Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. The Tartar Steppe by Dino Buzzati ,. Stuart Hood Translator. Often likened to Kafka's The Castle, The Tartar Steppe is both a scathing critique of military life and a meditation on the human thirst for glory. It tells of young Giovanni Drogo, who is posted to a distant fort overlooking the vast Tartar steppe.
Although not intending to stay, Giovanni suddenly finds that years have passed, as, almost without his noticing, he has come Often likened to Kafka's The Castle, The Tartar Steppe is both a scathing critique of military life and a meditation on the human thirst for glory. Although not intending to stay, Giovanni suddenly finds that years have passed, as, almost without his noticing, he has come to share the others' wait for a foreign invasion that never happens. Over time the fort is downgraded and Giovanni's ambitions fade until the day the enemy begins massing on the desolate steppe Get A Copy.
Paperback , pages. Published November 1st by David R. Godine Publisher first published More Details Original Title. Giovanni Drogo. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Tartar Steppe , please sign up. How can I download the English translation,??? Alex You can borrow an ebook copy of this book on Open Library. See 2 questions about The Tartar Steppe….
Lists with This Book. Community Reviews. Showing Rating details. More filters. Sort order. Running before time took our dreams away. View 2 comments. Mar 14, Steven Godin rated it it was amazing Shelves: italy , fiction , existentialism , favourites. Is it possible Buzzati knew what lied ahead? Giovanni Drogo a young officer is posted to a remote mountain garrison, an anomalously surreal fort, smack bang in the middle of nowhere, known as 'fort Bastiani, which sits overlooking the vast and eerie 'Tartar Steppe' baron landscape gaining it's title as supposedly Tartars once lived on the other side of the desert.
Leaving the city by horseback, Drogo has no idea what to expect on arrival, and starts conjuring up thoughts of just what his life is going to be like. Never thinking on staying long, he is suddenly overtaken by the passing of time, leading to weeks, months, and years of service, and never seeing any signs what so ever, that a possible army could be looming far off in the distance, biding time, ready to strike. Becoming distinguished with fellow guards, he would rise in rank over the years, and slowly come to terms with his empty existence.
Over the course of many years the fort would be downgraded, and almost forgotten about by the powers that be, and the world around it, a place of solitude, but an important place of solitude nonetheless, as there is always, no matter how small, a chance an invading army will march through the mist, and take those holding the fort by surprise.
On a mysterious level the novel works so well at never specifying time or place, it could be 20th century, but then again as nothing is ever related to this, we could be going back much further. When you here of the "the Northern Kingdom", it gets me thinking of centuries ago, but again it's a clever way to add even greater dimension, to it's already quite bizarre story. The namelessness of the setting was surely deliberate: not only are the hopes and ambitions of the characters in total vain, but just as we are struggling to care about their fate, we also cannot care about their country, which, after all, doesn't even exist.
This is easy to get over, as Buzzati writes with a big heart, you truly feel ever step, every though, and every action of Giovanni Drogo, and I am not ashamed to admit, was left close to moist eyes by the final haunting passages. This is very much a literary novel, by which I mean that Buzzati wasn't trying to tell a story but express something deeper through the medium of a novel.
This is the sort of novel that professors of literature love, because it begs for a close reading, and that most genre readers hate, because the plot and the characters are just symbols to express the author's intent. Camus, Kafka and calvino spring to mind when thinking of similarities, with Kafka's 'The Castle' a good point of reference in terms of overall tone. On the one hand, this is a bleak, desolate and droll story of the wasting away of ones life, but on the other an unseen tension is lurking, even though it would appear the novel has absolutely no tension of any sort.
Something just bothered me the whole way through, but can't put my finger on what that something is, there is obviously more to this work than meets the eye. The leaden prose is not lacking in descriptive detail and the dialog is expressive enough with help from an authorial style that tells us exactly what each character is actually thinking to capture the empty years and desolation, for which the Tartar Steppe is a metaphor.
For all his boredom, Drogo is always anticipating war with an excitement, but also a lingering sadness, that his day will never come, and one day he will be cast off into oblivion having never any heights. This was a read where going into it was a complete unknown, I knew nothing of Buzzati, or his Tartar Steppe, but have come out on the other side realizing a quite unique piece of writing has gone before my eyes.
View all 16 comments. I read it many years back, and now as I revisited it all came back. It's about looking for the meanings of life, and much more. The Italian Dino Buzzati immerses the reader in a story of hope and how cruelly such feeling can be wasted leading to disappointment. It's the story of a young officer dispatched to serve on a remote fort overlooking the desert.
It's about waiting for the enemy at the frontier, in hope of glory. This was the day he had looked forward for years - the beginning of his real life. He knows that he must not stay in the Fort but is unable to leave. The same day, the same things, had repeated themselves hundreds of times without taking a step forward.
The river of time flowed over the Fort, crumbled the walls, swept down dust and fragments of stone, wore away the stairs and the chain, but over Drogo it passed in vain- it had not yet succeeded in catching him, bearing him with it as it flowed. Drogo is continually waiting in the fronteirs for the tartars, who are supposed to arrive any day.
But they never do. And life goes on everywhere else, but the hero is always waiting. With time, Drogo comes to feel strange when among family and friends, those that are not part of his destiny anymore. Even I that only moved from one country to another and from city to city, know how easy it is to feel out of place with friends that stayed behind as we drifted away.
