#luigi barbini

[byneddiedingo]

Terence Stamp in Teorema (Pier Paolo Pasolini, 1968)

Cast: Terence Stamp, Silvana Mangano, Massimo Girotti, Anne Wiazemsky, Laura Betti, Andréa José Cruz Soublette, Ninetto Davoli, Carlo De Mejo, Adele Cambria, Luigi Barbini, Giovanni Ivan Scratuglia, Alfonso Gatto. Screenplay: Pier Paolo Pasolino. Cinematography: Giuseppe Ruzzolini. Production design: Luciano Puccini. Film editing: Nino Baragli. Music: Ennio Morricone. 

Is Pier Paolo Pasolini's Teorema artsy fiddle-faddle or a trenchant satire of the bourgeoisie? Yes. It's both. It's a heavy-footed Marxist diatribe and a beautiful display of cinematic technique. If ever a film was caviar to the general, it's Teorema. At this point, I want to recommend that anyone who subscribes to the Criterion Channel go watch Rachel Kushner's commentary on Teorema in her "Adventures in Moviegoing" collection. And if you don't (and even if you do), then read James Quant's essay on the film at the Criterion Collection site. Both of them suggest why Pasolini's film continues to awe and/or annoy viewers. There's a fine line between the pretentious and the provocative, and Teorema has continued to straddle it more than 60 years. For myself, I find it an immensely amusing film, which may be enough for me to recommend it to anyone who has a taste for caviar.  

[twittercomfrnklin2001-blog]

The men of TEOREMA (1969) clockwise from top- Terence Stamp, Luigi Barbini, Ninetto Davoli, Massimo Girotti and Andres Jose Cruz Soublette

[lafiguraentutapiz]

Il vangelo secondo Matteo. Pier Paolo Pasolini. 1964

[jeremystrele]

A Designer’s 1970s Bells Beach Dream Home!

A Designer’s 1970s Bells Beach Dream Home!

Homes

by Lucy Feagins, Editor

Artwork in the background is ‘Checked Square’ by Jacob Leary. ‘Tufty-Too’ modular sofa from B&B Italia, designed in 2011 by Patrizia Urquiola. 1970s Italian chrome and glass coffee table. 1957 Saarinen ‘Tulip’ side table. Rug from RC&D. Vintage Italian chair in Mongolian wool dyed blue. Recycled French oak coffee table designed and build by Leo.  Alfredo Barbini Murano Italian art glass dish. ‘Vesuvius’ lava glaze bowl by Jonhathan Adler. Hand-woven cotton light pendant from Paris au mois d’aout. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

The lush entry foyer. ‘Planula’ dining chairs by Giovanni Carini, 1970. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Interior designer Léo Terrando; and model, actor and a producer Jessica Watts. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Artwork in the background is ‘Checked Square’ by Jacob Leary. ·’Tufty-Too’ modular sofa from B&B Italia, designed in 2011 by Patrizia Urquiola. 1970s Italian chrome and glass coffee table. 1957 Saarinen ‘Tulip’ side table. Rug from RC&D. Vintage Italian chair in Mongolian wool dyed blue. Recycled French oak coffee table designed and build by Leo.  Alfredo Barbini Murano Italian art glass dish. ‘Vesuvius’ lava glaze bowl by Jonhathan Adler. Hand-woven cotton light pendant from Paris au mois d’aout. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Artwork is ‘Act 1 Scene 2’ by Deidre Bruhn. 1959 Verner Panton wire cone chair. Mimi Kelly untitled print. Green Gaudi chairs by Vico Magistretti for Artemide, 1970s. ‘Four’ dining table Desk from Kartell designed by Feruccio Laviani. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

1970s Cristalart mirrored console table. Charles and Ray Eames executive table for Hermann Miller with Arabescatto marble top. Limited edition 1974 ‘Monk’ chairs by Afra and Tobia Scarpa for Molteni. 1962 ‘Arco’ floor lamp by Achille and Pier Giacomo Castiglioni for Flos. Zac Koukoravas artwork. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Dulux ‘Milton Moon‘ paint. Charles and Ray Eames executive table for Hermann Miller with Arabescatto marble top. Limited edition 1974 ‘Monk’ chairs by Afra and Tobia Scarpa for Molteni. 1962 ‘Arco’ floor lamp by Achille and Pier Giacomo Castiglioni for Flos. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Volkswagen Kombi 1977. Framed photograph Leo took inside the escalator of the Centre George Pompidou in Paris beside his surfboards. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Kartell ‘Ghost stools. Mayday lamps by Kanstantin Grcic for Flos. Dulux Klute, Dulux Luck and Dulux Vivid White paints. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Danish high sideboard. 1970s Italian table lamp. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Early 1900s church pew·. Moroccan rug. ‘TOIO’ floor lamp designed in 1962 by Achille & Pier Giacomo Castiglioni for Flos. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Mid-century Australian credenza that Leo found at the tip. Ceramic from west Germany. Laurana Rame D’arte Italian copper enamel bowl 1960. Mid-century modern Italian ‘Selenova’ table lamp in murano glass. Collection of 1960s clear glass Czech vases. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Java Couple sculptures. 1950s French mirror. Jielde Floor Lamp Loft D 1240 from Flos. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Rug from RC&D. Red lacquered metal frame ‘Vanessa’ bed designed by Tobia Scarpa for Cassina. Chrome and glass Italian coffee table. ‘Brumbury’ table lamp by Luigi Massoni for Guzzini. Original ‘Mushroom’ armchair by Pierre Paulin for Artifort. Artwork ‘Difficult Pleasure’ by Brett Ferry. Cedar cladding on walls. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Jess with the couple’s dog, Button. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Jess, Léo and Button! Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

The awe-inspiring view out to Bells Beach. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

It really feels like we are living in the middle of the forest,’ says Léo. Photo – Nikole Ramsay for The Design Files. Styling – Annie Portelli.

Interior designer Léo Terrando purchased this incredible Bells Beach house (on Victoria’s Surf Coast) 10 years ago, which he shares with partner Jessica Watts. 

Believed to have been designed by acclaimed architect Kevin Borland in 1975, the house is characterised by vaulted timber ceilings that bring warmth and a distinctly eclectic character to its otherwise beachy feel.

‘The structural timber is entirely exposed and it follows the origami shape of the house, which means that the lighting – either natural or artificial – creates so many different contrasts and shadows,’ Léo says.

Léo was taken with the property’s unique design, as well as its awe-inspiring location set back from famous Bells Beach. ‘I love the fact that the house is away from everything,’ he says. ‘Being able to see the ocean from the house as well as hearing all the birds living in the area is truly magical.’

Not interested in stripping the home of its original character, Léo has undertaken only modest renovations over the past decade. ‘Internally I removed some walls in the upstairs bedroom and got rid of the carpet,’ he says.’

Other updates have been cosmetic only, such as updating the lighting fixtures throughout the home. ‘The lighting is so important for me, I have brought in so many different styles and types of lights, lamps, shades, from all different designers and eras,’ Léo says.

The home has also been painted inside and out, in colours including Dulux Milton Moon (in the living and dining room) with Dulux Klute, Dulux Luck and Dulux Vivid White in the kitchen and skirtings throughout.

The house has been a challenge to furnish due to its many windows – over 50 in total! To overcome this, and to balance out the extensive timber panelling, Léo has styled the space with an eclectic mix of free-standing furniture, and large indoor plants. Most of the furniture and accessories are 1960s and ‘70s Italian pieces, and alongside these are personal items that show off the couple’s personality, such as surfboards and bold, abstract artwork. 

Overall this home feels effortlessly cool, relaxed and unpretentious – just like its Bells Beach location. Léo says, ‘Waking up to kangaroos, wallabies, wombats, and echidnas… It really feels like we are living in the middle of the forest.’ Living the dream!

[bitterbianco]

