Grazie alla propria espansione territoriale, IED esprime il suo ruolo di Ambasciatore della Cultura del Progetto Europeo intervenendo su aspetti culturali, economici e ambientali in vari Paesi. For over forty years the European Institute of Design has been operating in the field of education and research in the disciplines of design, fashion, visual communication and management. Following its international vocation, the European Institute of Design welcomes in its Venues almost 2, foreign students, mostly from Eastern Asia, Central an Southern America, and Europe.
Thanks to its territorial expansion, IED expresses its role of Culture Ambassador of the European Project by intervening on cultural, economical and environmental issues in different countries. Grazie dunque agli organizzatori, per il contributo culturale reso alle imprese ed al territorio intero. The International Arte Laguna Prize has come to its seventh edition, with deserved pride and great satisfaction, reaching growing success.
Ascom-Confcommercio Treviso has supported this Prize from its birth, aware that now, more than ever, it is necessary to sustain and promote art initiatives that are so articulated and complete, which have been able to stand out for their quality and originality, with courage and competence, on the wide international panorama, becoming a real benchmark for contemporary art. Thanks to projects like this one, art is able to reach a wider audience, many talents take the road to the future and commerce has the great opportunity to change, by putting its showcases on display, in a precious point of meeting and exchange between art and people, service and culture, connection and offer.
Thanks therefore to the organizers for the cultural contribution given to companies and to the entire territory. Forse, non tutto il male viene per nuocere ed anzi ha, talvolta, un effetto positivo. Ci sarebbe stata la consueta risposta? Tutte queste domande, non espresse pubblicamente, assillavano ognuno di noi. It is a story of apocalyptic science-fiction of the catastrophic current, written by Emmerich himself, narrating of a hypothetical, if partial, end of the world. With the approach of December 21, , the catastrophic genre recorded a sharp increase and films, TV series, pseudo-scientific documentaries focused more and more closely on figuring out different and original apocalyptic scenarios.
But has the end of the world taken place? Since I am sitting at my desk writing these few lines, I can say with certainty that it has not in the sense we were imagining it or in the shape that they suggested. December 21 was, for the most part of the Italian peninsula at least, a sunny winter day that started the Christmas holidays, without however giving way to any especially catastrophic event.
But perhaps the end of the world, or better the end of our world, is the one that for a couple of years has been inexorably and constantly touching the West, grinding it into the grip of the most devastating economical crisis ever recorded since This is the real apocalypse that even the Maya had not dared to foresee. Everything in fact is changing, everything is looking for a new arrangement, we ourselves are trying to learn to live in a different way, and the world of art is not free from these mutations.
Balances have changed, the gallery system in its more traditional sense is dying, museums in many cases have become futuristic containers of high architectural value but lacking contents; the Western world is yielding to the tigers, the lions and the dragons that are venturing beyond the forests of the South-Asian economical growth. But there is nothing catastrophic in all this: The Reinassance has developed and flourished among wars and invasions of the Landsknechte, the intrigues of the papal curia and the sacks of Rome, and Baroque art had to face one of the fiercest plague epidemics but, notwithstanding all this, they were unique times.
Perhaps every cloud has a silver lining. Futurists saw in war a regenerating action, and we could imagine the crisis as a point of departure to renovate ourselves. When in late May the new announcement of the 7th edition of Arte Laguna Prize was launched, if not openly, all of us working at it bated breath. How would this edition be? Would there be the usual response? Would the Prize be successful again, as one of the realities of higher interest for European and international art? All these questions, not publicly uttered, were tormenting everyone of us. Although from the organizational point of view we have tried to increase, develop, integrate and broaden many features of the Prize, widening its international scope, through new jurors, new realities and exhibiting opportunities, and new critical collaborations, the ghost of the crisis and of the.
There were many uncertainties, not because there were doubts about the quality of the Prize — which is the first and the main interest on which the organization focuses with perseverance — but rather, on the quality and constancy of the response. Arte Laguna Prize was conceived and meant as a tool serving artists, as a platform of meeting and cultural exchange revolving around the artists and the artworks, and it is artists themselves who, by choosing to participate, make all the organizational and critical decisions meaningful.
Our fears regarded the response of the artists who, in such a difficult moment, perhaphs frightened, could decide to back down and walk away both from the Prize and from the world of art more in general. This however has not happened, on the contrary there has been an increase and a progressive rise in the number and in the quality of the works submitted, there has been a response that reasserts how art, exactly at times of crisis, gives its best.
In these months many articles have been published about art at times of crisis, and what has emerged from all these writings is that art does not suffer from the crisis, but that it is rather a form of response and reaction, a dimension where vital and rebirth drives concentrate in a privileged manner. The exhibition of finalists of this year will be perhaps our personal Day After Tomorrow, our dawn of the day after, the point from where to start again, even if clearly nothing has stopped, but rather everything has kept on being alive and kicking, on germinating and growing, as nature does during the winter months, when it hides into an apparent sleep, carrier of life.
To conclude, I would like to thank all those who believe in this Prize, and who keep on believing in it, and most of all the artists who have been able to make every edition more and more exceptional through their work, and who have wanted to be part of this new and bright dawn. Thanks to all of you who believe in Art.
Oltre opere video e performance. Una mole di proposte da ogni continente. Sotto una nuova luce. Over video works and performances. A mass of proposals from all the continents. A wide variety of poetics and aesthetics, often so different from one another, that a homogeneous and comparative evaluation is difficult.