In a sense this is about mundane existence, about not finding meaning in everyday life and thus expecting to face death empty handed when all hopes were for nothing. There is no need to comment on what followed. In any event, the book still serves as an alarming reminder that the century that discovered nothingness would go to any lengths, however catastrophic, to fill that nothingness. Ho sempre odiato entrare nel personale quando scrivo una recensione. Fino a qualche mese fa io ero ingarbugliato nella mia routine quotidiana e non osavo fare mezzo passo avanti per timore che, una volta spezzata, mi ritrovassi sperduto.
Ecco, io credo che se avessi letto questo libro un paio d'anni fa - e l'avessi capito - magari avrei fatto prima quel passo. Uno stupido? Un eroe? Uno sfortunato? Il tempo passa per tutti, giovani e anziani, e col tempo si consumano le occasioni. Non siamo immortali. Ho trovato irrealmente triste tutta la storia. Drogo, arrivato al termine della sua vita, nel momento in cui accade l'evento che attende da sempre, deve lasciare il mondo. Credetemi quando dico che le parole di questo libro danno fastidio. Ognuno ogni tanto pensa che la vita sia monotona e che i piccoli momenti che la costituiscono si ripetano incessantemente.
Non ci diciamo forse che a volte un istante solo vale tutta la vita. Abbiamo paura a cambiare. Questo fiume che pare lento e non si ferma mai mette un'ansia incredibile. Viene voglia di correre fuori a urlare: io voglio vivere. Una volta i suoi passi la raggiungevano nel sonno come un richiamo stabilito.
Nessuna speciale ragione, soltanto che lui era il suo figliuolo. Tirando le somme: se noi non andiamo a cercarci quello che vogliamo, pretendiamo forse che questo qualcosa venga da noi per un fortuito caso? Le cose belle non ci verranno mai incontro. E potremmo perderne troppo. Sapete benissimo voi se siete capaci o meno di mettervi in gioco. E potrete decidere di conseguenza. View all 11 comments. View all 14 comments. This novel is not just one, it is a long and beautiful poem.
Finally, that's what I felt because Giovanni is universal, he is me, he is he, he is she, he is you and all those who want He embodies our desires, our regrets, our wanderings, the condensed of a life that could be ours as we take a perverse pleasure to waste - by an extremely wide range for that ideas never fail - this precious time that streaks and escapes as the sand of our beach slips between our carefree toe This novel is not just one, it is a long and beautiful poem. He embodies our desires, our regrets, our wanderings, the condensed of a life that could be ours as we take a perverse pleasure to waste - by an extremely wide range for that ideas never fail - this precious time that streaks and escapes as the sand of our beach slips between our carefree toes.
A flat for me however, I already spent a lot of time ;- to these questions and much meditated on "Cute, let's see if the rose" and others "Happiness is in the meadow. In the end I must admit that even if I do not necessarily want to dwell on these topics a little lead, it is quite another thing to deal with Dino Buzzati because here is too well written, too mastered, too impressive, too bluffing to leave indifferent and I must admit that I took a great pleasure to read it.
No doubt, this novel is a masterpiece. View all 6 comments. I can't help deeming it a poetic work, more than a novel, too. Jun 21, AM. Una narrazione onirica, un nugolo di personaggi esili, grotteschi e al tempo stesso umani, fragili, un'ambientazione desolata che irradia vane speranze. Ho adorato ogni singola pagina di questo capolavoro della letteratura mondiale, di quest'autentica opera d'arte.
Se non siete ancora stati assorbiti da questo romanzo, pervaso da irresistibili temi esistenziali e da interrogativi irrisolti, cosa state aspettando? Aug 26, Hadrian rated it really liked it Shelves: fiction , italian. The Tragedy of the Hour - Giorgio di Chirico Everything goes by — men, the seasons, the clouds, and there is no use clinging to the stones, no use fighting it out on some rock in midstream; the tired fingers open, the arms fall back inertly and you are still dragged into the river, the river which seems to flow so slowly yet never stops.
This is a strange and sundry book. It takes place on a lone fort on the vast steppes, where little ever happens, and nobody wants to leave. Our protagonist, a yo The Tragedy of the Hour - Giorgio di Chirico Everything goes by — men, the seasons, the clouds, and there is no use clinging to the stones, no use fighting it out on some rock in midstream; the tired fingers open, the arms fall back inertly and you are still dragged into the river, the river which seems to flow so slowly yet never stops.
Our protagonist, a young ambitious officer named Giovanni Drogo, is assigned to the fort seemingly by accident, and slowly settles into routine. A few of his friends die off, some by accident, some by sheer folly, and he endures as a lone nightwatchman, distant and separate from his friends in the city who have moved on with their lives.
Such a book is first a meditation on monotony, and letting one's life pass away in the slow rhythms of boredom and routine. It is in the ebbing out of vainglorious hopes and the folly of this regimented lifestyle. It is eerie and lonesome and at times unbearably awkward. It is a fable or could even be called a precursor to magical realism. It is not lighthearted. It is a warning against passivity and how easy it is to not do anything and rot in absurdity.
View 1 comment. View all 7 comments. Drogo gibiyiz hepimiz. An exhibition dedicated to contamination, to meetings between the actor's body and the object of design that provide cultural enrichment. Ten famous scenes from equally famous theatrical works are reinterpreted through a staging where the actors of the Quelli di Grock school dialogue with iconic objects designed by Slide. Non la solita mostra di autoritratti. Le fotografie di Sanja Pupovac sono elementi narrativi e compositivi che richiamano in parte le icone classiche russe e in parte i tableaux vivants.
Not the usual exhibition of selfportraits. In her research the author, who includes herself in all thirty works on display, uses her body and her poetry, that owes much to her Balkan origins, to interpret the scene and to place herself amongst geometries and meanings. La mostra ha come titolo un assunto di Le Corbusier e pone attenzione sul rigore e gli studi architettonici.