Gino Cenedese (Murano,1907-1973), grande artista del vetro, impara il mestiere da diversi maestri vetrai, primo tra tutti il grande Giacomo Cappellin. Nel 1946 Cenedese, insieme a Gino Fort, Pietro Scaramal, Angelo Tosi ed Edgardo Valmarana (tra i più qualificati e dotati artisti del periodo), fonda la Gino Cenedese Sr.l., azienda che da un lato continua l’antica tradizione del vetro artistico muranese (bicchieri soffiati, vasi, piatti, alzate e lampadari), dall’altro accogliele suggestioni dell’arte contemporanea, in una continua ricerca di nuove tecniche ed effetti. L’assetto dell’azienda cambierà più volte negli anni, sempre includendo artisti di grande eccellenza: maestri vetrai come Alfredo Barbini ed Ermanno Nason, direttori artistici come Giulio Radi e Antonio Da Ros, designers come Riccardo Licata, Napoleone Martinuzzi, Fulvio Bianconi, Luigi Scarpa Croce. Nel 1952 l‘azienda avvia anche una collaborazione biennale con il Centro Studio Pittori nell’Arte del Vetro di Murano (Fucina degli Angeli), realizzando oggetti disegnati da Marc Chagall (1954), Georges Braque e altri artisti. Molte del resto le creazioni innovative e originali della vetreria: gli Acquari (ideati da Licata), grandi blocchi di vetro incolore contenenti elementi in paste policrome, astratti o figurativi, prodotti dal 1952, e rimasti per molti anni tra i pezzi più tipici della Cenedese; le figure femminili in vetro massiccio, i pannelli decorativi in bassorilievo e i grandi lampadari di Napoleone Martinuzzi (1953- 1958); i famosi vetri sommersi (vasi di grosso spessore o figure molto stilizzate), produzione rinnovata negli anni ’50 e ’60 dallo sperimentalismo diAntonio Da Ros, che idea nuovi effetti cromatici, e i cui Contrappunti (vasi in vetro sommerso in vari toni di colore) ottengono il premio per la sezione di arte vetraria alla Biennale del 1960; infine le sculture uniche, ispirate ai mutevoli colori della laguna veneziana, dovute alla collaborazione con l’artista statunitense Harold Stevenson (1968-1969). L’azienda lavora tutt’oggi con le tecniche e l’arte di una tradizione tramandata di generazione in generazione, realizzando pezzi unici e senza tempo. Eleganti bicchieri, raffinati soprammobili, fantastici lampadari impreziosiscono in tutto il mondo le residenze di famiglie reali, imprenditori, personalità del mondo della finanza e dello spettacolo, portando con sé lo splendore del vetro di Murano e la delicata bellezza della laguna di Venezia.

[byneddiedingo]

Enrique Irazoqui in The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)

Cast: Enrique Irazoqui, Margherita Caruso, Susanna Pasolini, Marcello Morante, Mario Socrate, Settimio Di Porto, Alfonso Gatto, Luigi Barbini, Giacomo Morante, Giorgio Agamben, Guido Cerritane, Ferrucio Nuzzo, Otello Sestili, Alessandro Tasca. Screenplay: Pier Paolo Pasolini. Cinematography: Tonino Delli Colli.  Production design: Luigi Scaccianoce. Film editing: Nino Baragli. Music: Luis Bacalov. 

Sandwiched between two epic Hollywood versions of the life of Jesus released in the 1960s -- King of Kings (Nicholas Ray, 1961) and The Greatest Story Ever Told (George Stevens, 1965) -- Pasolini's version looks like the most successful today. It is raw and unfiltered through Technicolor and wide-screen processes, unencumbered with movie stars. Its Jesus is not blue-eyed like Jeffrey Hunter or Max von Sydow, but a darkly handsome Spanish economics student named Enrique Irazoqui, who had never acted before. (His voice is dubbed by Enrico Maria Salerno, a professional actor who also dubbed Clint Eastwood's voice in the Italian releases of Sergio Leone's Westerns.) The film takes no liberties with the story as presented in the New Testament Gospel of St. Matthew, following it virtually to the letter. The dialogue in Pasolini's screenplay relies for the most part only on the words actually spoken in the gospel. In fact, those unfamiliar with the narrative presented there may sometimes find the film's story hard to follow. No elaborate sets were constructed: Pasolini filmed on locations in Calabria and Sicily and other parts of southern Italy, enlisting the locals as cast members and extras. Like Carl Theodor Dreyer's The Passion of Joan of Arc (1928), it is a film of faces, and seldom handsome ones -- with the exception of the delicately beautiful Margherita Caruso, who plays the young Mary. (The older Mary is played by Pasolini's mother, Susanna.) Irazoqui, with his unibrow, looks strikingly like a figure out of a Byzantine mosaic or a Russian icon. The cumulative effect of the film is plausibly much closer to the actual events than the more conventional dramatizations of them like the Hollywood epics. Pasolini was, of course, an unbeliever, a gay Marxist, and the film is more intellectual than spiritual. The Jesus of the film preaches love, but he can also be harsh and enigmatic, proclaiming that he comes to bring not peace but a sword and, in one of the oddest moments in the gospel, smiting a fig tree for some unspecified offense. There are moments when, by following the biblical narrative so closely, the film falls apart, as in the interpolation of the story of Salome (Paola Tedesco) and John the Baptist (Mario Socrate), and it's clear that, as he later admitted, Pasolini's heart is not in the depiction of such miracles as the loaves and fishes and Jesus's walking on water. The choice of music to accompany scenes is curiously eclectic, ranging from the obvious, Bach and Mozart, to the derivative, a bit of Prokofiev's Alexander Nevsky score, to the startling, African-American spirituals. But even when Pasolini's film goes awry, it remains a fascinatingly personal response to the source material.