So we proceed by discontinuities, with the difficulty of identifying but would it be that necessary? Generational leaps, from which it is hard to perceive continuity. A collection from a magmatic and contradictory universe, remarkable for its diversity. Sometimes, among many relevant works, we find a surfacing of sketches of art attempts to which we should acknowledge courage or even recklessness, as well as anagrafically mature changes of pace looking for a new existential possibility.
Which had been there waiting, perhaps for a long time or perhaps not, to be recognized and enhanced, for its history and its power. In a new light.
Arte Laguna Prize is one of the most interesting appointments of the creative world with the new talents of contemporary art, entrusted to the power of the web. Followed by thousands of young people, able to engage all the nationalities, beyond any linguistic and political barriers, the Prize is an extraordinary source of dialogue with art in its different expressions. Also this year the considerable number of participants suggests how artistic creativity is a heritage that never wears out, but rather multiplies exponentially as the borders expand and an ever-increasing number of youths can participate and decide to put to the test their artistic genius with ease, because the support of the web is really easy, in a serious and impartial contest, which trusts the competence of a jury of young critics, who are involved in this outstanding adventure as well.
Arte Laguna Prize, in fact, is not only a showcase for art talents but also an instance of how both critics and artists can dialogue in the new world of the web, through a system of relationships that is completely different from the common one. The quality of the result is attested by the spontaneous participation of the artists and by the impartiality of the jury towards the thousands of people who undergo its critical judgment.
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On a quality level, a high percentage of the works submitted present an interesting artistic profile, and are able to fully explore the expressive potentials of the material. The world of young creativity looks therefore diverse and rich in ideas and reflections, able to verge on the political, social but also virtual and imaginary reality of our world, remarking how art remains the most advanced stronghold from which to observe our ever-changing life. Momenti di illuminazione e ispirazione?
Rari, in un primo momento, nell'esperienza di passare in rassegna la serie caleidoscopica di stili e narrative delle migliaia di opere presentate alla sezione pittura del Premio Arte Laguna, per il quale ho avuto l'insolito privilegio di fare da giurato. Ma, allo stesso tempo, questi momenti si sono rivelati esclusivi e straordinari, e hanno reso possibile un viaggio prezioso e arricchente.
Molte delle opere presentate manifestano questo desiderio. Oscillando fra tradizione e sperimentazione, facendo i conti con i riferimenti storici, giocando con le abitudini percettive dello spettatore, esse mostrano un medium in continua evoluzione, un modo di pensare attivo, che trascende un linguaggio particolare o un discorso predominante. Moments of illumination and awakening? How rare they were, as a desired experience of reviewing a kaleidoscopic array of styles and narratives of the thousands of entries to Arte Laguna Prize painting section of which I had this unusual privilege to act as a juror.
But, at the same time, how exclusive and exquisite such moments have become! How precious and enriching journey have they guaranteed! Despite being the most favorite and vivid form of artistic expression, painting remains the most challenging medium: Many works submitted manifest such desire.
They too prove how difficult if not impossible task it is to invent yet another, new vocabulary in a contemporary culture so obsessed by an omnipresence of an image, a desire for storytelling and an invasion of technological gimmickry. Painting now — more than ever — has to act as an agent of innocence, an island of intimacy where all grand narratives of the world we live in should constantly be rehearsed and reenacted.
Subtlety of selected paintings, and their poetic, gesture-like quality provide a performance of rarity and artistic excellence where the negotiation with the pace of contemporary reality is conducted with an uttermost sensibility and critical sharpness. Partecipare alla giuria di questa settima edizione del Premio Arte Laguna ha significato prendere in considerazione un articolato e complesso stato di cose. Quando si discute di arte contemporanea, si parla essenzialmente di un certo intento comunicativo; interazione che, nelle arti performative e video, si fa maggiormente evidente e basilare.
In questi termini, lo stimolo che ne consegue sarebbe tale da contribuire a rafforzare e migliorare la consapevolezza umana. Nel tentativo di segnalare una tendenza, la selezione finale propone alcune sfumature proprie dei singoli ambienti sociali. Being part of the jury of this seventh edition of Arte Laguna Prize has meant to take into account an articulate and complex situation. Also this year, in fact, the considerable number of the submitted works has not only shown a significant global attention, but it has also been able to suggest a compelling international overview.
The debate that rose from it has revealed itself as a meaningful moment of reflection and in-depth analysis of the current artistic research. When talking of contemporary art, one generally thinks of a certain communication aim; an interaction which, in performative arts and videos, grows more evident and essential. This interpersonal relationship, thanks to the strong connectivity we are all plunged in, should lead to a strengthening of the reciprocal social and political knowledge.
For this reason I think it is appropriate to think of a work of art also as a specific heritage, conceived in and bound to a given national context. The communicational value of a work is therefore expressed both on the artistic level and as a carrier of cultural specificity. In these terms, the following inspiration would be so intense as to contribute to the strengthening and to the improvement of human awareness. In the attempt at identifying a trend, the final selection features some nuances of the single social environments.
The international dialogue that stems from here therefore confirms the strength and the validity of this project. A questo proposito i lavori presentati al concorso sono molto interessanti: Virtual art is the Scarlet Pimpernel of art Never as now virtual art is multiform and looks like a feuilleton character able to disguise and to transform in thousands and thousands of ways.
Virtual art is like Fantomas, it is extremely elusive: Virtual art is chameleonic, because it can take on the features of other arts, take possession of part of their essence, but it is also partially invisible, to its liking, because it is able to gradually hide behind technology, that is one of its essential components but not its only drive.
