ABOUT     |     CLIENTS     |    NEWS     |    JERK-OFF     |    LINKS     |    CONTACT

MIRKO REISSER [DAIM]: 1989 – 2014  | DRAGO
“[The] use of the name DAIM is becoming more and more complex. I perceive it as a kind of self-portrait – my entire personality has impact on the works. My development as a human being strongly corresponds to my development as an artist. [...] In this manner, one can learn something about oneself as a human being and a personality.“
Mirko Reisser. he book Mirko Reisser (DAIM) 1989 – 2014 is the most extensive publication of the artist’s œuvre so far. In 1989 he realized his first works in the public space – in 2014 the artist looks back on his artistic career that spans 25 years. This book gives an all-embracing insight in the work of the artist for the first time, from the beginnings of his career that started with illegal works on the street, covering the time of his studies of fine arts in Switzerland up to the present, in which his works can mostly be seen in large scale museum presentations.
This book shows the development of the works of the artist over a course of 25 years and also all important periods of his œuvre in more than 300 colour images, of which some have never been published before. Murals, canvases, sculptures, editions, graphics and the later tapings can be seen. The images furthermore grant a look behind the scenes and show production processes of some of the artworks.


“I attempt  to capture  an instant  during the action….” (WK) Act-4 25 Years is a book that brings together 25 years of the work of WK Interact, from the beginnings in 1989 to the present day. It is a sort of an anthology where his most important works are collected. From his very first show as 17-Painting Installation at Colette Gallery in Paris, France (1998) or the exhibition at Dazed & Confused Gallery in London, UK (2002) until the WK-360 mid – career survey documenting 25 years at Jonathan Levine Gallery, NYC (2013). In the late 1990s his images began appearing on building facades in downtown Manhattan, complimenting the constant stir of bodies and the perpetual motion of contemporary urban life in the fast-paced city and for 25 years WK has never stopped working on the street, from small spots to huge murals: his activity – especially in NYC – has always been particularly  productive. In Act-4 25 Years his major works on the street are collected and explained to the readers, as the 9/11 project at the World Trade Center, the great installation in Mexico City  or the one in Ancona, Italy. There will also be several interview with WK and an exhaustive biography


Gioacchino Pontrelli's research aims at rewriting objects and images that live and define the present-day world. The rewriting is done throught painting, as painting is able to alter and redefine the codes and the ways contemporaneity is percevied and consumed. Using alternately tradidiotnal colours, industrial paints and synthetic pigments, Gioacchino Pontrelli's paintings aims at revising hybrid and standardized images of the mass culture in private landscapes, more mental than pyhisical, full of a strong psychological and emotional component. His painting is suspended between figuration and abstraction, between a visionary and slightly anxiety-inducing hyperrealism and a spontaneous but aware and balanced gestual expressiveness.


The book retraces the last ten years in the career of Mauren Brodbeck, an artist from Geneve who, with her work, overrides the borders between art genres, creating multilayered images able to call the limits between real and virtual into question. Photography, collage, graphics are only a few of the instruments she uses to undermine our perceptive frames of mind. The use of color applied to elements of the urban landscape as buildings, car parks, warehouses, hides them while, at the same time, makes them monumental. Equally monumental are the colored objects, similar to oversized sculptures, the artist includes within her city views. The dialogue between presence and absence can be found in the processing of the human figure, where the color transforms the bodies into silhouettes, in order to underline the passage from one state of the form to another.


Elisa Montessori was born in Genoa, he graduated in literature in Rome where he currently lives and works. Among the most important exhibitions include: 1951, first solo exhibition in Rome at the Galleria Fiorani; 1982 XL Venice Biennale; 1983 XVII Biennial of Art in Sao Paulo; 1993 Exhibition Palace in Rome; 2006, National Gallery of Modern Art, Rome; 2007 Gallery Angelica of Rome; 2009 participates in the LIII Venice Biennale; 2010 Gallery of Milan. His studio in Trastevere has a chaotic order, nothing is classified by gender, history, everything seems to have its own life: vortices, eddies of water, thoughts that emerge from dark backgrounds, flowers carnal, rosi by time, signs, writes that make space through the whiteness of the paper and dense brush strokes of color, sound, music, shapes that evoke and do not say. Elisa Montessori looking east, admire the discipline of calligraphers, painters Chinese and Japanese, use cards refined (even rolls of 6/7 meters) paintings, mosaics. Work on the ground, did not stand, composed according to the rhythm of action painting.


Realized by Angelo Sindaco, Cooking with the Bears – Healthy Recipes by Hairy Men is the first cook-book dedicated to the Bears’ world. From Gramigna with Sausages to Guinness Cake, from Folktronic Spaghetti to Alternative Caponata, the 32 recipes collected in this cook-book have been selected by as much members (or couples of members) of the Bear community, portrayed by Angelo Sindaco while preparing their dishes. he book features a foreword by Mike Enders, founder of AccidentalBear.com, benchmark for gay art, culture, fashion and, most of all, music. They say you should lock your food up in closed containers while camping in bear country to keep uninvited bear guests from crashing your campsite, but if these are the kind of bears they’re talking about, we’d set up a four-course candlelit meal to lure them by the hundreds.” (Matthew Tharrett, Queerty.com)


This volume contains a series of portraits by fashion photographer Max Cardelli of actress Isabella Ferrari, as symbol of female beauty framed by poems by Aldo Nove. The book wants to evoke charismatic female characters, such as powerful and fearless women from the present: Aung San Suu Kyi, and from history and myth, with Joan of Arc, Gaspara Stampa, Emily Dickinson, Sappho, Mata Hari, Beatrice Portinari, Rabi’a, Marylin Monroe, Joanna the Mad, Leni Riefenstahl, Ereshkigal, Antigone, Aphrodite, Gaia. The life, real or imagined, of each of these women charges their memory with an immeasurable presence, and in the rut of this antithesis Isabella Ferrari attempts to cure “the dilemma of how to reconcile the so-called ‘fiction’ with the so-called ‘reality’” as Francesco Clemente states in the text accompanying the volume.
The book is a tribute to woman, highlighted by the intensity of the pictures by Max Cardelli who portrays Isabella Ferrari often on the beach of Sabaudia, a place dear to the Italian intelligentsia, to Moravia, Pasolini, Bellocchio, Bertolucci in particular. The images that show Isabella Ferrari among the waves are a symbol of life and therefore a further reference to the feminine and its beauty. As Aldo Nove says: “The horizon is the sea that grows by the light of your eyes, around and inside everything’s light.” The book is accompanied by introductions of Jasmine Whitbread (CEO Save the Children International) and Sabina Belli (Brand & Communications Managing Director at Bulgari).


The French Academy in Rome - Villa Medici presents, with a catalog, the second appointment of Theatre Exhibition #3, with the title Accademia.
Accademia, whose curated by Alessandro Rabottini, does not consist of an exhibition of works but rather a meeting where residents of the Academy, in the presence of the public, submit projects a wide variety of visual arts within the music, performances, literature, graphic design, architecture, film, poetry or art history as well. Accademia shows the Villa Medici in his everyday life, from its most secret laboratory to pavilions scattered throughout the gardens, in order to compose a new level of creative and artistic workshop. The Catalog, with texts by Éric de Chassey and Alexandre Rabottini, shows works and projects from artists in residence and artists invited. Theatre des Exposition #3, curated by Alexandre Rabottini, shows works from artists such Philippe Adam, Joana Barreto, Katinka Bock, Céline Bonnot-Diconne, Juan Pablo Carreño, Yvane Chapuis, Clément Cogitore, Geoffroy Drouin, Francesco Filidei, Charlotte Guichard, Fanette Mellier, Camille Michel, Laurent Montaron, James Noël, Éric Pagliano, Manon Recordon, Pierre Senges, Leilei Tian, Olivier Vadrot and Emmanuel Van der Meulen.


Anders Petersen è uno dei più influenti fotografi europei, sin dalla pubblicazione di Café Lehmitz negli anni ‘70, con le sue immagini intime e dirette. In questo volume sono raccolte le foto dei suoi tre viaggi a Roma nel 1984, nel 2005 (in occasione della Commissione Roma al fotografia – Festival Internazionale di Roma) e infine nel 2012. Questi tre diari personali si fondono l’uno con l’altro e le tensioni e le energie di due inverni ed un’estate si mescolano, andando a formare un unico racconto lungo trent’anni che attraverso gran parte della carriera del fotografo svedese. Ed è grazie a questa porzione temporale così ampia, in un contesto geografico così ristretto, che possiamo considerare le foto di Roma in questo libro come un punto di osservazione privilegiato sull’opera di Petersen, apprezzandone così la coerenza di un corpo di lavoro estremamente coeso, tanto nell’approccio quanto nella realizzazione.


