#Gabriel Alinari

[writegeist-muse]

BEYOND LATE Jotober Post #18 Bottle

A/N: so. I am an idiot. and somehow completely forgot to actually POST 2 Jotober entries from 2018. which I discovered when looking for the posts to show to a friend.

SO HERE ARE THE LOST JOTOBER 2018 POSTS cause by golly I’m gonna finish this!

When Rian and Rune got word the Alinari scouting party had returned, they’d began making their way downstairs to meet them and get the 4-1-1. A gargle of yelling voices and pained cries had them sprinting in a second. Now Rian skidded into the room, Rune hot on her heels.

The medical wing of the main Alinari manor was state of the art, even by DN standards. Dr. Aberdeen demanded nothing but the best and when it came to keeping his family healthy and safe, Rafael Alinari never refused the doctor. Pristine white cabinets and floors gleamed under the special crystalline lights, the metallic tools, operating tables, and medical chair sparkled. The only thing amiss was the frenetic group gathered around the slab furthest from the door - the girls could see Gabriel and Tryllyx rushing around to gather things as Aberdeen yelled what she needed over the injured person’s cries.

Rune homed in on Petras standing back facing them, helping the doctor deal with her patient; to his right stood Rafael in much a similar situation. Simultaneously the two girls saw Raiden at the end of the table, where they presumed the head of the unfortunate soul lay. He was frozen in place, hands wrapped around the table’s edge in a death grip, his lips moving so quickly even Rune couldn’t make out what he was saying. His twin brother was nowhere in sight.

“Rune, Rian, don’t just stand there, I need more gauze and wire from the storeroom!”

“Yes, ma’am!” Both girls darted across the room, dodging Gabriel and Tryll in a bizarre dance as they made for the large nondescript doors in the wall on the other side. The world thudded to a crawl as they passed the table and for the first time, they could see Taran lying half-conscious as a gaping wound across his abdomen poured a steady stream of blood onto the metal surface. Taran wriggled against the pain and the doctor’s attention to his wounds. The motion made the crimson liquid pooling along the side spill over and drip to the white floor below.

Rune latched her hand around Rian’s arm and propelled her stumbling ahead of her, not letting the wolf girl crumble into shock. “Time for that later, chica, we’re gonna stabilize him and you won’t have to even think about it after!”

Rune made Rian do most of the tall work to gather what they had been instructed, both a typical maneuver for the much shorter cat but also to keep Rian’s mind preoccupied as the commotion outside continued. Rune braced for any number of reactions when they raced back to the action and dumped their collection onto a rolling cart beside Aberdeen’s elbow. As the woman reached for a gauze patch, she spared Rian a glance over her half-moon glasses. “Chin up, missy, we’ll get your boy out of the woods yet.”

Even Aberdeen was surprised when Eleavandra suddenly appeared in the medical bay’s archway. Rafael eyed his wife but didn’t try to stop her as she darted up beside him and hunched over Taran’s head. Even through the young man’s groans and cries, everyone could hear her muttering comfortingly to her son. For a moment her head tipped a little in Raiden’s direction and her hand shot out, wrapping around the young man’s waist and pulling him to her. The others tactfully averted their eyes as Raiden curled into his mother’s shoulder and tried to contain a few ragged sobs.

Elea pushed away from the table and took Raiden's face in both hands. She muttered something to him that made him nod and turn back to his twin. Giving her husband a particular look, the woman flew out of the room, leaving the other youngsters to give confused looks to Gabriel. He only shrugged, just as confused as the rest.

When the Alinari matriarch returned a second later bearing something in hand, everyone understood two things: one, Eleavandra Alinari had almost certainly just called out her wings and literally flew through the manor to return to her son’s side that quickly, and two, she was holding a bottle of some strange alcoholic liquid that none of them had ever seen before. Rafael gave his wife a perplexed head tilt but she ignored him, turning instead to Raiden as she gave the rest of the group a long look.

“This is the only kind of time where I will condone underage drinking, and that goes for any of you.” The required answer was clear and everyone, even of-legal-age Gabriel, nodded and gave a verbal quiescence. Satisfied, Elea handed the bottle to Raiden.

“Give him small sips. It will help with the pain and to heal faster.”

With a glance at his father, who solemnly nodded, Raiden uncorked the bottle and gingerly tipped some of the liquid into Taran’s mouth. For a second the injured man’s jaw clamped together and they were all afraid the liquid would spill onto his face. But it seeped through his teeth and into his throat. Within seconds Taran had quieted a bit, no longer thrashing and having to be held down. Elea waited a few moments and motioned Raiden to pour more.

Rune jumped when Aberdeen’s voice echoed in the suddenly quiet room. “Elea, you and I need to have a long talk about not keeping medicinal substances a secret in this house.”

The other woman’s mouth quirked in a smile. “I’ll give you the name of the Angelis healer I got it from, she might hook you up.”

[fashionbooksmilano]

M'impiego ma non mi spezzo

Uffici, impiegati, fotografie 1900-2000.

Cesare Colombo

Alinea Editrice, Firenze 2001, 158 pagine

euro 18,00*

email if you want to buy :booksinprogressmilano@yahoo.it

Mostra  Milano, Arengario, 19 luglio - 30 settembre 2001. “I grandi fotografi sono stati sempre attratti dai grandi temi sociali del lavoro e dei lavoratori” - dice Cesare Colombo, curatore della mostra - “ma fino alla seconda guerra mondiale è stato piuttosto l’ambiente della fabbrica e il mondo operaio ad attrarre gli obiettivi. A partire dal secondo dopoguerra, sulla scia delle tendenze neorealiste ampiamente affermate soprattutto nel cinema, il mondo dei colletti bianchi e delle segretarie, così serioso eppure così ironico e autoironico, comincia ad essere al centro dell’attenzione di registi e fotografi”. 

Il visitatore si trasforma in impiegato, timbrando il proprio biglietto-cartellino presso l'apposita macchinetta predisposta all'ingresso e iniziando il viaggio per sfatare o confermare i luoghi comuni che da sempre circolano sugli impiegati, un po’ travet e un po’ Fantozzi: il corridoio con la sua funzione di smistamento ma anche di area franca per confidenze e sfoghi; la riunione, tipica occasione di incontro/scontro, vero e proprio microdramma quotidiano; gli strumenti legati alla scrittura e alla contabilità, dalle penne fruscianti, alle rumorose macchine da scrivere di fine Ottocento, alle prime calcolatrici meccaniche fino ai moderni e silenziosissimi computer; gli archivi col loro ammassarsi di carte e il loro odore di muffa. 

Senza rinunciare al tocco ironico e al tono della leggerezza, una mostra dal titolo inequivocabile, M'impiego ma non mi spezzo, racconta per immagini la storia e le trasformazioni avvenute negli ultimi cento anni nel mondo del terziario. Cosi', l'icona degli impiegati e dei loro uffici prende corpo sulle pareti dell'Arengario, grazie alla presenza di importanti nomi della fotografia italiana, come Mario De Biasi, Gianni Berengo Gardin, Francesco Radino, Gabriele Basilico, Luigi Ghirri ed Enzo Nocera che, negli corso degli anni, hanno documentato il lavoro e la vita quotidiana dei cosiddetti colletti bianchi nel nostro Paese. (Denis Curti).

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[ocioenlinea]

Pionero de la fotografía homoerótica

En 1878, Wilhelm von Gloeden comenzó a hacer retratos de hombres desnudos inspirado por la cultura griega clásica

Wilhelm von Gloeden fue uno de los mejores fotógrafos de desnudos masculinos, así como uno de los pioneros de la fotografía al aire libre. Después de estudiar historia del arte en Rostock, inició una prometedora carrera como pintor. En 1878, para curar su tuberculosis, el barón von Gloeden fue, por consejo de su médico, a Taormina en Sicilia. El pintor Otto Geleng, que ya vivía en ese sitio, le contó las maravillas del lugar celestial. Maravillado por los paisajes sicilianos, pero especialmente por la belleza salvaje y antigua de los jóvenes campesinos y pescadores de Taormina, Gloeden aprendió fotografía, ayudado no sólo por los fotógrafos locales sino también por su primo Wilhelm von (o Guglielmo) Plüschow que vivía en Nápoles, y también estaba fascinado por el encanto de los jóvenes del sur italiano.

Gloeden rápidamente se hizo famoso por sus imágenes de efebos, cuyas poses tomaban como referencia el arte antiguo. La revista de arte británica, The Studio, reprodujo desde abril de 1893 algunas fotos de sus desnudos. Recibió la visita de otro futuro gran fotógrafo del género, alrededor de 1900: Rudolph Lehnert. Con celeridad fue muy apreciado por los estetas de su tiempo, que le ordenan algunas imágenes: los escritores Anatole France, Gabriele D'Annunzio, Oscar Wilde, Marcel Proust, Richard Strauss, así como el Kaiser Kronprinz William II, el rey de Inglaterra Eduardo VII, que popularizó el nudismo, e incluso el rey de Siam. Muchas de sus fotografías se exhibieron y publicaron en las principales revistas especializadas. Esto puede parecer sorprendente en este momento. Aunque muchos de sus trabajos exaltan el encanto de los hombres jóvenes, fueron toleradas por estar ligadas a la herencia cultural griega y, sobre todo, que ninguno de ellos era pornográfico.

Colección interesante

Al comienzo de la guerra, en 1914, Gloeden decidió regresar a Alemania. De vuelta en Taormina, perdió gran parte de su inspiración y un poco de su gusto por la fotografía. Hay que decir que muchos de sus modelos murieron en la guerra, y que las restricciones de las normas sociales en ese momento eran más difíciles. Murió en 1931 y sus restos fueron enterrados cerca de su hermana en el cementerio protestante de Taormina. Uno de sus fieles modelos y amigo, Pancrazio Bucini, apodado “Il Moro”, heredó la colección fotográfica, probablemente más de siete mil fotos. Los fascistas confiscaron los documentos en 1933 y 1936. Destruyeron más del sesenta por ciento, e “Il Moro” fue condenado por posesión de “fotografías pornográficas”, y luego absuelto. Finalmente, el trabajo del barón fue reconocido como una obra de arte y su joven protegido fue exonerado. Se las arregló para recuperar unos 800 negativos. Cuando murió en 1963, “Il Moro” se los dejó a su hijo, quien los vendió a un anticuario.

Desde el año 2000, el Fondo Gloeden se encuentra en el Museo Alinari de Florencia. Afortunadamente, las impresiones recopiladas durante el siglo XX por los fanáticos del trabajo de Gloeden son numerosas, al igual que las postales o los catálogos de sus exposiciones.

Su trabajo aún cuenta con un gran interés, especialmente en la comunidad homosexual. El filólogo francés, Roland Barthes, presentó una monografía de Gloeden. Si hoy Taormina aún presume la estadía de Gloeden, ya no es lo que fue en los días del Barón von Gloeden, ni de sus herederos, como el fotógrafo alemán, Konrad Helbig.

No.1148. 130919

[nyc-kaptured]

Museum Online Exhibition

 Gabrielle Lin

Intermediate Photography

June 1, 2020

Griffin Museum - Corona: It’s All About The Lights

The Griffin museum’s exhibition entitled “Corona: It’s All About The Lights” is titled due to the pandemic we are in at the moment. The definition of corona is a colored circle displaying a glow around a luminous body usually around the moon or sun. During the Coronavirus pandemic lockdown which is happening during Spring, we are often locked within our homes not being able to go outside while the outside world is booming with natural life. Within our homes, we begin to mourn the outside world where everything is growing and the beautiful sunlight is shining through our windows. “Corona: It’s All About The Lights” captures a physical or metaphorical light to brighten our outlook during the pandemic. The online exhibition contains 160 images each from a different photographer capturing their view of the corona during the coronavirus pandemic. The show displays a variety of photographs with different aspects of light. Most of the photographs are reflecting light within a home, the water, or the growth of flowers during coronavirus. I enjoy looking at the different ways people are capturing light during the pandemic in color or black and white while some are effective and beautiful to gaze it, I do not enjoy the ones with humans as much as I enjoy the nature photographs grasping light. 

     “New Spring” by Georgia Matsamaki

Georgia Matsamki was born in Chania Crete where she holds a BA in Graphic Design and is currently a photography student. Her engagement with mediums began in 2012 where she focuses mainly on staged photography. Georgia Matsamaki has had her photographs and graphic designs shown in many competitions abroad such as Greece, Barcelona, and Bologna. She also has an online platform featuring her contemporary art with Vice Magazine. Matsamaki uses her own sets and props to narrate stories and reflect on personal and social issues. 