The exhibition is titled after a concept developed by Le Corbusier, and focusses on rigor and on the study of architecture. The order, the geometry, the combination of well-structured elements are characteristic of both an internal environment and of an outdoor space. From a stylistic point of view it is therefore true that an outside is always an inside, and perhaps even the opposite. Featuring contemporary images that accompany period photographs. Da World Press Photo has reached its 60th edition and, like every year for the last 23 years, it will be presenting the most telling snapshots of current events in Galleria Sozzani: thanks to the critical contribution of Stuart Franklin, president of the international jury, the best shots have been selected out of 80, images from countries.
I lavori di Elia Festa sono intrisi di arte, design, architettura. Works by Elia Festa are imbued with art, design, architecture. This exhibition, which embraces a long period of time, presents the work of the photographer as a "visual artist": starting from the 70s with her first photographic researches, it continues with the decade of the 80s and her most famous advertising campaigns, then with the 90s and the transition into the new millennium, which corresponds to a change in the technical medium from analogue to digital.
The common denominator is always her ability to capture the essential. Ambrogio — Tram 1, 16, 19 Bus Uno sguardo che mostra cosa significa essere giovani, ricchi e imprenditori nella Shanghai di oggi.
I giovani sono diversi, fantasiosi e creativi. Gandolfi tells of the glitzy world of new Chinese entrepreneurs, a world that looks beyond its borders both for opportunities for social revitalization degrees in the US, European girlfriends and luxuries importing those models to their homeland. A report that shows what it means to be a young, rich entrepreneur in the Shanghai of today. Yue, "but please do not write that we Chinese only know how to copy.
Young people are different, imaginative and creative. We are true entrepreneurs. What is really fascinating about the circus is not only the wonder of the show, but the humanity, ancient and unchanged, of the backstage. Genovesi ventures beyond the borderland that is the circle of sawdust right to the edge of the show.
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From the sidelines, he observes the man who becomes artist and then returns to being a man, in a dimension of inactivity and estrangement. Realizzate tra e il , le fotografie in bianco e nero di Mario Carrieri sono veri e propri ritratti, drammatici e misteriosi, che scavano a fondo nella straordinaria potenza che le sculture africane ancora conservano ed esprimono.
Taken between and , these photographs in blackand-white by Mario Carrieri are true portraits, dramatic and mysterious, that dig deep into the extraordinary power that African sculptures still retain and convey. This showcase of about 60 images belongs to a vast iconographic corpus devoted entirely to African sculpture, that has already been the subject of publications and major exhibitions. Water is once again the protagonist of the artistic research of Aldo Salucci, who this time goes deeper, literally: to be sounded in their texture, in their geometric and chromatic composition, are precisely the seabeds, the depths of the vital element which become charged with transcendental meanings.
Water is both a vital and mysterious element, it hides secrets, it adapts. Rather than showing, this exhibition examines and calls into question the photographic process. A philosophical interrogation that determines both how the image is insufficient and yet at the same time how it presents countless possibilities.
For the showcased artists, photography is an eternal pilgrimage, and therefore they play with the medium: they multiply, exaggerate, manipulate the images under the aegis of a concept they call "photo skepticism". A room is an expression of the self. The photographs of Room are a journey that shows the continuity between thought and feeling, inside and out, for memory and with memory.
Un progetto fotografico che si colloca temporalmente da agosto a gennaio , e geograficamente in Italia centrale. A photographic project that takes place temporally from August to January , and geographically in central Italy. The theme of precariousness, faced in the aftermath of the earthquake that struck the central Italian regions, is the object of the research conducted by Bianco, who, along with Giandomenico Troiano, has travelled in the areas affected by the seism.
Giving new body and image to the shattered lands means that we can perceive the essential nature of the planet: a living creature that moves and breathes. Infrared photography is not merely a technique subservient to functionality: in the hands of Londoner Marcus Hamilton it becomes a listening tool, a means of expression and artistic research that uses a spectrum of light imperceptible to the human eye to see the invisible.
Hamilton literally shows things in a different light, so that the familiar becomes abstract and the everyday becomes less recognizable and more conceptual. The photographers of the Italian Institute of Photography become tools and interpreters for the entrepreneur and philanthropist Martino Midali who, with the term and brand Shumansu, encompasses "all those things that are not yet, but that I already know in my head will become". A definition that gives way to the future and gives the possibility to art and artists to populate the space that 'will become'.
Silence, in the works of Renato Luparia, has many facets: it is first of all the key to understanding; it is tangible feeling; it is the image that manifests itself in the brightness and splendour of evocative photographs of fields without limits, of trees that become graphical signs, surrounded by mists that hint at a possible path to conquest.
True, reason is an excellent guide but setting it aside can be, in some cases, an opportunity to make room for imagination, creativity and inventiveness. So does Stefano Carloni, by using his camera as a container of emotions: once he identifies the subject, he captures it using a double exposure that, thanks to overlapping perspectives or just by shifting the viewing angle, allows him to achieve contrasting or concordant images so as to strengthen their meaning , permeated by a kind of dreamlike vibration.
Una serie fotografica pulita, classica nello stile e nella concezione. Borrowing language from the art of Caravaggio and from Classicism, addressing the issue of the archetypal mother as a universal being, Sara El Beshbichi removes all shame from the female form and, representing it as harmonious container and bearer of life, transforms and sublimates it into an image, a symbol of life that is and will be. A clean photographic series, classical in style and conception. Vanessa Para loses herself in an inner landscape where there is no sadness, only memory and the power of places reclaiming their beauty.
