Venice: Iuav University – Is Italy Trendy? - 24H Marathon

Photograph by Andrea Lucia Foresta – courtesy Iuav

 

Venice: Iuav University – Is Italy Trendy? - 24H Marathon. To coin Renzo Rosso’s company name OTB, which stands for, Only the Brave - could the dynamic, Maria Luisa Frisa curator, fashion historian, author and director of the degree program in Fashion/Design at the Universita Iuav di Venezia organize a 24H marathon devoted to Fashion; words, images, projects and ideas on the Italian Fashion System, entitled, Is Italy Trendy.  The event was mostly held in the Great Hall of the beautiful ex-convent, designed in the sixteenth century by Vincenzo Scamozzi, now headquarters to Iuav. Together with Maria Luisa Frisa the talks were co-hosted by Federico Sarica, director of Studio magazine. The non-stop event alternated fashion designers, journalists, writers, industrialists, bloggers, CEOs, presidents, scholars, curators who expressed themselves in different formats. It was a platform for reflection and discussion of the Italian Fashion System: as it is today, and what it has to become to be unparalleled, in a world where politics, commitment, responsibility, beauty and economy intertwine to occupy  the territories of shared growth.

Above. Maria Luisa Frisa with the founder of Diesel and president of OTB, Renzo Rosso and with the dean of Iuav Universita di Venezia, Amerigo Restucci.

http://www.iuav.it/Facolta/facolt--di1/lauree-tri/Corso-di-l/indirizzo-1/index.htm

 

Is Italy Trendy – Talks

Be creative! Do it With Your Head. Instructions for Success.

Co host with Maria Luisa Frisa, Federico Sarica, editor in chief of Studio magazine and co founder of Undici interviews Renzo Rosso, founder of Diesel and president of OTB. 

 

Is Italy Trendy – Talks

Manufacturing, Craftsmanship, Co-Design: A Choice of the Future

Chaired - Clara Tosi Pamphili

Viaindustria, Happy Fashion’s Emanuele De Donno, Simone Sbarbati Frizzifrizzi blogger, Clara Tosi Pamphili, fashion and costume historian, Flash Art and Artribune contributor and Corrado Facco, managing director of Fiera di Vicenza and founder of Origin - Passion and Beliefs.

 

Is Italy Trendy – Talks

Good News: New Italian Fashion

Chaired - Gianluca Cantaro

L’Officiel Italia, L’Officiel Hommes Hommes magazine’s editor in chief Gianluca Cantaro takes a selfie with designers Fabio Quaranta and Arthur Arbesser, as Maria Luisa Frisa introduces them.

 Selfie by Gianluca Cantaro

Fabio Quaranta, Gianluca Cantaro and Arthur Arbesser 

 

Is Italy Trendy – Talks

Printed Paper, Web, Social Platforms: the New Forms of Publishing

Chaired - Cristiano Seganfreddo

Frizzifrizzi blogger, Simone Sbarbati, innovator and creative entrepreneur, Cristiano Seganfreddo, L’Officiel Italia’s editor in chief, Gianluca Cantaro, Sabrina Ciofi editor in chief of Pizza magazine and co founder of Italiana Marchi, Andrea Battilla CEO of Italiana Marchi and Federico Sarica editor in chief of Studio magazine and co founder of Undici.

   

Designer Monica Bolzoni

 

Iuav's Elda Danese with designer Raffaella Brunzin

Designer Silvia Bisconti

 

Designer Fabio Quaranta

 

Universita Iuav di Venezia – Tolentini.  The entrance to the Tolentini campus of the Universita Iuav di Venezia was restructured in the 1980s by architect Carlo Scarpa, The complex which contains the ex-Convent of the Tolentini Church designedin the sixteenth century, by Vincenzo Scamozzi it is also the seat of rector’s office, the Faculty of Architecture and a Central Library. 

 

Manager of Instagramers Venezia and co-founder and editorial director of the web magazine Venezia da Vivere, Lorenzo Cinotti with Giada Pavan.

 

Breakfast in the Courtyard

 

Breakfast in the courtyard

Aristortele come fare filosofia col cucchiaio 

The Manifesto of the Communist Pastry Chef

The early morning breakfast was catered by Aristortele come fare filosofia col cucchiaio: the pastry chef Maddalena Borsato and the young philosopher Jacopo Giacomoni who together create clever, amusing, humorous intellectual philosophical takes on traditional pastries. Artistortole is a play on words – philosopher Artistole and tortele meaning cakes in Italian.

Recipe

Raspberry and Ginger Marx-mallows

People: the whole working class.

Preparation Time: 30 minutes of your time and only your time (not the master’s). Plus, a night’s rest.

Ingredients: 200g caster sugar - 100g unfiltered raspberry pulp - 170g honey - 20g gelatine -  20g grated fresh ginger - icing sugar - starch

Preparation:

In a saucepan bring to boil, at 108 degrees C., 50g of raspberry pulp with the sugar and 70g of  the honey. In the meantime, whisk the rest of the pulp and honey together with the grated ginger, and gently drizzle it in the boiling syrup, until it reaches 35 degrees C. and it becomes a frothy and beautiful Communist pink.  Pour the Marx-mallow in a shallow roasting pan, previously covered with foil and greased with vegetable oil or spray. Let  it stand overnight at room temperature, ​​even though… if the Revolution never sleeps!
Then turn the mixture out on a cutting board, cut into pretty shapes and dust the Marx-mallows on each side with equal amounts of  icing sugar and starch.

becomes a frothy and beautiful Communist pink.

Snoopy’s Woodstock is a great expert of marshmallows!
http://www.aristortele.it/

 

 

Artistortele’s pastry chef Maddalena Borsato and philosopher Jacopo Giacomoni

Aristortele come fare filosofia col cucchiaio

Philosopher’s Scones and Jams

  

Goppion Coffee

 

Designer and creative director of Ungaro, Fausto Puglisi, designer Lorenzo Serafini and journalist Angelo Falccavento

 

Archive superintendent for Veneto and Trentino - Alto Adige regions, Erilde Terenzoni and professor of Contemporary Art History at Parma University, Gloria Bianchino.

 

Frizzifrizzi blogger, Simone Sbarbati and Paola Severini Melograni, writer and TV producer

 

Adriano Franchi managing director AltaRoma

 

Andrea Battilla CEO of Italiana Marchi and Andrea Montorio,

CEO Promemoria and Kollectium

 

 Is Italy Trendy – Talks

Fashion and Italian Museums: a difficult relationship

Chaired - Serena Tibaldi

Clara Tosi Pamphili, Flash Art and Artribune contributor, Alessandra Mammi art historian and journalist, Maria Luisa Frisa and Serena Tibaldi fashion editor D La Repubblica.

 

Carlo Magnani director of the Department of Architecture and Arts at Universita Iuav di Venezia and Elisa Gagliardi Mangilli  art historian and Orientalist at Udine University.

 

Designer Onka Allmayer-Beck

Is Italy Trendy – Conclusions

Andrea Tomat, president Lotto Sport Italia SpA, Alberto Baban, president of Piccola industria and V.P. Confindustria, Cristiano Seganfreddo, innovator and creative entrepreneur and Carlo Magnani director of the Department of Architecture and Arts Universita Iuav di Venezia.

 

Andrea Tomat, president Lotto Sport Italia SpA

 

Alma and Maja Spinelli, Maria and Vjera Bonifacic

 

Sara Maino, senior editor Vogue Italia and editor Vogue Talents and Lupo Lanzara, general manager at the Accademia Costume e Moda.

 

Last BUT not Least - Iuav’s Gabriele Monti

 

 

 

 

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Venice: Palazzo Grassi – Martial Raysse

Venice: Palazzo Grassi – Martial Raysse. The exhibition at Palazzo Grassi, Martial Raysse, until November 30, who is one of the most important living French painters and winner of the 2014 Praemium Imperiale. This is his first monographic exhibition outside of France since 1965 and it is the perfect opportunity to discover or rediscover his work and to explore the dedication and proximity between  the collector and the artist.

Above. America America – 1964.

http://www.palazzograssi.it/en/exhibitions/martial-raysse/

Photograph by Matteo De fina – courtesy Palazzo Grassi

Martial Raysse and Caroline Bourgeois

Martial Raysse. The exhibition is curated by Caroline Bourgeois in close collaboration with the artist, it brings together more than 300 works from 1958 to the present day; paintings, sculptures, videos and neon works, almost half of which have never been shown to the public. The course of the exhibition, which is non-chronological, offers a new point of view on his work, by underlining, on the one hand, the multifaceted nature of his artistic production, and, on the other hand, the continuous dialogue and echo he has established among his works throughout his sixty years of career.

Martial Raysse. The painter emerged at the same time as major post-war American artists such as Warhol and Liechtenstein and he worked in Nice, Paris, New York and Los Angeles. Although one of the major artists of the second half of the 20th century, Raysse has only recently gained the same reputation as some of his more well-known ‘Pop Art’ contemporaries.

