Various kinds of o rganisation and gradations begin to emerge more or less clearly from this jungle of garbage, indicating something like a path through the journey. In spite of the reputed difficulty of the writing, they bring out all its acoustic qualities: Hugues Decointet, Dramavox, model for a theatre of voices II, Noisiel-Luzard times Saturday 13 February , 2: Cliquez ici pour voir le programme complet. Ils forment le duo artistique Tehnica Schweiz depuis Alfred Jarry Archipelago Space: CAC de la Ferme du Buisson.

The following text comes from a letter written for the Forum of Contemporary Art held at the Centro Pecci in Prato, where Antonio Grulli had been invited to coordinate a round-table debate on the theme of public institutions as places for discussion, debate and thought. The public institutions devoted to contemporary art are living today a dynamic but at the same time very risky period. The art world in recent years has expanded enormously and this is definitely a positive factor. But right now, globally, we are in a situation where the art market has a strength and an economic power that the institutions cannot even come close to, and this imbalance stands out sharply.

The art institutions of the past could count on public funding, which allowed them to take the lead over a group of very few collectors, who were buying in a small number of galleries. By contrast, in recent years we have seen how even the most important museums in the world have been suffering from the influence of a trading system that has become bigger than them and against which they have no means to resist.

Issues such as the questioning of the concept of permanent collection are an example of this: And this is the best scenario. And what about the institutions, often with an important history behind them, which are not lucky enough to be in the big cities of the world and therefore cannot even be the subject of speculative interest in the art market? This is the case, for example, of Italy, a country of contemporary art museums that are structured neither from a financial point of view nor with regard to their collections, often poor or disorganized.

So why not try to react against the international trend of an art system that moves faster and faster and more and more superficially, where artists are valued not for their work but for the academy they attended, the person they have studied with or for their CV, in which there must be no stain or slowdown? What we are witnessing every day is that there is no time to try to figure out what artists are really attempting to bring to the radical innovation in making art.

As art curators we only have half an hour for each of these people, and they must be able to conquer us with a portfolio of very few pictures, a strong statement and their shrewdness. And that goes for the institutions too, except in rare cases. Conformism and boredom reigns everywhere, and the names that we see going around the world are always the same, offered over and over again with no chance of a surprise.

Why do we study today exhibitions like the one Harald Szeemann set up to feature his grandfather, but it is very unlikely that something of that kind could happen in a museum in ? Why is it so hard to imagine for example an artist as the director of a museum or a public institution? Can the institution be a producer of sense, or should it limit itself only to be a re-producer of meanings already established elsewhere, already frozen and therefore already commonplace?

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This is where in my opinion the concept of establishment as a production of thought and discussion comes into play. Because reflection can only come from an initial feeling of disorientation, of crisis, of craving to understand what is really new. The institution must not become a place of appeasement, only called to put its own stamp on things which have been already decided. It must be a place capable of producing a surplus of meaning compared with normality, able also to give scandal, a place that is alive, that can accommodate the obscene or anything that is not already on the scene.

This is why I speak of disquiet. I use this term because I like to imagine these buildings as if they were endowed with feelings and passions. As if they were persons, capable of shaking with their fears, their flaws and their tendency to make mistakes. Do we want the institutions to be bureaucratic entities trapped between the two polarities of paternalistic education and entertainment, or do we want them to be real places of culture and reflection with all that this entails? Why should we ask a museum to live a life that we would never want for ourselves? It must be a restless, telluric, almost criminal place, where parents are afraid to allow their children to go, and not a place of deportation, concentration and detention of hordes of children with felt-tips in their hands.

Only then it will become a place of reflection, and not a place of reassurance of our most banal platitudes. Le istituzioni espositive del passato potevano contare su finanziamenti pubblici che permettevano di fare da guida rispetto a un collezionismo composto di pochissime persone, che compravano in un numero esiguo di gallerie. Aspetti come la messa in discussione del concetto di collezione permanente ne sono un esempio: Lo vediamo ogni giorno: E questo vale anche per le istituzioni, salvo rari casi.

Noi sappiamo benissimo quali sono gli artisti e gli intellettuali del passato e di oggi che dobbiamo avere come punto di riferimento. Qui entra in gioco a mio parere il concetto di istituzione come luogo di produzione di pensiero e discussione. Per questo parlo di inquietudine. Deve essere un luogo inquieto, tellurico, quasi criminale, in cui i genitori abbiano paura che i propri figli vogliano andare, e non un luogo di deportazione, concentramento e detenzione di orde di bambini coi pennarelli in mano.

Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing. It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema. This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines.

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So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres. Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson? Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable. In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life.

Why did you want to participate and what programme are you proposing? In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important. In this sense, the cooperative projects developed by d. Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research.

This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies! In a way, all archives are ephemeral.

The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media. How did you work all together? This was the occasion to approach and study the archive both individually and as a group.

Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project. Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists. In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy.

We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation. What are the continuity and the main differences between Rome and Chatou exhibitions? It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next.

This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object. We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself.

With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field. In other words, we wanted to share with these artists and their productions the processes of activating the archive.

That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself. Red Swan Hotel Space: Is it a character, a theological idea… What is it? Azul Jacinto Marino was conceived as an idea of a platform or a territory, an entity with fluctuant borders.

We wanted to make a project that was quite extensive and required a vast operational surface.

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Somehow it comes out of a precedent project, Ediciones del Exotismo Ordinario Internacional Neotropical ,which is an ongoing series of self-published booklets, built around a specific type of house plants found all around the world, but whose origin is the Neotropical Region south of Chile to south of Mexico.

These booklets encompassed a large array of interests, binding them together. Since then it started its own existence, as a polysemic entity, a surface, a character. AJM traces points of visions, topographic pretexts, territories where misunderstandings can be formulated, erased, rewritten, retraced; where magic can interlace with anarchism, as a geo-botano-animo-logo-palimpsestic incident. Exhibition view, Rometti Costales. So, Azul Jacinto Marino can become something different for each project?

Kind of a shapeshifter? Yes, you can see it as a shapeshifter or a trickster. Something that can go somewhere and come back in a totally different form or to tell a different story. A loop with a lot of loopholes. But if there is one thing that really defines it, it is the ambiguity of being several different things at the same time.

Already the three words that compose the name say a lot: The life of a hands-on anarchist living in such a particular context is pretty appealing, because of the encounter between two political philosophies: But it gives us a territory on which to operate, and Azul Jacinto Marino claims this territory, it is this territory. We made a flag, an anarcho-syndicalist pattern of a red and black diagonal recreated with Huayruro seeds. These seeds are used a lot in the Amazon, as protection, as an amulet, and in some cases as part of the mix used to prepare Ayahuasca, in order to potentiate it.

