com Italy: Messinter SpA Via Campania, 12 - 20098 San Giuliano Milanese (MI) - Italy, telephone: +39 02 57512612 fax: +39 02 98281410 www.messinter.it Where: Australia, Austria, Belgium, Brazil, China, Czech Republic, France and French Riviera, Germany, Greece, Hong Kong, Hungary, Iceland, Italy, Japan, Luxembourg, Malta, Mexico, Poland, Portugal, San Marino, Singapore, Spain, Switzerland, Switzerland-Ticino, Taiwan, United Arab Emirates, United Kingdom, United States of America. digital distribution: App Store Pubhlisher: Greta Edizioni Printing: Graffietti, Italy Contributors in this Issue: Alessandro Di Caro, Alessandro Benetti, Andrea Tinterri, Benedetta Alessi, Brian Midnight, Cristina Manasse, Federica Facchini, Franca Severini, Gaia Conti, Marco Vincenzi, Michael Sägerbrecht, Sergio Signorini Website: www.aperitivoillustrato.it Facebook: L’APERITIVO ILLUSTRATO MAGAZINE / L’APERITIVO ILLUSTRATO ITALIA Pinterest: L’APERITIVO ILLUSTRATO Twitter: AI_magazine All rights reserved. No part of this publication may be reproduced in whole or part without written permission from the pubhlisher.

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Cover: Valentino & Fornasetti limited edition, courtesy Valentino / On the right: Jean Dieuzaide, Dali dans l’eau, Port Lligat, 1953, silver print, cm 30 x 40, single ed., courtesy Suite 59 Gallery

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“To take photographs means to recognize simultaneously and within a fraction of a second - both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one’s head, one’s eye and one’s heart on the same axis. It is a way of life.”

(Henri Cartier-Bresson 1976)

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EDITOR’S LETTER

by CHRISTINA MAGNANELLI WEITENSFELDER

T

ogether with gold and silver, and sharing their high market value, red coral has historically been a major player in the production of jewellery and highly-prized art forms. It represents a material that has always inspired man’s imagination and creativity who learned very quickly just how to carve and sculpt the delicately branch-shaped structures. Sadly, over the years these precious coral reefs were systematically and shamelessly plundered, often resulting in their extinction; sometimes mistakenly identified as a stone, coral is in fact a living organism whose existence is inextricably tied to very specific conditions of light and temperature. Red coral is only one of many different varieties of coral, a name which in general terms indicates a highly complex ecosystem: thousands of polyps, each just a few millimetres in size, grouped in colonies and capable of breathing life into atolls or coral reefs. What is almost incredible, and certainly worthy of reflection, is that such miniscule living things, despite their fragility, can actually create impressive formations and thereby alter the very morphology of the seas. This extraordinary fruition is undoubtedly based on a mutual collaboration which over an extended period of time encourages the colony to proliferate and expand. So here’s a possible interpretation: when members of the same species join forces with each other over a certain length of time, they can achieve a far greater compound result than by individuals working on their own. It’s a poignant lesson for we humans who have historically battled against each other. What might we have achieved if we had only collaborated? There’s no question that when at least part of the human race works together the results can be remarkable. If you just happen to have a piece of coral, perhaps a small embellishment or a necklace, have a very careful look at it. The piece was produced by the efforts of a vast team working together over many years, even centuries. Take good care of it. As for us, I’m tempted to think that art remains successful as a result of a collective effort: after all, the individual works of great artists throughout history have come together to create one great body of work, that represented by human culture. No individual artist, however great, would make much sense if he were unique. The extraordinary variety of art hailing from different era and cultures, demonstrates the very spirit of the artist: each and every great work is a vital and precious part of something much bigger, that which we might define as humanity itself.

Da sempre utilizzato nella produzione di gioielli e opere d’arte, assieme ad oro e argento di cui condivide l’alto valore di mercato, il corallo rosso continua a solleticare la fantasia e la creatività dell’uomo, che ha imparato a intagliare e scolpirne le delicate strutture ramificate.

In passato i preziosi banchi corallini sono stati avidamente saccheggiati, causandone spesso l’estinzione; erroneamente considerato (a volte) una pietra, il corallo è invece un organismo vivente, la cui esistenza è strettamente legata a particolari condizioni di luce e temperatura. Quello rosso è una particolare varietà di corallo, termine con il quale si indica un complesso ecosistema: migliaia di polipi, ognuno grande solo pochi millimetri, radunati in colonie capaci di dar vita ad atolli o barriere coralline. È quasi incredibile, di sicuro degno di riflessioni, che esseri viventi così minuscoli e fragili siano in grado di creare strutture imponenti, capaci di modificare la morfologia dei mari. Alla base del loro successo c’è indubbiamente la grande collaborazione reciproca, che, protraendosi per un lungo lasso di tempo, permette alla colonia di proliferare ed espandersi.

Ecco dunque una possibile chiave di lettura: quando i membri di una stessa specie collaborano tra di loro a lungo, possono realizzare imprese molto più grandi di quelle realizzabili dai singoli individui. È una lezione importante per noi esseri umani, che invece da sempre ci combattiamo l’un l’altro. Quali traguardi avremmo raggiunto se avessimo collaborato? Di sicuro quando almeno una parte di esseri umani collabora i risultati sono notevoli.

