#Carlo Alighiero

[thebutcher-5]

Il gatto a nove code

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo continuato a parlare dei film animati della DreamWorks, arrivando non solo al loro settimo lungometraggio ma anche al loro ultimo film con tecnica tradizionale ossia Sinbad – La leggenda dei sette mari. La storia parla di Sinbad, un pirata che dopo essere caduto in mare viene salvato da Eris, dea della discordia, che gli…

[perfettamentechic]

11 settembre … ricordiamo …

11 settembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2021: Carlo Alighiero, nome d’arte di Carlo Animali, attore, doppiatore e regista teatrale italiano. Fece parte della Compagnia Vittorio Gassmann. Sposato con l’attrice Elena Cotta. (n.1927) 2017: Peter Hall, Sir Peter Reginald Frederick Hall, attore e regista inglese. Sposato quattro volte con: l’attrice francese Leslie Caron;  Jacqueline Taylor; il soprano lirico Maria Ewing; e con Nikki Frei.…

[personal-reporter]

Contemporaneamente Gualdo Tadino. Festival in Umbria dell’arte contemporanea

Sei mostre in sei sedi museali cittadine e un cartellone ricco di giornate studio e laboratori per famiglie fanno parte di Contemporanemente Gualdo Tadino, il nuovo Festival d’arte contemporanea che animerà l’Umbria fino a gennaio 2024. La rassegna si inserisce nell’ambito delle iniziative volte ad espandere la vocazione culturale e ella provincia di Perugia, unendo il patrimonio storico artistico locale con l’arte contemporanea e l’innovazione culturale. Tra le diverse mostre in programma spicca la prima dedicata alla figura del gallerista recentemente scomparso Pio Monti, intitolata Pittura italiana contemporanea. Ultimi sessant’anni. Un percorso di ricerca per mari e Monti. Monti fu tra i galleristi che hanno fatto la storia di Roma nel secondo novecento accanto a Plinio De Martii, Gian Tommaso Liverani, Fabio Sargentini e Gian Enzo Speroni, la sua pratica ha espresso un modello culturale e artistico ancora centrale nell’estetica contemporanea. Il focus sulla pittura nel percorso di ricerca di Pio Monti ha lo scopo di contribuire a consegnare allo studio critico dei lavori che sono parte della storia dell’identità pittorica contemporanea italiana. Si tratta di un percorso espositivo che accompagna il pubblico alla scoperta della pittura italiana contemporanea degli ultimi sessant’anni, all’interno della Chiesa Monumentale di San Francesco. Nella mostra  sono raccolte oltre quaranta opere di Jannis Kounellis,Alighiero Boetti, Emilio Prini, Sol LeWitt, Salvo, Luigi Ontani, Gino De Dominicis, Carlo Maria Mariani, Vettor Pisani, Nicola De Maria, Enzo Cucchi, Claudio Cintoli, Mario Schifano, Tano Festa, Tommaso Lisanti, Gian Marco Montesano, Ubaldo Bartolini, H. H. Lim, Felice Levini, Lorenzo Bonechi, Nunzio, Stefano Di Stasio, Fathi Hassan, Alessio Ancillai, Alessandro Cannistrà, Teresa Iaria, Jeffrey Isaac, Claud Hesse, Mark Kostabi. Oltre all’omaggio al gallerista romano, ci sono una importante retrospettiva dedicata allo scultore contemporaneo Walter Guidobaldi (in arte WAL), che è Il fantastico mondo di WAL. Giganti sculture, magici animali e bizzarre creature, insieme a L’altra metà della Scultura contemporanea: Licia Galizia, Veronica Montanino, Francesca Tulli e Il capolavoro ritrovato. Pier Francesco Mola. Una scoperta di Vittorio Sgarbi. Invece, nel progetto Lab.artisti emergenti, c’è la personale del pittore Marco Ercoli, Nei tuoi occhi. Per il laboratorio per bambini è da non perdere Mangiare con gli occhi, sulla simbologia che si cela dietro frutta, ortaggi e fiori delle nature morte presenti nelle collezioni museali di Gualdo Tadino, oltre alle giornate studio che approfondiranno le strategie di management culturale degli enti museali e il futuro del giornalismo di settore, tra intelligenza artificiale e social networking. Read the full article

[mariocki]

Roma a mano armata (The Tough Ones, 1976)

"It's not my career that's at stake, but my reputation!"

