Ponti

Daniel Cortez alias Decertor è di Lima, Perù. È un pittore interessato a costruire ricordi resistenti alle intemperie negli spazi pubblici.

Il suo stile è iniziato con l’esercizio del realismo, ma poi si è sviluppato per enfatizzare l’interconnessione tra l’individuo e la comunità nella psiche sociale.

“Diversi mesi fa ho iniziato a dipingere spontaneamente piccoli colibrì in luoghi diversi. Realizzarli è altrettanto soddisfacente quanto scoprirli nascosti in pareti, colonne e angoli inaspettati”, afferma.

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Brescia – A great exhibition at the Museum of Santa Giulia inaugurates the party of Brescia and Bergamo Italian Capital of Culture 2023. For the occasion, the Lioness of Italy has chosen to investigate a little beaten but fundamental period of its history. After the Roman roots, the Lombards and the splendors of the Renaissance, Brescia turns the spotlight on the Middle Ages, an era of fascinating transformations that will shape the architecture and the deep identity of the city.

Curated by Matteo Ferrari, researcher at the École Pratique des Hautes Études in Paris, The city of the Lion. Brescia in the age of municipalities and lordships investigates the years ranging from the second half of the 12th century, when the first civic institutions appeared, up to 1426, the beginning of the domination of Venice. Staging the story from tomorrow, October 29, until next January 29, will be a selection of works as rich and lively as the life of the city: sculptures, paintings, illuminated manuscripts, but also precious goldsmith objects, coins and rare documents archive, including prestigious loans from Italian and international museums. Like the shining Madonna of Humility by Gentile da Fabrianopreserved in the National Museum of San Matteo in Pisa, which once adorned the lost one Chapel of San Giorgio al Broletto, the residence of the lords of Brescia. To satisfy the refined taste of the Visconti, the Umbrian master embellished the entire environment with sumptuous decorations, arousing the admiration of guests and visitors, but today only a few fragments remain of this jewel.

Gentile da Fabriano (Fabriano, c. 1370 – Rome, 1427), Madonna of Humility, about 1425. Tempera and gold on wood. Pisa, National Museum of San Matteo

“Telling medieval Brescia in an exhibition is a difficult undertaking”, he explains the curator Matteo Ferrari: “Much has been destroyed, much more is attested only through archival evidence, much still cannot be exhibited for reasons of encumbrance or conservation. Through a selection of pieces different in nature and format (imperial diplomas and administrative registers, wall and table paintings, coins and seals, sculptures and goldsmiths), many of which are unknown to the general public, it was however possible to weave, for the first time , an evocative journey through three centuries of history, placing the emphasis both on the events of which the city has been the protagonist, as well as on the men and institutions that, through their activity of government and artistic commissioning, have forged its physiognomy and identity “.

Legendary enterprises begin the story at the Museum of Santa Giulia: we are in the seventies of the twelfth century and the autonomy of the city is at stake in the struggles against Federico Barbarossa. In the nineteenth century, paintings and drawings will celebrate the ferments and victories of this season: on display we will relive it as in a novel in pictures, from Pontida oath by Giuseppe Diotti (Brera Art Gallery) a The carroccio. The battle of Legnano by Massimo Tapparelli d’Azeglio (GAM of Milan), up to Peace of Constance by Giuseppe Bossi (Cabinet of Drawings of the Castello Sforzesco).

“The city of the Lion. Brescia in the age of municipalities and lords”, an image from the exhibition at the Santa Giulia Museum © Brescia Museums Photographic Archive

Along the way we will meet people like Arnaldo da Brescia and Pandolfo Malatesta, artists like Pisanello, Gentile da Fabriano or the Master of Sant’Anastasia, and we will discover the origin of city symbols and traditions, from the rampant lion coat of arms to the cult of the Holy Crosses, while rarely exposed documents will tell the life of the city in its most unusual and curious aspects . But the Middle Ages is also the era in which the architectural identity of Brescia is forged, when the cathedral and the town hall are raised on the square: with the help of a web app created for the occasion by EasyGuide, the itinerary visit will therefore expand beyond the walls of the museum to discover the remains of the medieval city.