Virtual art, which appears and disappears intermittently, is an alternatingcurrent art, which vanishes and reappears every five or six years. So future-oriented but also a bit nostalgic, clinging to the memories of the times that brought it to the top and then pushed it back into oblivion according to a common habit, reminds a little of the characters of B movies of the 50s and 60s, because in the most successful cases it looks wonderfully candid and naif, deliberately a little unfinished.
Up-to-date and trendy, virtual art is an old lady, a decaying diva forced to carry on her shoulders a heavy and sometimes uncomfortable name, this art has just one problem: It is much easier to say what it is not: To this aim the works presented at the competition are very interesting: Viceversa, going back to the most complex context, which avails itself of multiple approaches and which focuses on the disguising ability of this fluid, liquid and ever-changing art, different paths and countless schools of thought have taken shape: It is a rich and articulated panorama, that does not always look so organic as one may want to, not always considering the synergies among the different expressions, but which is well-promising for the future.
Questo Premio costituisce anche per me un grande processo di apprendimento. Quest'anno sono state presentate alcune opere davvero meritevoli, realizzate da artisti provenienti da diverse parti del mondo, che hanno prodotto lavori unici, sperimentali e all'avanguardia.
Arte Laguna Prize is an important award for artists across the globe. It is a consequential platform, which supports and encourages experimental art, and sets new trends for the various genres of art for current times. Artists from diverse cultures and professions have applied for this award, and it has been overwhelming for me to see so many works with so many different ideologies.
This award is a huge learning process for me as well. Virtual Art is a fairly new genre of art, and has been adopted by many artists across the world to communicate as well as express their creativity in conceptual, interactive and responsive ways. It is very different from the conventional methods such as painting and sculpture, in a way where virtual art includes interaction from the viewer and along with the visual, even the senses are involved, making it a compelling experience for the viewer. It has recently acquired commercial popularity and given a chance to many experts who have experience and knowledge with intense technology as well as conceptual innovation.
This year, we have had some very strong works by artists from many different parts of the world, who have produced works which are unique, cutting edge and experimental. It was a tough decision for us towards the end to select only one artist. However, it was a part of the responsibility of being a member of the jury to put many factors into the final selection. It was an individual as well as group effort. It is an honor to be a part of Arte Laguna Prize, and I would encourage more and more artists to use this established international platform as an exposure to their talent and creativity.
Schaschl scrive e pubblica regolarmente sull'arte contemporanea. Schaschl regularly writes and publishes on contemporary art. Currently she is a member of the art commission of the Austrian Ministry for Culture and Education. Premio Arte Laguna Tra questi si notano anche nuovi approcci a temi classici del modernismo, come le questioni della percezione visiva. Arte Laguna Prize In winter a city that oozes the melancholy that inspired Thomas Mann, a city that already at the times of Ruskin had been stripped of its glory down to its very stones.
A city that at the same time keeps on re-inventing itself, every two years transforming itself into the very center of contemporary art thanks to its great invention, the art biennal. For some years in late winter, in a warehouse that had been abandoned for ages, inside the arsenal that once was the industrial heart of the mighty Venetian maritime empire, a similar magic takes place, another appointment that, like its older sister, exists by tacit approval, and by the passion and the energy of artists, who still believe in this old dame and try to breathe life into her — the Arte Laguna Prize.
A Prize which sets rather few initial limits, and which therefore attracts the attention of artists from widely differing backgrounds and experiences: The differences in artistic expression and experience are even more acute among the different age groups, presenting the jury with a variety of languages that can be traced back from the dawn of the twentieth century up to expressions born in the digital era of the twenty-first century. Yet in some cases the jury was struck by the very freshness and beauty of the works even of artists who have advanced well beyond their youthful age, as was the case of the Mexican Rosa Clemencia Labin.
The situation of a world of art fragmented into a simultaneity of experiences that can hardly be reconciled under a single standard or trend is mirrored also in the final selection of artists, ranging from works dealing with the relationship between science and the human body, such as the works of Caspar Berger, who uses the techniques of instrumental clinical diagnosis and forensic medicine to create a self-portrait, to the neo-pop installations of Sasha Frolova. The works in the exhibtion range from highly personal expressions such as Lee Jaewon's small balls lit up by animated figures, to installations made with materials stemming from the domestic sphere, such as the spaces of Olga Lah, created with thousands of dish sponges, or the interiors designed by Dina Shenhav, entirely created in latex.
Among these works we also notice new approaches to the classic themes of modernism, such as the issues concerning visual perception. An instance of this is Marilyn Lowey who re-presents the set and the lights used for an interview to the Pope in New York, offering a detached look at the technologies of sanctification used by mass media.
The use of a playful language similar to the one of advertisments emerges also in the installation by Olena Levytska, with Evolution of Pollution. A seductive approach appears also in the installation of Constantin Zlatev, who uses american weapons exports statistics to control war film soundtracks such as Braveheart, which are played out by a flute made out of a rifle. While clearly referencing Gramsci, seduction has become the preferred method of protest. La fotografia, quindi, come pensiero, narrazione, percorso alternativo.
Gli approcci degli autori premiati risultano aprirsi a differenti direzioni, come se lo stesso linguaggio fotografico esprimesse le contraddizioni e gli slittamenti del reale. Photography and contemporary imagination Is it possible to outline a new direction for photography today? Important events, exhibitions, art prizes, actually highlight the multiple directions in which artists are developing their photographic research.
Borders have crumbled, the gaze has expanded, the distances between generations have blurred out. Being able to represent a landscape today, be it imaginary or real, does not so much entail technical perfectionism, mechanic or formal ability, but rather the ability to narrate a story, a gaze, an event. In short, the ability to understand the world.