This is the flag of Magical Anarchism. What is the relationship between oral tradition and your work? We were very much interested on what defines the crafting process. The creation of a Beni Ourain rug is a very fascinating way to leave the final result to chance. The women who weave allow themselves to see less than the last half meter of the work done, the rest is rolled up, and will not be seen until they finish it. And since they can leave the work without finishing for weeks, sometimes months, once they come back to work on the rug, they are obliged to make an effort of memory to be able to follow the precedent path.

And it always takes them somewhere else. It is as if the chance and fragility of memory were constantly inscribed in the final result of this rug crafting. Is a thought mapping of sorts. And we like to believe it is a quite conscious modus operandi. It is like if they were inscribing chance and contingency of everyday life into a surface, a protection device which is this rug, that can be used as a cover or a collective bed for a family.

It is a very beautiful way of claiming the necessity of chance and the aleatory. So yes, from this perspective it is familiar to the development of a discourse present in oral tradition, to its vulnerability, always in present tense, since one is always obliged to reactualize it because there is no archive, no registry to which to rely to. And suddenly there is something that makes the glare of fascination around him shine with a certain intensity. And this something, which can be anything, a cup, a knife, a brunch of a tree or a coral fossil, whatever, makes you think: Millions of years, the substance of a succulent plant, its becoming a mineral, the relation between animal and man, plant and mineral, all this collapses into this one single arbitrary event, into this fiction.

And you will never be able to not see this asterism again. This is the great transformational power of cooperation between fiction and reality. In Vamoose all cacti jut torrid nites publication, Azul Jacinto Marino is assigned with the number 8 in the floor plan of the exhibition, right in the center of it, even if it is not corresponding to any work present inside the space.

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AJM is the publication, and it signs it. And the publication works as the rug present in the exhibition space. One disappears while the other is revealed at the last page of the publication. I jet multi jaca revolutas to zona torrida cosmical inn Jinn animism juts aleatoric lizard calc-tattoo over u iztac and tiltic jalousie jets a narco moonlit rumor.

Une sorte de shapeshifter? Oui on peut le voir comme un shapeshifter ou un trickster. Quelle sens la tradition orale prend-elle dans votre travail? Et vous ne pourrez jamais ne plus voir cette constellation. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 5. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 10, 11, Outside view of la synagogue de Delme, Photos: The Book Society 02 Space: We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects.

I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this? Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit. Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work.


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At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one. How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets?

The story is divided into three phases, which are represented by transparent and black resin casts of hands. The hands are open in the act of picking up, and relate to round-shaped objects. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway.

Do you think that the location of the CAB affected the narrative process? When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB. For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling. The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active.

They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts. Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story. Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape.

What do you think about this? How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object? I like the idea of landscape, and in the case of the CAB we could talk of a view. In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation.

I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view. For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to.

As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists. With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito? Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro.

Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge. Pensi che il luogo del CAB abbia influito sul processo narrativo? Come ti muovi tra i segni che una storia ti propone? I segni di una storia sono quindi infiniti come le sfaccettature di un panorama.

Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune. Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: First in terms of its history, and then its architecture, and especially its location in a rural area.

In your view, what are the strengths and weaknesses of this context? The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy. But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train. This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries. Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit.

It turns this visit into a special moment. As for the place itself, its history and architecture have a magnetic power. This historical depth is what makes it so complex and interesting. Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating. Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy.

In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced. Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director. I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking. Moreover, the meeting with Peep-Hole in Milan was decisive.

This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society. Selon vous, quelles sont les forces et les faiblesses de ce contexte? Mais cet isolement est relatif: The Book Society 02 Protagonists: Marie Cozette, Rometti Costales. Performance Tuesday, October 27, 7. A tutti i tipi di uccelli. Auguri, ornitologi e artisti hanno probabilmente in comune proprio questo: Simon Fravega , Emilie Parendeau.

Whilst we have certainly seen a merging, or crossover of practice between curators and artists over the past ten or twenty years, an artist curating is a different beast to a curator curating. Artists will always take more risks, because they are interested in that stuff of mistakes and failure as a means to begin an artistic process. It is often within the hic-cups and stumbling inherent to mistake making that contact-points are made in order to generate new ideas and work. It is impossible to define what happened, although suggestion of a few words may get us some of the way there — quickness, slowness, intuition, experimenting, co-opting, co-authoring, collaborating, worrying, discussing, conversing, socialising, talking, listening, hearing, making, helping, suggesting, thinking, knowing, not knowing, never knowing, producing, co-producing — many times all these things at once.

As with anything produced creatively, therein lies a contribution that ignites further conversations and thinking, a tributary to a landscape of discussion, unconcerned of becoming actualised by becoming something tangible and accessible. The programme regularly perceived the exhibition as one multi-authored artwork rather than a space in which to show separate hermetic works, bringing a greater sense of authorship to exhibition making. The following questions acted as research for the programme: Can we become our own public s?

Each artist produced and presented new work in the gallery space at different times during the exhibition, choosing either to use or disregard what had gone before them. Each artist took on the gallery as a temporary workplace akin to that of a studio, in which they found things which they must work with in some way. Despite the artists being in a group exhibition together, they did not personally meet during the exhibition, due to the applied curatorial structure concentrating on time rather than space.

Urgency, quickness, response, co-authoring of works, audience communication. A reinvention of the solo show. Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator. The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist. The solo artist is still the solo artist. Six curators, one artist, one gallery, three weeks.

The focus of Notes for an Exhibition was a move away from methods of teleological exhibition-making toward action, response and production, with an emphasis on collaboration and discussion, association and conversation. I invited in the curators with a proposal: They therefore selected Desmond Church, who is an artist who works with proposals and propositional-based work. He would send the curators three separate proposals per week over three weeks, which the curators would then translate into works. There was an events programme curated by Limbo neighbouring art space.

Four events — a t-shirt sale, a talk, a gig then a screening — occured throughout the timescale of the exhibition, physically and conceptually shifting the exhibition continually, each event leaving a short-term legacy on the spatial framework before the next. So before each event we would make way for it, by moving and repositioning artworks. After the event, the artworks remained in place, they were not moved back, so allowing for a kind of physical legacy of what had happened each time, shifting the exhibition radically from beginning to end.

The show was not about Punk-rock. More over, the 3 minute punk-rock song was used as a framework in which to align certain artworks and artists together. The works dealt with errors, spasms, glorious hiccups and splutters, reminiscent of our everyday stumblings. They dealt with a certain kind of generosity; a generosity of quickness, urgency, interruption and blurring. It was a project that concentrated on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing. It attempted to unravel working and thinking and push these often hidden processes public.

