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MUSEI IN MUSICA A PALAZZO SIMI

AMBRA PER AGAMENNONE

In occasione dell’appuntamento Musei in Musica promosso dal Ministero per i Beni e le Attività Culturali, Palazzo Simi , sede del Centro Operativo dell’Archeologia di Bari ha organizzato lo scorso 20 novembre un incontro sull’ascolto della musica Greek of the sixth century BC C. presented by Professor Francesco Scoditti . The evening offered among other things, a guided tour of the exhibition Amber for Agamemnon, held in Palazzo Simi Civic and Historical Museum. The meeting was meant to underline the presence of a strong ethos of music in ancient Greek society whose laws defending the music and the music itself were an instrument of persuasion to the civic and moral education of the citizen. In fact, in music there were four different harmonies, each of which was assigned a different feeling: Doric harmony, whose notes were intended to bestow a sense of strength and exaltation, an ' Phrygian harmony that caused the other hand, the sweetness, and a ' Lydian harmony calm and friendly, and finally a' harmony miselidia plaintive character. The same Plato argued that the harmony of music to lead a good life. In ancient Greece there was a large participation of the community choral music, was an Athenian citizen's duty to participate in the choruses of the tragedy, so too in symposia. The poets, musicians were paid on commission with praise for their music's winning athletes. Ancient Greece had a 'strong tradition of music that we now have reached only about sixty fragments. Music that was not based on a harmony di accordi ma su una linea melodica complessa che possiamo considerare avanzata. Lo strumento ripeteva lo stesso suono della voce all’unisono e all’ottava. Durante la serata è stato possibile ascoltare quattro brani musicali tra cui il noto Epitaffio di Sicilo datato tra il I secolo a. C. e il II secolo d. C. Si tratta di una frase melodica di quattro versi giambici riportati su una stele funeraria lignea ritrovata in Anatolia. E’ considerata dagli esperti la melodia più bella dell’antichità.  A conclusione, l’ascolto di un inno cristiano di III secolo d. C.

La mostra dal titolo Ambra per Agamennone racconta l’incontro tra the Aegean world and our country. The Mycenaean Greeks explored the Mediterranean moving from the Aegean to the Ionian and Adriatic Seas through a network of business relationships with Puglia between 2000 and 1000 a. C. primarily interested in amber from the Baltic region. A rich exchange of reports documented by 300 exhibits on display from archaeological sites in the region and from sites along the Adriatic route, among the exhibits showcasing some gold discs from Roca and a series of ornaments in amber, ivory and glass paste.

Written by Antonella Colaninno

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I Terron All'Olmo

Another splendid public has welcomed last night, the seventh edition of Olmo Award at the auditorium GS in Raviscanina . dominant theme this year was the South , edgy but current issue, also because of the many, too many political exploitation that manages to attract.

Among tammurriate and the classical theater company of Neapolitan " Ketty Di Caprio "-that are part of the event-recognition più prestigiosi vanno alla città di Caiazzo , che, rappresentata dal primo cittadino Stefano Giaquinto , riceve il premio "città della cultura", raccogliendo il testimone ideale da San Potito Sannitico, città vincitrice, lo scorso anno, del medesimo riconoscimento; il premio "Leggendo leggendo" va invece alla scrittice telesina Maria Pia Selvaggio che convince la fondazione prima, e la platea poi, con la presentazione del romanzo Lei si chiama Anna , che vede come personaggio principale Anna Fallarono di Amorosi e la sua relazione controversa con Camillo Casati Stampa di Soncino. Ancora premi all' Utic di Piedimonte Matese ("Sanità efficiente"), alla Banca Capasso Antonio per l'imprenditoria, alla Capriatese Calcio (sport), alla prof.ssa Lina Iannitti (scuola), a Sergio Scapagnini (cinema) e alla Musical Ailano (musica).

