#Marco Lodola

[oldsardens]

Marco Lodola - Vespa

[pier-carlo-universe]

“Sculture di luce” di Marco Lodola: un viaggio tra arte, luce e cultura pop

Al Museo dei Campionissimi di Novi Ligure un'esplosione di energia e creatività dal 30 novembre 2024 al 2 marzo 2025

Al Museo dei Campionissimi di Novi Ligure un’esplosione di energia e creatività dal 30 novembre 2024 al 2 marzo 2025 La magia luminosa di Marco Lodola Il Museo dei Campionissimi di Novi Ligure apre le porte all’arte contemporanea con la mostra “Sculture di luce” di Marco Lodola, celebre artista italiano riconosciuto a livello mondiale. Dal 30 novembre 2024 al 2 marzo 2025, i visitatori potranno…

[polkadotmotmot]

Marco Lodola - Blue Moon, 2010 - Perspex and light wires

[milksockets]

'dancing shoes' by marco lodola, 1993 in cinderella's revenge - samuele mazza (1993)

[falcemartello]

Marco Lodola

[rfsnyder]

Marco Lodola

[k00317538]

Research week

On my second day i had a look through some books Elaine had laid out , i have always loved cups and knew id like to try out spinning on the wheel

With this i found a book on the illy collection in the library , a collection of beautifully decorated espresso cups and Saucers . I liked luca Trazzi's design of matching Saucers to the cups and how the design flows feom top to bottom I also liked Marco Lodola's musical inspired sets especially the musicup witb dancers.

[delectablywaywardbeard-blog]

Sanremo, la facciata dell'Ariston come un grande cubo di Rubik

L’artista Marco Lodola l’ha definita “una tela bianca da dipingere con colori accesi”source

[mangezdespommes]

Marco Lodola APPLE

[luciolan]

Finally the White Duke in my collection...

[ilsimplicissimusblog]

Museo degli Orrori

Anna Lombroso per il Simplicissimus Sotto tutti i ministri addetti alla conservazione e promozione del nostro patrimonio artistico e culturale, quelli che nel vocabolario delle coglionate progressiste vengono definiti i nostri giacimenti aurei, il nostro petrolio denunciando che quindi vanno sfruttati in modo che producano anche se sono “vecchi”, ricorrentemente si è riproposta, o rinfacciata…

Visualizza su WordPress

[oldsardens]

Marco Lodola - Vespa

[pier-carlo-universe]

Marco Lodola: Sculture di Luce al Museo dei Campionissimi di Novi LigureUn’esplosione di energia e colori in un’esposizione unica

Dal 30 novembre 2024 al 2 marzo 2025, il Museo dei Campionissimi di Novi Ligure ospiterà la mostra Marco Lodola. Sculture di Luce, un’esposizione che promette di affascinare il pubblico con opere caratterizzate da vivaci colori e un’energia inconfondibile

L’arte di Marco Lodola illumina Novi LigureDal 30 novembre 2024 al 2 marzo 2025, il Museo dei Campionissimi di Novi Ligure ospiterà la mostra Marco Lodola. Sculture di Luce, un’esposizione che promette di affascinare il pubblico con opere caratterizzate da vivaci colori e un’energia inconfondibile. Le sculture di Lodola, realizzate con neon, LED e resine, trasformano gli spazi del museo in un…

[youcannottakeitwithyou]

Marco Lodola (Italian, *1955)

[fashionbooksmilano]

100E + Ceramiche X il Paradiso

Artisti insieme per costruire una scuola

a cura di Sergio Calatroni

Sergio Calatroni Artroom , Milano 2008, 339 pagine, brossura

euro 35,00

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

Catalogo della mostra tenuta a Milano, Fondazione Stelline, Sala del Collezionista, 14-19 febbraio 2008 exhibition & no profit auction

Artisti, designer e architetti hanno ideato piastrelle in duplice esemplare per la realizzazione di un mosaico di due metri per due sul tema “Il Giardino dell’Eden”, e recentemente andate all’asta per finanziare - su iniziativa della Gabbianelli, Decorazione d'Interni - lo sviluppo della nuova Scuola del Centro di Studi e Ricerche Internazionali MAAAM (Morocco All Anonymous Art Marrakech). Ideatore della mostra e presidente del MAAAM e è l’architetto Sergio Calatroni. Quelle esposte al MIC sono le seconde copie delle piastrelle appositamente realizzate per questa mostra e per quella che seguirà alla Fondazione Orestiadi di Gibellina. Il motivo ispiratore delle ceramiche vuole essere la rilettura del tema del Giardino dell'Eden (Genesi, II) e la sua restituzione simbolica mediante l'uso della geometria, secondo l'antica tradizione islamica. “Eden” è una parola sumera che significa parco, giardino in pianura. Secondo la tradizione, questo luogo si trovava ad oriente della Palestina. Nel rigoglioso giardino crescevano due alberi: l'albero della conoscenza del bene e del male e l'albero della vita. Il giardino è dunque il simbolo del Paradiso Terrestre. Le ceramiche sono esposte accanto al bozzetto originale datato e firmato dall'autore.

Gli artisti Sergio Asti, Enrico Baleri, Antonio Ballista, Luigi Baroli, Lapo Binazzi, Julia Binfield, Jean Blanchaert, Virginia Cabassi Poma, Sergio Calatroni, Tassili Calatroni, Santi Caleca, Maurizio Cannavacciuolo, Lidia Carbone, Cy Carre', Lella Castaldo, Alice Cattaneo, Silvio Cattani, Luisa Cevese, Giovanni Chiaramente, Roberto Ciaccio, Aldo Cibic, Geppino Cilento, Antonella Cimatti, Antonio Colombo, Riccardo Dalisi, Tiziano Dal Pozzo, Aldo Damioli, Guido Daniele, Celeste Dell'Anna, Aurora Di Girolamo, Nathalie Du Pasquier, Era Ora Intelligence, Marta Fernández, Marco Ferreri, Pietro Finelli, Letizia Fornasieri, Enrico Francolini, Amalia Garufo, Dario Ghibaudo, Horatio Goni, Ezio Grisanti, Alessandro Guerriero, Guido Guidi, Pino Guidolotti, Takuo Kawashima, Ugo La Pietra, Colomba Leddi, Corrado Levi, Nicola Licitra, Salvatore Licitra, Marco Lodola, Paolo Lomazzi, Daniele Lombardi, Tommaso Maggio, Federico Maggioni, Luigi Mainolfi, Ugo Marano, Enzo Mari, Massimo Mariani, Barbara Martucci, Tullio Mazzotti, Alessandro Mendini, Fulvia Mendini, Ministero del Gusto, Luca Missoni, Mari Miyachi, Muga Miyahara, Axel Müller-Schöll, Yoshiaki Nishino, Alek O., Ohya Family, Original Designers 6R5, Annibale Oste, David Palterer, Antonio Paradiso, Massimo Piani, Steve Piccolo, Giuseppe Pino, Pier Paolo Pitocco, Gio Ponti, Lisa Ponti, Kuno Prey, Daniela Puppa, Franco Raggi, Bruno Rainaldi, Amato Rak, Prospero Rasulo, Roberto Remi, Guglielmo Renzi, Rohka, Alessandro Rossetti, Enzo Roveri, Giovanni Sabatini, Denis Santachiara, Fausto Santini, Luca Scacchetti, Patrizia Scarzella, Fabrizio Sclavi, Roberto Serino, Daniel Silver, Marina Sinibaldi Benatti, Maddalena Sisto, Franca Soncini, George Sowden, Giorgio Spiller, Luca Stoppini, Nello Teodori, Fabius Tita, Clino Trini Castelli, Maurizio Turchet, Guido Venturini, Matteo Vercelloni, Chung Yi Yang, Giorgio Vigna, Nanda Vigo, Valerio Vinaccia, Marco Zanuso Jr., Gianfranco Zavalloni.

08/01/21

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:         @fashionbooksmi

instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

[thesunlounge]

Reviews 298: Afrodesia

It began with a phone call between then Best Record label manager Marco Salvatori and Dario di Pace, a producer well known for his esoteric grooves as Mystic Jungle and his work with Raffaele ‘Whodamanny’ Arcella and Enrico ‘Milord’ Fierro in freakadelic collective The Mystic Jungle Tribe (as well as their record labels Periodica and Futuribile). The two were discussing a brief yet magical period in the 80s referred to as the “Afro-Italian movement,” one specifically centered on Les Folies Studio in Milan and artists/producers such as Daniela Paratici, Ennio Ronchelli, Daniele Losi, and Roberto Barocelli, which saw forward thinking combinations of analog synthesis, vocal exotica, machine drumming, hand percussion, and live instrumentation used to craft expansive adventures in paradise disco and fantasy jazz fusion (prime examples of which are Roberto Lodola’s Marimba Do Mar, released by Best Record earlier this year, Helen’s Zanzibar and Tunis Tunis, and Losi’s Tom Tom Beat). Yearning for the timeless groovescapes of these productions...especially Lodola’s far out “Afro” mixes...and seeking to bring the same exploratory spirit into modern times, Salvatori, Mystic Jungle, and Whodamanny decided to join forces for a project called Afrodesia: an ambitious undertaking marrying the interstellar groove and future funk mastery of Mystic Jungle’s and Whodamanny’s synths and drum machines with a cast of live musicians featuring Giulio Neri, Andrea Farias, Davide “Duba” Di Sauro and the late Italo-Nigerian percussion master George Aghedo, who appeared on many of the original recordings from which this project takes its inspiration.

Simply titled Episode One, the Afrodesia 12” marks an exciting new chapter for Best Record Italy, as it is the first release of original material from the label since the early 90s. After having closed shop during that time due to poor sales, Claudio Casalini’s influential label reformed in 2014, with Salvatori joining the operation and helping it ascend towards the upper echelons of Italo reissue quality. And now, having rescued an almost unbelievable number of obscure or rare dancefloor treasures, at least a few of which have become all time favorites, change is in the air, for Salvatori is embarking on his own new venture called Spaziale Recordings, while Casalini will continue leading Best Record as always. As well, the Afrodesia 12” sees Periodica and West Hill Studio main men Mystic Jungle and Whodamanny further refining their already sorcerous production skills, this time augmenting their Casio, Yamaha, and Roland synths and old skool rhythm boxes with saxophones, guitars, and perhaps most arrestingly, dreamy Afro atmospherics and heavenly voice harmonies from Arcella and Neri. But if you’ve been following the West Hill crew as closely as I have, these forays into worlds of African and Italian pop romance are hardly as surprising as they seem, for both Whodamanny and Mystic Jungle have been increasingly experimenting with vocal and pop textures to great effect, whether through Marcelo Antonio’s JKRNDA 7” on Futuribile Record Club, the vocoder sexualities of Mechanismo, di Pace’s co-production on Modula’s deep soul groover “Argonauta (I’ve Been So Lonely)," or Arcella’s journeys into vocal sensuality and synth-pop ecstasy on The Dance Sucker.

Afrodesia - Episode One (Best Record Italy, 2019) Helen’s “Zanzibar” is referenced directly by Afrodesia’s “Deep Down in Zanzibar,” which re-purposes lyrics and licks from that classic into a joyous new form. Snake tails introduce a low down disco beat, with cowbells ringing, güiros scraping, and timbale fills crashing through the stereo field. Hats and snare hold down the groove while cymbals generate waves of static and as the kick drum cuts away, claps delay into the void. All of a sudden, a greased up funk riff enters, with Duba’s bass guitar slithering around the fretboard, all fat-bottomed warmth walking through a tropical paradise. Quacking wah guitars percolate in as the kick drum returns to guide us through Afro-Italo dream worlds, with wiggling synth leads crawling across the sky and e-pianos generating balearic atmospheres. At some point, synths tuned like 60s psych organs scream while guitars work between hypnagogic riffscapes and bluesy acid solos and if that weren’t already perfect enough, Neri and Arcella descend upon the mix with their joyous croons…the vibe whispered and sensual…fragile and warm…with a voice in each ear singing softly and trailed by synthetic pianos and saxophones that skip across sunbeams. Sometimes the vocals fade away, leaving space for wailing saxophonics and clattering percussion cascades that seem to fill up the spectrum. Elsewhere, we move into a freaky funky riff jams before devolving into pure rhythm, with minimal and mechanized beats spreading further out as claps echo and laser blast oscillations morph into galactic fluids. And from here, Whodamanny and Mystic Jungle continue leading their session players through a coastal landscapes of African fantasy…a world of bass guitar sexualisms, joyous vocalisms, balmy synthesis, fusion guitar freak outs, and screaming tenor refrains.

In “Desert Storm,” reverberating hand drums pop amidst rising waves of noise while synthesizer squiggles swim through blasts of granular static. A simple snare beat enters as one of the best basslines all year drops, recorded so hot and up-front that you can practically see the dust snapping off the strings. Double-time hi-hats tick irresistibly as everything builds in anticipation, with the kick drum finally dropping while blasted funk riffs converse ear-to-ear, space age synthesizers weave neon threads, and wah guitars hammer on and scrape. Sometimes the melodic elements fall out and we’re led through rhythmic bridges, wherein the liquid funk basslines of Duba are replaced by that more familiar West Hill synth-bass squelch and screaming voices from the cosmic void descend from a stormy sky. Interstellar noise bursts careen across the mix and chaotic chordscapes bleat over the reverb-soaked disco drum tropicalisms, all while mutant basslines stoke alien dancefloor magic. As we drop back into the live instrumentation, with shakers rattling and bass guitar and six-string working through ultra-tight jam patterns, the terrifying screams still disperse through the stereo field while horror-tinged synthesizers move through gothic themes and rainbow colorations. For most of the rest of the track, we switch off between these two moods: a squelching synth bass groove out awash in Mystic Jungle-style sci-fi boogie sorcery and a stoner groove paradise led by sunshine guitars and funk bass fluidity. During one of the live instrumentation passages, a druggy synth solo drifts into focus, all zoner cosmic magic hovering like an LSD haze…minimal, spacious, and absurdly confident in its wafting, almost apathetic flow. And capping off the track is a baked coda of machine disco rhythmics and fluid funk guitar psychedelics.

The title of “Meet in Tunis” is perhaps another nod to Helen, though the music here seems less referential than in “Deep Down in Zanzibar.” Emotive riffscapes flow over uptempo snare and hat patterns while hand drums and further palm-muted guitar textures billow in from nothingness. The beat sees kicks stomping, snares breaking and gliding, tom fills sucking air out of the skull, and cymbal taps and bell tones ringing all throughout the background...the vibe mysterious and awash in dark disco intensity, though eventually tempered by romantic feedback melodies…as if Arcella’s Casios are mimicking Alessandroni western whistles while synthetic pianos float through golden cloudscapes. The guitars sparkle like Chic and Neri’s sax sounds hollowed out and spectral as it presages the upcoming vocal fantasias and indeed, he and Arcella work through earworm repetitions of “Tunis” before ascending into rapid fires soul verses that overflow with 70’s disco pop perfection…pushing almost towards all out Bee Gees ecstasy, except devoid of overt leads and flowing instead like a closed eye daydream. It’s so ebullient and transportive, with my imagination drifting to a Tunisian beach paradise…some sort of exotic seaside fantasy overflowing with forbidden romance. There are moments where the vocals cut out as we flash into zany percussive storms, with rave whistles flying over psychosonic rhythm cascades. All the while, Duba’s bass continues slipping, sliding, and growling through timeless funk riffs, with shakers pushing the groove euphoria to a maximum. And after another passage of wild percussive ritualism, with snares, bongos, and crashing toms sitting beneath quacking riffs and whistles, we flow through saxophone sensuality into a final “Tunis” vocal refrain, which repeats hypnotically as everything else fades to silence.

Closer “Orion Beat” comes to life on blasting kicks and rocketing claps before before settling into a slamming electro beat. Burning siren waves arc across the mix, bringing that kind of freaky atonal synth psychedelia that could only come from Mystic Jungle Tribesmen. Growling synth bass lines are smothered in cavernous verb as palm-muted guitars flutter overhead and the drums are so hot and heavy, with cymbals spitting fire and snares and claps cracking through the air. There are moments where the burning synth waves usher in passages of interstellar jam perfection, with guitars holding it down while panoramas of phase-distortion and frequency modulation synthesis generates dial-tone scats and telephone tracers while bleeps and bloops are repurposed into fusion fire. Elsewhere, we move into sections of slinky stoner bass guitar riffing while harmonious pads swim through the sky, their hovering chords of heavenly majesty surrounding an electro-funk zoner jam. Then following a bridge that leans towards progressive rock, the mix reduces to just kick drums and claps before dropping into an amazing passage of Afro-tribal intensity…the vibe like entering an otherworldly jungle, wherein crazed hand drum tapestries flow through deep space reverb tunnels. The groove stutters and stomps before smoothly gliding back into electro breakdance magic…like cruising the cosmos on the tail of a comet with starshine gas trails flowing all around the spirit. And after further burning wavefronts of dissonant synthesis subsume the mind, the Afrodesia crew work themselves into dueling harmony magnificence, with synths and e-pianos descending together in pure retro-funk majesty and bass guitar ripping through romantic soul motions…brief yet so perfect as the heart is carried way to paradise realms far beyond the stars.

(images from my personal copy)