With coronavirus being a social issue during 2020 Gina Matsamaki features her photograph entitled “New Spring” with Griffin Museum. The photograph is given a painterly approach. It is cleverly titled as we often relate to spring to bright pastel colors, nice fresh air as nature blooms around us giving us new life. This year’s spring is different. As spring approaches, our natural life is growing outdoors and we are unable to see any of it due to the deadly virus outside. Matsamaki captures the dark wildlife growing as some flowers are open and while some buds are closed in its dark red and green colors. The sky is filled with unpleasant shades of yellow almost green tint. The colors of the flowers pop against the unpleasing yellow sky with its semi-bright and dark colors of red and green and black shadows. On the right side of the photograph is filled with red and orangish flowers while the right contains flowers with dark shades of green. The colors of the photographs all work well with one another making it hard to look away. The sun in the sky is masked by an orange color which we do not often see during springtime making the sky appears dim.

Her view of coronavirus is that we are in an apocalyptic world where life outside keeps going but we are locked inside afraid to be outside. The air in the photograph does not seem fresh and breezy as we often relate to spring but instead, it is a dark unpleasant yellow giving it an apocalyptic feeling. Currently, when we go outside during Covid-19 we all have to wear a face mask to protect ourselves, wherein an apocalyptic world people would wear a gas mask. Some people even put on a plastic suit over their clothing to avoid any virus’ entering their clothing. It represents the unbreathable air that we are surrounded by. The photograph represents how I felt when the lockdown began in NYC whereas if I go outside the air would be toxic if I approached anything. I can see trees blooming with cherry blossoms outside my balcony but going near it could be deadly.

“The Collective Light of Humanity’s Waiting” - Gina Costa 

Gina Costa is a photographic artist, a museum curator professional, and a lecturer on 20th-century art and photography. Her love for photography began as a child where she later obtained her graduate degrees in Art History from the University of Chicago. Costa’s love for photographic images brought her to explore and experiment with different types of strategies and approaches within the medium. She has experienced with different formats and processing including film, digital, polaroid, and mobile. Costa has worked at The Metropolitan Museum of Art and The Art Institute of Chicago and has taught at art history at The University of Notre Dame and The University of Rochester, New York. Her works are being featured in private collections across the United States of America and Europe, including the oldest and most prestigious archive of photography, The Alinari Archive, Firenze, Italia. She is the 2018 and 2019 recipient of the Jula Margaret Cameron award. She has written for numerous publications including Art Narratives, Collezione Maramotti, and the Catalogue for Fotografia Europa. Costa is currently working on a publication that explores the current discourse of mobile photography and how it has changed the way one defines what a photograph can be.

Gina Costa’s “The Collective Light of Humanity’s Waiting” photograph displays flowers and vines growing on a large grided 5x8 window. Through the window, we also see the roof and chimney of the house next door also with the view of the blue sky which is almost cloudless. Inside the house of the window is dark as it borders the photograph. It is taken from a side view which bothers me because it is not evenly displayed. It also cuts off the corner of the window in the upper right. I would like to see a view of it from the front rather than the side where it displays the whole window. Besides that, I enjoy the photograph as it also captures spring and growth with bright lights hitting the other house. With the bright lights and the growth outdoors, we are still locked indoors where it feels dark and empty within our homes. We see the world growing without us as we are indoors, feels trapped, and can only look outside for the hope of a brighter day during harsh times like today.  This photograph appears to be a photograph that we would have on our cell phones where it is not taken without much thought but to have a quick shot. It reflects on the theme of the “Corona: It’s All About The Lights” as we see the sun casting over the house and the bright blue sky. It displays the quietness of social distancing as it is taken within a dark room. 

The two photographs within the “Corona: It’s All About The Lights” exhibition captures the growth of flowers outside our homes within the coronavirus pandemic. Although they display the growth of flowers, the photographers have different views. In Georgia Matsamaki’s “New Spring” displays a digital collage of flowers in with an apocalyptic feeling where the air is toxic given its an unappealing yellow color. It shows us that the air is unbreathable and its best to stay in during a pandemic. Gina Costa’s photograph “The Collective Light of Humanity’s Waiting” captures life outside our homes where we longed to go out and breathe the nice fresh spring air and smell the growing flowers as we are locked inside our homes. It captures the dark loneliness within our homes during a lockdown where we look out a window to be relieved. It is also a photograph that appears to have been a quick shot on our phone or camera as part of the window is cut off and from a side view. 

I enjoyed Griffin Museum’s “Corona: It’s All About The Lights” exhibition as it has allowed me to view many different ways to capture light during springtime whether it is nature, humans, or just the idea of light itself in black and white, and in color.  I enjoy the clever title that the curator has given as we are capturing the corona during coronavirus. We are able to see how photographers play around with lighting during springtime through a pandemic. I would recommend anyone to view these photographs as I found it interesting how some photographs took advantage of the clever title as some reflect their emotions and views towards the pandemic. 

                                                  Works Cited

“Corona: It's All About the Light.” Griffin Museum of Photography, 7 May 2020,     

griffinmuseum.org/show/corona-its-all-about-the-light/.

Foliodrop.com. Georgia Matsamaki, gmatsamaki.foliodrop.com/.

“Gina Costa Photography.” Gina Costa Photography, ginacosta.com/.

“Gina Costa.” The New Era Museum, neweramuseum.org/gina-costa#.XtiL8hNKhN0.

[fotopadova]

Giostre – Storie, immagini, giochi

di Cristina Sartorello

--- Si è aperta il 23 marzo 2019 a Rovigo, a Palazzo Roverella la mostra “Giostre”, proposta dalla Fondazione Cassa di Risparmio di Padova e Rovigo, insieme al Comune di Rovigo e all’ Accademia dei Concordi, a cura di Roberta Valtorta, con la collaborazione di Mario Finazzi per il percorso riservato alla pittura.

Ho parlato con Roberta Valtorta poco prima della inaugurazione chiedendole cosa l’avesse spinta oltre all’incarico dalla Fondazione Cariparo, per ottenere un risultato così buono. Lei mi ha risposto dicendomi di essere partita con grande entusiasmo, poiché l’idea della giostra l’ha appassionata, quindi anche la mostra doveva essere accattivante, sembrare una giostra giocosa per i colori e malinconica per la rotazione circolare, un tempo che non torna indietro, non si ripete più.

  ©Martin Parr

La mostra parte con l’idea della “madeleine” di Proust, cioè il ricordo che è bellezza, perché di fronte a qualsiasi giostra ciascuno di noi si mette a ricordare, o come la macchina “ Broyeuse de chocolat ” di Marcel Duchamp che non serve a niente, non produce nulla, ma dona gioia, emozioni.

L’esposizione ha più livelli di lettura da fine ‘800 al 2018: la ricerca non finiva mai, e Roberta Valtorta ha dovuto contenere il numero dei fotografi, inoltre ha trovato lei il quadro di Balla ed i poster degli anni ’20 delle fiere popolari della collezione Salce di Treviso.

Questa esposizione è stato un lavoro di gruppo anche perché in giostra non si va da soli; è una mostra vera non troppo specialistica, anche a livello fotografico, è trasversale perché è per tutti.

Ci sono testi molto brevi in mostra collegati alle opere esposte, partendo dall’origine delle giostre che viene dal mondo contadino, fino ad arrivare alle giostre tecnologiche fatte con le macchine, presenti fin dalle prime Expo universali, dove la giostra diventa una protagonista, nei “Luna park”, prima a Coney Island con le sue numerose attrazioni diventato in seguito il termine riferito a tutti i parchi di divertimento.

 ©Paolo Monti

Ora le giostre fabbricate a Bergantino (Rovigo) sono ipertecnologiche e la parte meccanica dei materiali metallici e plastici è controllata dall’informatica e robotizzata.

Tutte le fotografie ben descrivono questa realtà, dalle prime stampe in bianco e nero o color seppia per la stampa alla gelatina bromuro d’argento, ad effetto retrò, che hanno un effetto documentativo, fino ad arrivare a grandi nomi della contemporaneità come Luigi Ghirri, Paolo Gioli, Guido Guidi, più artistici, ai più moderni come Paolo Ventura che nasce come fotografo, poi prepara i fondali per lo spettacolo Carousel, che fotografa e li dipinge e diventeranno davvero i fondali;  ai fotografi della Magnum Photos, come Martin Parr che hanno lavorato sul movimento.