Tra i momenti più intensi della lunga serata va segnalato l'intervento di Carlo Pascarella , giornalista minacciato dalla camorra: in sala viene fatta ascoltare la telefonata agghiacciante che Pascarella ricevette, in seguito a un suo articolo pubblicato sul Corriere di Caserta, da parte di Michele Zagaria e Antonio Iovine, risalente al 2009. Carlo ha raccontato come , da allora, la sua vita sia cambiata e quanto sia importante l'impegno di tutti nella lotta the mafia and all'omertà that protect them.

Finally, the highlight of the evening, with the assignment (at last) of "Olmo Award 2010" . Tribute to the writer that goes Pino April , that with his best seller Terroni (100 thousand copies sold) is gathering a huge success for months throughout Italy. The book is about the south, belong to this wonderful land, but very often also becomes the object of protest and social discrimination. Being Southern means, in certain areas of the peninsula, being a "different", be "worse." It seems like a handicap of having to shake off. A handicap fueled by ignorance of the part of the country that thinks it can hide the black of his conscience with the green of his shirt.

Thurs.

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                          THE PRESENCE OF ABSENCE

                                                                 JOHANNA REICH

A title that already has in itself the sense of the dialectic of opposites. The presence of absence means our perception of reality. Johanna Reich is a video artist who "works in the field of video performance and experimental video" made of single sequence. It reflects on the fragility of the passing of time and existential aspects of the relationship of humans with the surrounding world. The art is nothing from us but it is our existence in relation to what surrounds us. Art is the time for action, is the representation of its operation in real time. "I'm more interested in the process of making art investigator and our ways of understanding the production of a finished object." The presence of absence is a boundary of knowledge is a state of mind, is the certainty of what we are and the curiosity of the unknown, research is continuing. E 'state of mind that is projected in color, which comes into harmony with reality. The color is an emotional state that is external, in which the artist identifies himself up to be confused with it. The artist paints the mondo con i colori che indossa che sono il limite della sua personale percezione delle cose, oltre il quale si aprono nuovi orizzonti. Una percezione che a volte si esprime nel dualismo tra la rilassante luminosità del bianco e la profondità della concentrazione del nero. Una perfetta armonia degli opposti, una fusione del limite tra due modi estremi di percepire le cose, sino all’identificazione in questa unità. Una identificazione di natura filosofica che avviene nella realtà “a causa delle condizioni di luce perché la foto camera non può distinguere tra il nero della persona e quello dello sfondo”. Per un illusionismo dell’immagine, la persona sembra scomparire di fronte all’obiettivo della video camera. "Living in times of ubiquity of moving images, I decided to use the digital video camera as my main tool to understand but also to question the relationship between human beings and the virtual world" ... "to understand our perception of reality. " A reflection on the limits and possible roles of our being in the world.

Written by Antonella Colaninno

The Presence of Absence

Johanna Reich

from November 13 to December 20

at Gallery Muratcentoventidue

via G. Murat, 122 / b Bari

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FAIR OPENS IN THE MUSEUM OF THE TWENTIETH CENTURY

Antonella Colaninno

On 6 December, at dell'Arengario Palace (Piazza Duomo) in Milan will be inaugurated on Museum of the twentieth century.

dell'Arengario The building will be connected directly to the second floor of the Palazzo Reale allowing you to combine the two buildings and pointed out the historical layers. The building will house about four hundred works selected from those belonging to the Municipal Collections of Milan, a number of four belonging to Italian artists of the twentieth century. The

Arengario ranks as a building of architectural interest built in the Thirties by the architects Portaluppi, Muzio, Magistretti and Griffin, the facade was decorated with reliefs of Arturo Martini. The site, launched in June 2007, represents a considerable cultural investment, operation from 10-20 million euro.