I fotografi in mostra sono i laureati della Bourse du Talent, nata agli albori del nuovo millennio per dare spazio vitale ai giovani fotografi: la fotografia diventa mezzo di comprensione, strumento stabile di interpretazione di un mondo in mutazione. The photographers on show are the graduates of the Bourse du Talent, born at the dawn of the new millennium to give vital space to young photographers: photography is a means of understanding, a stable instrument of interpretation in a changing world.
Ambrogio — Tram 16 Bus 61, Since then, in parallel with that in the traditional field, he has continued this research, that has become more articulated in parallel with technological evolution, which now includes smartphones with increasingly advanced photographic components. So this is in one way a historical exhibition, whilst in another it is a way of taking stock of the new technical and expressive boundaries with which creativity can dialogue.
I fotografi sono come spie, che si accendono per registrare con attenzione cambiamenti, anomalie, aspetti irrilevanti, creativi o perturbanti del quotidiano. Warning lights is a statement of purpose and identity. The photographers are like warning lights, signaling and recording with care the changes, the anomalies, the irrelevant, creative or disturbing aspects of daily life. The students of the second year of the Istituto Italiano di Fotografia Italian Institute of Photography , under the guidance of Giancarlo Maiocchi aka Magiceye , are thirsty for the new, and explore their surroundings allowing us to view them through original and wonderful perspectives.
Una riflessione sulle piccole librerie di Milano. A reflection on the small bookshops of Milan. A bookshop takes on the appearance of those who created it, who every day shape it according to their personality. A project made of portraits taken within bookshops that speak of fascinating places, details, characteristics, humanity, and of what is both "bibliodiversity" and personality. A Negative Exhibition is a play on words that addresses the purest form of photography, the one that relies on analogue printing, where, to create a positive, it is necessary to have a negative, an inversion of colours.
In Scarpa's research, dedicated to geometry, intersections and daring visions of perspective, the inversion is a fundamental part of poetic expression: it creates a dialogue with the viewer about the true meaning of photography. Live Metal is a photographic project that renders metal a vital and independent element, viewed in depth, represented in its essence and form rather than in its function. Leaving aside its status as an object in the thirty black-and-white frames that represent it, metal loses its identity and finds new and autonomous artistic form.
Paolo Dalprato Paolo Dalprato. Ritratti vivi e vividi che esplorano un tema antico e animista. Shaman Series is part of the research conducted by Tinnirello on the theme of nature, on the archetype of Mother Earth, through the contamination of expressive languages.
In his photographs, the human figure represents an ancient and mysterious femininity; the elements that characterize it show connections and metamorphoses between man and nature. Where the author tries to remove any connotation of gender, there ensues an intimate and distinctive dimension. Vivid portraits that explore an ancient and animist theme. Gianni Oliva presents a series of images set in a part of the world that every photographer knows sooner or later they will have to travel to: India.
The colours, the faces, the movements, the glances captured by Oliva are synesthetic and manage to bring to the observer both scents and sounds. This is classic travel reportage, one that we never tire of discovering. Tracce di un passaggio.
Roma, Conte avvistato a Fiumicino: Pallotta fa sul serio FOTO | Primapagina | revolexituju.tk
It is not only thought that makes man what he is: the human essence is expressed in gestures, is imprinted on the landscape and on objects. Four photographers focus on the footprints left by man at various levels of existence, showcasing human traces that are sedimented, located, mixed and imposed, forming a layering of experience that joins what was to what will be.
I suoi scatti, visivamente astratti, non sono legati alle costrizioni del figurativo ma si fanno flusso di coscienza iconografico. His visually abstract frames are not tied to the constraints of the figurative and become an iconographic flow of consciousness. Luci e ombre fotografiche rappresentano luci e ombre del carattere femminile. Photographic lights and shadows represent the lights and shadows of the female character. In one word, its complexity. There are countries with a dual existence: the real and accessible one and that imagined in the sphere of thought. The Crossroads of Dreams Yume no chimata in Japanese is the point at which the two intersect.
The photographer, during a trip to Japan, tries to render the overlapping and coexisting of the two dimensions; he does so by alternating between the sumptuous black-and-white of the Ilford films and the muted tones of Polaroid, managing thus to represent the multiple expressions of the Japanese world and the corresponding perceptions that we have of it. In a game of correspondence the arts dialogue thanks also to photography: contemporary dance, performance, land art and theater become a holistic work of art.
Starting with a reportage on a video clip, Di Leo and Alfano create a performance where the dancers, with pure vitality, exhibit themselves with the Cretto di Burri "The Great Cretto" , a static and colossal memorial emblazoned on the territory, as a backdrop. The moment, frozen in its tragedy and affixed onto the landscape by Burri, is brought back to life and made into movement by the dancers, whose body recalls the colors of the earth. The special feature of the photographs of Bucciarelli - taken from to - is that they are taken with the Pinolina: a camera that is stripped of technology and of the superfluous, almost like a migrant is forced to divest himself of all his baggage.
A previously unpublished part of the project will be presented: the author printed some photos in large sizes and exhibited them in urban areas to establish an interaction with the public. Fatoumata Kebe lavora a una tesi in astronomia presso l'Observatoire de Paris. Le fotografie in mostra sono realizzate da fotografe con lo scopo di mostrare il ruolo scientifico determinante che le donne svolgono nel settore spaziale.
