Ponti

On a winter night, in front of the fireplace, a young woman reads a Norwegian fairy tale to the children. We are in Edvard Munch’s house in Åsgårdstrand, immersed in the Great North, where the winds whisper, the bears carry the girls on their backs, the trolls unleash evil spells.
Yet, what sees Edvard Munch as the protagonist is a fairy tale without a happy ending, which ends with the death of his mother and sister Sophie, with the devastating depression of his father, events that will forever mark the human and artistic life of the paintbrush. The Scream.

The docufilm Munch. Loves, ghosts and vampire womenproduced by 3D Produzioni and Nexo Digital, directed by Michele Mally who signs the screenplay with Arianna Marelli, at the cinema on 7, 8 and 9 Novemberinvites us into the room to look at the man of profound and mysterious charm with new eyes, a precursor and teacher for all those who came after him.
In addition to shedding new light on Munch, the new docufilm de The Great Art in the Cinema, distributed with the media partners Radio Capital, Sky Arte, MYmovies.it and in collaboration with Abbensione Musei, it is also a journey through Munch’s Norway. An invitation to viewers to search for the roots and identity of a universal artist, to question themselves on the idea of ​​time, the main and recurring theme in his multifaceted work.

Munch. Fanstastic loves and vampire women – Edvard Munch, Ceneri, Munch, Oslo

As his biographer Sue Prideaux recounts, Munch lived eighty troubled years, between alcoholism, psychiatric problems, isolation. But the psychoanalytic reading of his work is not enough. Art historians such as Jon-Ove Steihaug, director of the Exhibitions and Collection Department of the MUNCH Museum in Oslo, Giulia Bartrum, curator of the British Museum for decades, and Frode Sandvik, curator of the Kode in Bergen, review the themes and obsessions present in his work, in addition to artistic skills. The experimental techniques that the artist has chosen to adopt in his works make his works, as the restorer Linn Solheim explains, extremely fragile, full of that research on the human soul and the attempt to translate emotions on canvas or paper. .

Munch. Loves ghosts and vampire women, Ingrid Bols

The docufilm does not neglect the crucial experience of bohème fin de siècle. As the director of the MUNCH Museum, Stein Olav Henrichsen explains, “artists are always in opposition to their time, even if – looking back – we consider them representative of a particular period in history”. And Munch in opposition to his time was there, living as a bohemian first in Kristiania – where he laughed at the bourgeois undead along with anarchist writer Hans Jæger, painter Christian Krohg and free-spirited women who embodied an independent female figure in the society – and later in Berlin, where he falls in love with Dagny Juel, associating with Satanists and doctors who experiment with the use of cocaine.

The big screen also analyzes Munch’s complex relationship with women, which does not end only with biographical events, such as the stormy relationship with Tulla Larsen, one of the “Vampire Women” that Munch met during his life and who shot the painter. during a quarrel. For the artist trauma and art, torment and desire intertwine and merge incessantly in an intense reflection on women: a “siren” and enigmatic “sphinx” who, as the writer Gunnhild Øyehaug also pointed out, attracts and terrifies the man.

Munch. Loves ghosts and vampire women – Edvard Munch, Vampiro, Munch, Oslo

The most intimate links with the northern landscapes and its vivid colors are made music in the compositions of Edvard Grieg, who spent his summers in the nature of the Troldhaugen hill in Bergen. The Norwegian composer was able to recreate that same feeling of “being at home”, as did the pianist Leif Ove Andsnes. In this continuous repetition, as well as in visual experiments through cinema and photography, we can find – as the art historians Elio Grazioli and Øivind Lorentz Storm Bjerke suggest – the key to entering Munch’s time.
A variable time that expands towards the eternal and at the same time fixes moments that subsequently become obsessions.

