Friday, August 30, 2013

Venice - Lido: Venice70 Film Festival – The Canyons – Paul Schrader


Venice - Lido: Venice70 Film Festival – The Canyons – Paul Schrader. The Canyons, is a thriller, directed by Paul Schrader and written by Brett Easton Ellis, it is co-produced and stars Lindsay Lohan and adult movie actor, in his first mainstream role, James Deen.  It is a contemporary L.A. erotic noir film about the dangers of sexual obsession and ambition, both personally and professionally. One chance encounter among a group of people in their twenties sets in motion a series of events, resulting in deceit, paranoia, cruel mind games and violence.
The Canyons’s director Paul Schrader “I told the cast on the first day of rehearsals that this was a story about a group of twenty-something Los Angelenos who got in line to see in movie - But then the theater closed, and they stayed in line anyway because they had no place else to go.”
The Canyons’s scriptwriter Brett Easton Ellis “It’s a cold dead film about cold dead people.”
The Canyons’s, adult movie actor, in his first mainstream role, James Deen.

Brett Easton Ellis, James Deen, Paul Schrader and Tenille Huston
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Thursday, August 29, 2013

Venice - Lido: Venice70 Film Festival – Via Castellana Bandiera – Emma Dante

Via Castellana Bandiera: Elena Cotta plays Samira
Via Castellana Bandiera: Director and star, Emma Dante plays Rosa.

Venice - Lido: Venice70 Film Festival – Via Castellana Bandiera – Emma Dante.  Shut inside their cars, two women face off in a silent duel that is fought out in the intimate violence of their stares. A wholly female duel punctuated by the refusal to drink, eat and sleep; more obstinate than the sun of Palermo and more stubborn than the ferocity of the men who surround them. For, as in every duel, it is a question of life or death... It’s a Sunday afternoon. The sirocco is blowing pitilessly in Palermo when Rosa (Emma Dante, also director of the movie) and Clara (Alba Rohrwacher) lose their way in the streets of the city and end up in a sort of alley: Via Castellana Bandiera. At the same moment, another car driven by Samira (Elena Cotta), crammed with members of the Calafiore family, arrives from the opposite direction and enters the same street. Neither Rosa at the wheel of her Multipla, nor Samira, the old and stubborn woman driving a Punto, is willing to give way to the other, while the Calafiore family goes back into the unauthorized apartment house in which they live and, with the complicity of the local inhabitants, start taking bets on which of the two women will stick to her ground the longest. Evening falls, and then night creeps into the street and the houses of the neighborhood, but the two women, resisting hunger, sleep and thirst, seem to persevere in a mulishness that no longer has anything rational about it, and continue to refuse to give way...

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Wednesday, August 28, 2013

Venice - Lido: Venice70 Film Festival – Gravity – Alfonso Cuaron.

Director Alfonso Cuaron

Venice - Lido: Venice70 Film Festival – Gravity – Alfonso Cuaron. Academy Award winners Sandra Bullock and George Clooney star in “Gravity,” a heart-pounding thriller that pulls you into the infinite and unforgiving realm of deep space. The film was directed by Oscar nominee Alfonso Cuaron (“Children of Men”).  Bullock plays Dr. Ryan Stone, a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalsky (Clooney). But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone, tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth...and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left.  But the only way home may be to go further out into the terrifying expanse of space. “Gravity” was written by Alfonso Cuaron and Jonas Cuaron, and produced by Alfonso Cuaron and David Heyman (the “Harry Potter” films.