A fairytale-tinted poetry that features a cruel irony: this is the aesthetic vision of Guglielmo Castelli, the young Turin-born artist that already shows a distinctive trait. A trait characterized by the love for monochrome backgrounds, atmospheres suspended in time, two-dimensional characters painted in delicate hues and animated by mysterious  forces, creating an unstable balance.
Guglielmo Castelli, born in 1987, has already taken part in various collective shows, and was a finalist of the Cairo Award. He is about to debut with his third solo show called Chiama quando arrivi – hosted by the Galleria Église in Turin – that will showcase about twenty works realized in 2012 for this occasion. All his works are permeated with an inescapable sense of waiting, spaces of the mind in which characters move, as the  metaphors of existential  uneasiness and precariousness that shroud our lives and mark our time.
Guglielmo besides shows a remarkable ability for illustration where we find the same trait, the same  delicate colors and harmonious shapes, that oblige us to reflect, thanks to the inborn irony of these characters. A poetic vision rich in contrasts, a deepness of  thought perceivable in the lightness of the images, unusual qualities for a young artist, who boasts a brilliant path, entirely on the rise. An expressive power we are able to perceive through a silence that takes us aback, loaded with meanings. ©Vogue.it


Titina Maselli. Being in Motion is an exhibition based on a specific decision: to present specifically and exclusively those of the artist’s works with sports-oriented subjects. In addition to marking the occasion of the centennial of the CONI, concentrating on a particular aspect of her work even more clearly exemplifies the stylistic and thematic coherence that she maintained from the start of her career in the late 1940s until her death in 2005. It is a choice that underscores the reiteration of these subjects throughout her artistic career, that merged with her “metropolitan” ones in the 1970s to create a synthesis that incorporated both themes. Maselli’s was a determinedly autonomous and solitary path that can be assimilated to no current or movement, obstinately coherent in terms of themes, subjects and styles, while clearly evolving over the decades. A lone voice, free, independent and fiercely original. And a figure all the more unusual - if we consider the period in which she lived and worked - because the artist was a woman.


From December 18 2013 to January 26 , 2014, MACRO presents in free fall with little sky ahead , the first major exhibition in a public museum dedicated to Paolo Picozza, Roman artist born in 1970 and died prematurely in September 2010. The exhibition, curated by Achille Bonito Oliva, collects approximately forty works by the artist , including large canvases , works on paper and some of his recent unpublished work , also on display in a video interview unedited. In large canvases and paper preparatory Paolo Picozza represents his city , Rome, between urban landscapes and mighty suburbs , as well as landscapes of the countryside archaic . The nature is interpreted by the artist in all of its possible metamorphosis , by the recovery of a spirit expressionist and northern , highlighting the gloomy atmosphere at night. The image is constructed with all the force of the gesture, the figures become three dimensional surface thanks to the choice of materials and color and tone scale .


‘Captured as it went down – hot. And presented to you without the assistance of gimmicks.’ This is what the author Ricky Adam has to say about his first book. Born & raised in Northern Ireland Ricky discovered photography at the age of 16.  Destroying Everything …Seems Like The Only Option is a raw, unflinching, honest snapshot of youth sub-culture that Ricky himself has been immersed in for many years Bringing together aspects of bikes, D.I.Y. Punk & underground youth culture Destroying Everything …Seems Like The Only Option is a collection of photographs of people who do their own thing their own way and live life from the heart, no matter what the consequences. Ricky’s work has been featured in many worldwide publications /record labels, some of which include: DIG BMX magazine, Juxtapoz, Obey, Maximum Rock N’Roll, Upper Playground, Hamburger Eyes, Dischord Records, Burning Heart Records, The Independent, etc. ‘It’s hard to explain, it just felt right and when I began to see the results it pushed me to take more. At the time no one else was taking photos at shows, so apart from enjoying taking photos as time went on I also felt it was important to document certain aspects of the punk scene that I was involved with’ said the author. After the first edition sold out in less than a month, Drago is proud to announce the second edition, with 12 additional pages and a lot of new photos.


Walk on the Wild Side is the second volume of the trilogy telling the story of Dorothy Circus, the most famous Pop Surrealism gallery based in Rome. Alexandra Mazzanti, owner and curator, stood out immediately for her artistic foresight and her unconditional love for the Low Brow & Pop surrealism movements. She deeply believes in her project and its potential, so much so that she has made of Dorothy Circus a landmark of its genre -  in particular especially in the European market, where the gallery has become the first reference point for Pop Surrealism in Europe. Walk On the Wild Side is a yearbook of the gallery, where you can find all the events and artists who populated the area in 2012, with critical essays, biographies and lot of pictures. The volume includes exhibitions such as Secrets from the Hourglass by Leila Ataya, Cinephonica by Aaron Jasinski Last Drop of Innocence by Valentina Brostean, Fame: I’m going to Live Forever by Scott Musgrove and Wild at Heart by Miss Van. As well as  many group shows like Stay Foolish! with Esao Andrews, Ray Caesar, Ron English, Tara Mcpherson, Jeff Soto, Marion Peck and Mark Ryden, Inside Her Eyes featuring Leila Ataya, Afarin Sajedi, Natalie Shau, Kwon Kyungyup and Green Blood with Tara McPherson, Jeff Soto, Martin Wittfooth, Travis Louie, Lola, Brandi Milne, Leila Ataya, Nicoletta Ceccoli, Roland Tamayo, Ana Bagayan, Scott Musgrove and many more. About Green Blood Hi Fructose wrote: “The opening night attracted the who’s who in Rome, which is always a good thing when the proceeds go to the charities Greenpeace and Oceania”.  So, if contemporary art is the Oyster, Pop Surrealism is the Pearl.


Tim Davis is an artist, writer and musician born in Blantyre, Malawi in 1969. His photographs and videos have been exhibited in public institutions including the Whitney Museum, Tate Modern in London, the Metropolitan Museum of Art in New York, the Knoxville Museum. Selected solo exhibitions include White Cube, London, Rodolphe Janssen, Brussels, and Greenberg Van Doren, New York, NY. Several monographs of his work have been published including The New Antiquity [Damiani, 2009] and My Life in Politcs [Aperture, 2006] Permanent Collection [Nazraeli, 2005]. He is the recipient of the 2007- 2008 Joseph H. Hazen Rome Prize and the 2005 Leopold Godowsky Jr. Color Photography Award. His work is in the collections of The Metropolitan Museum of Art, The Whitney Museum of American Art, The Guggenheim Museum, and The Walker Art Center, among many others. As a writer, he is a regular contributor to periodicals such as Aperture and Cabinet. Davis lives and works in Tivoli, NY and teaches Photography at Bard College.


"LA Portraits" is the new compelling installment of Oriol’s work to date. Real L.A street life the public has ever witnessed, from the lens of its originator Estevan Oriol. Dealing with sensitive environments and highly guarded subjects, Oriol has earned the trust and respect of the streets at all levels – from taking images on set of Hollwood’s A list, to the most reclusive hoods in Los Angeles and all over the world.
King of L.A. !


Once Upon a Time  is the first of three chapters telling the story of Dorothy Circus, one of the most famous contemporary art’s galleries in Rome. Alexandra Mazzanti, owner and curator, stood out immediately for her artistic foresight and her unconditional love for the Low Brow & Pop Surrealism movements.
She deeply believes in her project and its potentialities, up to the point of making Dorothy Circus a landmark of its kind – especially in the European market, where the Gallery has become the first reference address for Pop Surrealism. Also the artists she hosts are first class: Ray Caesar, Mark Ryden, Tara McPherson, Ron English, Nicoletta Ceccoli and Camille Rose Garcia are only some of the names involved in her three-year project. Once Upon a Time is a yearbook of the gallery, where you can find all the events and artists who populated the area in 2011, with critical essays, biographies and many pictures. For fans of the genre it represents a book that cannot be waived, for the curious who is approaching this world for the first time, it’s simply a clear and useful guide to an artistic genre increasingly understood and appreciated in official circles – and beyond. With its magical as well as disturbing atmosphere, one foot in a dream and the other in a nightmare, the Pop Surrealism movement took its first steps in Los Angeles in the late Seventies, where it met with Surrealist movement, and at their happy marriage they invited Cinema, Comics, Music and many other realities in perpetual becoming. Up to the present days, when the movement is characterized by different kind of artists and a thousand fascinating contamination. Once Upon a Time takes you in a world that you cannot resist, where reality and fiction merge in a perception straddling Carroll’s and Lovecraft’s imaginary. Dorothy Circus Gallery is a space dedicated to Pop Surrealism and new tendencies of figurative arts. Opened in Rome in 2007, the gallery was born on the boundaries between New York and Wonderland, and has the merit of having brought for the first time on scenes of Italian contemporary art artists such as Jonathan Viner, Ron English, Sas and Colin Christian, Camille Rose Garcia, Alex Gross, Joe Sorren, Tara Mc Pherson, James Jean, Travis Louie and many others.


