Sunday, February 11, 2018

Conegliano: Palazzo Sarcinelli – Teodoro Wolf Ferrari – La Modernita del Paesaggio - Exhibition

 
Palazzo Sarcinelli
Teodoro Wolf Ferrari – La Modernita del Paesaggio
At Palazzo Sarcinelli, Teodoro Wolf Ferrari – La Modernita del Paesaggio is on show until June 24. The exhibition is curated by Giandomenico Romanelli and Franca Lugato, and has the aim of shedding light on the emblematic and little-studied figure of Wolf Ferrari. It allows us to enter the studio of this “poet of the landscape” and contemplate through paintings, watercolors, decorative panels, stained glass and studies for postcards, the gentle hills that stretch from Asolo to Conegliano and the Grappa uplands, or the darker and more disturbing scenarios that hold a deep feeling of mystery. 
Teodoro Wolf Ferrari
Paesaggio (cat.31 + 32) – 1908
Pannello Deocrativo a Quattro Ante – 1912
 
 
Co-curator Giandomenico Romanelli and Emanuela Bassetti
President, Civita Tre Venezie  
Teodoro Wolf Ferrari - Betulle e Glicini – 1919


San Zenone degli Ezzelini
Cipressi sul Monte della Madonna verso la Val Sugana – 1942


These are works that declare Wolf Ferrari’s own love of landscape, experimentation, and a wide variety of techniques. He was able to imbue Venice and Italy with European figurative ideas that, at the dawn of the twentieth century, inaugurated modernity and gave rise to the great avant-garde Secessionist movements.


  “Tall, big, blond, ruddy
with greenish eyes, eloquent
when he talks and tries to explain
the chiaroscuro of his spiritual life
you would think him tranquil when
you see him, but he is full of anxiety
wear, interior hopes; a tenacious
worker; an industrious decorator
an impenitent optimist and
full of hope.”

Gino Damerini - 1910

 
Teodoro Wolf Ferrari – Notte – 1908
After his studies at the Accademia di Belle Arti in Venice with Guglielmo Ciardi, Wolf Ferrari went on to study in Munich where, in 1895, he came into contact with some of the most advanced and cosmopolitan Symbolist and Secessionist movements of the time. The exhibition layout ranges over the whole career of the artist, following a thematic line that includes various periods and experiences, from his view of Middle-European trends, with a fascinating section devoted to the theme of “storms”, to the latest Venetian art and the delicate autumnal walks from Grappa to the Piave.


Teodoro Wolf Ferrari 
Paradiso Perduto – 1908
Paesaggio Notturno – 1908

 
 Teodoro Wolf Ferrari – La Morena - 1910-12
This is a rare occasion for getting to know and re-discovering an artist better known to specialists than to a wider public, an artist who not only gracefully portrayed nature, but also told the story of the transformation of Italian art on the cusp of the 19th and 20th centuries.

   
We Drank
Prosecco Superiore Brut
Conegliano Valdobbiadine

 

Teodoro Wolf Ferrari - postcards




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Monday, February 05, 2018

Venice: Museo di Palazzo Mocenigo – Katagami e Katazome + Venezia e l’Oriente – exhibitions

 
Museo di Palazzo Mocenigo

Katagami and Katazome

Symblology and Decoration of Textiles in Japan
At Museo di Palazzo Mocenigo, until April 22, Katagami and Katazome - Symblology and Decoration of Textiles in Japan, until April 22, is designed and curated by Franco Passarello.  The exhibition reveals the cultural history and ethnological aspects of the Japanese craftsman connected to fashion textiles.