 George Clooney

Sandra Bullock
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Venice - Lido: Venice70 Film Festival – La Belle Vie - Jean Denizot

Venice - Lido: Venice70 Film Festival – La Belle Vie - Jean Denizot. Sylvain (Zacharie Chasseriaud) and Pierre (Jules Pelissier) have been running from the law ever since a custody battle with their mother pushed their father Yves (Nicholas Bouchaud) into hiding ten years ago. But now that they’re older, the two brothers are road-weary and eager to take advantage of the perks of young adulthood. When the authorities discover their whereabouts, they are forced to move yet again and Pierre, the elder, disappears. Alone with his father on an island in the Loire River, Sylvain meets Gilda (Solene Ecoffrey): his first girl, his first crush, and the first stop on his way to “the good life” – his own.
Above: Solene Ecoffrey, Zacharie Chasseriaud and the Director Jean Denizot.
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Venice - Lido: 70 Venice Film Festival - The Door - Ava DuVernay

Venice - Lido: Venice70 Film Festival - The Door Ava DuVernay.  The Door, by Ava DuVernay is the fifth Miu Miu Women's Tale, it is a celebration of the transformative power of feminine bonds, and a symbolic story of life change. The symbolic center of The Door is the front entrance of the protagonist's home. As she opens it to greet a friend in the powerfully framed opening scenes, she is shrouded in an oblique sadness. "In the film, characters arrive at the door of a friend in need, bringing something of themselves," explains director DuVernay. "Eventually, we witness our heroine ready to walk through the door on her own. The door in the film represents a pathway to who we are."  Clothing is also a symbol of renewal, each change of costume charting our heroine's emergence from a chrysalis of sadness. In the final scenes, she takes off her ring, pulls on long, black leather gloves, and walks, transformed by the emotive power of the clothing, through the door.
Cast: Ava DuVernay was the first African-American woman to win the Best Director Prize at Sundance Film Festival, for her second feature, Middle of Nowhere, in 2012. The Door stars Gabrielle Union, Alfre Woodard, Emayatzy Corinealdi, Adepero Oduye and singer-songwriter Goapele.  
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Sunday, August 25, 2013

Follina: La Corte Restaurant

Follina: La Corte Restaurant.  The Michelin star La Corte restaurant is situated in the Relais et Chateaux Villa Abbazia Hotel. The seventeenth century hotel is nestled in the Prosecco hillsides, near Venice, in a charming little village which also boasts a fourteenth century Cistercain abbey. The elegant restaurant is frescoed with scenes inspired by the local countryside, the surrounding Palladian Villas, Veronese and Tiepolo.
Above: the Jardin d’Hiver is very much in demand during the summer months and looks out onto the seventeenth century villa and the beautiful and abundant garden, which is cared personally with love and devotion by the hotel’s owner’s Ivana De Marchi Zanon.

La Corte Restaurant.   From the Puglia region, chef Donato Episcopo was awarded, in 2009, best emerging chef “Cooking for Wine of the Puglia Region”. He has always worked in Italy as he believes that “Italian cooking really stands on it’s own and there is no need to embellish it.”  He trained under renowned chef Heinz Beck of Rome's highly acclaimed La Pergola restaurant and with him drafted two cookery books. “I consider myself a craftsman of great Italian cuisine, I undertake to modernize the culinary heritage of the past.” 

La Corte.   The Jardin d’Hiver.

Scampi in Tempura, Trancietto di Ricciola Scottato, Pepperoni all’agretto di Mela, Ragu di Rape Rosse e Finocchietto
Prawns in Tempura, Seared Yellowtail, Sweet and Sour Peppers, Ragout of Beets and  Baby Fennel 

Riso Carnaroli Grumolo delle Abbadesse  
Carnaroli rice, tiny chopped vegetables with saffron and a Balsamic vinegar reduction. 

Torta Saint Honore
Hazelnut Mille-feuille, custard perfumed with citrus, Marostica cherries marinated in Marzemino wine.

Swiss Chards grow in the vegetable garden, which provides 
most of the vegetable used in the kitchen.

La Corte.    Straight from the vegetable garden, tomatoes wait in the internal courteyard, from which the restauarnt takes it’s name.

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Friday, August 16, 2013

Venezia: Art - Punta della Dogana – Prima Materia exhibition

Venezia:  Art - Punta della Dogana – Prima Materia exhibition. The new exhibition at Punta della Dogana entitled Prima Materia, until December 31, is curated by Caroline Bourgeois and Michael Govan. Eighty works from 1960 to today realized by artist from the Francois Pinault Collection. A dialogue between important historical movements, such as Mono-Ha and Arte Povera, are generated and coupled with in-depth monographic presentations of works by artists such as Llyn Foulkes, Mark Grotjahn, and Marlene Dumas. A selection of challenging installations specifically conceived for the space, by artists such as Diana Thater and Ryan Trecartin and Lizzie Fitch, as well as new commissions by Theaster Gates, Loris Gréaud, and Philippe Parreno, are included.