JRs triumphal march through the world goes on. In his effort of creating a new way of connecting the streets with the system, JR continues to follow his unique way of changing the world. After The Wrinkles of the City Shanghai here comes the second chapter, The Wrinkles of The City LA. Street Wizard, Jedi of the Photography, JR’s project coagulates with his other global projects which make him a Gatekeeper of the rage of the street with the decadence of the American empire. For the first time in the heart of America, in the City of the Angels, JRs unique way of operating devastates the mecca of youth and the unofficial embassy of the American culture conquering the streets bringing hope and love for a new era. Each of JR’s large-scale photo murals has its own history and reason to be there. To have a critical look at the work of JR is to enter a world where every action has its meaning. It is to understand the message that the artist wants to send to anyone who approaches, accidentally or deliberately, one of his portraits. This time, the purpose of the project was to meet witnesses of the changes that have occurred in the city or in their own lives. Los Angeles is the place where the Hollywood myth was born, with its stars system, the glamour and the beauty being part of the identity of the city. For this project, JR wished to oppose the wrinkles of old people living in LA and the marks of their past with the image of perfection or regenerated beauty of the XXIst century. After the mind-blowing success of the first chapter here comes a collectable table book and a collection of images from an artist – winner of the TED Prize in 2011 – who will remain in the history of photography and contemporary art.


The French Academy in Rome - Villa Medici presents, with a catalog, the second appointment of Theatre Exhibition #3, with the title Accademia.
Accademia, whose curated by Alessandro Rabottini, does not consist of an exhibition of works but rather a meeting where residents of the Academy, in the presence of the public, submit projects a wide variety of visual arts within the music, performances, literature, graphic design, architecture, film, poetry or art history as well. Accademia shows the Villa Medici in his everyday life, from its most secret laboratory to pavilions scattered throughout the gardens, in order to compose a new level of creative and artistic workshop. The Catalog, with texts by Éric de Chassey and Alexandre Rabottini, shows works and projects from artists in residence and artists invited. Theatre des Exposition #3, curated by Alexandre Rabottini, shows works from artists such Philippe Adam, Joana Barreto, Katinka Bock, Céline Bonnot-Diconne, Juan Pablo Carreño, Yvane Chapuis, Clément Cogitore, Geoffroy Drouin, Francesco Filidei, Charlotte Guichard, Fanette Mellier, Camille Michel, Laurent Montaron, James Noël, Éric Pagliano, Manon Recordon, Pierre Senges, Leilei Tian, Olivier Vadrot and Emmanuel Van der Meulen.


Bruno Pellegrino, "Primi piani", by Duccio Trombadori. About one hundred works, including oil paintings and sculptures, plus installation Mare Nostrum. There are five sculptures, the remaining works are divided into three main themes: portraits, flowers, fish. Organized by organizing communicate, the exhibition also presents fifty oils that depict marine wildlife are collected in one room giving the viewer the illusion of being in an aquarium luminescent (Mare Nostrum). Pellegrino is at the center of the painting attention to man as an element of humanity indistinct, anonymous member of a people made ​​of different personalities but not necessarily identifiable. Spare a multitude, without a name, such as the portraits that make up the most substantial section of the exhibition: each designated by a number, not a title.


AltaRomAltaModa is the fashion week, which with two annual meetings in January and July, creates multiple opportunities for interaction between the historic Italian fashion house and the new realities of international productive and creative. And tailoring tradition, cultural heritage and future. In Rome fashion brings in its DNA that sense of manual labor and material culture that today is realized in the neocouture. And 'This is the distinctive feature of Roman couture, which revises the contemporary style, declined through clothes and accessories in synergy with the city, make the event AltaRomAltaModa an ideal stage of this.


The "Galleria il Segno" of Rome presents for the second time a staff of Antonello Viola, edited by William Gigliotti. The sensitivity for a layered painting the trim and monochrome, inscribed in rectangles, arrives in the works in the exhibition, a reduction of the work-object materials to its lowest terms: no more tele, but cards, about fifty, and glazing, you are. These media chosen for an exhibition that wants to say, once again, the relevance of painting that delves into the depths of the surfaces. The cards, only two sizes, are painted with precious pigments in oil, sometimes they are not gold "leaf." The works are bounded by light and temporary "borders" marked crayon, for a boundary which means 'open' and do not close, but according to a clear vision of things: hence the title "Open with end." The papers will be presented in the gallery and the windows on the wall in grids allestitive designed to enhance the potential of spatial and fruition.


"Luci di Casa" is the new book by Attilio Navarra. This time the sun becomes the protagonist. And 'tried in every season, in every picture, and it is always driving. His research expands in two directions precise. An expressive, technical, intensely camera. The other direction is moving more and more towards his "motherland". Texts by Marco Delogu and Elisabetta Rasy


Nasce a Roma il 1 Novembre 1982. 2001- 02  Si diploma presso l’Istituto statale d’Arte “ Osvaldo Licini”  Ascoli Piceno. Dal 2002 al 2004 frequenta l’Accademia di Belle Arti di Urbino, indirizzo Scultura. Nel 2005 si trasferisce a Roma presso la R.U.F.A. “Libera Accademia di Belle Arti di Roma”,legalmente riconosciuta, diplomandosi nel 2008 in Scultura con il prof. Davide Orlandi Dormino. Nel 2008 viene selezionato per lo Stage di Eccellenza TAM  “trattamento artistico dei metalli”tenuto da Arnaldo Pomodoro sotto la Direzione Artistica di Nunzio. Ha assistito l’artista Paolo Canevari per la messa in opera di  “Madre mia” presso il Palazzo Valentini e “Odi et Amo” allestita alla Galleria Nazionale d’Arte Moderna di Roma. Vive e lavora a Roma.


Sean Scully (American/Irish, b.1949) is an Irish-born American painter most well-known for his abstracted geometric grid paintings. Born in Dublin, as an infant Scully’s family moved to England, where he was raised and attended school. After attending London’s Croydon College of Art, Scully moved to New York in 1975, where he applied for American citizenship. Using thick applications of paint and rough brushstrokes, Scully creates multi-paneled layered paintings using various striped and checkerboard compositions, reflecting the cool geometric aesthetic of Minimalism, in a rugged, painterly way. In 1989 and again in 1993, Scully was nominated for the Turner Prize, a prestigious honor for such a young artist. Although he has spent almost his entire career working with the idea of the stripe or painted band, Scully’s body of work is complex and extensive, rigorously trying out new compositions and stretching the possibilities of a single motif.


Ileana Florescu was born in Asmara (Eritrea) of an Italian mother and an English father of Romanian origin. After having spent her childhood in Morocco, France, England and Switzerland, she settled in Italy and earned a master degree in Humanities. Despite a natural talent for painting and drawing, she entered the academic world taking part in Prof. Sergio Bertelli’s History Workshop, and specializing her studies on the Commedia dell’Arte and the rituals of Italian Renaissance courts. Her essays have been published by Bompiani, Mondadori, Ponte alle Grazie and Bulzoni. In 2001 her work “Meteorite I” was exhibited for the first time by the Pio Monti Contemporary Art Gallery in the group show “Tra Cielo e Terra”. Her decisive encounter was in 2002 with Diego Mormorio, who proposed Florescu for her first solo exhibition “Scie” at the Roman gallery “Acta International”. In the same year, she decided to relocate her studio in the former pasta factory “Cerere”, historic seat of the “School of San Lorenzo”.


The driving force behind Italian haute couture and a new launch pad for emerging designers, Altaroma is synonymous with tradition and experimentation. From the promotion of Made-in-Italy products to the safeguarding of the artisanal values that have made Rome famous throughout the world, Altaroma’s mission is based on maximizing all forms of excellence ranging from the most traditional right up to neocouture, considered the definition of a new language, a meeting place between sartorial tradition, research and cutting-edge trends in an international scenario boasting a meld of art, fashion and culture. 


Why reinventing the future
Human experience is closely linked to the idea of the future, perceiving what is yet to come, conceiving hopes of progress and redemption, overcoming the anxiety of uncertainty. This is the central engine of a life lit by the eternal flame of knowledge, possessed by a compulsive need to understand what appears to be inscrutable. The future is a constant illusion, a long trip on the Moebius strip that helps humanity to hide the frailty and transitory nature of the human body. Conceiving a specific idea of a nonlinear time and a multiple reality is an integral part of the biological nature of man and his personal and cultural expression. The idea of the future is omnipresent in our language, in our spirituality and is the possibility that emerges from the decisions of the present, influenced by the past. The endless search for this realm of randomness and of the continuous reprogramming of forms, concepts and meanings is a perfect obsession, a clear manifestation of thought extension and of its immortality through endless variables.
Through the widespread ignorance represented by reification, the contemporary collective imagination has learned to conceal the future within the concept of new, so everything is imagined as a “new thing”, a commercial progress that manifests itself only in the specific condition of a slow transformation, perpetually identical to itself. The supermodernity with its excesses of space, time and ego has dramatically distorted any precognitive ability, changing the idea of the future into an empty ideological and mediatic hyperactivity which effectively eliminates any meaningful content. Modern society must inevitably break free from the constraints of the new as the only form of progress and reinvent the future, to regain a real or dreamy sense of it. Deconstruct a false conception of the future, learning to think about it along with its direct reverse, the past, without making an acceleration of history.
Reinventing the future means not only to evolve but to transform into something different, beyond the concept of the production of the new and the spectacular. Conceiving the future cannot be reduced to the mere formulation of a scenic and artificial word, but rather it must be the materialization of an abstract and ever changing entity that owns a field, a space and a visibility within a nonlinear concept of time. This conceptualization thus refers to matters of a creative nature, because the plastic and philosophical transformation of aesthetics, concepts and forms is a key feature of the artistic process, drawing nourishment from the realities of the past and making a careful investigation of the present and future visions.
Reinventing the future is therefore possible through artistic activity. Even if the future were to occur aesthetically and conceptually different from what imagined, it can be endlessly reinvented, recovering its new past form. To catch the meaning beyond the signifier, to depart from mythological narrative schemes, to arrive at a personal mythmaking of the future. The artistic practice can open up new windows on alternative worlds and give the user clear images, free from any visual constraint. This goal can only be achieved by overtaking the concept of conformity/ nonconformity of the artistic object within the trends of its time.