Following the strong interest on the idea of postindustrial landscape, meant as a 'non-place', as the development of minor and marginal spaces, of supermarkets, parkings, crossroads, sports centres, airports, stations; of landscape as a metropolis, with the development of buidings, fences, borders, finally we have come to a landscape that is no longer bucolic, dreamed-of, nostalgic, but rather to the landscape of man and of our contemporary world, with all its contradictions, but also with its raw truths.
Photography, therefore, as thought, narration, alternative vision. Interpretation of the world not only as a simple naturalistic reference, but rather as the place of social interaction and of life, of architecture and urbanization, of migration and encounter. The approaches of the awarded artists open to different directions, as if the photographic language itself expressed the contradictions of our shifting reality. These diverse and poliphonic works are but the result of multiple gazes, investigating the complexity of the contemporary landscape. A complexity that needs more gazes and different points of view in order to be codified and understood in its essence.
The journey, the identity of a territory, the invisible lines of the human face in a portrait, the static beauty of flowers in a still life, the design of architecture, the lights and shadows of the city, the vision of imaginary landscapes are just a few of the sections that could host the selected works. Ha collaborato come freelance per il magazine Arskey e di recente ha fondato una casa editrice specializzata in letteratura noir. Dal lavora per Flash Art come redattrice e news editor. I continui sconfinamenti fra le arti, li indaga anche coordinando lo studio creativo Phlegmatics.
Dal , vive risolutamente a Bruxelles. Collaboratrice da anni di testate nazionali di settore, ha lavorato a lungo come caporedattore per la piattaforma editoriale Exibart. Cura progetti espositivi presso spazi pubblici e privati in Italia, seguendo il lavoro di artisti italiani ed internazionali. Collabora, in veste di curatore indipendente, con Riso e con la Gam. Daniela Ambrosio was born in Naples in She worked as a freelance for Arskey magazine and she has recently founded a publishing house specialized in noir literature. Since she has been working for Flash Art as a journalist and news editor.
Journalist, essaysit, translator, lecturer, she was the director of foxtv. She combines the curating of exhibition projects with the editorial direction of the journal and portal DROME magazine, which thematically explores the complexity of contemporary scenarios. She investigates the continuous border trespassing among arts also by coordinating the creative studio Phlegmatics. Since she has been living in Bruxelles. Helga Marsala is a journalist, contemporary art critic and curator. She has been collaborating for many years with national magazines, and she has worked for a long time as the managing editor of Exibart.
Currently she is a member of the managing board of Artribune, directing Artribune Television and the editorial board of Sicily. She develops a theoretical analysis through essays and critical writings inside publications and catalogues of contemporary art and culture. She curates exhibition projects for public and private spaces in Italy, following the artistic development of Italian and international artists.
She collaborates as independent curator with Riso and with the Gam. Francesca Pini, journalist of Corriere della Sera, writes about art and culture not only for the newspaper, but also for the weekly magazine, and the online version of Sette. She is the author and director of videos and documentaries aired on the French television channel Arte.
In March she is awarded the recognition "Arte Sostantivo Femminile". She is a journalist and essayist. She dealt with Environmental Art and Public Art. Since January she has been the director of Exibart. Art critic and journalist living in Venice, she writes for various newspapers and websites, especially for Il Gazzettino, Il Giornale dell'Architettura and Il Giornale dell'Arte. For the latter she edited the monographic issue presenting the Venice Biennale. Ha collaborato con varie riviste mensili tra le quali, per un lungo periodo di tempo, Weekend Viaggi.
Dal collabora in maniera continuativa ai mensili Arte e Antiquariato della Cairo Editore. She was born in Milan, she graduated in art criticism and she has been working as a professional journalist since She collaborated with various monthly magazines including, for a long time, Weekend Viaggi. Since she has constantly been collaborating with the monthly magazines Arte and Antiquariato of Cairo Editore.
- The Lovable Antichrist.
- The Fugitive Prince (Bell Mountain Book 5);
- Finish Me: A Beautiful Revelation of the “Finished” You?
- Electronic Torture, Electronic Rape: Technology and Gang Stalking at the Post Office.
Besides being a journalist, she has been working as a curator for many years now. Maurizio Zuccari is a journalist and Author. Created from an idea of Arte Laguna Studio and Cultural Association MoCA, Arte Laguna Prize, a contest dedicated to visual arts, has been offering since concrete opportunities to talents, by promoting and spreading contemporary art, and emerging as an interpreter of the contemporary Zeitgeist. Arte Laguna Prize has grown over time, building year after year relationships with international jurors chosen among directors of museums and foundations, curators and art critics changing at every edition, with the goal to select the finalists whose works are exhibited at Venice Arsenale, a prestigious showcase for contemporary art.
Arte Laguna Prize has built a strong network of collaborations with Foundations, Museums, Galleries, Art Residencies and companies, turning them into concrete opportunities of growth and of launch of the professional career of artists. In this way, a system of relationships made of people and ideas has been created, an open system that is always looking towards new horizons. Dal a Venezia, propone mostre temporanee, progetti ed eventi di respiro internazionale, dialogando con il territorio, con un crescente interesse verso le ricerche sperimentali ed avanguardistiche.
Since in Venice, it offers temporary exhibitions, projects and events of international scope, conversing with the territory, with a growing interest in experimental research and avantgarde. All activities are implemented in the form of open projects, panel discussions, performances, video projections, sound events, theater meetings, and publications: The space of the gallery is becoming a place of production and exchange on the state of art. The space is directed by Aurora Fonda.
