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L’APERITIVOILLVSTRATO

- the style art-book -

L’APERITIVO ILLuSTRATO- No.68/15 - wINTER ISSuE - ENgLISh LANguAgE INTERNATIONAL EdITION

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> Mac Conner Illustration for “Where’s Mary Smith?” in Good Housekeeping, June 1950, Gouache and gesso on masonite, © Mac Conner. Courtesy of the artist

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gIUDEccA 1030133 VEnEzIA, ITAlyTEl: +39 041 240 801

www.HoTElcIprIAnI.com

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No. 68 L’APERITIVO ILLuSTRATO Rex Gold_Without Boundaries

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cONTENTSVISuAL ART + PhOTO

“Science may set limits to knowledge, but should not set limits to imagination.”(Bertrand Russell)

12Portfolio

Sandy Skoglund

21Ich bin ein new yorker

exhibit | by Roberto Palumbo

22Pawel Żak

interview | by Brian Midnight

24My journey: São Paulo

collection | by Serena Berselli

28Boundaries or no boundaries?

about photography and law | by Cristina Manasse, lawyer

30In praise of remoteness: a foray amongst the collages of Eugenia Loli

interview | by Gaia Conti

34Andrea Morucchio. Intacts thoughtsinterview | by Laura Cornejo Brugués

39Services to art: the rental

about | by Adele Rossi

40Zanotto: technological research

interview | by Eric Mc Grath

42Discourse on the methodabout | by Giacomo Croci

43Pompeii: what remains

about | by Marco Vincenzi

44The Golden Age of Photography

about | by Marco Vincenzi

46The tangible immanence of the void: the borderless

interview | by Debora Ricciardi

52One interview to Alessandra Bello

interview | by Nicola Bustreo

54Portfolio

Fabio Zonta

>86

>30

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No. 68 L’APERITIVO ILLuSTRATO Rex Gold_Without Boundaries

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cONTENTSSTyLE & MORE

69Imperiale Signature

arts&crafts | by Michael Sägerbrecht

70Baselworld 2015

arts&crafts | by Luca Magnanelli Weitensfelder

71Wearing a butterfly

arts&crafts | by Michael Sägerbrecht

73Enlightening time

arts&crafts | by Michael Sägerbrecht

74The v&a museum: the exhibition of dressed-in-white

arts&crafts | by Laura Migliano

76Maison & Objet 2015

arts&crafts | by Luca Magnanelli Weitensfelder

78An unusual workshop

arts&crafts | by Laura Migliano

80I was born with a gift

profile | by Luca Maruffa

83God and Gold

profile | by Alessandro Di Caro

84At the Edge of the universe

interview | by Franca Severini

86The Secession building in Viennaprofile | by Alessandro Antonioni

89Art courses in the Emiratesprofile | by Giacomo Belloni

90Space tourism

profile | by Benedetta Alessi

94Prima materia. James Lee Byars

profile | by Stefania Dottori

95The Agenda, must-see art shows

by Stefania Dottori

96Mad men walking: from advertising to art

cover story | by Roberto Palumbo

Get the latest issue of AI.Download the full last issue

of L’Aperitivo Illustrato.Open iTunes on the App Store

to download L’APERITIVO ILLUSTRATO digital edition.

Compatible with your iPhone or iPad.

winter 2015 | no.65

rex gold | without Boundaries

l’aperitivo illustrato

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l’aperitivoillvstrato

- the style art-book -

l’aperitivo illustrato- no.68/15 - winter issue - english language international edition

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> Mac Conner Illustration for “Where’s Mary Smith?” in Good Housekeeping, June 1950, Gouache and gesso on masonite, © Mac Conner

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No. 68 L’APERITIVO ILLuSTRATO Rex Gold_Without Boundaries