In mostra sono ritratte tre generazioni di scienziate, ricercatrici e studentesse di diverse appartenenze, contesti e provenienze. The photographs on display have been taken with the aim of showing the key scientific role that women play in the space sector. Even if scientific findings are rapidly evolving, the same does not happen with gender equality.
The underlying assumption is that the presence of women, albeit significant during the academic years, is not adequately reflected in the workplace. The show portrays three generations of female scientists, researchers and students from different affiliations, contexts and backgrounds. Man faces the cosmos, alternating a sense of inferiority with a push towards knowledge. The projection of the labyrinth on the telescope symbolizes the desire of the artist to reconnect us to what really belongs to us: from the essence of the stars to what our cells are made of.
The artistic research that finds its expression in bathrooms and in the objects that compose them is not only of Dadaism made. Il reportage di Maja Galli fa risuonare ancora una volta quella musica: una musica di cui si conosce la melodia ma che sorprende sempre con le sue parole. The first time the eyes open on Cuba it is inevitable to dwell on those characteristics that are universally renowned: the American '50s cars, the colours, the dance, the wild and majestic natural landscape, the cigars and the old signboards.
Yet nothing is as surprising as finding the melody of these places, so distant in time and space, familiar. The report by Maja Galli makes that music resound once again: a music for which the melody is known but that always surprises with its words. Vincenzo Agnetti, forerunner of conceptual art, is investigated through a series of works dated Several works are selected and displayed, showing, in unison, the artist's poetic expression, characterized by a deep reflection in which one cannot miss the archetypal theme of tempus fugit.
Con Chris LunaticSlayer si esplorano i rituali e le case tongokan dei Toraja, popolazione indonesiana le cui abitazioni ricordano le forme delle navi. Con Rosa ci si concentra sui tratti di strada, terra, aria o acqua che si percorrono per arrivare da un punto a un altro. Tanti percorsi diversi che diventano un solo viaggio: iniziato, ma ancora da terminare. Two exhibitions, two ways of looking far: the sedentary habits of distant peoples and the journey as an experience in itself.
Chris LunaticSlayer explores the rituals and tongokan houses of the Toraja, an Indonesian people whose homes resemble the shapes of ships. Rosa focusses on stretches of road, land, air or water that can be used to get from one point to another. Many different paths that become a single trip: started, but not yet finished. Manicomio Fotografico cura due mostre che fanno del viaggio il leitmotiv. Costi presents a series of scenes of everyday life from the countries of Southeast Asia, scenes linked by the common thread of work, which, though ordinary in their country of origin, appear to us extraordinary.
Callegari explores the daily path of human beings through the bus journey, by photographing bus shelters in the area of Parczew, Poland: where the artificiality of the object collides with the singularity of the same. Raisoni ha voluto fotografare, con un senso estetico quasi classico e monumentale, quelle industrie che hanno saputo diventare eccellenza resistendo agli avvicendamenti economici e perseguendo i propri obiettivi senza compromessi.
Lontani dalla comune idea di bellezza, gli spazi industriali descritti da Raisoni sono composti in maniera perfetta, calati nel tempo presente. The industrial world is once again the protagonist. Raisoni wants to capture, with an almost classical and monumental sense of aesthetics, those industries that have managed to excel resisting economic fluctuations and pursuing their own goals without compromises.
Roberto Raisoni Industriae Este!
- So Many Things To See;
- Le scarpe al sole (romanzo);
- The Tartar Steppe.
- My Very First Bible (Candle Bible For Toddlers)!
Guido delli Ponti Via Luigi Vitali 1 Ponti x L'Arte once again promotes the ironic and irreverent genius of David McEnery, the photographer of slapstick comedy. One of the themes favoured by the British photographer was that of the animal world, in particular of dogs and cats, which he explored causing the observer to smile and experience a virtual Pet Therapy. Emblematic and symbiotic situations: human figures who identify with the animal figures, animals who are dramatized and celebrated.. Le opere sono simultaneamente elemento reale e sua trasfigurazione temporale, suggerendo un continuo rimando, una sospensione di momenti e luoghi e a volte anche un senso di spaesamento.
The works are simultaneously real elements and temporal transfigurations, suggesting a continuous referencing, a suspension of times and places and sometimes even a sense of disorientation. Cotroneo assume il punto di vista acritico di un osservatore intento a ricercare il rapporto tra lo spazio quasi sacro storico-museale e la figura umana. Il raccordo tra il passato del museo e il presente del fruitore si declina in fotografie classiche ed eleganti nella forma, eppure immediate e disincantate nei contenuti. La figura umana con il suo abbigliamento e le sue ossessioni costruiscono, in rapporto allo sfondo storicoartistico, la nostra immagine contemporanea.
Genius Loci is born in Rome, the museum-city par excellence. Cotroneo takes the uncritical point of view of an observer intent on exploring the relationship between the historical almost sacred museum space and the human figure. The connection between the past of the museum and the present of the visitor is shown in classic photographs that are elegant in form, yet immediate and disenchanted in content. In Italian, Interludio means an "interlude, a short series of facts that constitute a parenthesis, an interruption, a distraction in the normal course of events ".
In the photographic and artistic language of Ghigliazza and Calzi, the word takes the form of a silent suspension that elicits a sense of anticipation in the observer. The photographs, with their perfect composition of objects and human figures, do not create an abrupt interruption but a muffled diversion from everyday life. One glance is enough to recognize the unmistakable light of the south of Italy, and the landscape, arid and at the same time full of passion and feeling, of the Salento.