With the opening also the Home Gallery Open Project starts, that has connected a network of national and international home galleries, creating an exchange of artists and locations. A new idea of exhibition space is coming to life in the Home Gallery. Art dealers, artists and visitors enjoy a warm and friendly atmosphere here. The relationship with the artworks is becoming more accessible and unmediated.
Here the artworks find their natural and coherent location, thanks to the dialectical relationship with the living space, with everyday life objects and with the informal setting. Amy-d Arte is a new space opened in Milan in , dedicated to contemporary art with a specific aim: Thanks to the project platform economART, Amy-d Arte Spazio attentively follows the changes of the contemporary world and of the art market, trying to subvert the sad habit according to which art is exploited by economical and financial logics, reducing works to high-risk investment goods.
In Lab XL opened, a space for contemporary art located in Sovramonte BL , which hosts exhibitions related to mountain culture and tradition in a contemporary way. Since the gallery has been organizing contemporary art exhibitions at Space Paraggi of Treviso. In pochi anni si afferma come luogo alternativo ma frequentatissimo da tutto il panorama della giovane arte milanese. Tutti gli artisti sono attenti alle istanze della cultura alta e bassa attuale, con rielaborazioni personali delle grandi correnti del passato, sia Pop che di altro genere, senza scegliere tra figurazione ed astrazione, anzi cogliendo la feconda intersezione tra esse che contraddistingue oggi la ricerca dei giovani artisti.
It is aimed at promoting contemporary and emerging artists for young collectors, in order to reinvigorate a field that is increasingly flat and homogeneous and that for this reason it is starting to feel the need of new names. In a few years it has established itself as an alternative place, popular on the entire panorama of Milan's young art. The gallery takes part in both national and international art fairs.
Formed by an Italian-German couple, it offers a highly interesting program with German and international artists and young talents of the Italian Art Academies. The exchanges that have been activated with foreign countries allow it to discover and launch foreign talents in our country. The line of the gallery is intentionally eclectic, however its feature is the open-minded freshness of its proposals.
All the artists pay attention to the instances of the current high and low culture, with personal re-elaborations of the great currents of the past, both Pop and of other genres, without choosing between figurative art and abstraction, but rather catching the fertile intersection between them which currently characterizes the research of young artists. But for some reason this love cannot be fulfilled: Judy breaks the engagement after only one month, Daisy is too weak to leave her husband and Zelda has to physically distance herself from Fitzgerald because of her mental illness.
The moral that Fitzgerald has learnt at his expenses and that he has conveyed through his characters is that at the end of the day, the dream of a happy and admirable life has to clash with the harshness of reality. But the story in which Fitzgerald has put the most of himself is that of Dick Diver in Tender is the night. Things get complicate when Dick begins to have an affair with Rosemary, a promising young Hollywood actress who is staying in their same hotel.
The setting in which the story takes place is well known to Fitzgerald, because he and Zelda spent most of the s in Europe, especially in the French Riviera. They conducted the same lifestyle as Dick and Nicole, attending the most glamorous parties and meeting the richest people at the time. But then they experienced the dark side of this lifestyle, with Fitzgerald sinking deeply into alcoholism and Zelda giving signs of mental instability.
Transposing his life into those of his characters was a way for distancing himself and analyse more clearly what had been going on in his life. And maybe it is exactly this will to bare his soul, together with his elegant and refined prose, that has made him one of the most appreciated authors of the American literature. Through his novels and short stories he conveyed the atmosphere of that time, the feeling of carefreeness that lingered among the prominent people and their consequent disillusions.
In Italy, the translators tried to transpose all this in versions that could be appreciated by the Italian audience that felt itself rather distant from the lifestyle depicted in The great Gatsby. When the first Italian translation appeared, a decade after the publication in the United States, the Italian people had already been experiencing totalitarianism for years.
It was not so chronologically distant from the original, but the Italian readers could not empathize with the characters because of the different social and cultural backgrounds, although Giardini had tried to adapt the language of the book in order to make it more appealing to his readers. Choice that turned out to be the more appropriate, for her version has been the most read one for many decades and even is now. However, in order to make the novel the most suitable possible for the Italian audience of that time, Pivano had to adapt some terms of the original and make them more comprehensible or appropriate.
Therefore for an Italian reader it could seem for example that Gatsby had earned all his fortune from the under-the-counter selling of alcohol in innocent pharmacies, while the original term was drugstore, that in English has a double meaning: Of course the best fitting solution was not the latter, but Pivano thought that it would be more comprehensible for the readers that maybe could not know what a drugstore was.
For example, the term football had been translated by Pivano in calcio, although they are two different sports, because football was not so popular and known in Italy at that time in fact the English word for the Italian calcio is soccer and not football. And again, the cocktail mint julep is explained generically with the paraphrase un cocktail alla menta, while it is a very specific cocktail prepared with mint and bourbon.
The problem of the adaptation has been a complex issue for the translators that later had to be confronted with the novel. This makes s translators face a complex issue: That is why she has decided to leave some terms in English, to make the reader feel that the story is located in another country, in order not to distort the nature of the book too much. The aim is that of pushing the readers towards the universe of the author, immersing them into the atmosphere, the customs and practice of those specific place and time.
In his opinion, trying too much to modernize is what makes a version old in the future. His aim is 3 Cavagnoli Franca, N.
That is why Pincio decides to distance from his colleagues and translates the expression Old sport, that Gatsby uses to refer to his friends and acquaintances, with Vecchia lenza. Serrai stated that he had known Gatsby in the translation by Fernanda Pivano and he is very attached to it. However, he does not like some choices made by Pivano: As Serrai points out, Fitzgerald had a well-defined idea in mind and this is why he decided to write against the current instead of against the wind, because he wanted to convey the extreme effort of man trying to move on while they are ceaselessly borne back into the past.
All three winners of the von Rezzori Prize in agree on one point: On the contrary, Cavagnoli, Pincio and Serrai are inclined to vary the register and style according to the person who is speaking: The most appropriate way to begin is to start from the opening of the book. The narrator, Nick Carraway, is describing himself talking about one of his gifts: He then introduces the object of his reflection, the reason why he has decided to tell this story, that is Jay Gatsby. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men.
Reserving judgments is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat, a sense of the fundamental decencies is parcelled out unequally at birth. And, after boasting this way of my tolerance, I come to the admission that it has a limit. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart.
Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away. No—Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and shortwinded elations of men.
Nick proudly boasts his tolerance, admitting however that it has some limits; Gatsby is depicted as a man full of hope, a sort of a romantic hero who strives to fulfil his dream but is surrounded by the rottenness of the world. This extract is quite crucial because it lays the foundations of the moral intent of the book, drafting the personalities of the protagonists. Moreover, the opening of the book is 4 Fitzgerald F. The following translation has been made by Cesare Giardini Riserbare il proprio giudizio, sottintende una speranza infinita.
Io temerei ancora un poco di mancare a me stesso se dimenticassi che, come con snobismo suggeriva mio padre e con snobismo io ripeto qui, il sentimento delle decenze fondamentali al momento della nascita viene assai inegualmente suddiviso. In this extract the explanation for the choice of the title Gatsby il Magnifico can be seen: Probably it was exactly at this point that the title of the first Italian version was decided, keeping the French translation as a reference. Moving to the 50s, there is a slight change in the style, that could sound a bit more up- to-date.
Here is the translation by Fernanda Pivano , the version of reference for many other translations to come. Per questo ho la tendenza a evitare ogni giudizio, un'abitudine che oltre a rivelarmi molti caratteri strani mi ha anche reso vittima di non pochi scocciatori inveterati. La maggior parte delle confidenze non erano provocate: Also like Giardini, the miles of the original text are converted into chilometri. Unlike her colleague, however, Pivano prefers to maintain a more generic East instead of specifying the city of New York, maybe to anticipate the contradiction between East and West that will clearly emerge throughout the novel.
E, dopo essermi vantato della mia tolleranza, devo ammettere che essa ha un limite. For this reason the miles have been left as they are and not converted into kilometres, and also the punctuation does not strictly complies with the Italian rules such as the English dash, that in Italian is not commonly used as a punctuation mark. The prose is fluent and the language not redundant or too sophisticated, as she tried to use a language that was as modern as possible, yet not distancing herself from the original. Of a different opinion is Tommaso Pincio , who opts for a slightly antiquated language.
Di conseguenza, sono incline a sospendere ogni giudizio, abitudine che mi ha aperto a un gran numero di persone strane e mi ha inoltre reso vittima di non pochi seccatori consumati. La sospensione del giudizio presuppone una speranza infinita. Ancora adesso temo che perderei qualcosa qualora mi dimenticassi che, come mio padre snobisticamente asseriva e io snobisticamente ripeto, il senso della basilare decenza viene distribuito in misura iniqua alla nascita.
E, dopo essermi tanto gloriato per la mia tolleranza, giungo ad ammettere che essa ha un limite. Gatsby, che rappresentava tutto quello per cui nutro un disprezzo spontaneo. But there is one thing that is the cornerstone of the extract and that every translator had paid attention to: The third translation that has won the von Rezzori prize for literary translation was by Roberto Serrai, Marsilio. On the whole, the style is up-to-date; Serrai uses a lot of English dashes and, like Cavagnoli, decides not to convert the miles in kilometres.
From the various versions the different approaches that each translator has personally adopted for their work emerge. Depending mostly on the historical period, some translators focus particularly on the cultural aspect and tried to adapt the American culture and 9 Fitzgerald F. In the following paragraph there will be the analysis of another crucial passage of the novel, the ending, in which the message that Fitzgerald wanted to convey in his work has been clearly expressed. In fact, Gatsby had built his home exactly on the opposite side of the bay and that green light was a sort of reminder that his dream was so close to be nearly grasped just by stretching his hand.
On the last night, with my trunk packed and my car sold to the grocer, I went over and looked at that huge incoherent failure of a house once more. On the white steps an obscene word, scrawled by some boy with a piece of brick, stood out clearly in the moonlight and I erased it, drawing my shoe raspingly along the stone. Then I wandered down to the beach and sprawled out on the sand. Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it.
He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night. Gatsby believed in the green light, the orgastic future that year by year recedes before us. Sugli scalini bianchi una parola oscena, tracciata da qualche vagabondo con un pezzo di mattone,si staccava nel chiaro di luna. La cancellai strofinando la pietra con la suola della scarpa. Poi discesi a passi lenti sulla spiaggia e mi sdraiai sulla sabbia. E, seduto in quel luogo, riflettendo al vecchio mondo ignoto, pensai allo stupore che aveva dovuto provare Gatsby quando aveva identificato per la prima volta la luce verde in cima alla gettata di Daisy.
Egli era venuto da molto lontano su quel prato azzurro, e il suo 10 Fitzgerald F. It is also interesting to notice that he leaves the term ferryboat as it is in English, a sign of the Anglo-Saxon culture that had already entered in regular use in the 30s. The last sentence well conveys the idea of a man strenuously trying to move on but being constantly pushed back by the current into the past. The following version by Fernanda Pivano was made well-known by the last line, the most famous sentence of her translation. Sui gradini bianchi una parola oscena, scarabocchiata con un pezzo di mattone da qualche ragazzino, risaltava chiara sotto la luce della luna; la cancellai, raschiando la pietra con la scarpa.