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REx gOLd- without boundaries -

editor’s letter | by chRISTINA MAgNANELLI wEITENSfELdER

Molti pensano, e scrivono, che la trasformazione del piombo in oro sia stata la meta dell’Alchimia. Questa, come molte altre cose, è, naturalmente, una sciocchezza. Questa antica filoso-fia esoterica rincorreva in realtà il desiderio di trascendere

i limiti della conoscenza umana e raggiungere uno stato di omniscen-za per essere in grado, tra le altre cose, di curare tutti i mali e vivere in eterno. Di certo anche la manipolazione della materia e la trasmutazione di varie sostanze, tra cui i metalli, erano al centro delle pratiche alchemiche. L’Alchimia ha attraversato i millenni ed i continenti, portando con sé un enorme bagaglio di conoscenza al quale tutti i più grandi scienziati hanno attinto a piene mani. Ecco come sono nate scienze moderne come fisica e chimica. Oggi accettiamo senza problemi che un lingotto d’oro sia composto dalle stesse particelle sub-atomiche che compongono la nostra carne, però non ci interroghia-mo sul significato di questo e non ci preoccupiamo di andare oltre le nostre barriere conoscitive. Siamo in qualche modo imprigionati in una gabbia di preconcetti e inibizioni ed abbiamo perso, in qualche punto della nostra evoluzione sociale, la capacità di interrogarci, di spin-gerci oltre. Diamo tutto per scontato, per definito. Crediamo, poveri stolti, di non avere più barriere. Proprio come l’Alchimia, l’arte ten-de a voler varcare i confini dell’intelletto umano, nel tentativo di raggiungere la perfezione assoluta. E, come gli alchimisti, anche gli artisti lavorano e manipolano la materia per creare qualcosa di diver-so, in grado di elevare la nostra conoscenza. L’orefice che lavora i metalli, il fotografo che si chiude in camera oscura con i suoi acidi, lo scultore che cerca di liberare le forme intrappolate nella materia: tutti cercano di oltrepassare le barriere, i limiti, per andare oltre, verso l’ignoto. Anche L’Aperitivo Illustrato tenta di valicare alcuni ostacoli, seguendo l’ispirazione, per tentare di imparare dall’arte, ben sapendo che il percorso è senza fine.

M any people think, and write, that the transformation of lead into gold was the goal of Al-chemy. This, like many other things, is, of course, nonsense. This ancient esoteric philoso-phy actually pursued the desire to transcend the limits of human knowledge and achieve a state of omniscience, to be able, among other things, to cure all ills and live forever. Of

course the manipulation of matter and the transmutation of various substances, including metals, were also at the centre of alchemistic practices. Alchemy has spanned millennia and continents, bringing with it a wealth of knowledge from which all the greatest scientists have drawn freely. This is how modern science like physics and chemistry were born. Today we readily accept that a gold ingot is composed of the same sub-atomic particles that constitute our flesh, however, we do not question the meaning of this and we don’t bother to go beyond our cognitive barriers. Somehow we are trapped in a cage of preconceptions and inhibitions and, at some point in our social evolu-tion, we lost the ability to question ourselves, to go beyond. We take everything for granted, as defined. We believe, poor fools, that there are no more barriers. Just as Alchemy, art wants to cross the confines of human intellect, in an attempt to reach absolute perfection. And, like the alchemists, artists work and manipulate raw material to create something different, capable of el-evating our knowledge. The goldsmith who works with metals, the photographer that closes himself in the darkroom with his chemicals, the sculptor who tries to free the forms trapped in the mate-rial: they are all seeking to break through barriers, the limits, to go beyond, into the unknown. L’Aperitivo Illustrato also attempts to overcome some obstacles, following inspiration, attempting to learn from art, knowing full well that the quest is endless.