"Listen, Leonardo, I think -"

"No, Caputo, let me talk!"

"Enough! To be clear, I'm not the one putting your reputation in doubt - your methods are!"

"You care too much about the code, about politics and the press. Maybe you forgot that you got where you are by use of your fists."

[genevieveetguy]

Would you like something to drink? I have some milk.

The Cat o' Nine Tails (Il gatto a nove code), Dario Argento (1971)

[marcogiovenale]

dal 23 luglio, al castello di santa severa: "il volto dei libri. libri da vedere"

dal 23 luglio, al castello di santa severa: “il volto dei libri. libri da vedere”

Le leggendarie copertine di Bruno Munari, accanto a quelle espressamente concepite per libri da grandi artisti come Mario Schifano, Alighiero Boetti, Giulio Paolini, Mimmo Rotella. E poi le particolari vesti editoriali volute, desiderate e indicate da scrittori come Italo Calvino, Carlo Emilio Gadda, Elsa Morante, spesso con l’intento di trasmettere messaggi intimi, proibiti, o di alludere e…

[essentialmoviegifs]

The Cat o’ Nine Tails / Il gatto a nove code (1971, dir. Dario Argento)

[badarchitecturesucks]

CARL ANDRE, ALIGHIERO BOETTI CHESS GAME at Massimo De Carlo, MILANO / LOMBARDIA

[docrotten]

Torso (1973) – Episode 137 – Decades of Horror 1970s

"Death is the keeper of secrets.” In other words, three can keep a secret if two are dead? Join your faithful Grue Crew - Doc Rotten, Chad Hunt, Bill Mulligan, and Jeff Mohr - as they check out exactly how many secrets are kept in Torso (1973), Sergio Martino’s giallo all’italiana.

Decades of Horror 1970s Episode 137 – Torso (1973)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A string of appalling lust murders shocks the University of Perugia as a sadistic serial killer strangles to death beautiful college girls with a red and black scarf.

IMDb

  Director: Sergio Martino

Writers: Sergio Martino, Ernesto Gastaldi; Lewis E. Ciannelli (dialogue: English version) (uncredited)

Cast

Suzy Kendall as Jane

Tina Aumont as Dani (Daniela)

Luc Merenda as Roberto

John Richardson as Franz

Roberto Bisacco as Stefano Vanzi

Ernesto Colli as Gianni Tomasso, the street vendor

Angela Covello as Katia

Carla Brait as Ursula

Conchita Airoldi as Carol Peterson

Patrizia Adiutori as Flo (Florence) Heineken

Luciano Bartoli as Peter

Gianni Greco as George

Luciano De Ambrosis as Inspector Martino

Carlo Alighiero as Uncle Nino

Jeff sees several giallo tropes present in Torso and thinks the first hour seemed a bit pedestrian. During the last half-hour, however, the tension really ramped up. Though not a big giallo fan in general, Chad also thinks the first hour is a tough slog, but the third act more than makes up for it. The trailer for Torso is one of Bill’s favorites and he agrees the film’s tone flips about an hour into it. He also gives it credit for being pretty stylistic, especially for the time in which it is released. Doc, however, found himself rather surprised that he likes Torso as much as he does, citing its brutality, the switch in the main character, and the abundance of suspects as reasons why.

The Decades of Horror 1970s Grue-Crew appreciate Torso, some more than others, but they all agree it is worth a watch, especially if you're a fan of giallo films. As of this writing, Torso is available to stream from Shudder and on physical media as a Special Edition Blu-ray from Arrow Video.

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode in their very flexible schedule will be Patrick (1978), chosen by Chad! Be sure to join us for that one. 

We want to hear from you – the coolest, grooviest fans:  leave us a message or leave a comment on the site or email the Decades of Horror 1970s podcast hosts at feedback@gruesomemagazine.com. 

Check out this episode!

[brokehorrorfan]

The Strange Vice of Mrs. Wardh will be released on Blu-ray on May 26. Orders placed directly from Severin Films for $32 receive an exclusive comic book. Limited to 3,000, a CD of the soundtrack by Nora Orlandi is included.