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Poi scesi lentamente sulla spiaggia e mi distesi sulla sabbia. Quasi tutte le grandi ville costiere oramai erano chiuse e le luci erano rare, se si toglieva il chiarore di un ferryboat la cui ombra si spostava attraverso lo stretto. Gatsby credeva nella luce verde, il futuro orgiastico che anno per anno indietreggia davanti a noi. In fact, probably due to a misprint, Pivano erroneously translated it with orgiastico. Fitzgerald dreaded this typographical error to occur, so he supervised each phase of the printing process to prevent an i from appearing. However that probably happened, so Pivano and other Italian translators were misled from the original version.
Besides that, her style is highly evocative and the final sentence summarises the moral of the whole novel in a concise, yet meaningful way. Sulla scala bianca una parola oscena, scribacchiata da qualche bambino con un coccio di mattone, risaltava chiara sotto la luna; la cancellai grattandola via con la scarpa. Poi scesi alla spiaggia e mi sdraiai sulla sabbia.
Gatsby credeva nella luce verde, nel futuro orgastico che anno dopo anno si ritira davanti a noi. Cavagnoli takes advantage of this particularity and translates the expression to beat on with navighiamo di bolina close-hauled sailing trim , that is a sailing trim in zigzags in order to be able to sail against the wind. The difficulty in this case lies in the fact that often a semantic field in one language does not necessarily has the same exact words in another language. Another semantic field that recurs throughout the novel is that of restlessness and disquiet, such as for example the term ceaselessly at the very end of the book.
Also Tommaso Pincio chooses a technical term to define the expression so we beat on. Sui gradini bianchi una parola oscena, scribacchiata da qualche ragazzo con un pezzo di mattone, spiccava al chiarore della luna e la cancellai, raschiando la pietra con la suola. Quindi gironzolai fino alla spiaggia, dove mi allungai sulla sabbia. La maggior parte delle grandi case della costa erano chiuse adesso e non si vedevano che rade luci, a parte il bagliore, mobile e indistinto, di un battello che attraversava lo Stretto.
La strada che lo aveva portato a quel prato blu era stata lunga e il suo sogno dovette sembrargli troppo vicino per non riuscire ad afferrarlo. Gatsby credeva nella luce verde, nel futuro orgiastico che anno dopo anno si allontana da noi. In fact, bordeggiare means tacking, that is a trajectory in zigzags in which the close-hauled sailing trim is used. The other thing that is immediately evident is the erroneous translation of orgastic with orgiastic; probably Pincio took as a reference the version by Fernanda Pivano and in this way the error has come to today.
It is also interesting to notice the translation of the term ferryboat with the Italian battello, because among the versions taken into consideration here, it has been the only case so far. The last translation examined is that by Roberto Serrai. Sui gradini bianchi il chiaro di luna faceva risaltare una parola oscena, scarabocchiata da qualche ragazzo con un pezzo di mattone, e io la cancellai, passando con forza la suola sulla pietra.
Poi camminai fino alla spiaggia e mi distesi sulla sabbia. Gatsby credeva nella luce verde, nel futuro orgasmico che anno dopo anno indietreggia di fronte a noi. Therefore Serrai decides to leave the expression contro la corrente instead of using a specific term of the sailing field, justifying his choice by saying that against the current better expresses the idea of struggling against the unavoidability of life. Each translator 15 Fitzgerald F.
In the following chapter I will try to give a personal translation proposal in order to adapt the theory to the actual work and confront myself with the difficulties that literary translation implies. The extracts that have been picked are the same chosen for the comparative analysis that has been made in the previous chapter. Here is my translation of the opening of the novel. In my translation I have tried to remain faithful to the original text above all for what concerns language and style.
In my view, it is important to respect and maintain the cultural and environmental background of a literary work. Translating is all a matter of choices: To answer these questions is not as simple as it could seem. In the initial passage of The Great Gatsby there are no explicit references to the exact setting of the novel, aside from the generic mention of the East. For what concerns the lexical aspect, there are a few words that can cause some troubles to people who are translating the novel into Italian.
The final paragraphs recall this concept and offer some interesting linguistic hints. Here is my suggestion for translation. Una parola oscena, scarabocchiata da qualche ragazzino con un pezzo di mattone, spiccava chiaramente sui gradini bianchi alla luce della luna. La cancellai sfregandola con la scarpa. Poi mi diressi verso la spiaggia e mi distesi sulla sabbia. Gatsby credeva nella luce verde, nel futuro orgastico che anno dopo anno svanisce davanti a noi.
One of the points for which I had more difficulties was the translation of the expression inessential houses. In its literary sense, the term inessential means something superfluous, not indispensible. Inessenziale in Italian has the same meaning, but it is not commonly used in reference to the term case. However, all the synonyms in Italian seemed to me to be equally inadequate. Therefore, at the end of the day, case inessenziali had sense into the coherence of the text, so I decided to leave it the same as in English.
The term to which I had to pay the most of attention was unquestionably orgastic, that could be easily misunderstood as orgiastic, as it also happened to translators of some repute. Nowadays it is commonly known that the error was due to a misprint and with that term the author meant something almost ecstatic and obviously not related to orgies.
