Sadal A reader for students at the intermediate level, with readings derived from ancient sources, running vocabulary lists, and systematic grammar notes. We call them Spirits. John Lagana marked it as to-read Feb 05, Marc Sylvester rated it really liked eomanae Dec 26, Aleksandr marked it as to-read Nov 19, To see what your friends thought of this book, please sign up. There are no discussion topics on this book yet. Rick Davis marked it as to-read May 09, To ask other readers questions about Fabulae Romanaeplease sign up. Studio Orta.

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A process fed by faith in the creativity of utopia. It is not so common for distant affinities to meet in this way, called one toward the other in order to try to give form and substance to their intentions, to the desire to produce objects that are representation and synthesis of an art which is able to serve as measure and comprehension of the reality that surrounds us.

And this is how the encounter between the Orta, family of artists, and the Zegna, family of industrialists, came about. With deep roots in their hometown of Trivero, a place that echoes with the sound of water and wind, they are at the same time reaching out to the new frontiers of the planet.

In a process of appropriation and understanding that leads them to traverse the most diverse geographical and mental territories. This is how many of their works are born; works that we often see silhouetted, in the images that document them, against perilous and remote landscapes.

Explorers once again, at a time when everything seems to have been discovered Our artistic practice is motivated by the wish to understand the complexity of the world we are living in and to imagine new scenarios for the future. We believe that the return to utopian thinking may be the key with which we can open the doors to the third millennium, to look farther ahead and to build a more equitable world for the next generation.

We also believe that society cannot renew itself, nor even exist, without Utopia. Utopia is a movement. It encompasses the will to go further and to invent another world so that the present one is revitalized. Today, Les Moulins includes The Dairy, the Moulin de Boissy, the Moulin Sainte-Marie and the Moulin La Vacherie, tens of thousands of square meters of buildings that we have saved from demolition since the year , all situated along a picturesque valley comprised of twenty hectares of landscaped grounds.

We began by welcoming students and scholars to workshops at The Dairy and have since expanded to hosting internationally renowned artists in residence. We opened to the general public for European Heritage Day in In we invited Galleria Continua and artist friends to assist in developing this Utopia. Finally, in , we founded a nonprofit association to develop the artists in residency program, collaborative projects, on-site commissioned works, production workshops and partnerships with craftsmen, galleries and public events, with a view to building a cafeteria and restaurant, a library and bookshops.

We have planted hundreds of trees to show our commitment to creating a legacy beyond our time. This may be our most significant collective work, an open workshop and a living sculpture, true symbols of the fusion of art and life. I am thinking of the frescoes of Ettore Olivero Pistoletto that recount the history of the wool craft in the mill at Trivero, but also of the great apple Woollen——The Reinstated Apple, created by his son Michelangelo that greets you at the well-lit and efficient headquarters in Milan.

The installation for Rome was initially defined as a homage to the city, but it has also and above all become a traversal of it, starting out from the seven hills on which it stands and finding material expression in seven tents destined to make up the exhibition at the MAXXI.

The installation uses the MAXXI and its central role in the contemporary city as a junction on an imaginary map that traces completely new routes through the city. Different physical and mental routes between the ways of life of a present in a continual state of flux and the ancient urban fabric.

The city becomes destination and point of departure, traversed and interpreted as a multiethnic and inclusive place of welcome, where the trajectories of the aesthetic and ethical values overlap. Life Guards are imagined characters clothed in poetic outfits as a response to some of the extreme conditions the earth is currently witnessing: the water and the oxygen supplier, the comforter, the Amazonia lifeline, etc.

In we were commissioned to create a series of permanent public sculptures for the city of Marseille to coincide with its selection as European Cultural Capital for We conducted historical research into the feminine characters that have played a critical role in the foundation of the city and the Huveanne, a hidden river that flows from a source in the Provence mountains to the ancient port of Massilia.