In developing Israel Now, Reinventing the Future
It has been considered the possibility of multiple future scenarios, in order to offer a possible alternative conception of artistic production and fruition as well as of individual and collective identity in relation to the diversity of our planet. The primary intent is also to understand the influence of philosophical and aesthetic forms of the past within a new concept of “making art”, without constrains and preconceptions.
The project is structured around a selection of Israeli artists of different generations and experiences. The land of Israel is a concrete example of a nation looking towards the future. As it draws nourishment from a multi-ethnic society, characterized by a deep and ancient spirituality, it is at the same time able to open up parallel scenarios, both real and imagined. Israeli artists are thus immersed in an environment that has already developed a solid idea of the future. In an increasingly globalized world scenario, where all too often the medium is the message itself, they have managed to maintain a critical behavior in relation to new technologies and old methodologies, hailing the remarkable progress of science and of the nation in general as a further possibility of experimentation. Along this new direction, paved by a nation constantly projected towards social development, the artists participating in Israel Now - Reinventing the Future have been able to build alternative routes, with an eye to international artistic investigations while firmly maintaining their collective and personal identities. The supermodernity of the contemporary art. Opening a window on future or futuristic circumstances, through the work of art and consequently by means of an artistic event like IsraelNow - Reinventing The Future, involves the demolition of certain rules of behavior that characterize the large international exhibitions. In her introductory essay Harald Szeemann: Individual Methodology, critic and art historian Florence Derieux asserts that the history of art of the second half of the twentieth century has become a history of exhibitions, of major projects and no longer the history of works of art. This concept, now widely shared, implies the exponential growth of an extraordinary decisional power by the curator who ends up objectifying an excess of ego for which we tend to value only the project and not the independent power of the work and of the image. In 2003, Molly Nesbit, Hans Ulrich Obrist and Rirkrit Tiravanija presented their project Utopia Station at the Venice Biennale. At that time, the concept of utopia, reached a dystopian size, because the artworks included in the exhibition ended up being crushed by a too ambitious curatorial vision, making them useful only to justify the project. Utopia Station is therefore a good example of what is written by Florence Derieux. As part of this specific supermodern behavior expressed by curatorial practice, the risk is to totally lose the importance of the artist and of the work. In tracing the guidelines of Israel Now-Reinventing the Future, the approach that is used is meant to overthrow these mechanisms, avoiding to transform curatorial practice into a work of art but without altering the main concept of the exhibition. Specifically, each decision was made with the invited artists and each work is juxtaposed with the other while maintaining its distinctive identity, as in a compendium of stories told in first person. Emphasize the process of free creation of the future and at the same time reflect the experimental nature of all artistic expression, these are the focusing points of a project aimed at extending the usual criteria of artistic fruition, while avoiding unnecessary special effects. Conclusions. Turning from the concept of static and monolithic exhibitions that are slave to a rigid curatorial view, into a radically dynamic experience like the search of possible futures, is equivalent to the passage from the simple collection of objects to an alive and pulsating exhibition, like a living organism in constant becoming. Beyond the rhetorical strategies and the imaginative power developed by any textual criticism, the work of art appears as the unique and irreplaceable sensorial engine able to bypass its time and anticipate the future. On this basis, the artists in the exhibition have literally gone beyond the concept of a closed future, giving the observer a series of exquisitely open personal theories spanning the objective evidence to plunge into new space-time dimensions, rather than rely on a one-dimensional reference system. The future is waiting only to be reinvented, be it a new way of thinking to the social sphere, of looking to new technologies or creating new forms. Contemporary art is thus a point of vantage, on everything which our mind yearns thirsty.


When the Nordic artists in the early 20 century went to Bornholm, they did so because they here, and especially on Christiansø, found a place where nature, light and people together formed a symbiosis that could serve as a springboard for a reinterpretation of the landscape.
An interpretation to some extent relied on a quest for the sublime and not only relied on the seen, but very much on the site-specific experience, marked by the new world, representing the scientific breakthroughs that Einstein relativity. Of Bohr and Rutherford atomic models, which questioned the whole system stability. And philosophical ideas which Bergson’s intuition philosophy with the introduction of? The creative development? (L? Evolution créatrice) from 1907, as it were canceled predictability. This violent bevidsthedsryk, along with political and economic interests, a few years later dragged Europe into a chaotic maelstrom, was among the artists combined with new cognitive achievements. From France, the development of the cubist painting, and from so-called primitive cultures in Africa and Oceania, a completely different and literally perspektivløs way to record what is seen on. The result was as we know it, including from museum collections, a completely new and different art that is processed and interpreted the seen scene for a tale of both people and landscape. After the Second World War, Europe was again in a time of change. Although there was made peace, Europe was divided by the Iron Curtain and the increasing prosperity and materialism in the western world called again on the reactions. On the one hand, free movement of capital celebrated by the creation of new supranational institutions like the European Community with the Treaty of Rome in 1957, on the other hand, a critical distancing as it was formulated mainly by the Frankfurt School, where one of the most prominent figures were Th. W. Adorno, among other things describe the overtones that occur in the tension between the aesthetic and the spiritual in art that is in permanent conflict with its own status as an aesthetic object. The ideas were quickly adopted in Italy, where the then still relatively unknown semiotiker and philosopher Umberto Eco, University of Turin, published key texts as an opera aperta? (1962) and La struttura assente? (1968). Also art responded to the new world. In Italy, came Arte Povera movement, perhaps characteristically borrowed its name from a Polish dissident scene and Denmark had peers, including art historian Troels Andersen and a number of artists like Per Kirkeby, Poul Gernes and Bjørn Nørgaard there a few years earlier, in 1961, had established the experimental art school, or Ex-school. Both in Denmark and Italy were the new movement a reaction against the established art Parnassus and a showdown against the American-influenced pop culture. Respect for the material, process, meaning and relationship between artist, viewer and the work-related manifestation was crucial. Although it runs violently against all basic ideas behind, got a number of works that were created almost icon character and museums around the world today is in a queue, either to acquire or exhibit works from the last major artistic movement in 20th century. Apart from Franz West (b. 1947) is the current exhibition artists, however, old acquaintances of Bornholm’s Kunstmuseum. Per Kirkeby (b. 1938) exhibited in 1989 in a highly personal dialogue with the museum’s collection of Edvard Weie. In 1998, the museum showed a solo exhibition of Bizhan Bassiri (b. 1954) and in 1999 showed the museum works from private collections of Italian Giovanni Anselmo (b. 1934) and Jannis Kounellis (b. 1936). The current exhibition is curated by the acclaimed Italian art historian and critic Bruno Cora, who with his love of Bornholm and Bornholm Art Museum and its many years of personal knowledge of the artists have put together an exhibition that specifically relate to the museum’s own collection and for the modern man relationship to nature. ? The mental landscape? is both a demonstration of how the interpretation of the landscape moves with the human consciousness and awareness, and simultaneously a tribute to the close, to the individual personal experience of nature, as a springboard for universal statements about human existence. Art Museum of Bornholm to thank Bruno Cora on the warmest of his hard work and dedication for the realization of the exhibition. Likewise, should be paid a big thanks to Giovanni Anselmo, Bizhan Bassiri, Jannis Kounellis and Franz West for generously making works available for exhibition and to private collectors in Denmark, who unhesitatingly have lent key works by Per Kirkeby for the exhibition. Finally, I wish to thank the ferry company, which as the main sponsor of the museum has made it possible to implement the ambitious project.


Altaroma’s founding philosophy was based not only on creating an international stage but also on building an ideal bridge between tradition and contemporary living. In 1988, several Roman institutions joined forces to create Agenzia per la Moda spa. In 2002, it was transformed into a Share-holding consortium thanks to the commitment of the Chamber of Commerce, the Municipality of Rome and the Regione Lazio.
In 2009, these three partners were also joined by the Provincia which thus became a member of Altaroma’s corporate team.