L’edificio è stato ricostruito con criteri di modernità nei suoi spazi interni, intervenendo completamente sulle strutture precedenti. Il percorso espositivo ricco e articolato, che prevede spazi sospesi e sale dalle forme particolari, si aprirà con il Quarto Stato, l’opera di Pelizza da Volpedo, per seguire ai livelli superiori con le opere di Picasso e di Modigliani, con i futuristi, gli astrattisti, con Burri, Kounellis, con l’arte informale e concettuale. Una sezione dedicata all’arte povera sarà allestita al secondo piano di Palazzo Reale.

 Le ampie vetrate dell’architettura consentiranno una illuminazione naturale e diffusa.

“L’eredità più felice e feconda del ‘900 è stata la scienza della comunicazione – spiega l’assessore alla Cultura Massimiliano Finazzer Flory -. Il sito internet del Museo del Novecento non è un luogo passivo, ma un luogo della creatività, una sorta di eredità lasciata dagli amici futuristi che hanno rivoluzionato il modo di comunicare”.

Sarebbe il caso di dire che il passato accoglie le forme della modernità, stravolgendo però quel naturale percorso filologico di recupero storico architettonico per dare nuova fisionomia ad un' ibrido più che ad un'identità storicamente riconosciuta.

Un comitato scientifico di esperti , composto da Massimo Accarisi , direttore Centrale Cultura, Claudio Salsi, direttore Settore Musei, Marina Pugliese, direttore del Progetto, Lucia Matino , ex-direttore delle Civiche Raccolte d'Arte, Piergiovanni Castagnoli , ex-direttore della Galleria d'Arte Moderna di Torino, Flavio Fergonzi e Antonello Negri, docenti di storia dell'arte contemporanea rispettivamente presso l'Università degli Studi di Udine e l'Università degli Studi di Milano e Vicente Todolì , direttore the Tate Modern in London, have identified the choice of works from the collection held by the Museum.

"Winner of the 1937, the project for the Arengario completed the process of urban renewal in downtown Milan, which is set by the architect Giuseppe Mengoni who had given a monumental character of the area around the Duomo.

The Arengario was actually constructed after the demolition of the Royal Palace Long Sleeve concluding the intervention of the implementation of the new Piazza Diaz. "

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BORN TO BAR THE TEMPLE OF VENUS AND ROME

Antonella Colaninno

part of the park with his seventy-projects sites open ended at the Roman Forum the restoration of the temple Venus along with some interventions, including that of the third order of the stands of the Coliseum, where the museum will be set up the monument. After the shameful collapse of Pompeii, the reopening of the temple is a victory for the preservation of our artistic and archaeological heritage, and now you try to intervene in the western part of the Palatine at high risk, with a monitoring system for terrestrial and satellite that monitors the entire area. The landslides on the hill are linked to the presence of underground cavities that represent a risk factor for the sights, writes Lauretta Colonels in his recent article published in the Corriere della Sera . A first restoration of the Temple was built in 2000 on the occasion of the Jubilee, after ten years, the new restoration project that was completed on schedule with the cost of returning the funds disbursed, has restored the unity of the two cells , after a thousand years, come back "in a unique" as he had designed Hadrian in 121 AD C. The restoration has thus enabled to restore unity architecture, as built by Hadrian in the original project. The Temple of Venus is an important testimony of the Roman Empire, brought finally reopened after 26 years of work, returning part of its archaeological context. It was built on the hill Velia from 121 d. C. the political intent to combine the figure of Venus, the mother of Aeneas, the city of Rome and create continuity between the divine origin of the gens Iulia and the Roman Empire. The structural interventions were mainly aims "to counter the phenomenon of rotation caused by the removal of the supports and to allow proper water run-off and disposal, main cause of degradation. " Water infiltration within the lesions of the walls created serious damage to the decorations. The restoration has involved particularly the half-shell and the walls of the apse of the south side and was partially rebuilt the perimeter wall to allow more static. Among the interventions of the project on the Roman Palatino there are those of Vigna Barberini, which opened in October 2009, with arches Severiane reopened late last year and the Basilica Emilia reopened April this year. By December 10 is scheduled to reopen the House of the Vestal Virgins.