And we, in some way his heirs, welcome his request for salvation, a sort of opening to the spirits, to the ghosts that hover around us.
To weave the story of Munch are, in the docufilm, also the interventions of Erik Höök, director of the Strindbergsmuseet in Stockholm, of the soprano and entrepreneur Siri Kval Ødegård, of Carl-Johan Olsson, curator of 19th century painting at the Nationalmuseum in Stockholm, and the soundtrack of the film, which includes repertoire pieces, such as those of the Norwegian composer and organist Iver Kleive. To sign the original music of the film – which will be contained on the album Munch. Love, ghosts and lady vampires – Music insipired from the filmout in November on the Nexo Digital label and Believe Digital distribution – is the musician and composer Maximilien Zaganelli.

Munch. Loves ghosts and vampire women. Edvard Munch, Self-portrait, Munch, Oslo

Venice – “I’d rather take a picture than be a picture,” Lee Miller once said. Yet still today many know her for having been the model and lover of Man Ray. While at the cinema she is preparing the release of the biopic Lee, with Kate Winslet in the title role, a major exhibition in Venice pays homage to the surrealist photographer. From 5 November to 10 April, 140 photographs, art objects and rare video documents will illustrate his numerous talents at Palazzo Franchetti, finally restoring the reality of his bond with Man Ray, first his mentor, then his companion and finally a great friend.

Man Ray, Self Portrait, 1931 (1982). Private collection I Courtesy Marconi Foundation, Milan © Man Ray 2015 Trust / ADAGP-SIAE 2022

We owe to Suzanna, late wife of Anthony Penrose (Lee’s second husband), the rediscovery of the thousand lives of this extraordinary artist. Galeotte were some forgotten boxes in the attic with a world inside: 60,000 photographs, negatives, documents, magazines, letters and objects. Muse, photographer, icon of the twentieth century, the first woman war reporter to document the horrors of the concentration camps liberated by American troops, Lee Miller went through life with incredible passion and determination. The path curated by Victoria Noel-Johnson retraces the stages of her adventure between secret shots and images that have written history, with loans from the Lee Miller Archives and the Marconi Foundation. “The exhibition allows us to relive the intensity of the Roaring Twenties, the Paris crossroads of fashion, literature and art that opened up to Surrealism. And then Miller, witness to the horror of the Second World War… Aesthetics and history, beauty and tragedy ”, summarizes Vittorio Verdone, director of Corporate Communication and Media Relation at Unipol, who supported the project.

George Hoyningen-Huene, Lee Miller and Agneta Fisher, Vogue, 1932 © George Hoyningen-Huene Estate Archives

In Venice we will discover Lee as a model and style icon on the pages of Vogue, where she landed in the 1920s at the invitation of the famous publisher Condé Nast. Or in Paris in the avant-garde environments, between portraits of Pablo Picasso, Max Ernst, Jean Cocteau, and her friends photographers Dora Maar and Meret Oppenheim. We will retrace their loves and marriages, from the Egyptian businessman Aziz Eloui Bey to the British surrealist Roland Penrose, and we will recognize the reflection of these encounters in art. From the fascination of Egypt, for example, the unforgettable was born Portrait of Spacewhich with its curtain torn over infinity inspired the Kiss by Magritte.

Lee Miller, Portrait of Space, Al Bulwayeb, near Siwa, Egypt, 1937 © Lee Miller Archives England 2022. All rights reserved. www.leemiller.co.uk

The heart of the exhibition is the relationship with Man Ray, told through intense photographs taken by both. How The Neck, which portrays Lee’s long and elegant neck: after a furious quarrel, the lover would have represented him cut by a razor and adorned with drops of red ink. In 1933, however, a Man Ray blinded by the pain of separation replaced the eye of his famous metronome Perpetual Motif with that of Lee Miller. Deep, sensual and overwhelming for both, the relationship between the two holds surprises that go beyond the narration of a love. Few people know, for example, that it was Lee who discovered the photographic technique of solarization, which went down in history as a revolutionary innovation by Man Ray.

Man Ray, The Tears (Les deux yeux, le nez et les larmes), 1930 (1988). Private collection I Courtesy Marconi Foundation, Milan © Man Ray 2015 Trust / ADAGP – SIAE – 2022

When love ends, Miller returns to New York and opens a successful photography studio, the only one in the city founded and run by a woman. But her life will soon take her elsewhere: to Egypt, London and the theaters of the Second World War. As a war correspondent and photojournalist for Vogue, she Lee she will document the bombings of London, the liberation of Paris, the concentration camps of Buchenwald and Dachau, and in 1944 she will be credited as a correspondent in the US Army. The face to face of her with the brutalities of the twentieth century will not leave her indifferent. Lee Miller will suffer from depression and post-traumatic disorders, Man Ray will be close to her forever.

Lee Miller, Fire Masks, 21 Downshire Hill, London, England, 1941 (3840-8) © Lee Miller Archives England 2022. All rights reserved. www.leemiller.co.uk

Curated by Victoria Noel-Johnson, Lee Miller Man Ray. Fashion Love War it will be open to the public at Palazzo Franchetti from 5 November 2022 to 10 April 2023. The catalog published by Skira contains texts by Anthony Penrose and Ami Bouhassane, the artist’s son and grandson respectively.

“Lee Miller Man Ray. Fashion, Love, War”, Palazzo Franchetti, Venice

Giovane fotografo di mangrovie dell’anno – vincitore. Ecosistema sano di Fakhrizal Setiawan, Indonesia

Da un coccodrillo in primo piano a un granchio che pesca in una grotta e una lucertola che naviga nei rifiuti di plastica, ecco uno sguardo alle immagini vincitrici, ai secondi classificati e ad alcune voci encomiate ai Mangrove Photography Awards, gestiti dal Mangrove Action Project.

Di più: Premi per la fotografia di mangrovie, Progetto d’azione sulle mangrovie h/t: custode

Mangrovie e fauna selvatica: vincitore. Decollo da Jayakumar MN, Emirati Arabi Uniti

Un fenicottero maggiore (Phoenicopterus roseus) decolla per un viaggio migratorio attraverso l’Asia e molto probabilmente tornerà nelle stesse zone umide costiere nei mesi invernali. “Si stava nutrendo con la testa nell’acqua, prima di volare via verso la luce del mattino.”

Mangrovie e sott’acqua: vincitore. Granchio blu di Martin Broen, Messico

I misteri di un ambiente naturale raramente visto. Un granchio blu (Callinectes sapidus) che pesca in una transizione unica tra acqua dolce e salata nei cenote messicani. “Durante un’immersione esplorativa attraverso le grotte buie e allagate, mi sono imbattuto in questo granchio orgoglioso che si staglia contro le radici di mangrovie sopra.”

Mangrovie e paesaggio: vincitore. Alberi danzanti Walakiri di Loïc Dupuis, Indonesia

Il sole sorge lungo le tranquille spiagge di East Sumba in Indonesia. “Volevo catturare la bellezza e la fragilità di questa meraviglia unica. Dobbiamo proteggere e visitare luoghi come questo con grande attenzione, in modo che anche le generazioni future possano goderne”.

Mangrovie e umani: vincitore. Honey Hunters di Muhammad Mostafigur Rahman, Bangladesh

I tradizionali raccoglitori di miele rompono un nido d’ape per ottenere il miele a Sundarbans, un sito del patrimonio mondiale dell’UNESCO e un santuario della fauna selvatica in Bangladesh. Mentre si muovono alla ricerca di alveari in natura, i raccoglitori di miele corrono il rischio di incontrare un nemico mortale, la tigre reale del Bengala. Il recente sviluppo umano nell’area e la crisi climatica, in particolare l’innalzamento del livello del mare, stanno minacciando l’ecologia dei Sundarban e, con essa, lo stile di vita del popolo Moulis.

Mangrovie e conservazione: vincitore. New Normal di Kei Miyamoto, Indonesia

Una lucertola varano (Varanus salvator) lotta lungo il suolo della foresta pieno di plastica alla ricerca di cibo. “Sempre più plastica riempie le nostre foreste di mangrovie e sta colpendo la nostra fauna selvatica che la chiama casa”.