This lead to A Way of Doing Things , where notions of the natural evolution of ideas and things become secondary to pragmatism and a sense of wanting to get things done. A Way of Doing Things was a reference point for discussion and thinking, which moved on to form something else. So Event Show began with an idea that the artists involved could maybe use The Way Things Go as an analogy and a model for practice and art-making.

Rather than simply seeing TWTG as a film to be consumed and enjoyed, is it more interesting to use it as a tool in order to make new work from? My suggestion was based on the notion of replacing the objects in the film binbags, tyres, models, etc. The suggestion was to try and focus on the strands linking events rather than the events themselves, so that through a series of events, the links connecting them could be where concentration is placed, leading to some kind of recollection of TWTG.

I explained my proposal to the artists to produce this series of interconnected events. This allowed for an anonymous collaborative discussion between the artists, with the curator acting as facilitator through the entire process. Questions were sent by the facilitator curator to each expert artists. The artists would respond, then the facilitator would collate, edit and send the experts the condensed answers along with new questions relating. This process was repeated until the events could be forecasted. The process of using The Delphi Method allowed the artists to incrementally refine their ideas for Event Show , which lead to 5 separate actions as part of one overall event, which happened on 3 June.

The Press release read as follows:. What makes it unique both locally and internationally? We try to fulfill this desire. Moreover, I think that the Museum is quite a unique place, for some very specific reasons. The collection and the exhibition spaces are in a Renaissance church, which was renovated in by the great Leon Battista Alberti. In the last two centuries the building had changed several times its identity: Afterwards for a very long time it was an army deposit, until its final destination: The artist decided to ask two of his close friends, whose master had been the famous architect Giovanni Michelucci, to think about the renovation of the building and they made a very special project with brutalist roots and references to Albini, Scarpa and Michelucci.

A few years ago I decided to start the restoration of the Rucellai Chapel by Leon Battista Alberti, a great masterpiece of the Italian Renaissance, that originally was part of the church. In the 19th century the passage between the Chapel and the church had been closed, and I decided to re-open it and connect it again to the museum. It seems to me that now the museum is a kind of time machine: The second reason that makes the museum unique is that we invest all our budget in production, production, production. How do you articulate contemporary creations and emerging art with the work of Marino Marini, who could be defined as a modern sculptor?

The exhibitions and the joint programmes dedicated to performance, music, dance, cinema, and literature are related to sculpture and to its transformations from the legacy of Marino Marini — both archaic and modernist — to the new generations of artists. Marino Marini is a truly representative modern sculptor. Why including a programme of contemporary art in a museum —and one could also say in a city— which is dedicated to the research and conservation of a specific heritage?

As we live in a city with a glorious past, whose artistic achievements have been so influential in the Western world, we have decided to operate in the present, counting on a heritage which is almost unique in its richness. We mean to address the citizens of Florence and its metropolitan area, who participate in this heritage while needing to live in dialogue with the present time.

We are one of the few institutions in Florence that focuses its activity on the local community. The dialogue with our everyday present is the key focus of our work. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it? We have decided to participate in PIANO because sharing ideas and projects with other countries stimulates cultural and artistic growth.

That is why we thought of profiting of this opportunity in the best possible way. Our experience about the project Alfred Jarry Archipelago is giving excellent results and the French Institutions, even those that are active in Italy, have worked with us and they have offered a great collaboration. Museo Marino Marini Protagonists: Alberto Salvadori, Leonardo Bigazzi. Che cosa lo rende unico a livello locale e internazionale?

Penso che il museo sia un luogo unico per diverse ragioni. In seguito, per un lungo periodo di tempo, il sito fu usato come deposito di armi, fino alla sua destinazione finale, quella di sede del Museo Marino Marini. Il risultato fu un progetto molto particolare con radici brutaliste e riferimenti ad Albini, Scarpa e Michelucci. Alcuni anni fa ho deciso di avviare il restauro della Cappella Rucellai di Leon Battista Alberti, un grande capolavoro del Rinascimento italiano, originariamente parte integrante della chiesa.

Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione? La nostra esperienza con il progetto Alfred Jarry Archipelago sta dando eccellenti risultati e le istituzioni francesi, anche quelle attive in Italia, hanno lavorato con noi offrendo grande collaborazione. Overview of the ground floor 3. Andrea Baccin When did the collaboration between you and Mark Manders begin, and why did you decide to start a publishing house? Roger Willems We worked together for the first time in After that we started Roma Publications.

We enjoyed making books independently and made our living with our other work. Over the years it slowly took over my practice and I hardly do commissioned work anymore. What is your approach to making a book? What are your selection criteria and what is the mission of Roma Publications? Often new books are connected to previous ones, with artists we worked with before.

Besides that we choose intuitively and try not to do too many things. Our goal is to keep it close to ourselves and grow steady by going on for many years. Not by making more books per year. What is the relationship between the book and the exhibition space?

What is the relationship between exhibiting the book as an object and actually reading it? Most of the time books travel alone and end up in an endless amount of different contexts. Like a family reunion. We are tiny and unskilled in what most professional publishers do such as distribution, but in the few years it has existed, it does create a sense of a group of people and interests. What makes your publishing house different from the others?

We are busy with other questions than to try and be different. Each publication seems to be a nice opportunity to try something. On a practical level the production money comes from different channels than sales so it frees us from a certain pressure other structures could have. Do you publish self-productions or books on commission? Both, it is increasingly difficult to make a difference between the two, especially when we also design books elsewhere for other publishing companies or commissioners. What is your view on exhibiting a book in an exhibition space versus reading it?

The journey to find it was as exciting as reading it. What is your approach to graphics in your projects, and what are the criteria in selecting the books you publish? There is a form of authorial translation but we suspect the whole thing is to broaden friendship… which leads to thinking that most people we have published are friends or have become one. Keren Detton Le Quartier was founded in on the initiative of the former director of the Quimper art school, Michel Pagnoux. Its underpinnings were the intense competition in art, literature and film in Quimper and the implementation of the decentralisation policies initiated by Jack Lange in the mids.

Le Quartier was set up in the same building as the art school but operated autonomously, enabling it to be part of a professional network to which students had special access. Subsequently, the implementation of a contract with the state, region and department guaranteed that it would be possible to work with the public in a sustained way, particularly through the assistance they provided for the production of works and for mediation activities.

Charles Esche described his ideal museum as fundamentally uncertain: The idea was to shake up the annual programme, introduce different rhythms, play on synchronic or diachronic effects, while preserving an artistic research space over the long term and continuing to do creative work with publications catalogues, anthologies of texts, artist books. I also wanted to work on the porosity between the inside and outside in order to shatter the military aspect of this former barracks and highlight the seeing conditions. It was as if visitors were both surprised and relieved to see the works integrated into their day-to-day life.