 
Katagami and Katazome

Symblology and Decoration of Textiles in Japan
The many examples of weaving, printing and dyeing provide abundant evidence of the long tradition of the high standard of clothes worn in Japan. Before the 20th Century Japan was a nation of weavers and artisans creating superb textiles with natural fibers, silks and cottons on hand-looms and dyed in backyard pots.
curator Franco Passarello
Kajiboari  - Samurai coat - Edo era



Chiara Squarcina and Tonci Foscari


Woodblock Print Book – 6th year Bunka
Edo era 1806
Katagami


Katagami and Katazome

Symblology and Decoration of Textiles in Japan
The exhibition highlights the tasteful restraint, elegance of line and attention to texture that have come to be associated with Japanese Art, found nowhere else in the world. Dress-cloth printed with the katazome technique are shown together with the katagami stencils used to dye textiles.  The exhibit material span between 1800-1910 Edo and Meiji eras.  On loan from the collections of Franco Passarello, Ishimi Osugi and Nancy Stetson Martin.
Kataginu – formal jacket  
silk dyed Katazome - Meiji 1900 – katagrami printed design


Design Sample Book - 12th year Meiji – 1880

 
Han-jubani –printed KatazomeEdo era
Han-jubani - printed Katazome Taisho-Showa era
Hanori – printed Katazome Maiji-Taisho era

 
Maria Teresa Granata
Katagami - Stencils

 
Katazome – dyeing technique on fabric

Photograph courtesy MUVE

 


Museo di Palazzo Mocenigo

Venice and the Orient

Collection Fondazione di Venezia
Thanks to the rich collection of fabrics and Oriental clothes owned by the Fondazione di Venezia belonging to the  archives of Palazzo Mocenigo Museum of Textiles and Costumes, until August 26, the exhibition focuses on the theme Venice and the Orient and is curated by Chiara Squarcina. A selection of twenty representative examples of the precious collection of over four hundred artifacts once belonging to the maternal family of Mariano Fortuny y Madrazo (which also includes western, oriental clothes and fabrics and vestments) are displayed in the majestic rooms of the palazzo.

 
 curator Chiara Squarcina
 


Museo di Palazzo Mocenigo
Venice and the Orient
The oriental vetements were assembled in Spain by the parents of the painter Mariano Fortuny y Madrazoin 1875 the collection was put up for sale in Paris after the death of Mariano’s father. It was later recomplied by his mother Cecilia and continued by the artist himself. It is a nucleus of particular interest because it was a constant source of inspiration for Fortuny, in his activities of printing on cloth and fashion design and also, because it allows to visually reconstruct that ancient - and never dormant - link between Venice and the Orient.

 
Carlotta Vincenzi  

 
Mark Edward Smith

 
Museo di Palazzo Mocenigo
Venice and the Orient

 
Franco Passarello

 
Anna Turcato


Veronica Piccolo














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Wednesday, January 31, 2018

Venice: Teatrino di Palazzo Grassi - Fashion in Film Il Manto e La Pelle – Inferno Unseen – Workshop Nanni Strada



Teatrino di Palazzo Grassi
Fashion in Film
On the occasion of the ten-year anniversary of the Fashion in Film Festival, London, the Teatrino di Palazzo Grassi presented a cycle of screenings open to the public and a workshop for students dedicated to exploring the relationship between fashion, cinema and art.
Above. Fashion designer Nanni Strada who conducted a workshop and presented  her film Il Manto e La Pelle.

 
Fashion Aperture
Fashion Designers and the Moving Image

Workshop
The three-day workshop Fashion Aperture - Fashion Designers and the Moving Image, investigated the relationships between fashion and new technologies and, in particular, the use of film by fashion designers as a tool for expression, planning and communication, from the beginning of the 20th century to today. 


 Caroline Evans, Alessandra Vaccari and Nanni Strada

The workshop was created and organized by Alessandra Vaccari, Iuav University of Venice, and Caroline Evans, Central Saint Martins College, University of the Arts London, with the participation of fashion designer Nanni Strada.

 
1970s Radical Fashion in Motion

Il Manto e La Pelle introduced by Nanni Strada
Italian fashion designer Nanni Strada has devoted her career to developing unconventional ways of thinking about clothing. In 1971 she designed the so-called abito abitabile (habitable dress) with no lining, no fixed size, adjustable fastenings and no reinforcements, kept together by ‘welding stitches’ (derived from knitwear). Searching for architectural purism in clothing, she has developed her research and design practice over a period of several decades, while also contributing to the theory and culture of fashion design with books such as Moda Design (Modo, 2000), and Lezioni. Moda Design e Cultura (Lupetti, 2013).