Guardiano delle mangrovie – vincitore assoluto. Tanya Houppermans, Cuba

Un curioso coccodrillo americano (Crocodylus acutus) nuota verso il fotografo ai Giardini della Regina (Jardines de la Reina), un arcipelago al largo delle coste di Cuba. È stato rigorosamente protetto dal 1996 ed è uno degli ecosistemi marini più incontaminati del mondo. ‍ “La sana popolazione di coccodrilli americani dipende dalle condizioni incontaminate delle mangrovie e volevo catturare primi piani di questo gigante gentile nel suo habitat naturale. Spero che questa immagine possa illustrare quanto la protezione di aree come questa sia così fondamentale”.

Mangrovie e fauna selvatica – altamente lodati. Fossile vivente di Fernando Constantino Martínez Belmar, Messico

Un granchio a ferro di cavallo dell’Atlantico (Limulus polyphemus) nelle mangrovie della riserva naturale di Ria Lagartos, Yucatán. Le femmine possono deporre fino a 20.000 uova in una notte, svolgendo un ruolo importante nel fornire uova ricche di nutrienti agli uccelli migratori.

Mangrovie e paesaggio – altamente lodato. Humedal Amarillo di Humberto Bahena Basave, Messico

Lagune costiere, isole e vaste paludi di mangrovie si trovano nella baia di Chetumal, Quintana Roo, in Messico.

Mangrovie e sott’acqua: altamente lodato. French Grunts di Lorenzo Mittiga, Antille Olandesi

Una scuola di giovani grugniti francesi (Haemulon flavolineatum) che utilizza le radici delle mangrovie come vivaio prima di spostarsi sulle scogliere delle isole caraibiche.

Mangrovie e umani: altamente lodati. There is Hope in the Trash di Rodrigo Silva Campanario, Brasile

Un pescatore, Paulo Silva, raccoglie rifiuti dalle mangrovie nella baia di Guanabara. La ONG Guardians of the Sea ha aiutato a ripulire più di 11 tonnellate di rifiuti da queste foreste costiere.

Mangrovie e conservazione: altamente lodato. Deserto della vita di Miguel Diaz Perez, Messico

Devastazione delle mangrovie dall’alto. Un tempo piene di vita, le mangrovie dello Yucatán in Messico sono state distrutte da un uragano di passaggio.

Mangrovie e fauna selvatica – altamente lodati. Foraggiamento delfini tursiopi di Mark Ian Cook, USA

Un branco di delfini tursiopi si nutrono nelle insenature fiancheggiate da mangrovie di Shark River Slough nelle Everglades meridionali, in Florida.

Mangrovie e sott’acqua: altamente lodato. Una foresta sottomarina di Marelo Johan Ogata, Indonesia

La luce, gli angoli e le forme di una foresta di mangrovie sott’acqua.

Mangrovie e umani: altamente lodati. Mezzi di sussistenza di Rajesh Dhar, India

Un pescatore getta la sua rete nel fiume Matla a Canning durante la bassa marea. Circa 600.000 persone dipendono in vari modi dalle risorse dei Sundarban, come pesce, granchi, miele e palma nipa, o golpata (Nypa fruticans), per il loro sostentamento.

Mangrovie e sott’acqua: altamente lodato. Prospettiva diversa di Hamid Rad, Indonesia

Un piccolo mondo tutto suo. Un solitario albero di mangrovie che cresce nelle acque poco profonde di una laguna a Raja Ampat, Indonesia. I coralli che crescono intorno possono essere visti nel riflesso (area verde).

Mangrovie e paesaggio – altamente lodato. Albero della vita di Amar Habeeb, Emirati Arabi Uniti

La maggior parte delle mangrovie che si trovano lungo la costa degli Emirati Arabi Uniti si trovano ad Abu Dhabi, fungendo da “polmone verde” per la città. Tra le mangrovie sono stati individuati motivi che ricordano una struttura ad albero.