Recently, artist and architect Catherine Rannou offered a visit to the worksite of an exhibition setup tackling architecture through language and imagination, radically transforming the institution. I find it very stimulating when works speak to visitors on the level of their relationship to the body and to language. Le Quartier will be celebrating its 25th anniversary in a shaken political, economic and media context. As we speak, Le Quartier is being threatened by drastic budget cuts, and yet its balance sheet has been unanimously praised by all of its public partners.

It runs an untimely programme alongside artists, investigates our visual cultures through images and language, and merrily crosses the boundaries between disciplines. Yet it is being told to justify its legitimacy. Le Quartier is in a prime position between the art school, to which it offers genuine professional springboards, and the fine art museum, with which it collaborates regularly. But above all it is a place of emerging forms and ideas, passions and questions.

It is rooted in its territory and resonates with places elsewhere, and keeps up a dialogue with artists and visitors. Why did you wish to participate and what programme are you proposing? Alfred Jarry Archipelago was born of the desire to understand artistic creation today through Alfred Jarry, the father of pataphysics. The project has turned into an open curatorial platform, which apprehends the legacy of the author of Ubu Roi not historically but speculatively.

Since he was a well-informed observer of the artists of his time, we decided to make way for Alfred Jarry the curator! Leonardo Bigazzi, curator at the Museo Marino Marini in Florence, is presenting a programme of performances. Eva Wittocx, curator at M — Museum and for the Playground Festival in Leuven Belgium is joining us by linking monographic exhibitions and performances. The project framework is open enough to incorporate different points of view on this subversive figure full of contrasts, and to more closely examine his relationship to theatre, his projection of bodies and desire, his use of codes and absurdity, and the mixing of genres and identities.

A publication in the form of an almanac will be the receptacle of this multiplicity of perspectives, with supplements provided by new contributors, authors and artists. What do you look at? How do you think? How has your training as a designer informed how you produce forms in the exhibition sphere?

It seems that the language of abstraction is still important for you. Primordial shapes like circles, triangles, squares… enable me to concentrate more on narratives, circumstances and processes. I proceed from what societies tangibly produce to build themselves. I visit companies dealing in supplies or construction equipment, and go to rendering plants and product assembly factories. I idly drive through industrial estates in Italy, France, Germany and Holland. On YouTube I watch guitar swirling in garages and industrial plastic machining.

In this context, the work is at once an everyday object and something fantastical: Although my training as a designer informs manipulations of conventions much more than manipulations of shapes , the exhibition sphere, which is not very familiar with functional services and devices, opens up a fertile field of experiments that are more complicated to develop in the commercial sphere.

Are you more of a Fassbinder, Wako or Beverly Hills ? A gang can be Philip K. Cain , alone and condemned. I try to combine sustainable economic efficiency with the risk of alienation. The gang — made up of artists, designers, composers, curators and architects who are all fanatical about hard beats — lives between Berlin, Amsterdam and Paris, and is heterogeneous and multifarious. The action hierarchies are healthy, made of individuals who do their singular research and can take turns implementing or supporting a project. PostNorma, a fabulous squat conquered and dissolved in one year, which generated workshops and various events.

The Dirty Art department, an institutional bouillabaisse that made lots of meetings and journeys possible. SANKS, a design company among friends. Cicciolinas, unifying techno parties. What is you position in all of this relative to institutions and the art market? My artistic commitment is romantic. It is to create an optimal climate for creativity, establishing circumstances that produce autonomous strengths and attitudes without excluding myself from society — quite the opposite.

I practice lateral thinking and oblique strategies. Each card contains a cryptic phrase or comment to meditate on, one that can be used to overcome a creative block or dilemma. It is based on imagination and on putting forward impossible, absurd, unrealistic theories in order to create springboards towards other ideas that are themselves achievable. Embodied in my practice, this means that I go off into fairly diverse application areas and development structures, working with people who are also very different and sometimes have polar opposite ways of thinking.

This makes it more tiring and difficult to exist in different markets instead of only one, since people still have a strong tendency less in English-speaking countries to recognise only a single profession for each person. Exhibition as Research Space: SANKS, une compagnie de design entre amis. It therefore grew out of the need to create a kind of institution that was lacking here in Milan, and to experiment with this kind of hybrid structure.

So one of the first thing spurring us on was the desire to examine what the role and future of the art institution could be today. Everything that is not strictly necessary to the work and its presentation — which is the purpose of a show — is a superstructure. In the dialogue with the artist, which is a fundamental part of constructing any exhibition, the positions, thoughts, and needs of the curator should never prevail over or obscure those of the artist and of the work.

All the exhibitions organized by Peep-Hole are developed in this spirit: The name itself is an answer to your question. A peep-hole has a fisheye lens that allows a wide field of vision without being visible from outside. Whatare the main challenges for a space that wants to remain independent? PIANO is aimed at creating a network of art spaces that work together, exchanging ideas and interacting with each other. The program Six Ways to Sunday , which consists in inviting an institution to do a show in our space as if it were a satellite project room, is one example. The project we are participating with, The Book Society 02 , in collaboration with the Synagogue de Delme, is devoted to the most experimental forms of publishing, and intends to investigate the potential of the book as a form of expression.

Publishing is indeed a space in which not only is something conveyed, but content is created. Nowadays many well-established or newly founded independent publishers and countless text-based artistic practices have accelerated the development of this format as one of the most interesting phenomena on the current art scene. The book society Tutte le mostre organizzate da Peep-Hole sono sviluppate secondo questa idea: Lo stesso nome dello spazio fornisce una risposta alla tua domanda.

Quali sono le sfide maggiori per uno spazio che ambisce a rimanere indipendente? Tuttavia gli spazi di quel periodo erano vere alternative ai contesti istituzionali e alla loro legittimazione ufficiale del valore artistico. Per quale motivo avete deciso di prendere parte al progetto e come si realizza la vostra partecipazione? Adriano Costa, How to be Invisible in High Heels , , concrete, sand, red soil, iron, 50 x 5 cm, variable heights.

Installation view at Peep-Hole, Milan, Courtesy: They are the product of relationships between many agents — artist s , curator s , artwork s , audience s , display, etc. An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience. Nikolaus Hirsch asked this question: Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm up to twelve exhibitions a year.

And I am doing this by inviting artists, designers, choreographers, theorists, etc. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates. I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience. And I guess this is possible just by administering resources first of all, time, as the most precious one in a savvy way.

It is a process that takes time, but some good steps have been made in this direction. Esse sono il risultato di relazioni tra diversi attori — artisti, curatori, opere, pubblico, display ecc. Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Nikolaus Hirsch si poneva la seguente domanda: Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc. Credo sia molto importante — quale segno di rispetto verso gli artisti e il pubblico — trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo.

Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale.


  • The Magic In The Receiver?
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  • Constellation of One and Many , The realisation of this arrangement, in its form and duration, can be limited by other museum activities requiring that the shutters be opened. The work and the exhibition have a specific relation to the Bolzano context. The land in these Tyrolean valleys was feudal, whereas the peasants in the mountains were independent. Looking at the valley from the mountaintops, you see something completely different from what you see from the opposite direction. The view from the 4th floor of Museion offered a symbolic top-down point of view. The museum is built on the boundary that is the river.

    This already emphasised that kind of point of passage, but from the opposite point of view. This reversal of perspective leads us to the one carried out at Museion. The exhibition highlights the fact that the museum builds this same passage from Italy to Austria and vice versa. The invitation was probably linked to the fact that my work is often built on a context, in this case the museum and its layout. Since the exhibition had a strong link to the city, I felt that my proposal would be weak if it only addressed institutional aspects. By extending the invitation to Bernhard and his work linked to the notion of space, the point was to enrich the project through the historical and topographical perspectives it could provide.

    How did these questions of passage and perspective-reversal affect your proposal? The exhibition offered a reversal of the function of the museum spaces; the viewer had to enter the exhibition directly on the ground floor, which is normally a passage, and then view the city from the 4th floor, which had been turned into a belvedere, in order to finally go back downstairs and follow the suggested route through the city. Our proposal found its place in that belvedere. We were unsure if when viewers reached a practically empty room on the top floor, facing large windows, they would intuitively be able to experience looking at the city.

    The gesture of opening the museum onto that broad landscape could seem romantic: Whereas visiting the exhibition on the ground floor was preparation for looking at the city from the belvedere? It was a matter of constructing a determined perspective instead of a passive contemplation, as well as introducing the question of the body and the notion of unstable balance: The final proposal was to close some of the shutters on either side of the building and therefore either side of the city to create a specific field of vision that involved a movement dynamic and spatialized the bodies in the space.

    We did a trial during the exhibition in progress and as soon as the shutters were closed, people stopped looking at the works to approach the windows. What role did the model play? This metaphor in the state of language becomes a physical act as soon as you experiment with it. The exhibition brought forward the notion of architectural filter. There is a certain equivalence of preoccupations and ways of filtering the gaze. The two works operate in opposite ways, but actually express something very similar. Another work in the exhibition, that of Marcus Geiger, consisted in extracting one of the apartments from a housing project, an empty space that ultimately offers a transversal perspective, enabling reflection upon architecture and town planning.

    It sports these two eyes that look outside, a two-faced gaze in the shape of a Janus head, something that is very characteristics of the local culture. Speaking of local culture, can we discuss the title? Thinking again of the belvedere, is the title therefore a clue about how to use the work? The third word is in the Tyrolean dialect and expresses the idea of looking past appearances to understand reality.

    At the same time, people only understand a third of the title, since each of these languages is only spoken by some of the population. It reconsiders questions about the activation of perspective, which are important for Bernhard, through my own methods, including the production of a condition of incisiveness when regarding what is already present on-site, without adding objects. The desire not to add objects seems to me to be very apt — since the museum itself is already an object, and not a transparent, neutral tool.

    Il y a ici un acte similaire qui fait traverser la structure par le regard. Is there a precedent or theoretical model for the space? We came together around the shared view that Paris lacked places that were midway between art school and institution, places where it was possible to test ideas, make mistakes and show the work of unestablished artists, whether they were still students or were older but unrecognised.

    It is one of the few independent art centres located on a university campus in France. Because of this, we enjoy a special relationship with the Ministry of education and we are developing a programme that questions standardised forms of knowledge production, classification and distribution. I think art centres have a role to play, supporting art research and rearticulating the position of education, research and creativity in society.

    As the years and meetings have passed, the organisation has become more professional and its ambitions have asserted themselves. The opening of the Centre for art and research in was a key moment. At that time we met many university researchers and students whom we gradually got to know well. Today the programming is conceived according to various formats and timeframes, and includes several annual exhibitions interspersed with associated events.

    Different seminars and workshops are also organised in collaboration with professors from Paris Diderot University. How might one conceive of the possibility of spaces for independent programming in the face of accelerated globalisation, a ubiquitous art market and the hitting power of the largest institutions?

    Faced with this crisis situation, there is an urgent need to reconsider how we do things. Cross-disciplinary navigation tactics need to be invented. This could be done as soon as renewed conception of the territory of art could be agreed: An art centre should make the social and cultural frictions of the present perceptible. Exhibition view, Maryam Jafri. Under these conditions, what are the responsibilities of the director of an art centre? The responsibility of the whole staff of an art centre is therefore enormous. We have to challenge ourselves, working as closely as possible with the region by maintaining a network of relationships that should be broadened day by day to increase the number of collaborations.

    Why did you want to join this project and what will you be presenting? It is a reflection on how history is written. Therefore it is crucial to be able to hear voices other than the official ones, hence the invitation extended to the Italian collective Invernomuto to come and contribute to the exhibition. Exhibition views, Maryam Jafri. In the presence of Maryam Jafri artist. An afternoon of visual and theoretical essays around exhibition as a medium for research, where time allows to rethink the relations between art and the public sphere, beyond disciplinary categories.

    The detailed program will be announced soon. In what sense was this collective dynamic important? The three of us already knew each other. We got along well and lived in more or less the same area. Prada and Marni have been the standout shows in Milan for Chris Kyvetos. Green the best at Pitti. Le sneaker resteranno dei best-seller: Doveva essere ricordata come la prima fashion week maschile aperta anche le collezioni primaverili femminili, tra cui quella di Alberta Ferretti, in avvio di manifestazione, del brand Aalto e di Stella McCartney.

    Tra le note positive anche Marni: Francesco Risso sta costruendo un mondo molto articolato intorno al marchio e si sta facendo apprezzare da molti, a cominciare da Hirofumi Kurino di United Arrows. Successo anche per Ermenegildo Zegna e Versace. Si dice molto preoccupato per il. Non abbastanza, infatti molti buyer da Firenze sono andati direttamente a Parigi. Alle preoccupazioni di Nugnes si aggiungono quelle di tanti colleghi, come Andrea. Prada con i suoi short ha reso le gambe la nuova parte del corpo di tendenza. Antonioli found Pitti more interesting than Milan in terms of brand scouting.

    He mentioned Craig Green and Prada. Che dire, Pitti fa sempre un lavoro egregio, mettendo insieme un prodotto super commerciale e nomi slegati dal business, come Craig Green. I casi di Palm Angels, Sunnei, Gcds presente con un party sono tra le poche eccezioni. Un nuovo concept aperto anche al pubblico, con sfilate, talk e performance.