Let me conclude by returning a reflection of Andrea Carandini published in Corriere della Sera in his article "that" preventive medicine "to save the ruins." " This applies to the dynamism of the monuments that should receive, taking into account the reality no longer visible. In fact, Rome is a river, not of water but of tufa, travertine and marble. No longer able to hope for a city museum, we are forced to experience the story at times, opening a door not only on the imperial metropolis but also on the other Rome. "

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2010 DAYS OF GLORY IS BACK

Cari lettori,

scusate la mia breve assenza, ho avuto problemi con la linea internet e sono stato quindi impossibilitato a scrivere qualcosa. Ma per fortuna sono tornato, e spero di rendere, nel mio possibile, alcune notizie utili a quanti ci seguono.

In questo periodo le cose continuano ad andare as we had left, and I refer to three major problems that apparently have no place in the "full" agenda of the mayor, that is the problem of illegal dump, the problem of drugs and the public library.

But since a few days ago, after seven years the administration has perhaps an apt, postponing the discussion of these problems in subsequent operations.

Of course, dear readers, do not be alarmed!, Is not that they have "apt" a politically, mind you, from what I know that we still have to wait.

But Friday, November 5, was inaugurated the renovated middle school places Albanian houses in the name of the famous anti-Mafia magistrate Giovanni Falcone.

Not only that, the opening ceremony was called the sister of the same magistrate.

Unfortunately I was not present at the event, although I would have liked to say: to present some lessons learned from it was a beautiful ceremony , where there were also poignant moments to remember the tragedy that struck the magistrate and his family.

So I congratulate the administration for this initiative. The historical memory, information, and the memory of those who paid with his life for what I think has made it to Italy that binds us together in a unique sense of gratitude and admiration.

Staying on the theme of ceremonies and activities, a few weeks before, the pro-loco Rupecanina organized a cultural event, which left me a bit 'confused. This is what the poster of the event read: "delivery of the towns in the honors distinguished citizens" .

Since the event was public and the video of the evening is also available on the website of the pro-same spot, I think I'm allowed to do the names of winners, which are the ' Chambers. Eugenio Ameglio and Dr. Ercole De Cesare.

Also this evening I was not present, with less regret than the other event. Assuming you do not know the reasons for those premazioni certainly shared in what we are faced with two undoubted professional me, after all, a question arose ...

is not that one dei due, nonostante e ripeto la sua onorabilissima carriera professionale e di amante della cultura in tutti gli ambiti, abbia ricevuto il premio per “altre motivazioni”, per esempio solo per il fatto di essere il “deus ex machina” degli apparati di potere monotematici che da quarant’anni a questa parte si susseguono in Raviscanina? In questo caso sarebbe una sorta di auto-premiazione, auto–celebrazione della parte politica vicina all’amministrazione Masiello. Oppure, procedendo sempre per ipotesi, potrebbe essere una mossa del gran capo della pro-loco per accattivarsi la simpatia del “deus ex machina”, in vista della non lontana e insidiosa campagna elettorale? Per la serie "Best to bring forward with work to avoid being sucks ...". Risk is there, and it's great. And capoproloco knows.

We use the conditional a must because, unfortunately, we have no evidence. But the good Pasolini said that you can be sure of a fact without having evidence . I know, but I have no evidence . But I know. Exactly.

Antonello Gimmi

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XIX GIORNATE NORMANNO SVEVE. ECLISSE DI UN REGNO. L’ULTIMA ETA’ SVEVA (1251-1268).

di Antonella Colaninno

Si sono concluse il 15 ottobre scorso le XIX Giornate Normanno Sveve , un appuntamento che ricorre puntualmente ogni due anni all’Università Aldo Moro di Bari, una Biennale Internazionale degli Studi sul Mezzogiorno d’Italia che riunisce per quattro giorni accademici e studiosi.