SYMBIOSIS? - XV Biennale de la Mediterranee | ZETEMA
Thessaloniki: 7/10 – 6/11/2011 Visual Arts, Applied Arts, Architecture, Design, Fashion, Jewellery, Urban Acts, Gastronomy Rome: 6-17/11/2011 Literature, Cinema, Music 25 years after the first successful organization of the Biennale of young creators from Europe and the Mediterranean, this international event returns to Thessaloniki. This year, the Biennale will be characterized by a new format, not just a single event, but a long journey through the Mediterranean area, with the participation of 3 main cities – Thessaloniki, Rome and Casablanca and other small-scale local events. At the end of this journey, more than 400 artists between 18-30 years old, from Europe and the Mediterranean will have participated i n the activities, presented in the framework of the common theme: “SYMBIOSIS?”. The theme has been defined by a pool of experts and curators from Thessaloniki, where the sectors Visual Arts, Applied Arts (Architecture, Design, Fashion, Jewellery), Urban Acts and Gastronomy will be hosted. The organizing institutions in Thessaloniki –the General Secretariat for Youth, the Municipality of Thessaloniki, the Macedonian Museum of Contemporary Art and the Aristotle University– are collaborating with other local institutions and independent curators, in order to activate all the creative forces of the city towards the creation of a memorable event. The XV Biennale de la Mediterranee will thus take over the whole city, as it will unfold in a variety of public and alternative spaces around the city, beyond the standard museum-type presentation. Along with the physical areas that will be occupied on land AND sea (Port area, Seacoast and Aristotelous Square, New Town Hall and the White Tower area, Valaoritou area, Aristotle University campus), local students will also work towards the taking over of the city’s media (TV, radio and web productions). Finally, the Biennale aims at providing young artists the possibility of networking with established art professionals from around the world. To this direction -in collaboration with the British Council, the Goethe Institut and the Institut Francais- significant personalities from the international arts scene will participate through a series specially designed workshops. XV Biennale de la Mediterranee: “SYMBIOSIS” in action.


Voci della Periferia to the Museo delle Mura “From October 21 to November 20 at the Museo delle Mura 12 young painters, photographers, sculptors and video makers tell the Roman suburbs. The Department of Family, Education and Youth Capital of Rome in collaboration with the Department of Cultural Affairs and Historical Center - Superintendence of Cultural Heritage presents the exhibition “Voices of the periphery”, the closing event of the competition which has seen the participation of dozens of young Roman artists, aged between 18 and 35 years, which will be hosted by the Museum of the Walls from October 21 to November 20. Six artists have won a scholarship that brought them to live an experience of three months in London, New York, Tokyo and Helsinki. Twelve are those who will participate in the exhibition, curated by Costantino D’Orazio, who has worked with a committee composed of Constance Paissan, curator at the Macro, Italian Carolina, project manager of MAXXI BASE, Daniela Lancioni, senior curator of the Palace of Exhibitions, Federica Pirani, Manager of Exhibitions of the Superintendency of Cultural Capital of Rome. Banned replied to both artists who are taking the first steps to a professional level and some of the best representatives of the younger generation of painters, photographers, sculptors and video makers who work in Rome. The analysis of their work has shown that the outskirts of Rome is a context that artists today do not want to demonize or to judge with severity, but telling in all its contradictions. None of the images in the exhibition offers a stereotyped view of the urban periphery, but it aims to overcome prejudices and discover the most unusual sides of neighborhoods such as Tuscola, IL Corviale, Caffarella or the Via del Mare. In some cases, the periphery is evoked more as a concept and existential state, through operations very symbolic. If Pinzari Frances of Rome (winner of the scholarship in New York) has produced a performance in the streets of Portonaccio, Mark has produced two video animations Raparelli taking place in a fictional character from the surreal edge. The duo Silvia and Maria Teresa Zingarello Pujia (winning a scholarship to London) are the result of their action in the green space surrounding the Corviale, while Fabrizio Sartori depicts the violation of an urban space through a graphic recovered the many acts of vandalism that inhabit the peripheral buildings. James Bonifaci transforms the landscape of Tuscolano in an elegant view of Piranesi, compared with photographs of Nellie Catherine (winner of the scholarship in Tokyo), dealing with an action of social resistance in the implementation of the Caffarella Park . Gabriele Di Stefano (winner of a scholarship in London) has immortalized the sky of Tor Bella Monaca as the skyline of an American metropolis, while Enrica Gialanella a viaduct has transformed into a striking geometric composition. If the project by Mariangela Colaguori is resolved with a high technological level graphic composition, Mauro Vitturini chose to tell the periphery through the sound, while Sara Just (winner of the scholarship in Helsinki) has involved the residents in the realization of Torpignattara of a green area within the neighborhood. All are united by a look active against the urban context, which aims to transform the image and, above all, to affect the public imagination. The artists winners of the scholarships will have the opportunity to present the result of their experiences abroad, which will be documented in the catalog accompanying the exhibition. The volume also collects pictures of all the artists who participated in the competition notice, even if they have passed the selection. Museo delle Mura, housed in the ancient port of San Sebastian, still the threshold between the urban and less built the Appian Way, is presented as the most suitable place for the presentation of a complex reflection on the concept of edge . During the exhibition, the Museum will remain open in the evening every Friday and Saturday, from 19 to 23 to November 20.


Ileana Florescu was born in Asmara (Eritrea) of an Italian mother and an English father of Romanian origin. After having spent her childhood in Morocco, France, England and Switzerland, she settled in Italy and earned a master degree in Humanities. Despite a natural talent for painting and drawing, she entered the academic world taking part in Prof. Sergio Bertelli’s History Workshop, and specializing her studies on the Commedia dell’Arte and the rituals of Italian Renaissance courts. Her essays have been published by Bompiani, Mondadori, Ponte alle Grazie and Bulzoni. In 2001 her work “Meteorite I” was exhibited for the first time by the Pio Monti Contemporary Art Gallery in the group show “Tra Cielo e Terra”. Her decisive encounter was in 2002 with Diego Mormorio, who proposed Florescu for her first solo exhibition “Scie” at the Roman gallery “Acta International”. In the same year, she decided to relocate her studio in the former pasta factory “Cerere”, historic seat of the “School of San Lorenzo”.



Founded in 2003, the Rome Commission asks every year to selected international photographers to portray the city of Rome in total freedom of interpretation. In the past Josef Koudelka (2003), Olivo Barbieri (2004), Anders Petersen (2005), Martin Parr (2006), Graciela Iturbide (2007), Gabriele Basilico (2008), Guy Tillim (2009) and Tod Papageorge (2010).
Every project is curated by Marco Delogu, who has recently assigned the 2011 edition of the Rome Commission to Alec Soth, one of the great protagonists of the contemporary photographic research. Each work produced in the past Rome Commissions have marked an important moment for the respective photographers: Olivo Barbieri decided for the first time to look at cities from above; “Roma, città di mezzo” was the first Guy Tillim’s project accomplished outside Africa; Martin Parr focused in Rome his research on the global tourism.
Alec Soth’s work is rooted in the peculiarly American tradition of photography on-the-road practiced by Walker Evans, Robert Frank and Stephen Shore. He received scholarships from McKnight, Bush and Jerome foundations, and in 2003 he won the Santa Fe Prize for Photography. Alec Soth’s photographs are part of major public and private collections, including San Francisco Museum of Modern Art, Museum of Fine Arts in Houston and Walker Art Center. His work has been exhibited in various solo and group exhibitions, including the 2004 Whitney Biennial and a retrospective at the Jeu de Paume in 2008.
The choice of Alec Soth is part of a broader research on American photography started by FOTOGRAFIA, in tune with the recent exhibitions of Stephen Shore at the Museo di Roma in Trastevere, Joel Sternfeld in the spaces of MACRO Testaccio, the residences of Tim Davis, Montheith Matthew and Nancy Davenport and the second edition of the project ‘A Question of Time’ at the American Academy in Rome, the 2010 Rome Commission of Tod Papageorge and the exhibition of Gregory Crewdson at Gagosian Gallery with photographs taken at Cinecittà.
Rome is the only city in the world to have assigned for nine consecutive years her “portrait” to such elite of international photographers. In addition to the past Rome Commission’s photographers, the project has also involved many other authors as David Farrell, Leonie Purchas, Tim Davis, Matthew Montheith, David Spero, Pieter Hugo, Juan Fabuel, Agnes Geoffray and Miguel Rio Branco. This project will soon feed into a major exhibition: the “portrait” of our city in the new millennium.


The theme of the tenth edition of the FOTOGRAFIA – International Festival of Rome aims to tackle the unique relationship established between photography and the land, in the deepest and most intimate sense of the word, based on a genuine analysis of the close relationship between the photographers and their belonging to a place, and in many cases their actual identification. It is the result of an increasingly pressing need to seek one’s “motherland”: everyone responds in their own way, examining lands that belong to them, whether they are old or new, large or small, real or virtual, with a completely personal documentation, which is the fruit of their life and the need to return or move away.
Motherland is a theme that is investigated and propagated by photography, and today we seek it in relation to the creation of constantly new identities in a world that has been completely explored and technologised, but in which the need to investigate new “lands” and to seek one’s own, is a prominent recurrent theme.