    Lee Goldup enjoyed the modern outdoor aesthetic in Florence. Bed JW Ford and Prada displayed a strong energy. Sunnei ha confermato tutto il suo potenziale. During the latest fashion week, streetwear was once again the undisputed protagonist of collections, with successful contaminations from the luxury world.

    But buyers and agents warn: Uno scatto che sintetizza la commozione spontanea per la prima prova come direttore creativo del djstilista alla corte di un marchio blasonato come Louis Vuitton e, al tempo stesso, la consacrazione di un nuovo modo di intendere la moda, di comunicare, di fare enga-. Quei blazer total white portati con la T-shirt e le sneaker in apertura di show hanno de facto ufficializzato quello che si respira da alcune stagioni - il clash e la contaminazione tra street e high fashion - e sancito.

    Da qui non si torna indietro. Se vogliamo attenerci agli ultimi eventi della moda maschile, a Firenze il podio va a. Le sneaker restano nella top list dei desideri. Da avere a qualunque prezzo. Bande laterali, silhouette morbide: Fumito Ganryu, che ha presentato uno streetwear davvero innovativo. A Milano a Palm Angels. Cito anche altri due brand che si stanno muovendo in maniera davvero interessante: Sul fatto poi che con questa tendenza si possa continuare a fare cassa, Grassi si dice.

    Lo streetwear proposto da Dan e Dean Caten sulla passerella milanese di Dsquared2 2. Il primo look uscito in pedana firmato da Kim Jones per Dior Homme 3. Senza contare il fatto che si tratta di una moda transgenerazionale: Conferma Piero Tordini, titolare della showroom milanese Marcona 3: I fratelli George e Mike Heaton, 23 e 25 anni - commenta - sono geniali e hanno occhi molto attenti alle esigenze delle giovani generazioni.

    Da menzionare anche Ih Nom Uh Nit: Non bastano una felpa con cappuccio e le bande laterali sui pantaloni per accaparrarsi i riflettori. Della fashion week milanese ho apprezzato il colore, i motivi vivaci, le sovrapposizioni. Non sono stato favorevolmente impressionato da quello che ho visto nei negozi milanesi durante questa trasferta: Cerchiamo di uscire da.

    Viviamo in un Paese di grande cultura. Un insieme del brand White Mountaineering 2. Lo stile Mcm visto in occasione di Pitti Uomo a Firenze 3. Lo streetwear secondo OffWhite, marchio top seller di Virgil Abloh 4. La passerella parigina di Represent 5. Un look firmato A-Cold-Wall 5. Il festival del fashion e della cultura street White Street Market Wsm convince: Join us as we unveil a new chapter in durable, responsible denim. All other marks referenced herein are property of their respective owners.

    Sustainability is a burden but also an investment. The top of the supply chain is convinced of this and hopes for more uniformity in certifications and cost sharing, including fashion brands and customers. Lo attesta uno studio di Eurobarometer dello scorso autunno, che tiene conto delle risposte di quasi 28mila cittadini Ue in tema ambientale. Non a caso repellency and water-based stain protection. Il marchio Ecolabel 3. Un filato della linea Naturalis Fibra di Botto Giuseppe 4. Una proposta Zegna Baruffa Lane Borgosesia 6.

    Il trattamento idrorepellente Teflon EcoElite su una giacca Chemours. Credo che il sistema della moda italiana si stia muovendo nel modo giusto: Stanno nascendo marchi giovani e sostenibili, con storytelling mirati ai. Specializzata nei tessuti a maglia, Brugnoli sta puntando tutto su BR4. A proposito di nuove sfide Denna dice: I processi produttivi di Naturalis Fibra sono certificati Cradle to Cradle, che controlla anche le tinture. Inoltre resta efficace fino a 30 lavaggi: Ci chiedono di essere loro partner non solo nella progettazione ma anche nella formazione, per fare scelte migliori.

    I dipendenti erano stati coinvolti in oltre 53mila ore di formazione. In materia di riutilizzo, alla Giovanni Lanfranchi, nota per le cerniere Lampo, realizzano modelli dai nastri in poliestere riciclato Newlife. Vanno discussi intorno a un tavolo per avere un approccio comune. Ognuno segue la sua via: Con Camera Moda si sta lavorando a un capitolato unico: La produzione da Brugnoli 3.

    Un interno di Eurojersey 4.


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    • A History of US: War, Terrible War: 1855-1865?
    • theranchhands.com FA N by Fashionmagazine - Issuu.
    • Melnick on Writing: An anthology of columns from the AMERICAN MEDICAL WRITERS ASSOCIATION JOURNAL.
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    • Una cerniera in Newlife di Lanfranchi. Nel mondo delle etichette ecofriendly si va dai filati recuperati alla plastica biodegradabile, dal cuoio rigenerato alla fibra ricavata dai torsoli e dalla bucce delle mele. Denim companies are pushing on the accelerator of sustainability, feeling that it is time to actively take responsibility. Saving of water and energy, recycling, optimizing production and paying attention to health and the security of workers: Si corre ai ripari, secondo un approccio olistico, che vuol dire innovare con una visione responsabile a gradi.

      Candiani ha speso oltre 30 milioni negli utimi dieci anni per arrivare a un traguardo importante: Tutti i filati sono quindi di materiale rigenerato e permettono di non utilizzare cotone fresco. Sviluppi importanti potranno venire inoltre dal processo Ink, che oggi Candiani impiega per ottenere un denim di colore nero interamente con prodotti biodegradabili, eliminando scarti potenzialmente inquinanti.

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      Si parla di scelte come la licenza Kitotex, che permette di sostituire prodotti chimici inquinanti grazie a un polimero naturale che si applica in fase di. Si guarda molto infatti al dopo: A destra, un jeans del marchio svedese Jeanerica, realizzato con tessuto Isko Earth Fit. Con un occhio alla confezione: Durante il processo di tintura, inoltre, viene usata una bozzima naturale e totalmente biodegradabile. Da questi scarti produciamo nuovi tessuti.

      La competizione tra i produttori. Altro asset sono i tessuti premium selezionati per le collezioni, scelti per non danneggiare le persone e il pianeta, grazie a fibre come Tencel e Modal, totalmente biodegradabili. Banditi anche gli sprechi, con metodi di taglio studiati per minimizzare le eccedenze di tessuto, che sono poi raccolte per essere riciclate. Sono tutti argomenti importanti per Salone Italia, la showroom di Natalja Bakajeva, con sede in via Tortona a Milano, che vende la label in Italia e in Russia. Innanzitutto, per il fatto che la rassegna, durante. Tra gli obiettivi da centrare, una maggiore apertura, pur restando nel perimetro della selezione: Al Piemonte, che trova in Biella una delle sue eccellenze, viene dedicato a Milano Unica un nuovo appuntamento dell'evento On Tour sul made in Italy e i suoi distretti.