Eclisse di un regno. L’ultima età sveva (1251-1268) , questo il titolo XIX of the study days that have focused attention on the causes that led to the crisis of the Swabians and the rise of the Angevin power. The Mediterranean character of the Swabian kingdom Norman is a salient feature: the Mediterranean, clashed Western Christianity in Roman, Byzantine and Eastern Christendom, the Islamic Arab culture. The southern kingdom

Norman proved his credibility and was ricononosciuto within the Empire. Beginning in the twenties, there is a crisis in the kingdom: the squandering of the royal treasure, the depletion of resources by the merchants of the North, the rebellion of his subjects and the political crisis due to the absence of Frederick II. The Kingdom was involved in a series of riots, in 1240 the conflict with Rome, in 1246 the revolt against the Saracens in 1232 and the Messina revolt.

The conflict with Rome with Pope Innocent IV was born with a strong absolutist government of Frederick II, considering among other things, a refined politician; Frederick's power was based on a large tax burden on a centralized policy based on a contrast with the perennial Pope, a conflict that in recent years had become fierce. It will be this hegemony of Frederick II, who takes under its control the whole feudal system to weigh on the church and to open an increasingly bitter conflict between the Papacy and the Empire. A Frederick II was succeeded by his son Conrad IV, which he appointed his successor after the deposition of his half-brother Henry VII. Conrad was born from the marriage of Frederick Jolanda of Brienne and his government was sensitive to the motions of revolution of the city that aspired to independence. It was Duke of Swabia, Romanorum rex, king of Sicily and King of Gesuralemme. It is thanks to Corrado Pope Innocent IV and the founding of the city of L'Aquila. Conrad died of malaria in 1254 at the sink but legend says it was his brother Manfred to poison him. Manfredi reigned unchallenged as the son of Conrad Conrad was still too small for the regency, was sentenced to death in Lucerne in 1269. Manfred was the son of Frederick II and Bianca Lancia, born of illegitimate relationship with Frederick same who married shortly before his death. Manfredi in 1256 founded the town of Manfredonia, the capital of Puglia (Apuliae Caput). He was king of Sicily, who was crowned in the Cathedral of Palermo and chose Castle Lagopesole as his home. From the Kingdom of Sicily consolidated his power over the whole territory, from Rome to Venice to Genoa. Manfredi implementing an innovative policy with the expansion of ports and urban development, implementation privileges, sanctioned the recognition of ecclesiastical property. Benevento in 1266 was defeated and the barons refused to follow the king. The historian Giuseppe Galasso from 'positive assessment of the Kingdom of Manfred, though representing the real moment of rupture in history national. As told in his report, Professor Walter Koller , collaborator of the MGH of Monaco of Bavaria, when Pope Innocent IV intervened in the management of the kingdom, broke a conflict with Manfred, who, enjoying the 'popular support, took advantage to break relations with the Church. The report of Professor Cosimo Damiano Fonseca described the geography of the United Church in eighteen years that counted than 164 dioceses and 331 bishops, the church in fact, exercising feudal powers in southern Italy and Manfredi inherited the negative situation of the ratio of papacy and empire. The professor Hortensius Zecchino University Suor Orsola Benincasa spoke instead of the legal system, claiming that despite the Constitutions of Melfi, in the kingdom there was a legal instability, a lack of unity. The Code of Conrad IV, considered a text captatio benevolentiae his subjects, remained in the shadows compared to the Constitutions of Melfi of Frederick II. Measures, such as lowering to 14 years of age, a strategic rules to get men for the armed forces, a rule which will then be deleted by the Anjou. In addition, the Code called for greater trade liberalization than the severity of the Constitutions of Frederick. According to Professor Zecchino the bad image that historiography makes Federico is always in relation to the autonomy of municipalities, because, in Frederick's policy could not be lenient towards the autonomy of the city, "the city-states were common only in Europe." Professor Salvatore Fodale University of Palermo plenitudo potestatis consider a milestone, the ecclesiological premise from which came the act of Innocent IV: in fact, the plenitude states that the pope, as vicar of Christ, has full powers on any other institution, although in the case of temporal power, the church purchases full powers only if the vacant throne. The statement by Professor Paul Grillo University of Milan è invece incentrato sull’organizzazione militare sotto Manfredi dove l’autonomia dei reparti tedeschi era limitata dai comandanti che erano reclutati nel regno. La relazione del professor Pasquale Cordasco sulle fonti documentarie ha sottolineato le relazioni tra potere, corte e documenti. Il testo scritto rinviava ad un rituale e aveva funzione sociale poiché veicolava messaggi politici e culturali. La cancelleria trasmetteva la volontà e la grandezza dei sovrani e cresceva con l’imporsi del potere normanno svevo, “rappresentava la trasmissione del potere”. La cultura notarile grafica ebbe un potere enorme proprio perché strumentale oltre che rappresentativo del costume di una società in trasformazione. During the reign of Manfredi there have been numerous artistic innovations. Art Frederick arises in the wake of the Swabian tradition, known in Germany as manufacturers of fortified buildings. "Only with Frederick II Hohenstaufen becomes legitimate to speak of art and not just in Italy." Frederick Manfred omitted aspects related to the idea of \u200b\u200ban art empire, even if it exploits the art for an affirmation of power. Dr. Luisa Derosa spoke of two trends in the Swabian: classicism on the one hand, with its ideological character and size of the gothic world, oriented towards the European Gothic art. The bust is attributed to the trend of Gothic Europe and would not translate the real face of the model nor its idealization, but it has a strong symbolic value. The picture corresponded to the role of the person who tends to be in his youthful looks. The sculpture is from Puglia in connection with the European Gothic more German than French and there is a synthetic made of plastic form that can be learned only been in direct form. The miniature, especially in the period Manfredi, is particularly fascinating, says Professor Lucina Special University of Salento, arguing also that the bust of Barletta was commissioned by Frederick Manfred. The intervention Professor Francesco Tateo memory of the last Swabians between medieval and Renaissance literature and the emphasis the vision of Dante on Frederick II, who retrieves the imperial dignity of the king, defending his power lay, while Petrarch and the Renaissance Federico forget and recover Angevin tradition. Tateo Federico II considers a cross between Norman and beginning the tradition of the Italian tradition, arguing that Frederick as Prince Machiavelli can not be accepted by Catholicism during the Counter Reformation. "Fred is the forerunner of the Renaissance prince in the middle between the intransigent and the passionate literary." Aspects of the administration the royal demesne were treated by Krjstian Toomaspoeg professor at the University of Lecce has highlighted the control of secular power of the church, although the church took the noble part of their income. The tax system Norman helped to finance the royal court and the army because there was no separation between the king and state, between sovereign and state coffers and officials often intervened to subjects with blackmail and abuse. The conclusions of these days were considered "the Europeanization of the South a great European awareness" on the basis of a continuity between the Norman and Swabian. The wealth of the monarchy in the last Swabian and Angevin first was substantial and therefore we can not speak of eclipse, the commitment was Swabian among other things, conducive to economic development. The advance of Anjou was facilitated by the shift of troops to the northern lands to support the Ghibellines in a critical phase of the Swabian dynasty already in place during the reign of Frederick.

Normanno Svevo The Centre is a non-profit organization established in 1973 at the University of Bari 'was founded by Cosimo Damiano Fonsaca professor emeritus, and is now headed by prof. Raffaele Licinio, professor of medieval history at the same University. The Norman-Swabian Days are held every two years and involving participants and distinguished speakers from different countries. The center promotes research and studies on the Norman Swabian period, particularly in the Puglia and Basilicata detecting aspects of the literary, legal, historical, economic, political and artistic. The Center also makes available scholarships for young students and scholars interested in following the work of the conference.



Since 1973, when it hosted the first day was dedicated to Robert Guiscard, they have consistently followed one another index, this, the deep interest that scholars or not.

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INTERVIEW WITH ANGELA Vettese

Angela Vettese

Antonella Colaninno

An important process of reflection will be the theme of the fourth edition of Works / Works Festival of Contemporary Art in Faenza, Forms of collecting / Forms of purchasing 21 to 23 May 2011. Rediscovering the value of collecting as a path of harmony with the work of art, of self-representation of his own sensibility and vanitas, piuttosto che come una operazione esclusiva di investimento. L'arte come operazione commerciale o come necessità di espressione e di creatività mette in gioco le "Forme della committenza", ripercorrendo non solo il ruolo del collezionista ma anche quello dell'artista, in bilico tra la vocazione e "il miraggio del successo", tra ansia di visibilità e aspettative economiche. Riscoprire un rapporto intellettuale tra il collezionista e l'artista significa soprattutto uscire dalle rispettive logiche di successo e riscoprire da parte del collezionista il "sogno" dell'artista piuttosto che il suo "calcolo". Non si può scegliere un'opera prescindendo da chi l'ha realizzata e decidere che la stessa entri a far parte di una collezione significa "accettare elective affinities "that we have with the artist. In my opinion, there is no other form of collecting that is not felt and built on these criteria and can not be considered a form of collecting a clear investment operation. A collection represents a corpus that has experienced a critical route to a representative of an idea and feel that tell the story of an era through the choices of a personal taste.

Conversations with Science the festival for the early reflections and to Forms of collecting / Forms of clients. The word of Angela Vettese.

Italy was home to major collectors, people like Giuseppe Panza di Biumo, Claudia Gian Ferrari and Paul Consolandi have unfortunately disappeared recently. How do I create in our country a young collection? What will be different?

I will not forcibly collecting a pioneer, and perhaps less attentive to Italy since the movement of art is increasingly international.

What relationship is created between artist and collector? Can you tell us some anecdotes?

There are collectors who prefer not to know the artist, Panza himself told me that she loved to visit the school before buying, because he felt oppressed by the idea of \u200b\u200bhaving to please the artist. Sometimes you build a relationship of deep friendship, however, as between Gori and Julian Robert Morris, who lived together for months, while Morris was accomplishing his labyrinth the Villa Celle. The same Panza believe he's gone with the regret of not having seen the Roden Crater by James Turrell completed. And as for Consolandi, I remember with affection as the artists welcomed to dinner at his house or otherwise. Not to mention an absolute collector of fellowship as Giuliana Setari with artists like Ettore Spalletti or Vettor Pisani: the latter has even bought a marble quarry! Patrons as Maria Gloria Bicocchi have long lost the boundary between work and family life with the artists, having always ten for lunch and dinner for Christmas.

More and more artists have found the need to associate and nonprofit spaces, both physical and virtual. It's a sign of changing their relationship with the client?

At the bottom is always the case, the Salon des refusés onwards. The homes of the artists in the Village in New York were almost non-profit centers. In our Italian experience, places like Milan Via Lazzaro Palazzi or the House of Artists, in the eighties and nineties, wanted to be a space of action is not conditioned by the market at a time when the market was proving to be aggressive and able to divert styles, artistic mode of action, circulation systems. I believe that today the need is different: the market begins to take place in the internet, so underground and rebellious than the system of galleries and at auction. Artists know that the gallery is no longer the only guarantor of their success and use it as a brand, but not always exclusively.

The fourth edition of the festival will be titled of Contemporary Forms of collecting / Forms the client. In a journey into the shapes of the client what are the issues which can not be ignored?