Above: Marlene Dumas: Mamma Roma, 2012. For her paintings and drawings, the artist finds sources of inspiration in newspaper or magazine cuttings, film stills, her own Polaroid photographs of her friends and lovers, and thus merges personal intimacy with socio-political situations or art-historical references. Inspired by Pier Paolo Pasolini’s famous film, in Mamma Roma Dumas paints Anna Magnani’s scream, a modern symbol of a mother’s pain at the death of her son.


Co-curator Caroline Bourgeois and artist Marlene Dumas.

  2 Photographs above: courtesy of Palazzo Grassi, ORCH Orsenigo_Chemollo

Loris Greaud: Does the Angle Between Two walls Have a Happy Ending?. 2013.   Loris Greaud works blend together large-scale architectural environments, music scores, installations, and films. Greaud explores an eclectic range of fields, from linguistics, science and science fiction, engineering and dreams, with the aim of providing a sensory experience to the viewer. The site-specific work, Does the angle between two walls have a happy ending is a post-human space that seems to be evolving in time.  It is driven by a cycle from which a merely audible sound escapes: the Shepard spectrum, an acoustic illusion that cheats the human brain and gives the impression of an infinite descending curve. Several neon candlesticks seem frozen, whereas the scattered glass on the ground enables the possibility of growth or, on the contrary, of combustion. The industrial white light creates an overexposure, preventing any shadow effect. On the wall, a monkey fetus rotates counterclockwise. Then everything dies out. Light, sound. Only the monkey, so similar to our human shape, carries on with his endless rotation in a religious silence... and then it all starts again. What is it all about? A new church for a spirituality yet to be invented? An apocalyptic altar refusing any kind of offerings? Or a space driven by laws that no human being can access? This device’s status lays in complete in-decision. 

Adel Abdessemed – Decor, 2011-12.  Often spectacular, deeply critical and metaphorical, Adel Abdessemed’s works make constant reference to the themes of social or political violence, life, suffering, and death. Born in 1971 in Constantine, Algeria, Abdessemed experienced the terrors of the civil war during the 1990s and subsequently moved to France to study art. He embraces with equal audacity a wide variety of media such as video, large- scale sculpture, drawing, and photography, and comments social events such as the 2005 riots in the Parisian suburbs, or the infamous foot- ball confrontation between Zinedine Zidane and Marco Materazzi in 2006. As a student, he went to Colmar to see the Issenheim altarpiece painted between 1512–1516 by Matthias Grunewald. In 2011 he created Decor, four life-sized sculptures of Christ, modeled after the Crucifixion of the altarpiece’s central panel and made of razor wire, the sort used at Guantanamo Bay detention camp. The artist subverts some pillars of Christianity: the repeated representation of Christ confers plurality to the fundamental principle of its unicity; moreover, the material used turns God, source and inspiration of love and faith, into a symbol of danger.

James Lee Byars:  Byars is Elephant, 1997.  The late James Lee Byars was born in Detroit in 1932 and died in Cairo in 1997. In Japan, where he lived for ten years between the 1950s and 1960s, Byars discovered the notion of ephemeral, which he considers a particular quality of art. This had a major role to play in his decision to transfer sensory, abstract and symbolic elements of Japanese No theatre and Shintoo ritual to Western knowledge, art and philosophy. Byars embodies a synthesis of different movements—Orientalism, Conceptual art, Minimalism, and Fluxus. His luxurious sculptures, works on paper, and performances question the boundaries between art and life, and the importance of living intensely. He usually dressed in outfits made of fabric such as gold lame, black and red silk, and often wore a black hat and a black mask. In Byars is Elephant (1997), his final installation before he died, the walls, floor, and ceiling are draped in gold lame. In the center of the room is a plinth wrapped in golden silk, on which is placed a massive sphere of rope made of hand-woven camel hair. Placed in such a way as to allude to an object of veneration, this rope knot is the symbol of the insoluble existential questions, perhaps even of the mystery that lies at the heart of human existence.