Pio Tarantini, born in Salento, returns and reviews his place of origin, and photographs it marrying an analytical approach with visionary talent, choosing symbolic places and marginal aspects often captured in the vivid light of dusk. The results are powerful images, lyrical and strongly characterized by the artist's distinctive language.
In Masks, Cattaneo and Monnecchi, albeit in different ways, talk about the transformations impressed by man on that which surrounds him. The two photographers, each in his own way, capture the anthropomorphic aspect of the everyday. Cattaneo presents, through pure blackand-white, man's interventions on abandoned objects, common things unaware of the push towards transformation given to them. Monnecchi captures the almost human features discovered by happenstance in the corners of the city, urban features that seem to observe us.
Cattaneo si concentra sulle reazioni chimiche impresse sulla carta fotografica dagli acidi. Ne risultano superfici trasfigurate che ricordano galassie e atmosfere stellari. Cremona gioca con i colpi della luce, con policromie di superfici che riflettono, mostrano e nascondono. Sometimes expressive research focuses solely on the potential of the medium, heedless of shooting technique or of post-production: this is how Cattaneo and Cremona have created a body of images that refer to less figurative pictorial possibilities.
Cattaneo focusses on chemical reactions imprinted on photographic paper by acid. The resulting transfigured surfaces are reminiscent of galaxies and stellar atmospheres. Cremona plays with beams of light, with the polychromies of surfaces that reflect, show and hide.
I colori non sono negli oggetti ma nella nostra mente, sono una codifica individuale propria di ognuno di noi. Come apparirebbe il mondo in cui viviamo se potessimo vedere il calore emesso o riflesso? Ovvero come vedremmo il nostro da alieni, arrivati sulla Terra da una lontana nebulosa.
Real and unreal are concepts related to the senses through which we perceive reality.
Che fine ha fatto? 'Campioni, il sogno' - 1
The colours are not in the objects but in our minds, they are represented by coding which is individual for each of us. How would the world in which we live look if we could see emitted or reflected heat? IR thermophotography allows us to explore this concept by creating a new aesthetic, made of colours that encode temperature and not light. IReality is a journey into an alien world. Or as we would see ours if we were aliens arrived on Earth from a distant nebula. Agostino Tram 2, 9, 14, 19 — Bus I ritratti raffigurano persone al lavoro le cui fatiche quotidiane sono enfatizzate con leggerezza dalla tecnica del Light Painting.
The cornerstones of this exhibition are contained in the title, Still Job: irony, unbalancing, suspension and work. An important issue at a time when the social focus is on the search for employment. The portraits depict people at work whose daily trials are delicately emphasized through the Light Painting technique.
An active participation is required of the subjects, arousing curiosity thanks to the presence of elements, made obvious or hidden, that elicit questions and irony. Perfetto, infinito e per sempre". Perfect, infinite and forever. Agostino Tram 2, 14, 9, 19 — Bus Spazio, luce, tempo, misura: su questi pilastri si fondano architettura e fotografia. Space, light, time, size: both architecture and photography are based on these pillars.
Anna Ricca affronta la tematica del crimine isolando oggetti, banali, appartenuti a vittime e protagonisti di noti fatti di cronaca. The border between the documenting of reality and critical-artistic reflection can be very porous. Anna Ricca addresses the issue of crime by isolating banal objects that belonged to the victims and protagonists of well-known news stories. The objects, from simple everyday elements, are charged with meaning and endowed with a multitude of senses and feelings.
Shown in a vacuum, they also communicate the feeling of suffocation given by the precariousness of the investigations and of the overturning of rulings. Agostino — Tram 2, 9, 14, 19 — Bus The photographs of Margherita Cavallo are, as she herself defines them, "a stream of consciousness where punctuation is totally absent". There is no common thread that links them, if not the artist's unconscious that manages to make poetry and image even out of trivial aspects of everyday life: the water in the sink, overlapping objects, a walk along a beach after a storm.
Realizzata in occasione della presentazione del libro Trasfigurazioni di Edegildo Zava, Massimo Fiameni Editore, la mostra percorre tre filoni che molto devono alle metamorfosi di classica memoria. Created for the presentation of the book "Transfigurations of Edegildo Zava" Massimo Fiameni Editions , the exhibition runs through three strands that owe much to the metamorphoses of classical memory. The "Pavese" series overlaps and rereads memories of adolescence in the light of Cesare Pavese's novels; in "Verdi" the arias of the Maestro are reassessed and shaped by memories, by the past and the present; "Poltergeist" is a search for evanescence in the rapid, fluid and material life of the metropolis.
Ambrogio — Tram 2, 3, 14 Bus A suspension between what was and what will be: manifest and visually evident in environments undergoing building renovation or furniture removal, the suspension becomes, in essence, a sense of Time, of Waiting, of Life. Addressing the issue with a strictly photographic vocabulary, Andrea Boyer makes no secret of depicting something essential both in front of the lens and in the compositional projection on the receiving medium with the express intention of going beyond the manifest subject. Giovanna Taddei is an ironic and direct photographer, who works with street photography and thus has learnt to transpose onto reality her ability to grasp sarcasm.
In this photographic series irony becomes the common thread through which to build and tie the photographed subjects many of whom are themselves photographers to the world of cooking and of chefs. With her subjects becoming unwitting actors, the illusions created by Taddei are crystallized in images and all the viewer can do is surrender to imagination and to the surreal.
La Metropolis di Cirulli trae la sua ispirazione dalle atmosfere allucinate e profetiche della Metropolis di Fritz Lang: le sue costruzioni fotografiche sono sovrapposizioni frutto di un bianco e nero drammatico e di una postproduzione che lascia pochi riferimenti oggettivi.