The 1971 Italian giallo film is directed by Sergio Martino (Torso, All the Colors of the Dark). George Hilton, Edwige Fenech, Conchita Airoldi, Manuel Gil, Carlo Alighiero, Ivan Rassimov, Alberto de Mendoza, and Bruno Corazzari star.

Also known as Blade of the Ripper and Next Victim, The Strange Vice of Mrs. Wardh has been newly scanned in 4K from the interpositive. Special features are listed below.

Special features:

Audio commentary with All the Colors of Sergio Martino author Kat Ellinger

Introduction by actor George Hilton

Interview with director Sergio Martino

Interview with writer Ernesto Gastaldi

Interview with actor George Hilton and Italian genre historian Antonio Bruschini

Archival interview with actress Edwige Fenech

Trailer

CD soundtrack (limited to 3,000)

The Strange Vice of Mrs. Wardh comic book (Severin webstore exclusive)

An ambassador's wife discovers that one of the men in her life - either her husband, an ex-lover or her current lover - may be a vicious serial killer.    

[perfettamentechic]

11 settembre … ricordiamo …

11 settembre … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2021: Carlo Alighiero, nome d’arte di Carlo Animali, attore, doppiatore e regista teatrale italiano. Dal 1953 al 1964 fece parte della compagnia del Teatro Stabile di Padova, della Compagnia Vittorio Gassmann. Nel 1970 formò una compagnia propria. In televisione è stato interprete in serie tv e in sceneggiati. Ha debuttato al cinema nel 1955 e in seguito in diverse pellicole di genere spaghetti…

[persinsala]

Mamma... ieri mi sposo! (Twixt)

Mamma… ieri mi sposo! (Twixt)

Al Teatro Manzoni, Patrick Rossi Gastaldi dirige Sandra Milo, Gino Rivieccio, Fanny Cadeo, Marina Suma e Ettore Massa in Mamma… ieri mi sposo!, una commedia di Clive Exton dove gli equivoci sono i veri protagonisti. In scena fino al 25 marzo. (more…)

[lucfierens]

Il Conservatorio San Niccolò, da lunedì 16 Settembre 2019 alle 18 al 30 Giugno 2020, ospiterà Nel segno di Leonardo, opere dalla Collezione Carlo Palli, a cura di Laura Monaldi e con il patrocinio del Comune di Prato.

I corridoi delle scuole medie e del liceo del Conservatorio San Niccolò ospiteranno Nel segno di Leonardo, opere italiane e internazionali provenienti dalla Collezione Carlo Palli che omaggiano Leonardo Da Vinci a 500 anni dalla sua morte. La mostra raccoglie ed evidenzia non solo il mito di Da Vinci, ma l’eredità culturale a cui continuiamo a guardare: le opere sono di Pistoletto, Yoko Ono, Cy Twombly, Elisa Zadi, Emilio Isgrò e moltissimi altri in un collegamento fra arte contemporanea e rinascimentale per avvicinare i giovani all’arte, partendo proprio dalle mura di una scuola.

Ecco gli artisti in mostra Paolo Albani, Anna Banana, Vittore Baroni, Stefano Benedetti, Mirella Bentivoglio, Carlo Bertocci, Julien Blaine, Alighiero Boetti, Antonio Bueno, Carlo Cantini, Luciano Caruso, Ugo Carrega, Cinzio Cavallarin, Guglielmo Achille Cavellini, Claudio Cerretelli, Giuseppe Chiari, Henri Chopin, Riccardo Cocchi, Fabio De Poli, Gianni Dorigo, Luc Fierens, Giovanni Fontana, Franco Fossi, Fabrizio Garghetti, John Giorno, Andrea Granchi, I Santini Del Prete, Emilio Isgrò, Alison Knowles, Jiří Kolář, Ketty La Rocca, Roberto Malquori, Eugenio Miccini, Miradario, Charlotte Moorman, Giorgio Olivieri, Yoko Ono, Luciano Ori, Orlan, Nam June Paik, Virginia Panichi, Ben Patterson, Mario Persico, Lamberto Pignotti, Michelangelo Pistoletto, Sandro Poli, Giampiero Poggiali Berlinghieri, Philip Ridley, Gianni Ruffi, Sarenco, Serge III, Stelarc, Toxic, Karel Trinkewitz, Cy Twombly, Emmett Williams, Elisa Zadi Lorella Zappalorti.

https://www.pratosfera.com/2019/09/11/nel-segno-di-leonardo-al-conservatorio-san-niccolo/?fbclid=IwAR37XFPPVhDv23EK7b38D7r3MtMMdDQCVCAwQ6g9hU64H6LJo94NncV8yuU

[caveartfair]

The Free-Spirited Amalfi Coast Weekend That Gave Birth to Arte Povera

Anne Marie Boetti and Carmine Ableo improvising a small piffero and whistle concert on the Amalfi beach at Arte Povera, 1968. Photo by Bruno Manconi. Courtesy of Archivo Lia Rumma.

For three days in early October 1968, a provincial port about 43 miles south of Naples loomed large in the trajectory of post-war aesthetics. Hosting works by a number of contemporary Italian and international artists—many of whom would come to form the core of Arte Povera—“Arte Povera + Azioni Povere” (loosely translated to “Poor Art + Poor Actions”) purposefully blurred the line between the static exhibition of objects and events unfolding in real time.The works of art installed in the coastal town’s former armory merged with a range of performances and happenings that unfurled in piazzas, side streets, and even from boats in the beach-lined bay.As the third and final installment of a series of exhibitions in Amalfi in as many years—all of them organized and promoted by the young collector and author Marcello Rumma—“Arte Povera + Azioni Povere” proved by far the most consequential. Not only did its self-conscious hybridization of exhibition and event echo well beyond Italy’s shores, but the consolidation of a nascent (and still protean) Arte Povera helped to define the phenomenon even as it expressly resisted definitive contours. A small exhibition at the Philadelphia Museum of Art revisits this milestone of post-war Italian art on its 50th anniversary.

Jan Dibbets installing Linea bianca (White Line) on the water along the Amalfi Coast at Arte Povera, 1968. Photo by Bruno Manconi. Courtesy of Archivo Lia Rumma.

One year earlier, in 1967, Germano Celant’s manifesto, “Arte Povera: Notes for a Guerilla War,” had identified several related tendencies in contemporary Italian artistic practice, most notably a penchant for unorthodox and “poor” materials, a privileging of process over form, and a rejection of spatial and temporal conventions with regard to exhibition and presentation. While not an official movement or self-proclaimed neo-avant-garde, Celant’s aegis aimed to bring together artists working in a voluntarily “impoverished” vocabulary—of a piece with the late-1960s increasing dematerialization of aesthetics in Europe and the United States, an attempt to liberate art from the exhibition and sale of commodifiable objects. As the first major group exhibition of sorts, “Arte Povera + Azioni Povere”included established Italian artists—such as Jannis Kounellis, Michelangelo Pistoletto, and Mario Merz—alongside the English artist Richard Long and the Dutch artists Jan Dibbets and Ger van Elk, as well as several individuals only marginally related to Celant’s swelling roster, like Piero Gilardi and Gino Marotta.While it is Celant with whom Arte Povera remains almost exclusively associated, a number of prominent critics participated in Amalfi, including Tommaso Trini, Gillo Dorfles, and Filiberto Menna, among others.

Installation view of “Arte Povera: Homage to Amalfi ’68” featuring Alighiero Boetti, Castasta (Stack), 1967. Photo by Joseph Hu. Courtesy of the Philadelphia Museum of Art.

Installation view of “Arte Povera: Homage to Amalfi ’68” featuring Luciano Fabro, L’Italia (Italy), 1968, and Michelangelo Pistoletto, Candele (Candles), 1967. Photo by Joseph Hu. Courtesy of the Philadelphia Museum of Art.

Installation view of “Arte Povera: Homage to Amalfi ’68” featuring Michelangelo Pistoletto, Monumentino (Little Monument), 1968. Photo by Joseph Hu. Courtesy of the Philadelphia Museum of Art.

Installation view of “Arte Povera: Homage to Amalfi ’68” featuring Gilberto Zorio, Senza titolo (Untitled), 1968. Photo by Joseph Hu. Courtesy of the Philadelphia Museum of Art.

The very origins of the event, however, lay with the young collector, editor, and cultural dynamo Marcello Rumma—born in nearby Salerno—in close partnership with his spouse, Lia. Though Marcello had appointed Celant as curator, it was—by the accounts of various individuals present, including the art historian Giovanni Lista—Rumma himself who truly galvanized “Arte Povera + Azioni Povere,” involving artists not simply as expositors of objects, but also as participants in ongoing actions across town. It was also to Rumma that certain artists—including those involved in Pistoletto’s Lo Zoo, a collective of artist-performers—addressed their dissatisfaction with the limiting designation of “Arte Povera”; while they shared many aims with their peers, several feared that the very consecration of a movement went against the grain of their anti-institutional ethos. For his part, Alighiero Boetti would later remark that the event at Amalfi seemed to signal the “nauseous” anticipation of Arte Povera’s end, rather than its beginning.

Alighiero Boetti working on Shaman-Showman at Arte Povera, 1968. Photo by Bruno Manconi. Courtesy of Archivo Lia Rumma.

Shaman-Showman at Arte Povera, 1968. Photo by Bruno Manconi. Courtesy of Archivo Lia Rumma.

It is undeniable that “Arte Povera + Azioni Povere” marked the “institutionalization” of Arte Povera—its currency as both an aesthetic tendency and a marketing strategy. It is likewise indisputable that the canonization of the various works in question by museums and other official arts institutions strips them of the temporal and physical contingencies that informed their original genesis, presentation, and performance. “Arte Povera,” Celant would declare on the cover of the 1969 volume by the same name, “needs no galleries; it has the world.” Of course, the group’s various artists made widespread use of the gallery system in the years to come. Yet the events at Amalfi constituted the pinnacle of efforts to circumvent and subvert art practices reliant upon traditional modes of reception, circulation, and representation. Art was made to brush up against everyday experience in the most seemingly banal ways.

Indeed, participants would later recount how the act of unloading works that arrived (late) in Amalfi on the backs of several trucks took on the mantle of a quasi-aesthetic act in its own right. The artist Gino Marotta at one point arranged bales of hay in one of the town’s piazzas for a project he titled Giardino all’italiana (“Italian Garden”). Photographs reveal the bales arranged in a kind of square, against which various individuals—including Pistoletto and others—recline and converse surrounded by townsfolk. Marotta’s plein air installation thus formed less an object of contemplation than an ordinary thing: the site of interactions at once staged and effortlessly everyday. By the same token, artists playing soccer next to their own works in the Arsenale (with a makeshift goalpost drawn in white on the walls) proved as illuminating of the event’s ethos as the objects on display—a spontaneity that endowed the weekend with an air of festive collectivity, embodied rather than aridly intellectual.

Michelangelo Pistoletto, Carlo Colnaghi, Carmine Ableo, and Gino Marotta gather inside Giardino all’italiana (Italian Garden), at Arte Povera, 1968. Photo by Bruno Manconi. Courtesy of Archivo Lia Rumma.

This is not to say that “Arte Povera + Azioni Povere” unfurled free of conflict, or even controversy. A growing schism, in fact, emerged between the contingent of artists from Rome and several of their peers, most notably those from Turin—an ideological and theoretical rupture that Rumma and others, unattached to either city, mediated with aplomb. Much of what would become Arte Povera had been incubated in the Piedmont capital, with an alternative exhibition space, the Deposito d’Arte Presente, established by gallery owner Gian Enzo Sperone and collector Marcello Levi as a site of exchange and experimentation. Gathering to its fold artists from other cities and countries, “Arte Povera + Azioni Povere” applied the activities of the Deposito to a larger scale. Some Italian art historians would later insist upon the specifically Italian genealogy of Amalfi’s events, particularly the Futurist serate (evenings), whose raucous, often festive atmosphere they recall in their purposeful blurring of staged performance and playful improvisation. Yet such origins can hardly be disentangled from the contemporary prevalence of American-style happenings—an international dimension that “Azioni Povere” plainly courted.

The poised stasis of certain objects in the Arsenale belied often willfully messy and extemporaneous origins. As a kind of metaphor for Arte Povera’s (inevitable?) rigidification from event to object, Pistoletto’s Mappamondo (1966–68)—a sphere of compressed newspapers smoothed by its collective rolling through the streets of Turin—came to rest alongside other objects on display in Amalfi. The installation of works by ArtePoveristi today can similarly strip them of any sense of contingency and volatility, exacerbated at the time by the social and political climate of Italy (and Europe at large) in 1968. If the neat geometries of Boetti’s Catasta (“Stack”)(1967) appears in line with American Minimalism, the artist’s more performative works, like the Shaman-Showman installation he created at Amalfi—including scrawling these words on a paper-covered pillar—defy any aesthetic categorization.