SANdySkOgLunD

SandySkoglund(Quincy-USA,September11,1946)isanartist,photographerandinstallationartistwholivesandworksinNewYork(USA).SandySkoglundcreatessurrealistimagesbybuildingelaboratesetsortableaux,throughtheuseofcarefullyselectedcolouredobjectsandinaprocessthatcantakeseveralmonths.Oncethesceneryiscompleted,SandySkoglundtakesphotographsofthefinishedsetwhileactorsenactaperformance.SandySkoglundstudiedarthistoryatSmithCollegeinNorthampton,Massachusetts,whereshegraduatedin1968.In1967,shealsostudiedarthistoryattheSorbonneandattheÉcoleduLouvreinParis,France.AftergraduatingfromSmithCollege,sheattendedtheUniversityofIowain1969,whereshestudiedfilm,mediaartandengraving.In1971shereceivedherMasterofArtsandin1972aMasterofArtsinFineArt,painting.In1972,SkoglundbeganworkingasaconceptualartistinNewYork(USA).In1978,sheproducedaseriesofstillliveswithfoodasadominanttheme(StillLife).Oneofherbest-knownworksisRadioactive Cats(1980),amonochromegreyroominhabitedbytwoimmobileelderlypeopleandalargeamountofgreencats.SincethenSkoglundhasbeencreatingenvironmentalinstallationsusingeverydayobjects,smallsculpturesandmate-rialsdesignedandmanufacturedbyher.Shecreatessurrealandobsessivedimensionsdomi-natedbyuniformandunrealcolourswhichshe thenphotographs,making themevenmorechillingbyflatteningtherelationshipsbetweenlight/shadowwhilstshootingandexploitingbrightcoloursonthelargecibachromesprintedonaluminium.Sheproducesaboutoneimageperyeartakingcareofeverydetail.Eachinstallationisbuiltwithdifferenttechniquesandhasanautonomoussignificance,irrespectiveofthefinalphoto,whichnonethelessisanexhibitinitsownrightrepresentingtheartificialityofthecontemporaryworld.Herworksareexhibitedinnumerousmuseumcollections,includingtheMuseumofContem-poraryPhotographyinChicago(USA),theMuseumofModernArtinSanFrancisco(USA)andtheDaytonArtInstituteinDayton,Ohio(USA).•

All images: © Sandy Skoglund, courtesy Paci Contemporary

PORTfOLIO curated by chRISTINA

MAgNANELLI wEITENSfELdER

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via Prada 12 | 41058 Vignola (MO) Italyjan@8bc.it | www.8bc.it

how to contact us:Claire Dejachy

mob. +39 335 5478473clairedejachy@gmail.com

press office:all round productions Silvia Landi

mob. +39 335 5404064silvia.landi@allroundproductions.it

www.allroundproductions.it

Created by GianluCa SerraelliPtiCal WHite table.reSin, laSer Cut, PiGmentS, inCludinG vintaGe objeCtS.Cm 130 x 80 x 76H made to order.

artS and furniture

No. 68 L’APERITIVO ILLuSTRATO Rex Gold_Without Boundaries

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Ich BIN EIN NEw yORKERexhibit | by ROBERTO PALuMBO

artS and furniture

‘Ich bin ein New Yorker’ is what, in flawless German, Martin Schoeller could say today paraphrasing the famous phrase by Kennedy. Martin, in fact, was born in Munich (Ger-

many) in 1968 and, after studying photography in Berlin at the renowned Lette-Verein and in Hamburg (Germany), he moved to New York (USA) to work as an assistant to a certain Annie Leibovitz. Four years alongside one of the most important portrait photographers taught him, by his own admission, “the way to understand the most interesting side of the subjects to photograph.” Yet, since 1996, when he began his personal career, Schoeller has been able to develop a very personal technique that would make the style of his portraits unmistakable, taking him to leading magazines such as Time, GQ, Rolling Stone, Vogue, National Geographic and to the ultimate suc-cess of being appointed as the photographic editor of The New Yorker: just like another certain gentleman named Richard Avedon who, like him, before him, had revolutionized the way of taking photographs and portraits.The keystone is the series simply called Close-Ups, in which the faces of well-known personalities like Cindy Sherman, Marc Jacobs, Emma Watson, Mark Zuckerberg and others, are all portrayed using the same technique: Schoeller measures the height of the subject’s eye and arranges the lens of his camera at the same level. Instead of a flash, he uses soft neon lights, which contribute to the characteristic cat-eye effect in his portraits. The series (1998-2005) be-came a show, his first personal exhibition held at the CWC Gallery in Berlin.After almost ten years Schoeller now a New Yorker by adoption, having travelled the world and been on the covers of the most illustrious magazines, is back again in Berlin in the same gallery with Portraits. The exhibition with more than 60 images presents a spe-cial part of the artist’s previously unpublished works. Actors, politicians, athletes, artists and musicians such as George Clooney, Jeff Koons, Robert De Niro, Iggy Pop, Hillary Clinton, Christoph Waltz, Meryl Streep and Michael Douglas are portrayed without compromising their humanity. Up to this point.Tony Hawk with a skateboard on the counter in his kitchen, Steve Carell’s face covered with tape or the wonderful face of Cate Blanchett presented in black

and white: direct and real. The vividly coloured set-tings play with the stereotyping and the clichés of celebrity. The richness of detail in the large-scale portraits portrays the normality and accessibility of the protagonists, while the prints in black and white show their beauty and humanity. In this exhibition, viewers are invited to have fun, wonder and reflect. Schoeller’s approach creates a direct and pure under-standing of the most intimate aspects of the subject’s personality, displaying a unique world that coun-terpoisesthe iconographic andthe personal aspects shedding light on celebrity with a new and somewhat exaggerated perspective. Again Martin Schoeller’s works seem to want to upset the traditional interpre-tation of photography and portraiture giving viewers a new perspective of the protagonists often accompa-nied by fun and black humour.

~Ich bin ein new yorker

di Roberto Palumbo

“Ich bin ein New Yorker” è ciò che, in un tedesco impec-cabile, potrebbe dire oggi Martin Schoeller parafrasan-do la famosa frase di Kennedy. Martin, infatti, è nato a Monaco (Germania), classe 1968 e, dopo aver studiato fotografia a Berlino presso il rinomato Lette-Verein e ad Amburgo (Germania), si trasferisce a New York (USA) per lavorare come assistente di una certa Annie Leibo-vitz. Quattro anni al fianco di una delle più importanti ritrattiste da cui apprende, per sua stessa ammissione, “il modo per imparare a capire il lato più interessante dei soggetti da fotografare”. Eppure, a partire dal 1996, anno in cui inizia la sua personale carriera, Shoeller riesce a sviluppare una personalissima tecnica che ren-derà inconfondibile lo stile dei suoi ritratti, portandolo su riviste come Time, GQ, Rolling Stone, Vogue, Na-tional Geographic ed al successo sublimato con l’ingag-