      Buyer al salone Texworld Paris 2. E poi fare squadra: La presenza internazionale di Milano Unica: Restiamo concentrati sulla Cina, ma teniamo le antenne dritte: In parallelo, nella hall 3 si insedia il nuovo spazio Leather Manufacturing, con 21 espositori tra produttori di calzature, abbigliamento in pelle e accessori. Riflettori accesi su oltre 1. Stefano Chiassai, che raccontano 40 anni di moda.

      Unica vive di sinergie: In settembre gli espositori dei sei settori che compongono un mosaico elcettico - tessuti, filati, pelle, design, accessori tessili e componenti, manifattura - sono. Milano Unica and its future challenges according to its chairman. Si apre una nuova edizione di Milano Unica: Harmony di Tollegno 3. Una foto scattata nella nuova area di Pitti Filati dedicata a Lineapelle 4. Rocche di Joy, filato di Cariaggi 5. Made in Italy heritage added with sustainability, speed and performance: The passions of contemporary men, condensed into a few garments, to be carried in a single bag: Sealup gives its made in Italy products a new house: Uno spazio inondato di luce, grazie alle ampie vetrate che si aprono su via Montenapoleone.

      Sotto i riflettori proposte per uomini che viaggiano, come il Bretello, giubbotto o trench da ripiegare in busta o da portare a tracolla con un bretello interno. Attualmente i clienti wholesale nella Penisola sono , con nuovi accordi che includono i negozi di Milano, Roma, Cagliari, Monza e Roma di Rinascente, su un totale di a livello worldwide: Gli stretch sono giapponesi, le lane e le felpe italiane.

      Con questo presupposto i Casillo hanno deciso di organizzare un piano di sviluppo del marchio al dettaglio: I risultati non si sono fatti attendere: In Cina il business si sta rafforzando, grazie alla presenza di sette punti vendita. Pineider ha una nuova linea stilistica: Sono altri i piani di espansione che passano per la testa di Umberto Vendramin, fondatore del marchio focalizzato in pantaloni Nine in the morning per uomo e donna. Non ci sono solo investimenti commerciali nel business plan di Philippe Model.

      A Firenze abbiamo presentato il nostro modello iconico Monaco reinterpretato in chiave running e parallelamente stiamo lavorando a nuovi co-branding. Un fatturato di milioni di euro nel , con la prospettiva di una crescita nel , e una distribuzione capillare nel mondo, attraverso la presenza in quasi 1. Lo stile Brax nel punto vendita di Potsdam 3. Una nuova proposta Brax: The same does not apply to fake ones. Pellicce naturali o sintetiche?

      Oaten chiama in causa anche marchi come Gucci e Versace, recentemente alla ribalta per le loro scelte animaliste: Resta il focus sullo scouting: Mentre negli accessori ha prevalso Marco Lanero con Delirious Eyewear. I vincitori di Who Is On Next? Invece ha scelto i futuri designer.

      Il successo della piattaforma ideata da Altaroma con Ice Agenzia per mettere in contatto i new talent con i buyer trova conferma nella parole di Sivlia Venturini Fendi.

      Dieci talenti della moda sono entrati nella filiale di una banca per presentare le loro collezioni. Tra le dieci promesse che hanno preso parte a Next Trend, presentando 10 look ciascuno, nomi come Jenny Monteiro nella foto , Gilberto Calzolari e Viola Ambree. Investments in eco-sustainability, new headquarters, the launch of e-shop are among the new projects of Daniele Calcaterra.

      Poi, per la sfilata dello scorso febbraio, ho cercato fornitori in grado di garantirmi uno stock di pellicce di visone vintage, a cui ho ridato vita attraverso davantini, coprispalle e coprimaniche. Nuovi orizzonti si profilano sia sul fronte del prodotto, sia delle strategie commerciali, come spiega il direttore generale Angelo Loffredo: Come si sta muovendo a livello distributivo? Siamo molto attenti a dove vendiamo e a come il nostro prodotto viene proposto.

      Giappone e Corea sono invece le grandi sorprese delle ultime due stagioni: Progetti retail offline e online? Avete anche inaugurato un nuovo quartier generale Si trova in centro a Brescia e si sviluppa su metri quadri. E cambia marcia pure il digitale, con il restyling del sito istituzionale e dei canali social. Last, but not least, il retail: I capelli vengono protetti dai danni del calore, grazie alla termoresistenza racchiusa in una bolla di vetro, che misura la temperatura per ben 20 volte al secondo, trasmettendo i dati a un microprocessore, preposto al controllo di un.

      Gli accessori restano inoltre freddi al tatto, grazie alla tecnologia Heat Shield. Asciugatura e piega possono essere realizzate in un unico passaggio, tramite la tecnologia Air MultiplierTM , a sua volta brevettata. Tre gli accessori magnetici, unici nel loro genere, inventati dagli oltre ingegneri Dyson: Diadora aims to conquer Millennials, mixing heritage and innovation. In Europa sta mantenendo le posizioni. Sono circa i punti vendita uomo. La parte del leone la fa ancora la donna: Trasversality and research as keywords of Pitti Bimbo, a fair that changes with a market asking for more and more innovation, as some buyers interviewed by Fashion underline.

      Penso alla sezione Apartment, un concentrato ganati per il maschio. Alcuni brand lo hanno capito: Il finale della sfilata collettiva dedicata ad Activelab, nuova sezione del salone 2. La sera del 21 giugno Monnalisa ha aperto eccezionalmente il Giardino Torrigiani per una festa in perfetto stile anni Cinquanta 3. Il marchio Nicki Macfarlane ha portato in Fortezza un assaggio della sua couture per piccole principesse, finita su tutti i media ai tempi del Royal Wedding di William e Kate, grazie agli abiti da sogno delle piccole damigelle.

      Sfilata a Pitti per Stefania Pinyagina, marchio fondato da Natalia e Oleg Pinyagin, imprenditori e genitori della piccola Stefania, cui hanno dedicato questa collezione dopo 20 anni di esperienza nella produzione di kidswear. Russi ma con quartier generale a Marbella, Natalia e Oleg hanno presentato una collezione molto articolata per maschio e femmina, tra mood romantico ed echi street. Bomber e bermuda ravvivati da un disegno su stampa, polo con collettoclassico e maglione giricollo a righe. Uno spirito libero, eclettico e street-pop, in bilico tra atmosfere californiane e ritmi urbani.