“This extraordinary exhibition sheds new light on a formidable period for the history of the city and for the formation of civic identity,” he says the director of the Brescia Museums Foundation Stefano Karadjov: “A multi-object exhibition with a refined set-up and rarely accessible pieces, which also allows us to create a bridge with the municipal age section of the Museum of Santa Giulia, of which the exhibition project is a very strong temporary appendix. A process of enhancement of our Collections which, in addition to the Roman, Lombard and Renaissance grandeur, finally returns to talk about the medieval centuries in a compelling and formative way, on the eve of the year in which Brescia will be the Italian Capital of Culture “.

Luca Mannelli, Compendium moralis philosophiae, before 1346. Paris, Bibliothèque nationale de France © Bibliothèque nationale de France

Read also:
• Ancient or contemporary? Isgrò erases (and rewrites) the history of Brescia
• The great painting of Bergamo and Brescia is staged at Palazzo Martinengo
• Capital of Culture 2023: Bergamo and Brescia unveil the “Illuminated City”

Secondo un artista: “Ci sono due di noi dietro il nome VistulArt – Dagmara e Dariusz, che lavorano insieme, artisti d’avanguardia autodidatti di Varsavia, Polonia. Come duo artistico, creiamo opere non convenzionali “dipinte” solo con filo da cucito. Non è un segreto nemmeno che dietro le quinte, nella vita privata siamo una coppia anche noi. L’arte è stata in realtà una delle cose che ci ha avvicinato l’un l’altro oltre 14 anni fa e ci ha portato dove siamo ora.

Ciascuna delle nostre opere è realizzata con solo tre componenti fissi: una tavola di compensato, diverse centinaia di chiodi d’acciaio posti lungo i suoi bordi e chilometri di filo incrociato in vari colori, tipi e spessori disegnati tra di loro. Non utilizziamo alcuna tecnica pittorica, solo ed esclusivamente il filo è responsabile della creazione dell’intera immagine.

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Milan – The time has come: from tomorrow the extraordinary Mattioli Collection, among the first in the world for Futurist works, will be exhibited at the Museo del Novecento. For years the heirs of Gianni Mattioli tried to place it in a museum in Milan and thus fulfill the collector’s desire, but it was not easy. Then the agreement, signed in September 2021 between Giacomo Mattioli and Palazzo Marino: the 26 works of the collection, already declared indivisible in 1973 because “of exceptional artistic and historical interest”, were granted on loan for five years to the Museo del Novecento . Finally, we will be able to admire paintings like Mercury passes in front of the Sun by Giacomo Balla, The Engineer’s Lover by Carlo Carrà, Morandi bottles and fruit bowland the amazing Blue dancer by Gino Severini will dialogue the White dancer, formerly in the collections of the Arengario museum. In the Galleria del Futurismo rearranged for the occasion, a special place is reserved for the works of Umberto Boccioni: the tour will open with the sculpture Unique forms of continuity in space and will close with Matterrevolutionary portrait of the artist’s mother.

And it is precisely during the making of the documentary FORMIDABLE BOCCIONIwritten by Eleonora Zamparutti and Piero Muscarà, directed by Franco Rado and produced by ARTE.it Originals with ITsART and Rai Cultura, now available on the ITsART platform, we met two central protagonists of this story: Giacomo Mattioli, grandson of the great collector Gianni, and Danka Giacon, curator of the Museo del Novecento. Here’s what they told us.

From left: Fortunato Depero, the young Gianni Mattioli (in the center with the cap) and Filippo Tommaso Marinetti I Public Domain Wikimedia Commons

“My grandfather started buying paintings after World War II, but he was a friend of the Futurists throughout his youth,” recalls Giacomo Mattioli: “He was a poor boy who ran away from home at 16. In the Futurists, and in particular in Fortunato Depero, he almost found the figure of a father. He loved the Futurists because they represented modernity, the break with traditional bourgeois values ​​that he could not stand as a Protestant and the son of separated parents. But he didn’t have the money to buy the paintings, he found it hard to eat. After the war he began like many Milanese collectors: they were art lovers, they were friends of the artists, and they invested in works of art. Unlike others, however, Mattioli thought that a collection should also have a social purpose ”.

How come?
“It was an idea that he had developed during the war together with Fernanda Wittgens, his cousin, friend and later superintendent of Milan, with whom he had managed to save several Jews from deportation. Mattioli was deeply impressed by the massacres of the Nazis, especially that of Meina who lived in a very dramatic way. He thought that art could help people stay more human, more true. So with Fernanda they lit what they called ‘the torch of art’. Mattioli rented an apartment in via Senato, which he personally opened to the public on Saturdays, Sundays or on request, to show people things that were not yet in museums. He understood that Futurism and Metaphysics would be the two main movements of Italian modern art. It is no coincidence that he built the collection in a very short time, a sign that he had very clear ideas about the history of art at the beginning of the twentieth century ”.

Your grandfather understood the value of Futurism before critics and art historians …
“My grandfather understood that Futurism posed a fundamental theoretical question: what is art? What does it mean to make a work of art? The Futurists had been the first to ask, anticipating a bit all the avant-gardes of the twentieth century. Mattioli had started as a journalist and was interested in the relationship of art with the public, with society. Futurism was modernity because it spoke to everyone, opening art to new questions ”.

An image from the documentary “FORMIDABILE BOCCIONI”: Giacomo Mattioli with a painting from his grandfather’s collection

Among the masterpieces of the Mattioli Collection there is Matterthe painting by Umberto Boccioni that from tomorrow will close the Futurist Gallery at the Museo del Novecento …
“My grandfather bought Matter because he considered it the great masterpiece, the symbolic work of Boccioni. It was a very difficult and economically demanding operation. Then he bought those Boccioni linked to the great exhibition in 1912 in Paris. He tried to purchase at least one work by each of the artists who had exhibited at Galerie Barnheim Jeune: Solidity in the fog of Russolo, the Dancer by Severini … “.

After a long journey, the Mattioli Collection has found a home in Milan. In the rooms of the Museo del Novecento he will finally be able to speak to a large audience as his founder wished …
“I am very happy about it, because my grandfather was also the protagonist of the arrival of the very first group of works by the Futurists in the Milanese public museums. I’m talking about the collection of Felice Azzari, a futurist close to Depero who committed suicide. In the 1930s Mattioli acted as an intermediary in the operation between Azzari’s father, the Municipality of Milan and the Turin industrialist Ausonio Canavese, who agreed to buy the works and donate them to the city ”.

“In addition to being the city of Mattioli, Milan played a leading role in the art of the twentieth century, in particular of the avant-garde starting from Futurism”, observes Danka Giacon, curator of the Museo del Novecento. And by a very lucky coincidence, Piazza Duomo – where the museum is located – was the heart of the life of the Futurists in the city. “Around Piazza Duomo”, continues the curator, “there were the main meeting places of the artists of the movement: the Salvini Café and the Marchesi Pastry Shop, where the first galleries, the Society of the Artistic Family, gathered to discuss animatedly, which supported artists not yet established. In Piazza Duomo there was also the studio of Gaetano Previati, who for the generation of the Futurists was a great teacher and a point of reference. We know, for example, that Umberto Boccioni used to frequent him… ”.

From the documentary “FORMIDABILE BOCCIONI”: curator Danka Giacon in the Futurist Gallery of the Museo del Novecento

The Museo del Novecento has always had a collection of futurist works of exceptional value …
“The Museo del Novecento has the good fortune to collect a unique collection in the world of futurist works of art, in particular by Umberto Boccioni: it is the public collection that houses the largest number of the artist’s works. The collection actually began to form at the beginning of the 20th century, well before the birth of the museum. The first painting was the Portrait of Mrs. Virginia, just by Boccioni, acquired for the GAM around 1916. A work with still Divisionist ways, because it was, yes, daring, to buy the paintings of an avant-garde artist at that time, but the calmness of a recognizable subject was still preferred . The true futurist masterpieces will enter the collection in the 1930s thanks to the Canavese legacy. In the same period, with the intermediation of Marinetti, the Municipality of Milan acquired two fundamental bronzes by Boccioni: Unique forms of continuity in space And Development of a bottle. Marinetti, who had inherited the plaster models of the sculptures, had managed, thanks to a public grant, to carry out the castings in the Battaglia foundry in Milan. Finally, from the 1990s and early 2000s, I bought the important collection of Riccardo and Magda Jucker, with fundamental works such as Elasticity and the Drinkerand the donation of Pina Antonini, with the early twentieth century masterpiece The Twilight”.

What will be the added value of the Mattioli Collection in the visit to the Museo del Novecento?
“The Mattioli Collection is a very rich and important collection, which adds great futurist masterpieces to the heritage of the Museo del Novecento. It will dialogue with another important collection of the same period, the one put together by Riccardo Jucker precisely after World War II ”.

Umberto Boccioni, Dynamism of a cyclist, 1913. Mattioli I Jackrosso Collection, CC BY-SA 4.0, via Wikimedia Commons

Read also:

• Gianni Mattioli’s jewels: a millionaire collection arriving at the Museo del Novecento
• Gino Agnese tells Boccioni, the talent rejected in drawing who won the challenge of the twentieth century
• Boccioni and Vittoria, the futurist and the princess. Chronicle of a love outside the box
• That time when the futurists, unknown and misunderstood, exhibited at the Barnheim-Jeune Gallery (selling only one painting)
• “FORMIDABLE BOCCIONI”: the futurist genius in a docufilm
• Boccioni’s masterpieces to see in Italy
• Traveling with Boccioni. The masterpieces to be admired in the world

Con Halloween alle porte, la NASA ha pubblicato i suoi ultimi poster di Galaxy of Horrors. Disegnati come le pubblicità dei film horror degli anni ’50, presentano diversi esopianeti – pianeti che orbitano attorno a stelle diverse dal sole – ed evidenziano esattamente cosa li rende così spaventosi.

“Le persone sono spesso più interessate a trovare esopianeti che potrebbero assomigliare alla Terra o potenzialmente supportare la vita come la conosciamo”, ha affermato nella stessa dichiarazione Thalia Rivera, specialista di sensibilizzazione presso JPL che ha guidato lo sviluppo dei poster di Galaxy of Horrors.

“Ma ci sono così tanti altri pianeti sorprendenti e misteriosi là fuori che sono completamente diversi dalla Terra e che ci mostrano l’enorme varietà di modi in cui i pianeti possono formarsi ed evolversi”, ha aggiunto Rivera. “La cosa che preferisco degli esopianeti è quanto possono diventare estremi!”

Rains of Terror: questo lontano pianeta blu può sembrare un rifugio amichevole, ma non lasciarti ingannare! Il tempo qui è mortale. Il colore blu cobalto del pianeta deriva da un’atmosfera nebbiosa e bruciata contenente nuvole intrecciate con vetro. I venti ululanti mandano il vetro tempestoso lateralmente a 5.400 mph (2 km/s), sferzando tutto in una spirale nauseante. È la morte di un milione di tagli su questo pianeta slasher! (NASA-JPL/Caltech)

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Zombie Worlds: questi mondi condannati sono stati tra i primi e più inquietanti ad essere scoperti mentre orbitano attorno a una stella non morta nota come pulsar. I pianeti Pulsar come Poltergeist e i suoi mondi vicini, Phobetor e Draugr, sono consumati dalla radiazione costante dal nucleo della stella. Nient’altro che i non morti possono sopravvivere in questo angolo più inospitale della galassia. (NASA-JPL/Caltech)

Flares of Fury: Situato a meno di 32 anni luce dalla Terra, AU Microscopii è tra i più giovani sistemi planetari mai osservati dagli astronomi e la sua stella fa feroci scoppi d’ira! Hai sentito parlare dei “terribili due”? Bene, AU Mic è nel bel mezzo dei suoi terribili 22… milioni! Questo giovane sistema diabolico tiene prigioniero il pianeta AU Mic b all’interno di un incombente disco di polvere spettrale e lo tormenta incessantemente con esplosioni mortali di raggi X e altre radiazioni, vanificando ogni possibilità di vita… come la conosciamo! Attenzione! Non si può sfuggire alla furia stellare di questo sistema. I mostruosi bagliori di AU Mic ti faranno implorare l’oscurità eterna. (NASA-JPL/Caltech)

Ghoul a raggi gamma: nelle profondità dell’universo, i nuclei di due stelle collassate si fondono violentemente per rilasciare un’esplosione della forma di luce più potente e letale, nota come raggi gamma. Questi raggi di sventura si scatenano sul loro sfortunato ambiente circostante, brillando un milione di trilioni di volte più luminosi del Sole per un massimo di 30 terrificanti secondi. Nessuna navicella spaziale ti proteggerà dall’accecante distruzione dei ghoul di raggi gamma! (NASA-JPL/Caltech)

Materia oscura: qualcosa di strano e misterioso si insinua nel cosmo. Gli scienziati la chiamano materia oscura. È sparso in una rete intricata che forma lo scheletro del nostro universo. La materia oscura è invisibile e rivela la sua presenza solo spingendo e tirando gli oggetti che possiamo vedere. Il telescopio spaziale romano della NASA indagherà sui suoi segreti. Cosa verrà rivelato? (NASA-JPL/Caltech)

Cimitero galattico: questa galassia inquietante e infestata ha misteriosamente smesso di produrre stelle solo pochi miliardi di anni dopo il Big Bang! Divenne un cimitero cosmico, illuminato dal bagliore rosso delle stelle in decomposizione. Osa entrare e potresti incontrare i cadaveri spaventosi di esopianeti o l’ultima agonia di stelle un tempo potenti. (NASA-JPL/Caltech)

Divorato dalla gravità: Cygnus X-1 presenta: È ora di cena e tu sei il pasto! In agguato nella nostra galassia, a circa 6.000 anni luce dalla Terra, c’è un mostro chiamato CygnusX-1. Questo buco nero, che ha circa 14,8 volte la massa del nostro Sole, allungherà e spremerà tutto ciò che cattura nella sua immensa gravità. Cygnus X-1 sta aspettando, facendo uno spuntino sulla sua stella vicina. Non avvicinarti troppo, o diventerai il suo prossimo pasto! Osservato dai telescopi a raggi X NuSTAR e Chandra della NASA. (NASA-JPL/Caltech)

Energia oscura: questa forza agghiacciante ti lascerà tremare di terrore da solo! Un potere invisibile si aggira per il cosmo, spingendo l’universo ad espandersi a un ritmo sempre più rapido. Questa pressione incessante, chiamata energia oscura, non assomiglia per niente alla materia oscura, quel materiale misterioso rivelato solo dalla sua attrazione gravitazionale. L’energia oscura offre uno spavento più grande: allontanare le galassie nel corso di trilioni di anni, lasciando l’universo a una morte inevitabile e gelida nella distesa nera come la pece dello spazio esterno.​ (NASA-JPL/Caltech)

The Roasted Planet: Riesci a sentire questo esopianeta urlare? Quando HD 80606 b si avvicina alla sua stella da un’orbita ellittica estrema, subisce la tortura del pascolo delle stelle che provoca ululati, venti supersonici e tempeste di onde d’urto in tutto il pianeta. Il suo viaggio tortuoso fa bollire la sua atmosfera a 2.000 gradi Fahrenheit infernali ogni 111 giorni, arrostendo sia i suoi lati chiari che quelli oscuri. L’HD 80606b non sfuggirà mai a questo incubo cocente. (NASA-JPL/Caltech)