{"id":17320,"date":"2017-04-09T00:59:36","date_gmt":"2017-04-09T04:59:36","guid":{"rendered":"http:\/\/www.rverdaguer.com\/blog\/?p=17320"},"modified":"2020-03-08T21:59:25","modified_gmt":"2020-03-09T01:59:25","slug":"da-new-york-al-monferrato-sguardi-mostra-di-incisioni","status":"publish","type":"post","link":"https:\/\/rverdaguer.com\/blog\/da-new-york-al-monferrato-sguardi-mostra-di-incisioni\/","title":{"rendered":"Da New York al Monferrato sguardi – mostra di incisioni"},"content":{"rendered":"
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locantina\/poster\/affiche by Sando Zapparrata<\/p><\/div>\n

\u25b9 INVITO INAUGURATION\u00a0a la mia\u00a0mostra di incisioni\u00a0” Da New York al Monferrato sguardi ” \u25b9 \u00a0 Venerdi 21 aprile – ore 17,30\u00a0<\/strong><\/span>\u25b9\u00a0Sale d’Arte<\/a>,\u00a0Via Niccol\u00f2 Machiavelli, 13 , Citta’ di Alessandria, Italia\u00a0<\/strong><\/span>\u25b9 <\/strong>Mostra : 21 aprile\u00a0– 27 maggio, 2017\u00a0<\/span>\u25b9\u00a0<\/span><\/strong><\/span><\/p>\n

\u00a0\u25b9 OPENING INVITATION a mon exposition \u00a0exhibition of engravings “Views from New York to Monferrato” \u25b9 Friday April 21\u00a0–\u00a05:30 pm \u00a0\u25b9Sale d’Arte<\/a>, City of Alessandria, Italy.\u00a0<\/span><\/strong>\u25b9 \u00a0Exhibition : April 21st – May 27, 2017\u25b9\u00a0<\/strong><\/span><\/p>\n

\u25b9 INVITATION au VERNISSAGE de \u00a0mon exposition de\u00a0gravures \u25b9\u00a0“Regards de New York au Monferrato “\u25b9 Vendredi 21 avril – 17h30 \u25b9 \u00a0Sale d’Arte<\/a>, Ville d’Alessandria, Italie.Exposition \u00a0du\u00a021 avril \u00a0au \u00a027 mai, 2017\u00a0\u25b9<\/span><\/strong><\/p>\n

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invito\/brochure di Sando Zapparrata<\/p><\/div>\n

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invito\/brochure di Sando Zapparrata<\/p><\/div>\n

Note biografiche e presentazione<\/em><\/strong><\/p>\n

“Raymond Verdaguer, nato tra i Pirenei e trapliantato nella Grande Mela, non \u00e8 solo un artista ma un illustrare di fama internationale.<\/em><\/p>\n

Dal 2003 collabora con il New York Times, dal 2002 con Harper’s Magazine, in curriculum ha anche los Angeles Times, San Francisco Chronicle, Boston Globe, Le Monde, Liberation, International Herald Tribune, El Mundo.<\/em><\/p>\n

La serie “A” dell’informazione si rivolge a Raymond Verdaguer per condensare in pochi segni, dal forte impatto visivo ed emotivo, temi etici e grande cronaco e l’artista si esprime, con tratti netti, evocativi, incisi prima sul linoleum – sua tecnica simbolo – e poi trasferiti su carta con l’inchiostro e la pressa.<\/em><\/p>\n

Guerre, violence, inquinamento, ambienta, un bagaglio pesante che a Casaleggio Boiro, suo luago di villeggiatura non ha portato.<\/em><\/p>\n

Dice che qui, tra i silenzi e il verde dell’Appennino, ha ritrovato l’essenza stessa dell’arte: l’osservazione, che precede la realizzazione dell’opera.<\/em><\/p>\n

Sulle spalle, uno zaino con pochi strumenti, carta di riso, inchiostro e colori, per imprimere nelle sue opere non solo i paesaggi ma anche sensazioni e stati d’animo. Trae ispirazione dai boschi e dalla quiete, dai castelli e dalle chiese.\u00a0<\/em><\/p>\n

Trasforma in uno studio a cielo aperto i paesaggi, le gole affacciate sul Gorzente, la fonte e la Madonnina ai piedi del borgo antico.<\/em><\/p>\n