This is the first book by Miss Van, which covers her works from Stole Heart (2008) to Twinkles (2010). “By painting a world of tears and masks - as Magda Danysz wrote in the book’s introduction - Miss Van has always centered her painting on the feminine, autobiographical, figure. Miss Van’s art carries a lot of symbols in form of flowers and animals. In her Twinkles series Miss Van has used a lot of flowers, from green soothing large plants to intense red, almost sexual, exotic flowers. Miss Van’s visual form, recognizable in the fact that it is insisting on color, vitality and beauty, shows that life is always worth living - no matter how painful it can be. The bright colors of this multicolored world reflect the joy of it all”. Miss Van has gone from painting the curvy, enticing pin-ups in the street of Toulouse, to painting the melancholic and subtle works of this new exhibition. Her various travels and encounters have enriched her already complex world. Thanks to her past year exhibitions in Barcelona, Los Angeles, san Diego, Mexico, London or Paris, she has found many new sources of inspiration. Not only has she been influenced by the contemporary artists with whom she has shared many privileged moments, she has also orrowed the techniques and subtle lighting effects of great artists of the past, focusing her work more on the quality of her painting and less on self-asserting  herself as is the common in street art. With this new series she has undergone a beautiful evolution towards a more mature and refined style of painting, but without ever losing touch with her street art origins. Miss Van once again exhibits a melancholic collection of painings. As always women are the centre of attention. By adding a generous dose of coquetry and mischief to the ingredients of her work, she manages to bring out all the glamour, sensuality and sparkle of the female character she has created.


“From Style Writing to Art” is the first Street Art anthology ever published. This book’s goal is to explore the reasons why style writing as some call it, graffiti, or street art is turning out to be the major art movement at this turn of the century. From graffiti pioneers in the 60s, to how street art branched into the art world during the 80s, to whatever new issues and practices have emerged since the 90s, to which artists make a difference, the book covers it all.
Each period is complete with 2-3 page biographies for each considered artist, covering their beginnings, their artistic career, along with a personal style review, as well as an artwork analysis section. Overall, the book offers 50 complete biographies of top street artists from Seen to JR, via such as Miss Van, JonOne, Shepard Fairey, Quik, Blade, Doze Green, and Keith Haring whose work and career is thoroughly explored.
There is major talent in the history of graffiti. And this talent is, in the end, the only answer to the infamous “But… is it really art?” question. Out of this both compact and diffuse form of expression, real art practices have emerged, absolutely unquestionable in terms of quality and longevity. This book is about why this is Art. What else? dragolab.com is the ONLY place where you can buy this book until November 2009. Get it here, get it first. Visit the shop to order your copy of From Style Writing to Art: a Street Art anthology.




JR owns the biggest art gallery in the world. He exhibits freely in the streets of the world, catching the attention of people who are not the museum visitors. His work mixes Art and Act, talks about commitment, freedom, identity and limit. After he found a camera in the Paris subway, he did a tour of European Street Art, tracking the people who communicate messages via the walls. Then, he started to work on the vertical limits, watching the people and the passage of life from the forbidden undergrounds and roofs of the capital. In 2006, he achieved Portrait of a generation, portraits of the suburban "thugs" that he posted, in huge formats, in the bourgeois districts of Paris. This illegal project became "official" when the Paris City Hall wrapped its building with JR's photos. In 2007, with Marco, he did Face 2 Face, the biggest illegal photo exhibition ever. JR posted huge portraits of Israelis and Palestinians face to face in eight Palestinian and Israeli cities, and on the both sides of the Security fence / Separation wall. The experts said it would be impossible. Still, he did it. In 2008, he embarked for a long international trip for "Women", a project in which he underlines the dignity of women who are often the targets of conflicts. Of course, it didn't change the world, but sometimes a single laugher in an unexpected place makes you dream that it could. JR creates "Pervasive Art" that spreads uninvited on the buildings of the slums around Paris, on the walls in the Middle-East, on the broken bridges in Africa or the favelas in Brazil. People who often live with the bare minimum discover something absolutely unnecessary. And they don't just see it, they make it. Some elderly women become models for a day; some kids turn artists for a week. In that Art scene, there is no stage to separate the actors from the spectators. After these local exhibitions, the images are transported to London, New York, Berlin or Amsterdam where people interpret them in the light of their own personal experience. As he remains anonymous and doesn't explain his huge full frame portraits of people making faces, JR leaves the space empty for an encounter between the subject/protagonist and the passer-by/interpreter. This is what JR is working on. Raising questions... JR currently works on 2 new projects: Wrinkles of the City which questions the memory of a city and its inhabitants and Unframed, which reinterprets in huge formats photos from important photographers taken from the archives of museums.


Kiki Smith has open her second solo show with the Galleria Lorcan O'Neill Roma. The exhibition include new works on paper and sculptures.
Kiki Smith (born January 18, 1954, in Nuremberg, Germany) is an American artist classified as a feminist artist, a movement with beginnings in the twentieth century. Her Body Art is imbued with political significance, undermining the traditional erotic representations of women by male artists, and often exposes the inner biological systems of females as a metaphor for hidden social issues. Her work also often includes the theme of birth and regeneration, sustenance, and frequently has Catholic allusions. Smith has also been active in debate over controversies such as AIDS, gender, race, and battered women.


ROMA OMNIA VINCIT is the first book from Roman street artists JB Rock and Diamond.  It has been done in a flip over style with two covers, on one side Diamond, on the other JB Rock. They are friends and collaborators and they work both together and alone. Each artist has his own technique, style, and perspective, however their work on the street often parallels the other. Their work is a true reflection of their street art attitude, which can be seen in their style and dedication to their work and designs. Follow the True Roman Urban Style! The process of creation can be followed from conception in the studio to the adhesion to the walls, which passes through the realization of the poster and stencil techniques. This leads to the meanderings of Street Art, not only a mere practice but also in its execution. The two artists and their two different approaches lead to questioning the values and the differences between exposition in a gallery and position on the street. The book, in its flip over style can be read from either direction, front to back it focuses on the work of one artists and from back to front on the work of the other. In the middle the works are fused together in critical texts that explain and contextualize this movement in an amplified vision that comprehends the landscape of contemporary art. An original book conception, with two covers – essentially two books in one! Their art nouveau inspiration, mixed with decorative icons and rugged style, often comprised of exquisitely tattooed ladies who have been transported to a 1920s beauty pageant or transformed into Ancient Roman icons that recall the history of the Eternal City. This book contains something extremely new for street art lovers to understand and experience. ROMA OMNIA VINCIT follows two Roman street artists from the studio to the street and provides a taste of a new style of street. Photos, drawings, and critical texts provide a visual context by which to understand the urban culture made in Rome… JbRock & Diamond are two Roman street artists. Their vision is unique and peculiar, full of Classical Greek and Roman inspiration combined with pop icons, early century liberty style, and a hint contemporary culture thrown into the mix. Tattooed ladies meet centurions meet Christ and wolves. All of these themes appear both in the street and in the gallery. For the first time, however this unique style is illustrated in a book. Street Style is an attitude. This book represents a report on their artistic development and search for a unique voice, both together and individually.
Diamond was born in Rome in 1977.  He was very interested with the development of street writing in the 1990s and did his masters in fine arts the the Accademia di Belli Arti di Rome with a focus on “street art.” From that point he became one of the most well known artists in the Roman Street Art movement. The work of Diamond is consistent with his own vision; it does not trace the classic clichés of street art. The various techniques and unusual themes often have symbolic and esoteric implications that result in eclectic and unsettling images.
JB Rock was born in Rome in 1979. He works on canvas and with wheat-paste, posters, stickers, stencils or whatever medium he desires. The city is his playground. His style, inspired by Art Nouveau and Classical icons, has constant references to the Ancient Roman World, seen also in his use of Latin words. He started working in the early nineties as a writer. He concentrated on lettering and tags before arriving to use of the human figure. Fantasy and reality mix together to produce ephemeral female forms that have been inspired by both classical drawing and pop culture influences.


Sten and Lex are the pioneers of the "stencil graffiti" in Italy. Start work in Rome in 2001. The first stencil-moovies b depict icons like Bruce Lee, Lieutenant Colombo, Dirty Harry. Shortly thereafter, the search leads them to depict the anonymous faces of students taken from college yearbooks of the 60 and 70. A path that tends to shake the golden-shouldered Pop origins of anonymous faces and recover without the repetition that characterizes the technique of the stencil. The same stencil was never repeated several times, in fact, the matrix has the potential for endless repetition and the paradox lies in not repeating the same array multiple times. One story is that of paralleo prints and engravings, Sten and Lex reproduce details notes and illustrations of stamps of the past, as the illustrations of Gustave Dore, and make them monumental painting on large posters, three, four meters high. The technique stencil belong in the family of printmaking techniques, so the study of the arts of printing in the past has been and is still very important in their work. Often between their images trace elements of religious and church, the tone is irreverent but always part of that recovery of classical art that is reproduced through a formality subjective of the two artists. Their importance in the international arena is due to the fact that they were the first in the world to introduce the technique of using stencils of the half-tint, their stencils are made up of points, pixels, lines and images that make sense. Points and lines have different readings depending on the distance from which you look at the Imagine, at close range the image is abstract away the image is configured in its entirety and is becoming more realistic. The technique in question was adopted by them HOLE SCHOOL. The images suggest that today about personal portraits from photos taken by themselves, the use of half-tone makes it seem like their work prints and engravings of the past. Their merits concerning the technique of stencil has been recognized by Banksy, the most important international street artist who takes them inivitati at the Can's Film Festival in London. On that occasion the Holy Sten and Lex was painted next to the Buddha of Banksy. Their posters and stencil wall paintings are found in every part of Rome and in Renting European cities.