But it is a crucial point in the whole novel and it deserves to be translated with the most carefulness as possible. Finally, moving to the very last line, the issue was: I have chosen the latter option, because in my opinion the concept would have been conveyed in a simpler and more direct way yet not altering its intrinsic meaning and above all it would have been comprehensible to everybody, even to people who do not know anything about sailing and navigation. The opening and especially the ending of the book are the most meaningful extracts of the novel.
The main themes of the novel clearly emerge at the end of the chapter: People in the novel are quite often drunk and nonetheless they drive unconcerned about the dangerousness of their actions. Above all the rich and spoilt people that populate East Egg in particular seem to be sheltered by their economic wealth and this gives them the impression that they can do anything they want, including destroying things and people, and then seek refuge in their greedy materialism. The analysed chapter is the following. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars.
At high tide in the afternoon I watched his guests diving from the tower of his raft or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city, between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains.
And on Mondays eight servants including an extra gardener toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York—every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves.
In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. The last swimmers have come in from the beach now and are dressing upstairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors and hair shorn in strange new ways and shawls beyond the dreams of Castile.
The lights grow brighter as the earth lurches away from the sun and now the orchestra is playing yellow cocktail music and the opera of voices pitches a key higher. Laughter is easier, minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath—already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the center of a group and then excited with triumph glide on through the seachange of faces and voices and color under the constantly changing light.
Suddenly one of these gypsies in trembling opal, seizes a cocktail out of the air, dumps it down for courage and moving her hands like Frisco dances out alone on the canvas platform. People were not invited—they went there. Once there they were introduced by somebody who knew Gatsby and after that they conducted themselves according to the rules of behavior associated with amusement parks. Sometimes they came and went without having met Gatsby at all, came for the party with a simplicity of heart that was its own ticket of admission.
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I had been actually invited. He had seen me several times and had intended to call on me long before but a peculiar combination of circumstances had prevented it—signed Jay Gatsby in a majestic hand. I was immediately struck by the number of young Englishmen dotted about; all well dressed, all looking a little hungry and all talking in low earnest voices to solid and prosperous Americans.
They were, at least, agonizingly aware of the easy money in the vicinity and convinced that it was theirs for a few words in the right key. As soon as I arrived I made an attempt to find my host but the two or three people of whom I asked his whereabouts stared at me in such an amazed way and denied so vehemently any knowledge of his movements that I slunk off in the direction of the cocktail table—the only place in the garden where a single man could linger without looking purposeless and alone. I was on my way to get roaring drunk from sheer embarrassment when Jordan Baker came out of the house and stood at the head of the marble steps, leaning a little backward and looking with contemptuous interest down into the garden.
Welcome or not, I found it necessary to attach myself to someone before I should begin to address cordial remarks to the passers-by. My voice seemed unnaturally loud across the garden. She had lost in the finals the week before. She turned to her companion: I was going to wear it tonight, but it was too big in the bust and had to be altered. It was gas blue with lavender beads. Two hundred and sixty-five dollars. Mumbles bent forward and listened eagerly. We all turned and looked around for Gatsby. It was testimony to the romantic speculation he inspired that there were whispers about him from those who found little that it was necessary to whisper about in this world.
The first supper—there would be another one after midnight—was now being served, and Jordan invited me to join her own party who were spread around a table on the other side of the garden. Instead of rambling this party had preserved a dignified homogeneity, and assumed to itself the function of representing the staid nobility of the countryside—East Egg condescending to West Egg, and carefully on guard against its spectroscopic gayety.
The undergraduate nodded in a cynical, melancholy way. The bar, where we glanced first, was crowded but Gatsby was not there. On a chance we tried an important-looking door, and walked into a high Gothic library, panelled with carved English oak, and probably transported complete from some ruin overseas. A stout, middle-aged man with enormous owl-eyed spectacles was sitting somewhat drunk on the edge of a great table, staring with unsteady concentration at the shelves of books.
As we entered he wheeled excitedly around and examined Jordan from head to foot.
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But what do you want? What do you expect? Most people were brought. Do you know her? I met her somewhere last night. Did I tell you about the books? There was dancing now on the canvas in the garden, old men pushing young girls backward in eternal graceless circles, superior couples holding each other tortuously, fashionably and keeping in the corners—and a great number of single girls dancing individualistically or relieving the orchestra for a moment of the burden of the banjo or the traps. By midnight the hilarity had increased. The moon had risen higher, and floating in the Sound was a triangle of silver scales, trembling a little to the stiff, tinny drip of the banjoes on the lawn.
I was still with Jordan Baker. We were sitting at a table with a man of about my age and a rowdy little girl who gave way upon the slightest provocation to uncontrollable laughter. I was enjoying myself now. I had taken two finger bowls of champagne and the scene had changed before my eyes into something significant, elemental and profound. At a lull in the entertainment the man looked at me and smiled. I was in the Ninth Machine-Gun Battalion. Evidently he lived in this vicinity for he told me that he had just bought a hydroplane and was going to try it out in the morning.
Just near the shore along the Sound. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced—or seemed to face—the whole external world for an instant, and then concentrated on YOU with an irresistible prejudice in your favor.
It understood you just so far as you wanted to be understood, believed in you as you would like to believe in yourself and assured you that it had precisely the impression of you that, at your best, you hoped to convey. Precisely at that point it vanished—and I was looking at an elegant young rough- neck, a year or two over thirty, whose elaborate formality of speech just missed being absurd. Almost at the moment when Mr.
Gatsby identified himself a butler hurried toward him with the information that Chicago was calling him on the wire. He excused himself with a small bow that included each of us in turn. I will rejoin you later.