Nella mostra ‘Da New York al Monferrato Sguardi” la tecnica usata per i lavori esposti proviene pi\u00f9 dalla scrittura che della pittura o dal disegno. L’artista si rif\u00e0 all’antica tecnica calligrafica asiatica, anche se con strumenti moderni. Utilizza la carta di riso che ha il vantaggio di essere leggerissima e di avere un colore naturale, non sbiancato come la carta normale. Una tecnica antica e semplice, ma difficile da perfezionare perch\u00e9 non ammette errori e cancellature.”<\/em><\/p>\n

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invito\/brochure di Sando Zapparrata<\/p><\/div>\n

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Citt\u00e0 o Natura?<\/span><\/span>\u00a0\u25b9 City or Nature?<\/strong><\/p>\n

Not wishing to borrow the language of a scientist, a journalist, an academic or a lawyer, with such a motto as “the proof, but nothing but the proof “, but simply presenting my ‘experiencing’ from my own observation through the medium of an art work. Seeing with my own eyes, putting my own senses at work we the hope to trigger a ‘response’, what better ‘understanding’ and sharing one can get from ‘being alive’? [You maybe tag it, right or wrong, it hardly matters, its your experience with your own senses and your own way of expressing it that counts.] This is, in many ways, what it takes being committed as an artist.<\/p>\n

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Ritorno al bosco \/101\/<\/p><\/div>\n

What ever in a situation of populated biggest cities or in the most remote wildness or country side, I ask my feet to transport me, my shoulders to hold my backpack, my fears to let me move forward \u2026so I could reach any ‘site’ that will allow me to start a ‘conversation’ with what confronts me – dedicated not to return home without carrying back the ‘feelings’ from my ‘visit’ \u2026 ‘visitor’, always, as I dismay ‘tourist’!<\/p>\n

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Ritorno al bosco \/103\/<\/p><\/div>\n

My exhibitions intend to share this moments with others, what I have ‘came out’ with from my ‘site’ visits. But beyond the ’emotion’ remains the impact, how it has transformed me ? Having cross the Andes, over 45 y ago, still resonates in me and shapes my today behavior \u2026 and what to make of lacking oxygen at several 1000 feet high or at level zero in the center of Manhattan? Like if live was an ongoing struggle between a surplus or a lacking – one being always the negative [in the ‘picture’] of the other, and by so doing creating the ‘image’ of our lives.<\/p>\n

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Ritorno al bosco \/116\/<\/p><\/div>\n

City versus Nature, shifting opposites poles, I let the viewer free of making choice of which from the two world he\/she wish to belong to\u2026When ever in the city or in the country side.<\/p>\n

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The Williamsburg Bridges’s woodcuts \/8\/<\/p><\/div>\n

\u25b9 Ville ou Nature?<\/span><\/strong><\/p>\n

Je ne d\u00e9sire pas emprunter le langage d’un scientifique, journaliste, universitaire ou\u00a0 avocat, avec pour slogan, \u00abla preuve, et rien d’autre que la preuve”, mais simplement pr\u00e9senter l’ \u00abexp\u00e9rience\u00bb de ma propre observation par l’interm\u00e9diaire de mon travail. En voyant de mes propres yeux, en activant mes propres sens, dans l’espoir de trouver une \u00abr\u00e9ponse\u00bb. Quel meilleur \u00abenseignement \u00bb et partage peut on souhaiter du fait d’ \u00ab\u00eatre en vie\u00bb? [Vous pouvez ou ne pas \u00eatre d’accord, bien ou mal, peu importe, \u00e0 mes yeux, c’est exp\u00e9rience de ses propres sens et sa propre fa\u00e7on de l’exprimer qui compte.] Ceci est (ou fut), \u00e0 bien des \u00e9gards, ce qu’il est requis pour demeurer un artiste entant que tel.<\/span><\/p>\n

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The Williamsburg Bridges’s woodcuts \/31\/<\/p><\/div>\n

Que je sois dans le contexte des plus grandes villes surpeupl\u00e9es ou dans un lieu sauvage ou une campagne isol\u00e9e, je demande \u00e0 mes pieds me transporter, \u00e0 mes \u00e9paules de soutenir mon sac \u00e0 dos, \u00e0 mes craintes de me laisser aller de l’avant … afin que je puisse parvenir \u00e0 un \u00absite\u00bb me permettrant de commencer une \u00abconversation\u00bb avec “le” monde qui me confronte – d\u00e9dier \u00e0 ne pas rentrer chez moi bredouille, sans rapporter de nouveaux \u00absentiments\u00bb de ma \u00abvisite\u00bb … \u00abvisiteur\u00bb, toujours, \u00abtouriste\u00bb hors de question!<\/span><\/p>\n