The findings developed into the Spirits of the Huveanne River, a series of five life-sculptures that will be installed along the riverbanks, creating a journey of discovery spanning thirty kilometers and inciting visitors along the way to enjoy the stories and majesty of the river.

Fabulae Romanae is an extension of this reflection, a new body of work that we have named Spirits. These figures draw from archaeological and historical research conducted in the city of Rome and further observations on the cultural and social map of the city indebted to the commission by Ermenegildo Zegna.

The Domes remain but are a distant presence. In the room of the museum only two, Esquilino and Celio are left as shelter, memory, simulacrum. The Spirits have become protagonists. Sorrowful observers of the Eternal City and cast of a series of characters. The Observer, for example, who is on the cover of this book, is oraculum, reporter, speaker, listener, gazer, retrospective, foresighted. Or the Traveler, who is wanderer, migrant, farewell border, hoarder, gatherer, vagrant.

First they were figures drawn by the artists in pigment ink, and then were turned into precious watercolors that tell of a swarming of personalities in their imagination. Next shape and substance were given to their clothes in a variety of materials, to create a sense of being on stage for these characters who we see making their way through the city, observing it. Transformed and disfigured by the signs that define them in their role. A role that is specified, but at the same time amplified and made evocative in the beautiful verses of Mario Petrucci, tale of a humanity in transit obliged to move along with everything that it possesses and to declare itself.

And as artists, we develop poetic patterns in an attempt to address these issues. Like Joseph Beuys, we support the idea that art can act as a catalyst for social change. Together, we believe that the creative potential of every individual no longer needs to be proven; rather it needs to be fully recognized and converted into initiatives that will engage a wider range of community members, whether they are street sellers, passersby, scientists, museum curators or visitors.

We set up collaborative initiatives in the form of events, performances, workshops, exhibitions and installations. These multiple formats are needed to strengthen the process of catalysis, and the poetic responses resulting from these initiatives are attempts to overcome adversity.

We create strategies for long-term projects we call Acts that evolve over a minimum of ten years research. Thanks to this approach, we can better understand the challenges and can offer potential solutions to resolve the complex issues raised by the ecological, political, humanitarian and economic problems of food production, water consumption or organ donation.

Thinking it over, in this project everyone has decided to set out on a journey. Toward other people, toward other places to give rise to new representations. Rome is the place of a convergence aimed at artistic production. The entrepreneur, or the luxury-brand patron, has for once broken its habit of establishing a relationship with art in a place of its own a relationship that can take the form of the acquisition, the exhibition, the project or the installation and transferred it somewhere else.

Not a fortuitous place and not an inactive place, a mere venue, but one oriented toward artistic production, i. On the map of the great journeys, those over long distances, that paved the way for Fabulae Romanae, one of the hubs, in this case too not a passive material anchorage but a catalyzing entity, has been, the MAXXI in Rome, the national museum of the arts of the current century.

As I have already pointed out, the MAXXI was also the hub of the other map, the one on a much larger scale that, within the bounds of the place-city identified by the convergence of the routes of the first one, has guided and recorded the movements of the Spirits. Along the routes of this second map, walking has a much more literal value, rather than the metaphorical one it had in the first. Walking has meant, for the figures conceived by Lucy and Jorge Orta, crossing the city and walking has assumed a cognitive function.

In their relationship with the city and its parts, in their ways of identifying and traversing it, in their conquest of the shelter, in their definition of the nature and roles of the walking figures, in short precisely in the ethics and aesthetics of traversal, Stalker and the Ortas are probably not for the most part comparable.

And makes it possible to observe how the change of location decided by Zegna has produced even more varied and abundant fruit than was expected or imagined. All power to the imagination and is director of the degree course in Fashion della besana, Triennale and Permanente in Milan.

For her, books are fundamental in bringing Fashion Now Marsilio, , Lei e le altre. Moda She was the first in Italy to work on the project of an exhibition into focus.





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