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The photographer leaves the viewer to navigate these urban non-places and forces him to look- within the dimension of reality that is now in the mind- for the original starting-point image. Tanti frammenti di immagini senza tempo sono accostati con un filo conduttore autoreferenziale. Carolina Pagani creates a conceptual photographic performance where the self is the ground for exploration. Several fragments of timeless images are juxtaposed with a self-referential common thread. The construction of the unit of time is left to the viewer who, in a human attempt to "move forward", will have to reassemble the pieces.
Le fotografe Belloni e Branca si muovono nello spazio al confine tra terra e cielo, una linea di separazione labile dove i due elementi a volte si confondono. The photographers Belloni and Branca move in the space at the boundary between earth and sky, an ephemeral dividing line where the two elements sometimes get muddled. There are the pure landscapes of the one and the voices of clouds of the other, in a constant dialogue between sky and earth, in a space that becomes of the mind, where time is suspended and where imagination finds refuge.
Gli ideatori si riuniscono sotto il nome di Pinpix: un gruppo di appassionati di fotografia stenopeica e di cultura digitale in cui la fotografia pinhole incontra i pixel. Invisible strings is a photographic project, product of an ode to slowness. The protagonist pinhole "camera" is obtained from the soundboard of a guitar; the invisible strings are the strings of the guitar itself, forced into invisibility as they become impossible to catch with the long exposure of the pinhole.
There are two constants in the research of the three photographers of Memories in Blue: the use of cyanotype photography and the exploration of the very human yearning to be remembered. On these two pillars are built three points of view: that of Zancana and his abandoned places animated by forgotten items; that of Di Fazio and his room, always obsessively the same one, captured year after year during the same occasion; and that of Pirez and his objects, distant traces of childhood that try to lodge themselves deeply within us.
Photography as the result of estrangement: reality, threedimensional by nature, is shown on the two-dimensional photographic plane, and is then finally re-made tridimensional through post-production techniques that recall the stereoscopy of pioneering photography. The effect is one of dizzying disorientation, as the observer must make an effort to put into focus a reality which is distorted towards excess. Ambrogio — Tram 2, 3, 14, 15 Bus Con uno sguardo insieme diretto e visionario restituisce tante piccole storie che colpiscono per la loro fantasiosa immediatezza.
Assiduous traveler in Eastern Europe, Sara Munari listens and reports- through photographs that are each a story in its own right- a dialogue between urban legend and folklore, the sacred and the profane, charm and sadness, past and present. With a gaze that is both direct and visionary she gives us many small stories that are striking for their imaginative immediacy. Bisogna avere sguardo attento e forte immaginazione per capire dove viviamo: Lia Stein si avventura in questo mondo per svelarcene inaspettate sfumature.
Per un verso ci fa notare che siamo immersi in strutture geometriche che allargano la visione e indicano prospettive: sono linee che si intersecano, segmenti che si uniscono, semirette che sfidano il cielo. Watchful eyes and a vivid imagination are necessary to truly understand where we live: Lia Stein ventures into this world to show us its unexpected nuances. On the one hand, she tells us that we are immersed in geometric structures that widen the vision and point to perspectives: intersecting lines, segments that come together, half-lines that challenge the sky.
On the other hand, she immerses herself in a journey where details are woven together to form an overarching view, where white is juxtaposed to black, emptiness alternates with fullness, and light breaks unabashedly through space. Rigamonti guarda al mare con una lente multifocale. Rigamonti looks at the sea under a multifocal lens. The Italian coast, represented in a luminous and ethereal atmosphere, with its pastel colors rich in poetry and harmony, is explored in its silent places and crowded spaces, is photographed with the sun at its birth and at dusk.
The seascape as an extension of a way of looking at life, a magnetic challenge; charming and boundless it transposes reality on a metaphysical plane. A body wanders around the space that once housed the dynamism and energy of a productive activity of which there is now no trace. From the windows, blades of light are projected onto the floor; everything is wrapped in a suspended silence. Marco Neri si ispira ai s oggetti di Giorgio Morandi, elementi di una vita quotidiana, opere materiche intense ma essenziali. Recuperando oggetti di tutti i giorni e fotografandoli come degli still life, dona a oggetti destinati al riciclo il ruolo di nuovi e assoluti protagonisti.
Speaking of Morandi, Argan said that "the experience is life and life is always different Like the painter, he focuses on bottles and household products; he projects his own experience on them, thus creating a new life, a second life. Retrieving objects of everyday use destined for recycling and photographing them as still-lives, he gives them the role of new and absolute protagonists. Armenia and its people have an intense, millenary and troubled history. Valdata has chosen to go beyond first impressions to research an Armenia that is less touristic, made of weddings, outdoor trips, pilgrimages, and convivial lunches.
His is a travel reportage that speaks to us of a vital Armenia, of university students and sellers of mushrooms, wood and corncobs along country roads. He tells us about the appearance of a distant country where history has left profound marks. Le persone sono spesso inserite in geometrici reticoli urbani che sembrano ingabbiarle, impedendo loro qualsivoglia rapporto, non solo con altri individui ma anche con se stessi.
Il vuoto fisico che le circonda riflette quello spirituale che le caratterizza. A desolate urbanity welcomes the few human figures that wander as if conveyed towards an environment of solitude. People are often forced into urban geometric patterns that seem to confine them, precluding any relationship to them, not only with other individuals but also with themselves. The physical vacuum surrounding them reflects the spiritual one that characterizes them.