  Theaster Gates – Rickshaw For Fossilized Soul Wares, 2012.  Theaster Gates was born in Chicago, where he lives and works. His artistic practice includes sculpture, performance, installation, and urban interventions as well as social engagement. Alongside his activities as an artist, he works as a cultural and urban planner and community facilitator. He conceives projects that foster social engagement in poor neighborhoods of Chicago, such as the Dorchester Projects (2009): the rehabilitation of an abandoned house to turn it into a library, a University archive, and a restaurant. The artist describes this project as “real-estate art,” part of a “circular ecological system” in which the project is financed by the sale of Gates’ sculptures created with materials from the site. Rickshaw for Fossilized Soul Wares (2012) is a cart filled with black concrete from which several glazed bowls partially emerge. The sculpture was presented at an exhibition during which Gates ran a clay work-shop with skilled workers.

 Photograph courtesy of Palazzo Grassi, ORCH Orsenigo_Chemollo

 Mono_Ha/ Arte Povera: (foreground) – Kishio Suga: Gap of the Entrance to Space, 1979-2012.  The unique combination of some of the most emblematic works of Mono-ha and Arte Povera, respectively Japanese and Italian, highlights resonances and connections between these two art movements of the late 1960s and 1970s. Kishio Suga’s installation Gap of the Entrance to Space consists of eleven natural stones and twenty-one cut stones placed on a zinc plate. Pieces on zinc are cut out to fit exactly on top of the cut stones that are then placed in the wholes left in the plate, creating a movement of inversion between the work and the floor, between above and below. Suga’s other work presented here, In the State of Equal Dimension (1973), made of branches, rope, and stones, interacts with the sculptures and photographs of trees Alpi Marittime (1968- 1985) by Giuseppe Penone, one of the protagonists of Arte Povera.

Mono_Ha/ Arte Povera: Michelangelo Pistoletto: Metrocubo d’Infinito (Parte di Oggetti in Meno), 1965-66. Michelangelo Pistoletto’s Metrocubo d’Infinito is a cube formed by six mirrors tied so that their reflecting surface is turned inward. The visitor can therefore only imagine the infinite space that results from the infinite reflections inside the object.

Lizzie Fitch and Ryan Trecartin:  Local Dock, Porch Limit, Public Crop, 2011-13. Lizzie Fitch and Ryan Trecartin have explored their creative partnership for more than ten years, making artworks together. Collaboration is vital to their work, as operative mode and as conceptual content. In Trecartin’s movies, Fitch not only performs on camera and serves production roles, but also often embeds her own sculptures into sets. The three works on view here are all co-authored by Fitch and Trecartin. Much of their joint output around Any Ever (2009-2011) consists of “sculptural theaters,” immersive environments built to individually house projections of the seven movies that compose this body of work.
 Public Crop (2011) is a sculptural theater for the film P.opular (2009). While the movie that loops within this piece stands as a script that has been carried out, the room itself can be read as another kind of script, of infinite formal potentialities latent within P.opular Local Dock (2011) is a sculptural theater without a movie. Built as an eighth room for Any Ever, it serves as an alternate expression of narrative endlessness and a counterpoint to other spaces that are supersaturated with figures and languages constantly streaming on screen. Porch Limit (2012) does not stem from Any Ever, yet here the artists continue to work with similar materials and lexicons to further develop the discourse on sculpture and its possible cinematic experiences. Unlike in Public Crop and Local Dock, here physical interaction is forbidden. This re-centers the viewer’s control over how to form a story within the forms.

  Zeng Fanzhi: This Land So Rich in Beauty no. 2, 2010.
Punta della Dogana. The view from a window onto the Giudecca Island. Triangular shaped Punta della Dogana separates the Grand Canal and the Giudecca Canal. As a center for contemporary art, the former customs house of the city presents a permanent exhibition of works from the François Pinault Collection, which changes periodically.
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