Ger Van Elk painting a line on the floor with shoe polish at Arte Povera, 1968. Photo by Bruno Manconi. Courtesy of Archivo Lia Rumma.

Richard Long, Paolo Icaro, and Francesco Gozzano playing football in the Arsenale. Photo by Bruno Manconi. Courtesy of Archivo Lia Rumma.

Even still, several of the works evinced, and still retain, a sense of chance within the bounds of their formal and conceptual premise. Mounted in the Arsenale, Pistoletto’s Candles (1967)—featuring dozens of lit candles placed along a reflective strip—still changes with each installation, the light of each wick flickering against their Mylar base. The large bowl of Gilberto Zorio’s Untitled (1968), for example, bears powdered sulfur, iron shavings, and a magnet, in what was plainly conceived as an interactive work defiant of any fixed form. If Marotta’s hay installation in the streets of Amalfi has long since disappeared, Merz’s 1968 Untitled—with its stack of hay bales mounted by a single rod of neon light—recalls that contemporary intervention and something of its sensory dimensions (the musty smell of hay, the wayward curl of dried blades).

Merz’s Cone (1967) entails the use of relatively unorthodox materials, purposefully redolent of archaic, even “primitivist” culture and craft. Like Merz and Marotta, and the Puglia-born artist Pino Pascali (who died in a motorcycle crash just one month before “Arte Povera + Azioni Povere”), many artists involved in Arte Povera (but not necessarily on its roster, like Piero Gilardi) consistently engaged with aspects of Italy’s regional and vernacular culture. This engagement aimed to resist the increasingly consumerist and technocratic elements that had seized post-war Italian culture since the “economic miracle” peaked in the early 1960s. Parallel to the work of poet-director Pier Paolo Pasolini, who celebrated Italy’s subproletariat and southern communities for their exclusion from official culture, many contemporary artists turned to Italy’s south—long seen as “backward” and undeveloped—as a new aesthetic model, precisely in its resistance to the logic of capitalist time.

In addition to its professed affinity with (proverbial) poverty, the very title of “Arte Povera + Azioni Povere” aimed to conflate the coordinates of exhibition and experience—a conflation that significantly influenced two major events of 1969: “When Attitudes Become Form,” curated by Harald Szeemann at the Kunsthalle Bern; and “Op Losse Schroeven” (“On Loose Screws”), curated by Wim Beeren at the Stedelijk Museum. Both exhibitions featured not only installations, but a series of performative interventions by artists. Marcello Rumma died suddenly and tragically the following year, in 1970. Yet he had already founded Rumma Edizioni, a press dedicated to the critical documentation of contemporary aesthetic problems, while his wife went on to found Lia Rumma Gallery in Naples. The couple’s extensive archive, meanwhile, offers vital insights into “Arte Povera + Azioni Povere” and its legacies. The numerous photographs taken by Bruno Manconi of the Arsenale and its environs afford a compelling reconstruction not simply of objects as they sat on display, but of the activities by artists, critics, and visitors that brought them alive.

from Artsy News

[m-a-86]

#RIP#doppiaggio#diviStracult Carlo Alighiero (1927-2021) https://www.instagram.com/p/CT54Bi9Iibi/?utm_medium=tumblr

[marcogiovenale]

fino al 24 luglio, a parma: remo gaibazzi e la scrittura nelle arti visive

fino al 24 luglio, a parma: remo gaibazzi e la scrittura nelle arti visive

cliccare per ingrandire / click to enlarge Palazzo del Governatore, a Parma, fino al 24 luglio ospita Variazione nella ripetizione. Gaibazzi e la scrittura nelle arti visive, a cura di Francesco Tedeschi e Andrea Piazza. La mostra prende in considerazione l’ultima fase produttiva di Remo Gaibazzi (1915-1994) e dedica un’intera sezione al dialogo dell’artista con colleghi che condivisero alcune…