Some questions: How much commercial success or the lure of reaching the work change? As the work of an artist is born to the vocation and what to sell? There is a point where it becomes an idea to sell aggressively to the artist and his work? There are collectors can call the artist at ease and make them do it again what would be part of his dream, instead it is calculated? And if this calculation is aimed to gain on its own or as a symptom of the gain visibilità? Quanto passa la visibilità attraverso la cruna del prezzo?

                                                      Carlos Basualdo

INTERVISTA A CARLOS BASUALDO


Quali segni ha lasciato la crisi globale nei meccanismi della committenza e della produzione delle opere d’arte?

Ad oggi, non è ancora molto chiaro quale sia stato l’effetto della crisi globale sul mondo dell’arte contemporanea. Forse perché solo negli ultimi mesi abbiamo cominciato a vedere le prime conseguenze, come ad esempio il taglio dei finanziamenti ai musei, da parte dei governi. Il caso inglese è stato molto pubblicizzato, il caso italiano è invece drammatico. Negli Stati Uniti l’impatto è stato meno notevole, anche perché i musei non ricevono molti finanziamenti pubblici, ma attingono soprattutto a fondi privati, dalle fondazioni, alle banche o alle aziende, fino ai semplici privati. La crisi ha avuto senz’altro effetti sull’azione delle fondazioni bancarie o delle aziende in ambito culturale. C’è un rallentamento, ma la situazione non è drammatica. Oggi stiamo più che altro cercando di valutare il fenomeno nel suo pieno svolgimento e di capire quali sono le aree più influenzate, ma credo che avremo una visione più chiara a partire dal prossimo anno

Vivi e lavori tra gli Stati Uniti e l’Italia. Quali differenze noti tra i due contesti nel modo di intendere una collezione, sia per quanto riguarda i privati che le istituzioni? Quali fattori positivi potrebbero “scambiarsi” questi due contesti?

Il collezionismo privato negli Stati Uniti e in Italia non sono molto differenti. Entrambi possono vantare importanti esempi di collezioni, con un’attenzione particolare agli artisti del proprio Paese, ma mi sembra anche logico. Per quanto riguarda le collezioni pubbliche siamo di fronte ad un fenomeno diverso. In Italia, per esempio, appartengono allo Stato, nelle sue diverse forme. Negli Stati Uniti invece sono soprattutto le ex collezioni private ad andare a costituire il corpus delle collezioni pubbliche. La politica delle donazioni permette ad un collezionista americano di ottenere dalla donazione work of important tax incentives from the state. The state thus promotes the health of the collections with the measures which unfortunately do not exist in Italy, creating a dynamism in growth and in strengthening the collections. This is an area on which, in Italy, you have to work.

A Faenza will discuss the role of museums. Since the birth of modern museology this institution has changed gradually, according to the needs of the times with which we face. It opens a new decade in your opinion is heading the museum, in its role as developer?

am quite clear the museum's transformation over the past twenty years. Museums play a vital role today because they participate in all aspects of people's lives and society. The museum's role as principal is increasingly important in the urban and contemporary art, since it promotes the creation of new works, but also in the formation of public collections. I believe that museums today have become very active collectors. MoMA, the Tate and the Pompidou Centre are an example. I think the general trend is very clearly developed in this direction and I think that will continue in this direction.

The fourth edition of the Festival of Contemporary Forms of collecting will be called / Forms della committenza. In un viaggio all’interno delle forme della committenza quali sono i temi da cui non si può prescindere?

è importante pensare ad un percorso sulla committenza perché ha delle radici storiche in Italia molto forti. Pensiamo alla Firenze Medicea, alle committenze Vaticane, al rapporto degli artisti con lo Stato e con la Chiesa... Nell’ambito anglosassone questo tema non ha lo stesso tessuto di riferimento. Oggi, naturalmente, si è passati ad un tipo di committenza molto diverso. Mi sembra perciò importante porsi la domanda relativa alle trasformazioni che hanno attraversato questo argomento, delucidando il rapporto tra pubblico e privato nell’arte di oggi.