gio come fotografo editorialista del The New Yorker: proprio come un altro certo signore chiamato Richard Avedon che, come lui, prima di lui, aveva rivoluzionato il modo di fare fotografie e ritratti.La chiave di volta è la serie semplicemente chiamata Clo-se-Ups, in cui i volti di personaggi ben noti come Cindy Sherman, Marc Jacobs, Emma Watson o Mark Zucker-berg ed altri ancora, vengono ritratti utilizzando sempre la stessa tecnica: Schoeller misura l’altezza dell’occhio del soggetto ed organizza la lente della sua macchina fo-tografica allo stesso livello. Invece di un flash, utilizza la luce morbida al neon che è anche il motivo per i caratteri-stici Cat-eye delle persone ritratte. La serie (1998-2005) diventa una mostra, la sua prima personale che si svolge nella Berlino da cui era partito presso la CWC Gallery. A distanza di quasi dieci anni Schoeller ormai newyor-kese d’adozione, dopo aver girato il mondo e le copertine delle più affermate riviste, torna ancora una volta a Ber-lino nella stessa galleria con Portraits. La mostra con più di 60 opere presenta una parte speciale dei lavori dell’ar-tista mai esposti prima. Attori, politici, atleti, artisti e musicisti come George Clooney, Jeff Koons, Robert De Niro, Iggy Pop, Hillary Clinton, Christoph Waltz, Meryl Streep o Michael Douglas ritratti senza pregiudicare la loro umanità. Fino a qui. Tony Hawk con uno skatebo-ard sul bancone della sua cucina, il volto di Steve Carell coperto di nastro adesivo o il volto meraviglioso di Cate Blanchett presentato in bianco e nero: diretto e reale. Le atmosfere messe in scena vividamente colorate, gio-cano con le caratterizzazioni ed i luoghi comuni delle celebrità. La ricchezza dei dettagli nei ritratti di grandi dimensioni espongono la normalità e l’accessibilità dei protagonisti, mentre le stampe in bianco e nero mostrano la bellezza e l’umanità. In questa mostra gli spettatori sono invitati a divertirsi, a stupirsi e a riflettere. L’ap-proccio di Schoeller crea una diretta e pura compren-sione delle personalità più intime dei soggetti, mettendo in scena un mondo unico che contrappone aspetti ico-nografici e personali che fanno luce sulle celebrità con un nuovo e un po’ esagerato punto di vista. Le opere di Martin Schoeller sembrano voler ancora una volta ro-vesciare l’interpretazione tradizionale della fotografia e del ritratto di genere dando allo spettatore una nuova prospettiva sui protagonisti spesso intrisa di divertimen-to e humour nero. •

www.camerawork.de

“In this exhibition, viewers are invited to have fun,

wonder and reflect”

Martin Schoeller

From left:Cesar Millan with his Dogs,

South Central Los Angeles, USA, 2006

Sean Combs Painting, New York, USA, 2010

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Rex Gold_Without Boundaries L’APERITIVO ILLuSTRATO No. 68

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Paweł Żak studied social sciences at Warsaw University. He graduated from the Academy of Fine Arts in Poznan (Poland) in 2002. Currently he is working as a photography lec-

turer. He considers the most important character-istic of his photography to be images that belong to so called staged photography with a symbolic na-ture. He takes not a lot of pictures, photographing mostly things and situations previously conceived in his imagination. He considers photographs to be objects, not just pictures and that is why he takes great care about how they are presented. He has exhibited in many European countries, his work can be found in museums and many private collec-tions. He is represented by Leica Gallery, Warsaw.

Brian Midnight: «Beyond the single project, what do you seek to express through a photo?»Paweł Żak: «We used to regard photography as a

tool to describe a particular person, place or event. That is its basic function. In most of my work I use photography in a different way, rather like a painter that takes his picture from the imagination and then works on its visible form. In my case, the

picture is a symbolic synthesis of experiences and feelings.»

«How long does it take you to realize a project?»«In my case there are two separate stages of work.

One is the conceptual stage that is hard to predict, you never know when the idea will come to you; the other more predictable stage is the of building the set, lightning and photographing. Sometimes it requires a lot of time and effort; sometimes it’s simple and easy. I know my answer it is a little un-clear, but it reflects nature of my work. To be more clear I may say that the series Sweet Monday and Other Still Life consists of about 45 pictures that I took over the last six years.»

«In your work man is not portrayed, but we feel his presence, does art therefore make him vis-ible?»«I hope so. My goal is more or less to describe the world of universal experiences and feelings rather than things. If you can feel it, and build your own story by looking at the compositions, it means that the picture is alive as it should be.»

PAwEL ŻAKinterview | by BRIAN MIdNIghT

“Sometimes it requires a lot of time and effort; sometimes

it’s simple and easy”

Paweł Żak, Untitled #5, from the series Sweet Monday and other still life