Se possedete un oggetto di corallo, un piccolo abbellimento o una collana, osservatelo attentamente.

Gli esseri che hanno prodotto quel materiale lo hanno fatto lavorando per anni, a volte secoli. Abbiatene cura. Quanto a noi, mi viene da pensare che l’arte sia uno dei successi della collettività: in fondo tutti i grandi artisti del passato hanno aggiunto dei “pezzi” ad un’unica grande opera, che è la cultura umana. Ogni artista, per quanto grande, poggia sull’arte e sulla cultura precedenti e quindi sulla “collaborazione generazionale”.

La varietà delle opere d’arte, l’appartenere a diverse epoche e culture, l’essere espressione dello stato d’animo dell’artista: ogni grande opera d’arte è una parte preziosa di qualcosa molto più grande, riconducibile al concetto di umanità.

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EDITOR’S LETTER by sergio signorini

The colour red: first chakra, life. Rooted to the earth, grounded in bio-energy. Stimulates energy, warmth, strength, passion. Red coral nudges further: yes indeed rooted to the ground – a rock – but in water, the prime element from which life itself issues and a major component of our physical nature. Fire seems excluded, though present in energy, warmth, strength, passion, and air too which pervades and nourishes everything. Coral is by nature a labyrinthian network, a complex amalgam of fluxes which branch out into a spacial fan, coming together and breaking away, permitting transmigration, changes of direction and orientation, but also leading to dead ends, in which to “have a breather” before turning round and continuing on their journey.

The flow of time, in its most simple representation, is a straight line on which is marked a certain point, the present, from which we can move in two directions, towards the past and the future.The straight line is boundless: you can travel back as far as your early childhood memories; and further back to sensual recollections of your first three years of life; and further back still as far as the sensations of existence within the womb; and yet again to the moment of the choice of reincarnation; and even to previous lives lived, and so on. Or forwards: to imagine, fantasise about a future which will be tomorrow, a week ahead, a month, a year, thirty years, right up until the last day of this life and onwards into the subsequent, for just as long as the creative fancy can sustain the imagination.

In linear time, however, courses and historical passages are not represented, not of a cyclical nature, like the seasons, or conventions like weeks, months, years. To reconcile linearity and cyclicality the line must bend like a spring, integrating two dimensions and arriving at the fourth element of Einsteinian relativity.

But you can go even further: through the parallel dimensions of quantum physics, to the macro-dimensions of the multi-dimensional Labyrinth of Eugene Jeffrey Gold, from which it is simple and instinctive enough to understand the words of Franco Battiato: what has to happen will happen/whatever we do to avoid it/ what has to happen will happen/because it’s already happened!

Multiple forms of breaks exist in every time-map: an abrupt change of direction in the labyrinth; the suspension of the journey along a branch waiting to choose a new route; death as a temporary interruption of the experience of the physical self. We can test this by resuming our time from outside the paths induced by social convention or personal habit, or

chasing goals: they are brief moments of enlightenment, full of life-celebration.Like when we are overwhelmed by the beauty of a landscape, a work of art, a person so full of light; or when we are overtaken, suddenly and inextricably by a deep feeling of love for everyone and everything; or when expressing our love physically, we dissolve within our beloved and seem to be floating in perfect equilibrium with the cosmos. At moments like this, time stands still, captivated, and we transcend our very physical nature. In the absence of a better definition, let’s call it breaking time: timeless time.

But it’s surely just time interrupted: the moment in which you grasp that what was identified as past¸ present and future is instead all here, now. A concept of eternity quite different from time expanded to infinity, rather a time totally absorbed in the present moment. It’s the drop in the ocean that together makes an entire ocean of droplets. The interruption of time catapulted into the dimension of the Real World; immersion, and a dissolution into Everything. A testament: a total sense of belonging, the disappearance of the distinct ego, the fusion of nothingness within a pure flow, within a pure existence. It’s the dimension of love and unconditional freedom, to which we all aspire way beyond our limits. _ Il colore rosso: primo chakra, vita, radicamento alla terra, grounding in bioenergetica. Innerva energia, calore, forza, passione. Il rosso corallo spinge oltre: radica sì alla terra – uno scoglio – ma nell’acqua, elemento primo dal quale la vita stessa proviene e maggior componente della nostra natura fisica. Sembrano esclusi il fuoco, pur presente in energia, calore, forza, passione, e l’aria, che invece tutto pervade e nutre. Il corallo è per sua natura un labirinto a rete, un insieme complesso di flussi che si diramano a ventaglio spaziale, congiungendosi e distaccandosi, consentendo trasmigrazioni, cambi di direzione e verso, ma anche conducendo a vicoli ciechi, nei quali riprendersi il proprio tempo prima di tornare indietro e continuare il viaggio.