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The Williamsburg Bridges’s woodcuts \/36\/<\/p><\/div>\n

Mes expositions se voudraient de partager ces moments avec autres, ce qu’il en est “sorti” de mes visites de \u00ablieux \u00bb. Mais au-del\u00e0 de l’ \u00ab\u00e9motion\u00bb reste l’impact, la fa\u00e7on dont cela m’a transform\u00e9? Ayant travers\u00e9 les Andes, il y a plus de 45 ans, r\u00e9sonne encore en moi et fa\u00e7onne mon comportement aujourd’hui … et que penser du manquer d’oxyg\u00e8ne \u00e0 plusieurs mille pieds de haut ou au niveau z\u00e9ro dans le centre de Manhattan? Comme si la vie \u00e9tait une lutte permanente entre un surplus ou un manque – l’un \u00e9tant toujours le n\u00e9gatif [comme dans une \u00abgravure\u00bb] de l’autre, et ce faisant la cr\u00e9ation de \u00abl’image\u00bb de nos vies.<\/span><\/p>\n

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The Williamsburg Bridges’s woodcuts \/27\/<\/p><\/div>\n

Ville ou Nature? Mouvements de p\u00f4les contraires, je laisse le spectateur libre de faire son choix auquel des deux mondes il ou elle souhaite appartenir …<\/span><\/p>\n

\u25bf\u25bf\u25bf<\/p>\n

riciclare – recycling<\/strong><\/p>\n

I make a stand working always on site – hardly from studies and never from documents – I engraved-direct right on the spot.<\/p>\n

When in the city, where all kinds of unwanted materials resulting from over consumerism are available, left on the streets. I recycled and experiment on whatever material may have a chance being engraved and printed.<\/p>\n

Recycling, if not giving an aesthetic solution to the process, may at least give it more ‘authenticity’. Therefore, ‘cutting’ does not induce to more material consumption but rather give a true transformation to it.<\/p>\n

What is given for ‘trash’ gets a second chance of ‘use’. The most hugely panels from the most inconceivable cheapest furniture may very well change into an image of the city, the same city rejecting it.<\/p>\n

Beside, from a creative point of view, there is no such a thing of having fear messing up a material barely save from destruction to start with\u2026it gives the unique opportunity to express oneself with the greatest confidence and freedom.<\/p>\n

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portrait by Mike Kobal in his studio<\/p><\/div>\n

\u00a0recyclage<\/strong><\/span><\/p>\n

Je donne la priorit\u00e9 \u00e0 travailler sur le motif\u00a0 – tr\u00e8s rarement \u00e0 partir d’\u00e9tudes et encore moins de documents – je proc\u00e8de par graver directement sur place.\u00a0Lorsque je me trouve dans la rue, en ville, o\u00f9 toutes sortes de mat\u00e9riau ind\u00e9sirables r\u00e9sultant de surconsommation sont disponibles, je recycle et exp\u00e9rimente sur tout ce qui peut offrir une possibilit\u00e9\u00a0 d’\u00eatre grav\u00e9 et imprim\u00e9.<\/span><\/p>\n

Le recyclage, si il n’arrive pas toujours n\u00e9cessairement \u00e0 donner r\u00e9pondre esth\u00e9tique du processus,\u00a0 peut au moins offrir plus d’\u00abauthenticit\u00e9\u00bb. Par cons\u00e9quent, \u00abgraver\u00bb ne stimule plus la consommation de nouveaux mati\u00e9riau, mais plut\u00f4t permet une v\u00e9ritable transformation ce ceux class\u00e9s inutiles.<\/span><\/p>\n

Ce qui est destin\u00e9 \u00e0 \u00eatre jet\u00e9 \u00e0 la ‘poubelle’ obtient ainsi une seconde chance de \u00abvie\u00bb. Les panneaux les plus abominables venant de meubles ‘bon march\u00e9’ les plus inconcevables peuvent tr\u00e8s bien se transforme en gravures repr\u00e9sentant la ville, la m\u00eame ville qui les rej\u00e9te.<\/span><\/p>\n