La curatrice è partita delle prime giostrine, inoltre conosceva dei fotografi, poi c’è stata una ricerca in internet ed al Museo Carnavalet per Eugene Atget, con stampe all’albumina ed aristotipo, poi i prestiti dalle Raccolte Museali Fratelli Alinari, dalla Fondazione Henry Cartier-Bresson, dall’Archivio Mario Giacomelli e Gabriele Basilico, dagli Eredi Luigi Ghirri, e da collezioni degli artisti stessi.

La mostra legge il tema della giostra in chiave soprattutto sociale, affidandosi a grandi fotografi ed a grandi artisti che l’hanno declinato nelle loro opere.

 ©Robert Doisneau

L’ampia sezione di fotografie comprende opere di più di sessanta importanti fotografi: tra questi, le immagini ottocentesche di Celestino Degoix e di Arnoux; quella della Parigi dell’inizio del Novecento di Eugène Atget e di Frères Seeberger; le fotografie degli anni Quaranta-Sessanta di Henri Cartier-Bresson, Mario Cattaneo, Cesare Colombo, Bruce Davidson, Robert Doisneau, Eliot Erwitt, Izis, Mario Giacomelli, Paolo Monti, Willy Ronis, Lamberto Vitali, David Seymour; per l’epoca contemporanea, le immagini di Bruno Barbey, Gabriele Basilico, Olivo Barbieri, John Batho, René Burri, Stefano Cerio, Raymond Depardon, Luigi Ghirri, Paolo Gioli, Guido Guidi, Jitka Hanzlovà, Guy Le Querrec, Raffaela Mariniello unica fotografa presente, Bernard Plossu, Pietro Privitera, Francesco Radino, Ferdinando Scianna.

Per la curatrice la giostra nelle fotografie da lei raccolte mostra alla macchina fotografica la sua struttura meravigliosamente simmetrica, che come una calamita attira intorno a sé folle in cerca di un divertimento semplice, in un movimento che dissipa le forme.

Il mosso va oltre il mito dell’istante fotografico e il non-nitido dà forma allo stratificarsi del tempo, generando una immagine anomala che pregiudica la somiglianza alla quale culturalmente la fotografia restava legata” (RV).

  ©Paolo Gioli

La rassegna è arricchita da una selezione di importanti opere pittoriche, tra cui Valerio Berruti, Paolo Ventura, Giacomo Balla, Massimo Campigli, e da manifesti di fiere di paese e sagre popolari. Importante l’installazione dell’artista contemporaneo Stephen Wilks “Donkey Roundabout” e il film di Adriano Sforza “Jodi delle giostre”, vincitore del David di Donatello 2011, dove la giostra ti porta ad una godibilità immediata e poi ad una riflessione, perchè il girare della giostra è legato ai flussi migratori ed i giostrai sono persone sradicate che vivono in camion adattati o roulottes, sono persone poco scolarizzate dovendo sempre trasferirsi.

La mostra si avvale della collaborazione con il Museo Storico della Giostra e dello Spettacolo Popolare di Bergantino-Rovigo.

  ©Stefano Cerio

-----------------------

GIOSTRE – a cura di Roberta Valtorta

Dal 23 marzo al 30 giugno 2019 a Palazzo Roverella, Via Laurenti n.8/10, Rovigo

Orario: da lunedì a venerdì 9.00–19.00, sabato, domenica e festivi 9.00–20.00

Biglietto: Euro 5,00 (gratuito il 7 aprile ed il 5 maggio)

Per informazioni: 0425 460093  -  info@palazzoroverella.com

[incircolarte]

Una ricca selezione di materiali provenienti dall’Archivio del ʼ900 documenta gli sviluppi della fotografia di architettura dalla fine dell’Ottocento agli anni più recenti: un percorso che muove dalle Edizioni Alinari per approdare alle opere di Gabriele Basilico, passando per gli scatti di Lucia Moholy, George Everard Kidder Smith, Fulvio Roiter, Ugo Mulas e Cesare Colombo. https://musicaeparole-leonardo.blogspot.it/2017/05/costruire-con-la-luce.html