Urban Contest - Rome 2010 is the catalogue for the event of the same name that will take place in the ancient arena known as the Circus Maximus, the Roman chariot racing stadium and mass entertainment venue located in the center of the city, from September 10th to the 12th. The catalogue is composed of explainatory texts and some of the best images from the artists involved in the project. It is a gallery of photos that illustrates the history of the graffiti-writing phenomenon in the Eternal City.  108, Luca Barcellona, Emiliano Cataldo, Dem, Agostino Iacurci, JBRock, Joys, Lucamaleonte, Matteo Milaneschi, Sparky, Thoms, Useless Idea and Verbo are the artists involved. The Mayor of Rome, Gianni Alemanno, the Head of the Cultural Ministry, and other influential members of Rome’s political environment have skillfully written the introductory texts, which address the evolving relationship between Rome and the arts. From the birth of the graffiti movement on streets and subway cars to the arrival of these artists in galleries, Urban Contest is an interesting overview of an artistic movement that is attracting interest from various sectors of culture, including fine and contemporary art, the fashion industry, social and political circles, and popular trends and the marketplace. Fashioned after the fanzines of the 80s, the catalogue is made up of more than sixty full-color pages dedicated to the creative hands and minds that contributed to forming a collective movement in Rome and this rare photo archive: now you just need to browse through the catalogue to see what it is all about.


This year’s International Photography Festival ("FotoGrafia") in Rome features important innovations: a new venue (the Testaccio branch of MACRO, Rome’s Museum of Contemporary Art), a new time of the year (September 23 to October 24), and a team of three curators working with Marco Delogu, the Festival’s artistic director: Marc Prust (for the photography and publishing section), Valentina Tanni (photography and new media) and Paul Wombell (photography and contemporary art). The event is sponsored by the City of Rome’s Department of Cultural Policies and Communication – Cultural Heritage Superintendency with the support of Fondazione Roma and, starting this year, is produced by Zètema Progetto Cultura. The theme of the ninth FotoGrafia Festival is Futurspectives, in other words, “Can photography interpret the future?” This paradox is immediately evident in the work that Paul Wombell has done for “Bumpy Ride,” the show he’s curated for the Festival’s Photography and Contemporary Art section. We usually speak of photography in the past tense. Once a picture has been taken, it transports us backward in time, and in a way it becomes history. But some photographers are questioning this premise, creating images that look forward, not backward. These photographers work more like science-fiction writers, using the photographic process to imagine how the future might appear. “Bumpy Ride” brings together the works of contemporary photographers like Peter Bialobrzeski, Sonja Brass, Cedric Delsaux, Jill Greenberg, Ikka Halso, Mirko Martin and O Zhang, who use both digital and analog technology and are challenging our expectations about what we see in an image. Another attempt to answer and interpret the same question is provided by Valentina Tanni’s research for the Photography and New Media section Photography and the new media meet in an eternal present; they’ve already met but are continuing to do so. That’s why the section of the Festival dedicated to this theme is making its debut with a show called “Maps and Legends,” a project whose goal is to map a territory that’s constantly evolving. A cartography in progress on the relations that photographic practice is establishing with the world of the Web: its culture, its language and its imagery. Alongside the maps are the legends – the set of signs – that the viewer needs to decipher them. And, most important, legends in the sense of myths and tales: everything that makes the Web a real place, endowed with history and culture. From animated gifs to photos shot in virtual worlds; from the images of Google Street Views to snapshots that change in real time, with the data flows, and on to the camera that captures time instead of space. Ten photographers – Marco Cadioli (Italy), Martijn Hendriks (Holland), Justin Kemp (U.S.A.), Jaime Martinez (Mexico), Filippo Minelli (Italy), Sascha Pohflepp (Germany), Jon Rafman (Canada), Phillip Toledano (U.S.A.), Harm Van den Dorpel (Holland) and Carlo Zanni (Italy) – for a show that tries to see into the future (or perhaps we should say into the continuous present) of photography. Last but not least, the section on Photography and Publishing, curated by Marc Prust. As its title “Unpublished – Unknown” suggests, this show presents a selection of unpublished works. The question that underlies the curator’s investigation was: can one say that a photo exists if no one but the photographer has ever seen it? Can one speak of a second “decisive moment” after Henri Cartier Bresson’s, the moment when the photo is published? Rather than a show of unpublished works, this is a show of uncompleted works, because they still have to cross the hurdle of this second decisive moment: publication. Rescheduled to open in September, the Festival becomes the first event in the international season. It will also host the debut of the European Photography Month’s new production, “Mutations 3 – Public Image, Private Views,” curated by Emiliano Paoletti. Among other things, this production will present Rob Hornstra and Arnold Van Bruggen’s Sochi Project, a slowjournalism undertaking financed via the Web to document changes in the Russian region slated to host the Winter Olympics in 2014. The Rome Commission, now in its eighth year, has been entrusted to Tod Papageorge, the great American photographer and originator of the Yale School, whose members include Gregory Crewdson and Philip Lorca di Corcia. Starting this year, the Festival will benefit from the collaboration of MACRO, which confirms its mission as a multi-site image museum serving the Italian and international public. This squares with the choice to host the Festival at MACRO’s two pavilions at Testaccio, the branch devoted to large-scale events. Besides the many changes, some important aspects of the Festival have been confirmed for this year too. A group of galleries will promote local artists and operators. The most important international academies and cultural institutes operating in Rome, including the American Academy, the French Academy at Villa Medici and the Royal Spanish Academy, will present projects created specifically for the Festival. IILA FotoGrafia Prize for young South American photography will be awarded again this year, and “The Empire of the Sun,” a work on Rome by José Manuel Castrellón, who won the prize last year, will be presented. In addition, the Festival will host Giuliano Matteucci’s show “Ecclesia,” winner of the Baume & Mercier Prize


On show are the work of the winner and finalists of the third edition of the award-IILA Photography for young photographers in Latin America: Pablo López Luz (Mexico), winner of the event; Cynthia Nudel (Argentina), second place; Nicolás Wormull (Chile) third place; Spivacow Diego (Argentina), Honorable Mention; Julieta Anaut (Argentina), Andrea Padilla (Argentina), Eva Pedroza (Argentina); Zorzal Bruno (Brazil); Romulo Peña (Venezuela).
More than 60 Latin American photographers who attended the prize, explored the theme "Nature in relation to the metropolis" with works of quality, intelligent and original, telling the natural (or what's left of it) within cities, but also the nature of urban and homo metropolitanus that inhabit them. The photographs look at the dialogue between humanity and the planet, nature and culture in view of the alternating dominance of both the resistance of the other. The jury, chaired by Patricia Rivadeneira (Cultural Secretary IILA) by Marco Delogu (Artistic Director of Photography), and composed by Paul Wombell (curator of "Photography and Contemporary Art of Photography, has already collaborated with PhotoEspaña, Madrid), Simonetta Lux (Director of the MLAC - Museo Laboratorio Arte Contemporanea, La Sapienza University of Rome) and Paul Angelosanto (visual artist), has decreed that the best work of Pablo López Luz project, which addresses the concept of landscape and its changes, in light of the report between man (ever-present) and its surroundings, with great attention to the topography of the city (Mexico City) becomes almost a romantic remembrance of last century.