Above. Japan – 1964. Made in Japan – La Grande Odalisque – 1964. Portrait of an Ancient Friend – 1963. Proposition to Escape: Heart Garden – 1966.

Palazzo Grassi: Martial Raysse – The Ground Floor. “We wanted the exhibition to cover every aspect of Raysse’s artistic practice: from his small sculptures, which range from simple figures to games played with himself, through the drawings as works of preparation and his films that he uses to convey his libertarian ideas, to the pictures that compose his latest works. We have also punctuated the exhibition with works that are in a way self-portraits, reflecting the incredible demands the artist has made on himself and the loneliness he has had to endure in order to move forward in his art.” Bourgeois explains.

Above. The ground floor has ten display cases with ninety-five sculptures made between 1958 and 2014. Ailleurs – 1987.

Palazzo Grassi - Martial Raysse. “Photography for me played the role of a link that, in the beginning, took the form of stereotyped faces of young women in advertisements, leitmotifs of our visual culture. Through these faces, an initially experienced form of communication establishes itself beyond the preexisting formulas.” Martial Raysse. 

Above. Make Up - 1962.

  

Palazzo Grassi - Martial Raysse

La Belle Tarentaise - 1993

 

Palazzo Grassi - Martial Raysse.  “In his history paintings, he offers to take a critical distance from what we may see or believe. He explores mythological subjects, as in L’Enfance de Bacchus or Le Jour des Roses sur le Toit, and uses them to speak of conspicuous consumption, of his distance from politics (Poisson d’Avril and Ici Plage, Comme Ici-Bas, below) or of his desire to laugh at the foibles of his time (Le Carnaval a Perigueux, above). Painter, sculptor, draftsman, but also poet and filmmaker: so many reductive terms with which to attempt to define this multifaceted and unclassifiable artist whose work spans the second half of the 20th century and continues, even today, to surprise us with its idiosyncrasy.” For Alain Jouffroy in 1996, Le Carnaval a Perigueux (1992) evoked “those twentieth-century painters who, with their violent irony, their violent severity, depicted 1920s Berlin as a society play-acting as it began to decompose, both mentally and politically.”

Above. Le Carnaval a Perigueux – 1992.

 

Palazzo Grassi - Martial Raysse. Raysse continued to innovate and incorporated neon in his paintings creating iconic works such as Nissa Bella in 1964 and then Peinture a Haute Tension, above in 1965. Raysse’s first foray into cinema is the painting Suzanna, Suzanna (1964), in which a video is included. After introducing film imagery into painting areas, the artist produced several whimsical, burlesque short films featuring several of his artist friends. He utterly unleashed his critical standpoint and penchant for experimenting in these films. Two-way exchanges between cinema and painting flourished, enriching both.

Above. Peinture a Haute Tension - 1965.

Palazzo Grassi - Martial Raysse

Toi et Moi – 2009

 Palazzo Grassi - Martial Raysse. After 1962, images of glamorous women came to dominate Raysse’s work. Whether in the form of his unconventional, neon-hued canvases or in his early environmental installations, Raysse’s new pictorial love of women was neither a misogynist about-face nor a regression into representational art. His women are simultaneously the subjects of his (pictorial) desire and critical ciphers for his sociopolitical insights into the upheavals facing France. 

Above. Nu Jaune et Calme - 1963.

 

Palazzo Grassi - Martial Raysse

Liberte Cherie – 1991 - detail

 

Palazzo Grassi - Martial Raysse

Raysse Beach - 1962

 

Palazzo Grassi - Martial Raysse.  Ici Plage, Comme Ici-Bas, created exactly fifty years later, (after Raysse Beach, 1962, above) is not an installation but a painting of unusual size, measuring 3 meters in height by 9 in width. Chronologically it is the last of a series of works of large format. The subject is identical to that of Raysse Beach but the atmosphere here is very different: the two works are separated by a huge gulf that is the results from a different way of thinking. In Ici Plage, Comme Ici-Bas the artist is not celebrating the apotheosis of a happy and optimistic society as he did in Raysse Beach. On the contrary, here the human figures painted in bright and acid colors seem to be dancing casually on the brink of the abyss. In this work we find all three of the traditional genres that Raysse has been practicing daily for at last thirty years: portrait, landscape and history painting. These different areas of his research come together in the large format, of extreme interest to the artist in so far as it can accommodate on the one hand grand narratives and on the other his love of detail, his fondness for a micro-painting strewn with small comic annotations and mysterious symbols.

Above. Ici Plage, Comme Ici-Bas – 2012.

 

Palazzo Grassi - Martial Raysse

L’Archer - 1980

 

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