Robotti coglie declino e decadenza di rose che, ignare, vanno verso il loro tramonto. Screziature, colori che si affievoliscono, increspature: sono le pieghe del tempo che risvegliano immagini e ricordi. The observation of time passing through the dying out or blooming of petals is in its way a topos in human nature. Above all flowers, the rose is a symbol of beauty, and only time can affect its harmony, in a manner that is anyway poetic.
Robotti captures the decline and decadence of roses that, unsuspecting, are approaching their sunset. Speckles, fading colors and ripples like folds of time that awaken images and memories. Quando invece indaga sul rapporto fra i cani e i loro padroni sa cogliere con immediatezza aspetti psicologici e antropologici. Silvia Amodio, as evidenced by this exhibition from the Fondazione 3M collection, possesses, in her role as portraitist, the deliberate care of a film director and the sensitivity of one who knows how to gently probe the soul. She often chooses difficult issues - malnutrition in Burkina Faso, the child workers of Peru, AIDS in South Africa, albinism - but she always knows how to bring out the dignity of her subjects.
When instead she investigates the relationship between dogs and their masters, she knows how to pick out with immediacy both psychological and anthropological aspects. Allison Harris apre la finestra, guarda il cielo e sente irrefrenabile la voglia di afferrare la sua macchina fotografica e puntarla verso lo spettacolo stupefacente delle nuvole che si inseguono, danno vita a forme evocative, giocano a nascondino con il sole, si scostano a liberare lo spazio e tornano frettolose a occuparlo.
Allison Harris opens the window, looks at the sky and feels the irresistible urge to grab her camera and point it at the amazing display put on by the clouds that chase each other, give life to evocative forms, play hide and seek with the sun, move to free up space and then hurry back to occupy it. The photographer gifts us with a succession of emotions because it is undeniable that by looking up to the sky we are, at the same time, searching within ourselves to discover restlessness, joy, wonder, serenity.
La ripetizione di un gesto e la reiterazione di un tema portano a una conoscenza superiore che va oltre la mera osservazione. Munito di pellicola analogica e Hasselblad, Beretta coglie un silenzio irraggiungibile mantenendo il movimento come parte integrante del significato. The repetition of a gesture and the recurrence of a theme lead to a superior knowledge that goes beyond mere observation. Beretta has been photographing Buddhist monks for over 20 years.
Equipped with analog film and a Hasselblad Beretta he captures an unattainable silence, keeping movement as part of the meaning. Contemplative rather than narrative images, the intent of which is to convey the power of prayer, meditation and of the rituals of everyday life. Photography becomes performance art when an artist such as Elena Tagliapietra utilizes the medium to render an artistic thought that is usually expressed in movement into static image.
Tagliapietra is a performative artist, painter of the body, and video-artist. In The Skin becomes Canvas she tries to freeze and make tangible the work that she usually carries on bodies. The photographs capture the textures and vibrations through intense silent communication. Il corpo si fa dipinto e poi si trasforma in segno mobile. The body becomes a painting and then turns into mobile sign.
The final process of her work is to capture the moments of performance, reinterpreting stories through photographs and videos. Tagliapietra is endorsed by the Chelko Foundation in Atlanta and by VeniceForArt for her efforts in the defense of women's rights. The project, a series of intense portraits, is the result of the strong human exchange between the photographer and the Elfo actors, creating such a an understanding as to produce a new way of looking at the world of entertainment, focusing in this edition on the particular moment full of adrenalin before the curtain call.
Each box displays a photograph featuring Havana, with its architecture that remains unaltered over time and therefore timeless, with its unmistakable colours and persistence of everyday life. The observer is forced to watch Havana by focusing his gaze upward, as if brought to seek a piece of the sky. A fare da sfondo al suo ego il sogno di un immaginario on the road tutto americano. Le fotografie sono visibili dalle vetrine della Galleria. Ego Showcase is both an exhibition and a reflection on the self and on oneself.
The photographer, years ago, started a self-referential journey in the genre of self-portraiture, a path that, over the years, she has explored through different styles and techniques, constantly changing as the self evolves. In this series Bettoja uses an IPhone to benefit from the immediacy of the instrument. The backdrop to her ego is a dream of an imaginary all-American roadtrip.
Negri 4 — Quello di Di Matteo concepisce come rivelatori elementi del paesaggio che normalmente vengono intesi come barriere. Hiding can be revealing, it depends on the point of view. Di Matteo sees as revealing those elements of the landscape that are normally viewed as barriers. So a wall is no longer an obstacle between the viewer and that which it hides, but becomes an intriguing component in a metaphysical game of hide and seek.
The intention of the photographer is to stimulate the viewer to free him or herself, overcoming inner and outer limits to appreciate the multiple realities that are ready to unfold. The photographs are visible because they are on show in the shop of the Gallery. Diventato famoso per le immagini di Tokio e delle periferie, nella sua ricerca artistica ha coinvolto vari aspetti, quotidiani e concettuali, del vissuto umano. In questa occasione viene presentata la sua prima personale in una galleria italiana attraverso una selezione di lavori del passato e una nuova serie di opere dedicate a Milano, realizzate appositamente per gli spazi di Viasaterna.
Takashi Homma is a Japanese artist who has made spaces and architecture his way of looking at the world. This occasion marks his first solo show in an Italian gallery, with a selection of works from the past and with a new series of works dedicated to Milan, made specifically for the Viasaterna spaces. Identity and crisis are the concepts that Bertoglio tackles by recovering the emotional dimension represented, in his photographs, by a robot mask from his childhood. A reflection that is philosophical and current, and which benefits from even more dynamism thanks to performances by rtwork and drawings by Fabio Caputo.
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