In 2009 the work was concentrated within the Aurelian walls; this year it is focuses on the Roman Campagna, outside the walls, a classic theme of great visions and the natural continuation of last year’s work. The field work commenced following the study of the pictures in American Academy’s photographic library, freely pursuing visual stimuli. Leonie Purchas and Juan Fabel travel along the Via Ostiense, with Purchas customarily seeking its humanity, meeting people (she ends up dining with a group of fishermen from the Idroscalo) and recounting parts of contemporary life based on age-old scenes and the repetition of old gestures. Fabuel reaches the sea, drying his vision and leaving only small paths in the pine grove, clearings and modern concrete archaeologies. Purchas had previously worked with the sun high in the sky in the area of the park with the aqueducts, often filling her photographs with people. Inspired by the photographs of the archive, she returned to the same places, but those pictures were uniquely hers, despite their very thoroughly Roman nature. Agnes Geoffray follows the old Appian Way, working on a mise en scène exploring the ambivalence on the female presence during the day (tourists) and night (prostitutes) with a series of photographs full of melancholy, heightened by their scale that amplifies the sense of human isolation in comparison to the monumentality of the ruins. Giuliano Matteucci’s photographs capture someone exploring the Mausoleum of the Villa Gordiani, immersed in a silent dimension, where the monumentality is enshrouded by unkemptness, appearing to protect it from the present and save it from a picture-postcard destiny.  Among the deep shadows of neglect, somebody still has the chance of a solitary experience of discovery and a private relationship with the signs of antiquity. od Papageorge was struck by an archive photograph of Porta Furba and decided to continue his Roman wanderings in that area, where he finds pieces of wall alongside large reproductions of the Colosseum and a succession of ancient and modern archaeologies that logically intensify the “question of time”. I leave the city through the Porta San Sebastiano and head south on a clear day on which the “Castelli” are perfectly defined. Other places that I know well: the Cartiera Latina and the Almone river, which I managed to see before it was rerouted underground in the 1960s; the Quo Vadis church, which made me laugh when I learned its translation as a child, unlike the terror that the catacombs in front of it always aroused in me; and the beautiful Appian Way that proceeds from it. Everything is incredible, even for someone who has seen it many times. I don’t know why, but my favourite place is still the Villa of the Quintilii and its less monumental entrance from the old Appian Way. During the days that I spent at the photographic archive of the American Academy in Rome I was dazzled by the “perfection” of Anderson’s photograph. When I arrived at the villa, a combination of the beauty of the place, the light, the wind and the memory of Anderson’s photo triggered a strange hint of Stendhal’s syndrome in me: it’s too beautiful, perhaps I’ll leave. I can’t find a key, I don’t understand, but I manage to recover my calm, perhaps because I lie on the ground. Yes, lying on the ground and observing the site through the nature that had survived the summer is pleasant and causes me a strange joy. As is often the case in Rome, one chances upon entirely surreal moments: I walk seeking a vision, I lie on the ground and a low-flying helicopter appears, keeping watch over a background noise (whistles, car horns, wailing sirens and squealing tyres) – it’s Colonel Gaddafi’s  retinue, on its way home via Ciampino airport. The sound soon dies down and the age-old silence returns to the Villa, accompanied by the wind. I think of Anderson’s photograph again, so beautiful and so close today. In 1999 I had taken four photographs at the Villa of the Quintilii. I had subsequently thrown two away, but I remember that I liked the other two. I clearly remember a wall that completely filled the first photo, but my memory of the second was rather vague. When I got back to my studio I had another look at the photographs that I had just taken, but I forgot to search for those taken in 1999. Two days later I decided to work on just two new photographs, I corrected the colours and then looked for the two old photographs. The one that I hadn’t been able to remember was surprising and appears a sort of remote foreshadow of my “Nature Bianche” work that underlies the new photograph taken at the Villa of the Quintilii. Here is a new short circuit: Anderson’s photo, nature (with the wind, which played a vital role in the “Nature Bianche” series), walking at the Villa of the Quintilii and taking the new photograph and then returning to my studio and finding an old photograph taken in the same place eleven years earlier, which is a direct precursor of this latest work.  All of this is a little concentrate of the spirit of the work at the American Academy in Rome. This book sums up the works of the 2009 and 2010 workshops. Commencing with the concept that a photograph is a photograph, a book is a book and an exhibition is an exhibition, this book contains just part of the pictures taken by the individual photographers who participated in the workshops, and part of the archive photographs displayed in the exhibitions of the 2009 and 2010 editions. 


Francesco Fossa was born in 1966 in Piedimonte Matese. He now lives in Rome, where he works as a journalist for broadcaster Mediaset. He has contributed to several Italian magazines, including L'Espresso, D la Repubblica, Diario.


Tod Papageorge (born 1940) is an American art photographer whose career began in the New York City street photography movement of the 1960s. Papageorge started taking photographs in 1962 as an English literature major at the University of New Hampshire. He is the recipient of two Guggenheim fellowships and two NEA Visual Artists Fellowships. His work is in public collections including the Museum of Modern Art and the Art Institute of Chicago. Since 1979, Papageorge has directed the graduate photography department at the Yale University School of Art, where his students have included Philip-Lorca diCorcia, Lois Conner, Abelardo Morell, Andrew Bush, Susan Lipper, Gregory Crewdson, An-My Le, Anna Gaskell, and Katy Grannan. In the summer of 2007, Steidl published Passing Through Eden, a collection of images he took over 25 years in Central Park. In the fall of 2007, Aperture published American Sports, 1970: Or How We Spent the War in Vietnam. This volume features photographs Papageorge took during his 1970 Guggenheim Fellowship.


Giuliano Matteucci only wants to take photographs. He researches, studies, explores to find photographs and takes time, thinks, has rapacious visions, does not follow stories thinking of possible settings, but builds his own vision of the world. I know his work, his unrequited nature and his rigour. Giuliano Matteucci is a little like his photographs; although I don’t travel, it’s easy for me to imagine him walking through Africa: vicariously, the little known dimension of journeying becomes clear to me. And I imagine this work like an endless “ramble” following in the wake of travellers, photographers and evangelicals; a route with stops where rural churches are a concentrate of visions but also perhaps a search for a different and decentred image of the “Church”. As with many projects, this too is indebted to other disciplines and to the more noble aspects of photography; I am thinking of the tradition of landscape photography, journeys like that of André Citroen, and of some of Guy Tillim’s works.
Matteucci always chooses a frontal frame, with very few concessions to slightly more lateral visions, but these few digressions preserve him from a contemporary “beckerian” rigidity which would have little to do with his work. Walking down streets trodden for centuries, Giuliano Matteucci looks for sensations without sensationalism, and standing in front of his subject, whether an arid landscape or a group of people, he puts parts of himself into an enormous continent. And the light connects his entire work, drives the displacements, reacts to the nuances of the earth, and is still very strong in interiors, close to a “vision”, which in this case also has a spiritual significance. Matteucci resolves everything by choosing a “blinding clarity” by using his panoramic view in order to connect to the extension of territory. His journey, in reality, unfolds in infinite territorial dimensions between large seclusions and spaces of contact, the “ecclesia”, that exalt other contacts: those of the various religious communities and those that Matteucci creates with them. Even in his portraits, the use of the panoramic format comes close without invading, and brings us a personal vision of the world.
This book is the result of years of “unique” photographs, of subtractions and erasures. This is the way it should be, it is his rigorous method: “cleaning” the depths.    


The exhibition "Pop Surrealism - What a Wonderfool World", curated by Alexandra Mazzanti and Gianluca Marziani, is the first event exclusively devoted to American and international Pop Surrealism. At the Carandente Museum of Spoleto, from June 26 to October 15, you could see, for the first time in Italy, the masterpieces of historical artists of this revolutionary power, born in California in the late 70s. Through the more than eighty works on display, we forward in the surreal flows of a narrative and figurative paiting. The artists exhibited are forty and they are the major international exponents of Pop Surrealism, like its founder Mark Ryden, along with Joe Sorren, Todd Schorr, Shepard Fairey, Marion Peck, Camille Rose Garcia, Alex Gross, Ron English, Gary Baseman, Tim Biskup, Sas Christian, Kris Lewis, Ray Caesar, Jeff Soto, Travis Louie, David Stoupakis, James Jean, Adam Wallacavage, Tara McPherson, Missvan, Lola, Esao Andrews, Scott Musgrove, Jonathan Viner, Naoto Hattori Natalie Kukula Abramovich, Kathie Olivas, Natalie Shau, Mijn Schatje, Ana Bagayan, Michael Page, Tim McCormick, Nathan Spoor, Paul Chatem, Ken Keirns, Aren Hertel, Leila Ataya, Aaron Jasinski, and the only Italian leaders Nicoletta Ceccoli and Niba. In perfect harmony with the Surrealist roots of the thirties, the prophecies of figurative pop regenerate in a constant movement between the registration of real and immediate reworking dream. Landscapes, bodies, animals, history, nature, objects: this is the world reinterpreted by Pop Surrealism. A no-space where everything looks like the real thing, but where we perceive suspended atmospheres, a sense of agonizing waiting and silent, doubt and danger, where abnormal silences or strange noises are coming. A world similar to ours, where certain domestic and individual landscapes’ meaning are inverted and expressed by classical painting technique. The favourite subjects are pop icons, broadcasted by leisure media that live in our collective imagination from the world of fairy tales on. The topics vary from the vitality of childhood and adolescence to moral aspirations and chronicles of everyday life. At the same time it exceeds the unexpected and involves the incredible metropolitan, recreating a possible contemporary surrealism, son of a transverse, versatile and electronic era. Book published by DRAGO.
“Pop Surrealism - What a Wonderfool World” From 26th June to 15th October 2010 Museum Carandente - Palazzo Collicola - Spoleto - Italy

<< Start < Prev 1 2 Next > End >>

Page 1 of 2