De plus, d’un point de vue cr\u00e9atif, il n’y a plus de raison d’avoir peur de g\u00e2cher un mat\u00e9riau tout juste sauver de la destruction d’un camion poubelle … cela donne l’occasion unique de s’exprimer avec la plus grande confiance et libert\u00e9\u2026car il n’y a rien \u00e0 ‘perdre’ ! Et n’avoir rien \u00e0 perdre, c’est plut\u00f4t bien pour l’art et l’artiste contemporain constamment sous la br\u00e8che.<\/span><\/p>\n

\u25bf\u25bf\u25bf<\/p>\n

“Sale d’Arte, Citta di Alessandria”<\/strong><\/p>\n

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Da New York al Monferrato al Monferrato Sguardi\/Mostra<\/p><\/div>\n

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Da New York al Monferrato al Monferrato Sguardi\/Mostra<\/p><\/div>\n

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Da New York al Monferrato al Monferrato Sguardi\/Mostra<\/p><\/div>\n

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Da New York al Monferrato al Monferrato Sguardi\/Mostra<\/p><\/div>\n

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Da New York al Monferrato al Monferrato Sguardi\/Mostra<\/p><\/div>\n

Storia del museo:<\/a>
\n<\/strong>Le Sale d\u2019Arte comunali sono oggi aperte al pubblico nei nuovi locali ristrutturati dell\u2019edificio che ha ospitato fin dalla seconda met\u00e0 dell\u2019Ottocento, il Museo, la Pinacoteca civica e la Biblioteca di Alessandria.<\/em>
\nIl percorso museale rinnovato negli arredi e nelle strutture espositive, intende proporre al pubblico alcune delle pi\u00f9 importanti opere e oggetti d\u2019arte appartenenti alle collezioni del Museo e della Pinacoteca civica. La nuova sede suddivisa in quattro sezioni espositive oltre a proporre una riflessione sull\u2019identit\u00e0 civica della citt\u00e0 che vede le sue radici nel Medioevo e nella civilt\u00e0 comunale, accoglie lo splendido ciclo di affreschi ispirati alle storie di Art\u00f9. L\u2019Ottocento rivisitato attraverso il fascino della pittura di Giovanni Migliara e il Novecento rappresentato attraverso l\u2019opera dell\u2019alessandrino Alberto Caffassi, anticipano l\u2019esposizione di opere d\u2019arte contemporanea confluite nelle collezioni a partire dagli anni \u201820. Quest\u2019ultima sala viene inoltre utilizzata per le mostre temporanee.<\/em><\/p>\n

” Art Space, city of\u00a0Alessandria”<\/strong><\/em><\/p>\n

History of the museum:<\/em><\/a>
\nThe \u00a0Sale d\u2019Arte are now open to the public in the new renovated premises of the building that has housed since the second half of the nineteenth century, the Museum, the Municipal Art Gallery and the Library of Alexandria.<\/em>
\nThe museum is renovated with new furniture and exhibition facilities, intends to offer the public some of the most important works of art and objects from the collections of the Museum and Civic Art Gallery. The new site is divided into four exhibition sections in addition to proposing a reflection on civic city that sees its roots in the Middle Ages and in the communal society, welcomes the splendid frescoes inspired by the stories of Arthur cycle. The nineteenth century revisited through the charm of painting by Giovanni Migliara and the twentieth century represented through the work of the Alexandrian Alberto Caffassi, anticipating the exhibition of contemporary works of art ended up in the collections since the early 20’s. This last room is also used for temporary exhibitions.<\/em><\/p>\n

“Salle des Arts, ville d’\u00a0Alessandria”<\/strong><\/em><\/p>\n

Histoire du mus\u00e9e:<\/em>
\nLa Sale d’Arte est\u00a0maintenant ouverts au public dans les nouveaux locaux r\u00e9nov\u00e9s de l’immeuble qui abrite depuis la seconde moiti\u00e9 du XIXe si\u00e8cle, le mus\u00e9e, la galerie d’art municipale et la Biblioth\u00e8que d’Alexandrie.<\/em>
\nLe mus\u00e9e r\u00e9nov\u00e9 avec de nouvelles installations de meubles et d’ objets d’art, offre au public quelques-unes des \u0153uvres les plus importantes de l’art et des objets provenant des collections du Mus\u00e9e et Civic Art Gallery. Le nouvel espace est divis\u00e9 en quatre sections d’exposition en plus de proposer une r\u00e9flexion sur la ville civique qui voit ses racines au Moyen Age et dans la soci\u00e9t\u00e9 commune, accueille les splendides fresques inspir\u00e9es par les histoires du cycle Arthur. Le dix-neuvi\u00e8me si\u00e8cle revisit\u00e9 par le charme de la peinture de Giovanni Migliara et le vingti\u00e8me si\u00e8cle repr\u00e9sent\u00e9 par l’\u0153uvre de l’Alexandrin Alberto Caffassi, anticipant l’exposition d’\u0153uvres d’art contemporain a fini dans les collections depuis le d\u00e9but des ann\u00e9es 20. Cette derni\u00e8re salle est \u00e9galement utilis\u00e9e pour des expositions temporaires.<\/em><\/p>\n

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Desidero ringraziare<\/strong> il Comune di la Citta’ di Alessandria per aver ospitato la mia mostra e per collaborazione e l’amicizia dimostrata nell’ organizzazione della stessa. Grazie Vittoria Oneto, ( Assessore ai Beni Politiche Cultutali e alle Politichie Giovanili), Cristiana Coppi, Elizabetta Provera, Renzo Penna, Sandro Zapparrata e a tutti mio caro amici!<\/p>\n

I want to thank<\/strong> the Commune of the City of Alessandria [Italia] for hosting my exhibition and for its friendship collaboration with its organization. Special thanks to\u00a0Vittoria Oneto, Cristiana Coppi, Elizabetta Provera, Renzo Penna, Sandro Zapparrata as well as all my dear friends.<\/span><\/p>\n

Je remercie<\/strong> la Commune de la ville d’Alessandria [Italie] pour m’ inviter \u00e0 exposer mes oeuvres, organiser l’\u00e9v\u00e9nement et leur amicale collaboration. Sans oublier\u00a0Vittoria Oneto, Cristiana Coppi, Elizabetta Provera, Renzo Penna, Sandro Zapparrata et tous mes chers amis.<\/span><\/p>\n

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portrait by Mike Kobal in his studio<\/p><\/div>\n

” L’artista dedica questa mostra a tutti gli amici italiani che dall’estate 2014 ne hanno favorito il lavaro con la loro generosa accoglienza, contribuendo a farla un po’ “la loro mostra”.<\/em><\/p>\n

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Per saperne di pi\u00f9 ( more to read \u2026\u00e0 lire\u2026)<\/strong><\/a><\/p>\n

Raymond Verdaguer biografia di Elena Patarini<\/em><\/span><\/strong><\/a><\/p>\n

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\"RVrlogo2\"<\/a><\/span><\/em><\/p>\n

original linoleum cut and woodcut > linogravure originale et gravures sur bois > lin\u00f3leo grabado original > incisione originale > Copyright \u00a9 Raymond Verdaguer 2015<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u25b9 INVITO INAUGURATION\u00a0a la mia\u00a0mostra di incisioni\u00a0” Da New York al Monferrato sguardi ” \u25b9 \u00a0 Venerdi 21 aprile – ore 17,30\u00a0\u25b9\u00a0Sale d’Arte,\u00a0Via Niccol\u00f2 Machiavelli, 13 , Citta’ di Alessandria, Italia\u00a0\u25b9 Mostra : 21 aprile\u00a0– 27 maggio, 2017\u00a0\u25b9\u00a0 \u00a0\u25b9 OPENING INVITATION a mon exposition \u00a0exhibition of engravings “Views from New […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,131,107,108,15,130,140,139,118],"tags":[176,125,89,164,156,173,123,167,168],"class_list":["post-17320","post","type-post","status-publish","format-standard","hentry","category-a-la-une-fr","category-art","category-ecologie","category-ecology","category-education","category-exhibition","category-exposicion","category-exposition","category-new-york-city","tag-architecture","tag-arts","tag-cultura","tag-ecology","tag-education","tag-exhibition","tag-history-2","tag-history","tag-new-york-city"],"_links":{"self":[{"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/posts\/17320"}],"collection":[{"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/comments?post=17320"}],"version-history":[{"count":16,"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/posts\/17320\/revisions"}],"predecessor-version":[{"id":21830,"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/posts\/17320\/revisions\/21830"}],"wp:attachment":[{"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/media?parent=17320"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/categories?post=17320"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rverdaguer.com\/blog\/wp-json\/wp\/v2\/tags?post=17320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}