Il flusso del tempo, nella rappresentazione più semplice, è una retta sulla quale, spiccato un punto origine, il presente, possiamo muoverci in due sensi, verso il passato e il futuro. La retta è illimitata: si può viaggiare a ritroso fino ai primi ricordi d’infanzia; e più indietro, alle memorie corporee dei primi tre anni di vita; più indietro ancora, fino alle sensazioni della vita intrauterina; e indietro, fino al momento della scelta

di reincarnarsi; e indietro, alle vite precedenti, e così via. Oppure avanti: a immaginare, fantasticare un futuro che sarà domani, fra un settimana, un mese, un anno, trent’anni, fino all’ultimo giorno di questa vita e avanti nelle successive, fino a che la fantasia creativa sostiene l’immaginazione.

Nel tempo lineare non sono però rappresentati corsi e ricorsi storici, né ciclicità naturali, come le stagioni, o convenzionali, come settimane, mesi, anni. Per conciliare linearità e ciclicità occorre incurvare la linea ad elicoide, integrando due dimensioni spaziali e pervenendo alle quattro della relatività einsteiniana. Ma si può andare oltre: attraverso le dimensioni parallele della fisica quantistica, fino alle macrodimensioni del Labirinto multidimensionale di Eugene Jeffrey Gold, nel quale è semplice e immediato comprendere le parole di Franco Battiato: ciò che deve accadere accadrà/qualunque cosa facciamo per evitarlo/ciò che deve accadere accadrà/perché è già accaduto!

Sussistono in ogni mappa del tempo molteplici forme di break: un repentino cambio di direzione nel labirinto; la sospensione del viaggio a una diramazione in attesa di scegliere la nuova rotta; la morte come provvisoria interruzione dell’esperienza del sé fisico.

Possiamo sperimentarle riprendendoci il nostro tempo fuori dai percorsi indotti da convenzioni sociali e abitudini personali, dal rincorrere obbiettivi: sono attimi di piccola illuminazione, di piena celebrazione della vita. Come quando veniamo intrisi dalla bellezza di un paesaggio, di un’opera d’arte, di una persona piena di luce; o quando sentiamo improvvisamente e incomprensibilmente, con commozione, di amare tutti e tutto; o come quando, esprimendoci amore fisicamente, ci dissolviamo nell’amata/o e ci sentiamo fluttuare in perfetto equilibrio nel cosmo. In questi momenti il tempo si arresta rapito e trascendiamo la nostra natura fisica. In assenza di una migliore definizione, chiamo il breaking time: tempo senza tempo.

Ma è dato un solo vero tempo interrotto: il momento in cui si coglie che quanto era distinto in passato, presente e futuro è invece tutto qui, ora. Un concetto di eternità ben diverso dal tempo dilatato all’infinito, piuttosto un tempo tutto concentrato nell’attimo presente. È la goccia che si unisce all’oceano e insieme l’oceano intero nella goccia. L’interruzione del tempo catapulta nella dimensione del Mondo Reale; immerge, dissolve nel Tutto. A testimonianza: un totale senso di appartenenza, la scomparsa dell’ego distinto, la fusione col vuoto nel puro fluire, nel puro esistere. È la dimensione dell’amore e della libertà incondizionati, alla quale tutti aspiriamo oltre ogni nostro limite.

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GIANNI PEZZANI PORTFOLIO

Born in 1951 in the province of Parma (Italy), the place where he would begin to investi-

gate things of a photographic nature beginning

in the 70’s. In 1979 Lanfranco Colombo dedicated an exhibition to him at the galleria Il DiaframmaCanon in Milan (Italy). In 1981 he was selected by the publication Time-Life as among the six most important up and coming photographers of the year and his portfolio was published in the annual Photography Year.

In the same year he began to work for the publication Condé Nast, a collaboration which continues right up to the present. In 1983 he was invited to exhibit in Japan at the Kodak gallery in Ginza (Nagase Photo Salon). It was the very same

year that he moved to Tokyo for a ten-year period during which he worked both as a photo-

grapher and textile designer. In 1984 he participated in a travelling exhibition of Italian photography which incorporated the most prestigious galleries in the Chinese Republic. In 1993 he came back to Italy and moved to Milan. His relationship with fashion and design magazines intensified as did

his involvement in both personal exhibitions and collectives in which he was a major player. In this regard we should point up: the retrospective dedicated to him at the University of Parma at the Fondazione Magnani Rocca in Parma, 2000, the photographic exhibition Viaggi in Giappone at Palazzo Barolo, Torino, in 2003 and the Masters of Photography at the Peggy Guggenheim Collection in 2005. In May 2009 he presented his Storia di una foresta

perduta with an introduction by Jacques Le Goff. In 2010 he exhibited at the Palazzo del Gover-

natore di Parma at the exhibition NOVE100 curated by Arturo Carlo Quintavalle, who at the same venue, invited him to participate in the exposition I Mille. Scatti per una storia d’Italia.

2013 saw the publication of a collection entitled Ombre by Skira editore, overseen by Arturo Carlo Quintavalle.

In 2014 the exhibition Parma Dorme was inaugurated, curated by art critic Andrea Tinterri. The exhibition was held under the Portici del Grano in Piazza Garibaldi at Parma and accompanied by a catalogue published by Skira editore.

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