Photograph still from Il Manto e La Pelle – courtesy Nanni Strada Design Studio

 
 Il Manto e la Pelle - 1973 - Metaprogetto and Film
Nanni Strada with Clino T. Castelli
This workshop considered the key role that film played in making visible the radical anti-consumerist ideals of the 1970s Italian Design scene. Against this background, the workshop focused on Nanni Strada’s pioneering film Il Manto e la Pelle (The Mantle and the Skin) and provided a unique opportunity to meet the designer herself. Presented at the XV Milan Triennale (1973), the film explained and promoted her new system of ‘dressing design’: geometric, two-dimensional, compressible clothes assembled with futuristic stitching (the Mantle series) and tight tubular garments without seams – a seamless suit (the Skin series).

 

Nanni Strada - Pantysol – Tubular Dress without Seams


Nanni Strada – Torchon – Pleated Tubular Dress
Winner - Compasso D’Oro - 1976

  Still from The Inferno Unseen – courtesy MUBI

 Teatrino di Palazzo Grassi 
The Inferno Unseen (15)

with live electronic score by Rollo Smallcombe
Teatrino di Palazzo Grassi celebrated 10 years of the Fashion in Film Festival. Fashion in Film, MUBI and Lobster Films created a new cut of Henri-Georges Clouzot’s 1964 The Inferno. The Inferno Unseen resurfaces the original rushes of Clouzot’s unfinished feature, in a series of kinetic and optical experiments set against a newly-commissioned live electronic score by Rollo Smallcombe.




“The original rushes came like a pack of cards that had been very well shuffled. The music is 100% composed specifically for the new cut. That way it can really connect with the edit of the visuals. I wanted to create a soundscape that responded directly to the footage. I like to think that Clouzot’s original treatments and my electronic score feed off each other to offer a fresh take.”
Rollo Smallcombe
London based music producer, composer and filmmaker


Mubi’s Kiri Inglis – Palazzo Grassi’s Martina Malobbia – Fashion in Film director Marketa Uhlirova - Palazzo Grassi’s

Jacqueline Feldmann

   Still from The Inferno Unseen – courtesy MUBI

The Inferno Unseen – UK - 2017
The edit exclusively features film rushes for Henri-Georges Clouzot’s unfinished film Inferno (1964), left behind in 185 cans at the CNC Archive and re-discovered by Lobster Films in 2007. It is edited by Rollo Smallcombe and Marketa Uhlirova and features Serge Bromberg’s voice.  Clouzot’s cameramen Andreas Winding, Claude Renoir and Armand Thirard shot some twelve hours of film footage, showing abstract kinetic experiments and actors including Romy Schneider, Serge Reggiani, Dany Carrel and Jean-Claude Bercq captured in a number of wardrobe, screen and optical effects tests. The focus is primarily on Schneider performing simple, seductive actions in carefully composed mises-en-scene.

Actors
Romy Schneider, Serge Reggiani, Dany Carrel, Jean-Claude Bercq, Jacques Gamblin, Bernard Stora, Brigitte Bardot
Cinematography Andréas Winding - Armand Thirard  - Claude Renoir
Costumes - Jacques Fonteray


 
Mario Lupano


Sergio Gallozzi, Maria Grazia Rosin and Galliano Mariani

    Still from The Inferno Unseen – courtesy MUBI

The Inferno Unseen – UK - 2017

 

Mike, Jill and Jessica Smallcombe


 
Alexis Sornin


    Still from The Inferno Unseen – courtesy MUBI

 The Inferno Unseen – UK – 2017
Romy Schneider
Departing from Serge Bromberg’s critically acclaimed documentary about Clouzot’s film (2009), The Inferno Unseen focuses solely on the haunting and often beautifully colour-lit visions. Here the union between the filmic and the sartorial is made all the more striking by the unique temporality of a screen test performance.











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