      Dettano legge il mix di materiali, le stampe strong, le coloratissime grafiche. A pop-street, eclectic spirit, in balance between Californian atmospheres and urban rhythms. Mixes of fabrics, strong prints and colorful graphics are in pole position. A wardrobe in the mood for a free sporty couture, always open to experimentation. Denim has no age, no nationality and, according to every single person who wears it, gains a specific personality.

      A universal, transversal fabric, that goes through different historical periods, constantly renewing itself and discovering a bespoke soul. To make everyone really special. Capi icona che guardano al futuro, come il bomber in cotone naturale o stampato, ma anche in seta waterproof, il maglione sportivo scollo a V, ispirato al mondo dello sport degli anni 70 o il parka in tessuto seersucker.

      Proposte che in poche mosse diventano sinonimo di stile per un moderno globetrotter. Icon garments that look to the future, such as the bomber jacket in natural or printed cotton, or in silk with the waterproof system, the sporty V-neck sweater inspired by sports world of the 70s and the parka in seersucker fabric. Proposals that in few moves become synonymous with a style for the modern globetrotter. Pochi fronzoli, tanto comfort e naturalezza. An intimate narration of bohemian tales with a gypsy spirit, traveling through time-space universes,thinking of a happy nomad and his memories, that blend with botanical and geometrical, colorful and funny motifs.

      No froufrou, in the name of comfort and naturality. Giacca completamente destrutturata, sciolta e informale, realizzata con un tessuto stampato a righe verticali. Bomber con cappuccio, felpa, filed jacket, T-shirt e pantaloni con coulisse nei toni del giallo sole e blu oltremare. Pensando alle vacanze anni Cinquanta e a spiagge esotiche, le giacche si destrutturano e anche i pantaloni si ammorbidiscono, pur restando spesso e volentieri nel perimetro del formale.

      Thinking about a s holiday style and exotic beaches, jackets are deconstructed and pants choose softer silhouettes, without completely forgetting a formal allure. Fabrics are natural and lightweight, to live summer in an elegant, nonchalant mood. Giubbotto in pelle, T-shirt in cotone, maglia con grande scollo, pantalone a quadretti tutto sui toni della terra. Colletto, ricamo, polsini, tessuto, bottoni e confezione su misura: Ogni materiale racconta una storia di eccellenza, dalle sete lavate alle tele in cashmere e alle lane superfini.

      Each material tells a story of excellence, but also of careful selection, from washed silks to cashmere and the finest wool. In the meanwhile, the most sporty garments choose new chromatic suggestions and prints, to design their future. Si fa presto a dire giacca: Giacche morbide dai tessuti dalla marice british come il tweed, il pied de poule, il principe di Galles.

      The jacket is only a jacket: This unmissable garment enriches itself with functional contents, never seen before. Style and practicality, with a streetstyle touch, for men in a constant evolution. Shining 3L membranes, combined with coated taffeta, coexist with cotton-nylon blends. The contemporary man finds all that he looks for, modern collections in tune with his changed needs.

      Sneakers in pelle e tessuti naturali dai colori neutri e brillanti, materiale tecnico abbinato a suede e cotone dagli spessori diversi per creare differenti sensazioni al tatto. Inspiration, shapes and materials of the most diverse genres blend harmoniously, to create a hybrid and contemporary style.

      A melting pot that ranges from formal style, redesigned thanks to unusual volumes and cuts, up to casual-daily, which acquires a retro taste thanks to the lived effect and to sartorial materials. Zaino in pelle, applicazioni a contrasto e grafismi esterni con immancabile doppia tasca per PC a Ipad.

      Pezzi facili da indossare, emblemi di un vero lifestyle e di una nuova filosofia. I capi prendono le distanze dalle regole del marketing e dei trend, per riscoprire il valore profondo della moda. Easy-to-wear pieces, expressing a true lifestyle, a new philosophy. The result is a perfect uniform, capable of revealing a personal style and a deeper self, where luxury and freedom coincide. Garments forget the rules of marketing and trends, to rediscover a deeper approach to fashion.

      And more, the period between the 90s and s, with the explosion of the rap world, and the growth of street wear, contaminated by surf styles of the American West Coast. A continuous process of cultural transformation, mirrored by new men's collections for spring-summer , that creatively interpret and combine synergies between denim, urbanwear, sports and streetwear. Forme e materiali, trattamenti e colori. Capi che sintetizzano tutta la ricerca in fatto di prestazioni tecnologiche applicate ai tessuti.

      Shapes and materials, treatments and colors. Items that collect all the research in terms of technological performance applied to fabrics. In this avant-garde mix, shoulder garments, shirts and accessories are stripped of the superfluous, in search of pure design. Capi altamente funzionali, che guardano alle esigenze pratiche del quotidiano. Perfecting the daily wardrobe by combining the most advanced technology with a contemporary aesthetic. Highly functional garments look at the practical needs of everyday life. Le aziende del settore outerwear mandano in scena una serie di capi realizzati in cotone, nylon, 3 layers, water repellent, caratterizzati da termo nastrature interne, bottoni gommati e inserti laserati per la traspirazione.

      Contemporaneity and performance dominate the next hot season. Companies in the outerwear sector stage a series of garments made of cotton, nylon, 3 layers, water repellent, characterized by internal thermal tapings, rubberised buttons and laser inserts for transpiration. A path from which collections arise through unusual communicating vessels, endless transversal languages, always different: The main road remains the same: Artistici, etnici, evanescenti, tecnici, riciclati, trattati e bistrattati.

      I materiali sono protagonisti della prossima estate, che arriva a mirabolanti ibridazioni fra active e denim e a ironiche intromissioni del cotone nel poliuretano. Artistic, ethnic, evanescent, technical, recycled, treated and mistreated: Approdata a MIlano, dopo la fashion week di Londra, la collezione privilegia i materiali riciclati e multifunzionali.

      Il loro fil rouge? Brands ready to debut, or collections born a few seasons ago, with an original concept and a story to tell. Max Ernst, Mark Rothko e Banksy tracciano il perimetro tematico di riferimento per Caronte, la prima collezione di abbigliamento del brand e atelier Saint Mariner del tatuatore Pietro Sedda. Un nome irriverente, un concept che si inserisce nel filone della street culture con lettering e grafiche prese a prestito dai testi musicali degli anni Novanta, stampe all over e volumi oversize. Durability, Efficiency, Sustainability are the three key assets for this company, based in Florence.

      In Brongo product and process sustainability are concepts that are constantly explored in all directions, through different and innovative type of machines, applying high technology to fashion: When we spray chemicals into a regular washing machine, it is possibile that these products escape from this machine, contaminating the work area and the operators, as a consequence of the volume of air injected inside the drum.

      Being sustainable means also being conscious: At Brongo the only equation is: