Di stele cadute e sepolte e del trono tenuto segreto saremo sempre custodi, disdegnati e puniti, ma noi vivi e morti prima o poi danzeremo. Allora costruisciti la casa. Per costoro, e con loro la poesia prende vita. Quanto agli altri, zero assoluto. Mayibuye Books. Oppure lo affascinano i mezzi di locomozione festivi, come le vecchie macchine a vapore, mezzi di fuga infantile: un vaporetto a pale, ampio e sconquassato, che si affanna e soffia sbuffi di vaporoso cattivo umore.
Quando una banda domenicale suonava le sue marce, e le azalee erano in fiore, lui scese dal battello. Sulla figura da cartolina illustrata di una Kodak a soffietto, come usava prima della guerra, una madre affettuosa prese un istantanea per figlio e marito. Sanchez, followed by a review of M. Sanchez, The Escape Artist. A Gibraltarian Novel M. Sanchez is a prolific Gibraltarian author, now based in the UK. He has published fiction and essays, in particular: The Escape Artist. He has also edited Georgian and Victorian Gibraltar.
An Anthology of Literary Texts, Sanchez for agreeing to participate in the interview which follows, conducted by mail in December E. Could you tell us something about the literary scene and the literary tradition of Gibraltar? In the last few decades, however, we have produced a number of writers and they have chosen to express themselves primarily in English. I think that, in some ways, this is a reflection of our growing confidence as a people.tesdictkrosimek.ml
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To keep things this way, British colonial administrators adopted a policy where they not only deliberately undereducated their subjects, but actively sought to inculcate within them an inferiority complex that would 28 In fact, it is no coincidence that when schooling in Gibraltar finally underwent its long overdue overhaul in the mids, the man responsible for this same programme of reform, an Englishman by the name of J. Starting in the late s, the British administration very magnanimously began handing the reins of power over to the Gibraltarians.
With growing power came growing confidence, which translated into more and more Gibraltarians studying in the UK and obtaining British university degrees. Before long the political scene in Gibraltar had evolved to such a degree that Gibraltarians were completely in control of their own governmental affairs. The recent upsurge in Gibraltarian writing, I believe, has to be seen primarily against this context. For example, the protagonist of The Escape Artist often wonders about his own sense of identity, split between well-defined categories.
In your opinion, would it be possible to affirm that Gibraltarian identity is the hybrid product of various historical, social and cultural processes? Could you illustrate this? Gibraltarian identity is a hybrid of different influences. On the one hand, for example, we have been influenced by our proximity to Spain. We can see this Hispanic influence in our cuisine, in our sense of fashion, even in the Andalusian sound of our spoken Spanish.
On the other hand we have been profoundly influenced by Britain too in our schooling, our law courts, our way of conducting business. Generally speaking, you could say that we have been influenced by Spain on an emotional level and Britain on an intellectual level. The resulting fusion is a complex and challenging hybrid that is difficult to categorise. To the English eye, for example, we are probably too passionate and emotional to be properly considered English, whereas, conversely, to the Spanish eye we are too rigorous and methodical to be typically Spanish.
Many of our forefathers, for example, came from Malta and Genoa and other parts of the Mediterranean. This has influenced the way we think about religion and the family and other interrelated areas. Last but not least, of course, there is the matter of our own unique idiosyncratic geography. We are hemmed in in a small peninsula, barely six square kilometres in size. Because of this, Gibraltar is a place where practically everybody knows each other. I think that this is something that makes us unique too. I have been to many different parts of the world, but I have never come across a place with such a close-knit community feel!
In your works, Gibraltarians are often mistaken for Spanish, or anyway considered odd foreigners when in England, and those who temporarily settle in Britain like Brian Manrique, the main character of The Escape Artist, frequently have to cope with forms of xenophobia and racism, incidentally a recurrent theme in much postcolonial and diasporic literature. Would you further elaborate on this topic? What does having a Gibraltarian identity mean?
If we find ourselves in the UK, people assume that we are half-spanish Britons, dark-haired, sun-tanned Brits who speak with a slightly odd accent. In Spain, because of all the negative propaganda that the Spanish establishment is continually disseminating about us, they view us as either Andalusian apostates or blondhaired British settlers belligerently ensconced in their own little corner of the Iberian peninsula.
But all these views are wrong. We are neither British nor Spanish. We are simply Gibraltarian, with our own way of thinking and doing things that has evolved over the last few centuries. I think, incidentally, that this is why I started to write about Gibraltar and what it means to be Gibraltarian. Again and again, you see, I kept picking up books about Gibraltar in which the Gibraltarians were either represented unfairly or were strangely absent from their pages.
This is wrong, I thought. We are the people who live there. We need to have our own representative voice and not just let ourselves be represented by outsiders. That is why, in a nutshell, I started writing. I wanted to create a Gibraltarian perspective that would counterbalance what others had been saying about us. I m conscious, of course, that mine is just one Gibraltarian voice among many and that some Gibraltarians might not necessarily like what I write about, but at least I am a born and bred Gibraltarian and that gives me a degree of credibility and authenticity, I feel, which non-gibraltarians writing about Gibraltar don t always have.
What is your relationship with Italy, and how does Italian culture appear in your writing? I like the magnificence of Rome, the decaying splendour of Venice, the sun-kissed fertility of the Tuscan countryside. I think, in some ways, you know what, I see Italy as the kind of place that I would have liked Spain to be. Let me explain what I mean by this. Spain, no doubt, is a wonderful country, with a vibrant Latin culture of its own.
But because successive Spanish governments have always been so doggedly anti-gibraltarian in their outlook, I find it difficult to let go and immerse myself fully in Spanish culture. Maybe this is why I love Italy so much. It is the nearest approximation to what Spain would have been like had the thorny issue of Gibraltar s sovereignty never clouded relations between us and the Spanish. I hope that this makes some kind of sense! How do you deal with this particular aspect of Gibraltarian culture, both in your literary works and essays?
They meant this pejoratively, of course, and as something of an insult, but I ve always believed in multiculturalism and pluralism and I think that our diverse ethnic composition is one of our greatest assets. In my case, for example, I have British, Spanish, Maltese and Portuguese ancestry and this is only going back a few generations. This composite element in our hereditary make-up has made us very tolerant of other faiths and races.
In Gibraltar, for example, we have Hindus, Jews, Muslims, Protestant and Catholics all living side by side, without any real problems. This is no accident. We have had years and years of practise living together like this! What is your vision of history and its multiple ramifications, especially in your texts? Broadly speaking, I would say that there are two important historical discourses that have shaped us into the kind of community that we are nowadays. The first is the discourse of our gradual but steady accumulation of civil and political rights under British colonial rule.
In many ways this is a discourse that parallels, and simultaneously reflects, the emancipation of the working classes in nineteenth-century and early twentieth-century Britain. In Britain there were landmark moments like the Reform act of or the regulation of child labour seen under the aegis of Lord Shaftesbury. We have had to go through all this to reach the position where we find ourselves today, where we are responsible for all of our affairs except for matters of defence, which are still under British control.
The second major historical discourse that has impacted upon us has been our engagement with Spain. Gibraltarians and the citizens of La Linea the Spanish town across the border were closely bound together by strong ties of family and friendship. However, after the Second World War all this began to change. Sensing that Britain had been seriously weakened by the war effort, Franco went on an all-out campaign to coerce Gibraltar into becoming Spanish.
This was a very hard time for Gibraltarians. Families were divided and many Spanish workers who earned their living in Gibraltar had to give up their jobs and return home to Spain. I remember as a child going down to the border area and seeing families on either side of the fence trying to communicate across the metre stretch dividing them. You could see people sobbing and crying and holding up new born babies to show to their relatives on the other side. It was all very emotional and traumatic.
When Franco died and democracy returned to Spain, things slowly improved.
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In the border was partially opened and then, three years later in , it was finally laid open to pedestrian and vehicular traffic. Things were going well at this point, and it genuinely seemed as if Gibraltar and La Linea could return to the levels of friendship and cooperation that had existed between the two towns before the Second World War. However, it was only a mirage. In the early s Spain began to impose very strict controls on anyone trying to cross the frontier. I remember these days very clearly because I was in my early twenties. There were days when the line of traffic going into Spain encircled practically all of the Rock, and the Spanish border guards were also proving very awkward and uncooperative.
You could be issued a hefty fine for the most trivial of reasons. If you wore glasses and didn t have a spare pair with you in your car, for example. If you didn t have a spare light bulb for your car s headlights in your glove compartment. That kind of thing. When the situation finally improved in the late 90s, I thought that things could never ever again get as bad as all that. But sadly in we are once again back in the same position. Once more there are very long queues at the border, with daily waiting times of up to five hours for vehicles and two hours for pedestrians.
We are also getting pilloried every day in the Spanish press and media, with all sorts of accusations being levelled against us. I was in Gibraltar for a few days in August of and I was quite frankly appalled by the sort of anti-gibraltarian invective that I was seeing on Spanish television channels like Tele Cinco or Antena Tres.
People say that all this is happening because the ruling party in Spain, the centre-right Partido Popular, is trying to divert the Spanish electorate s attention from the economic crisis and the allegations of large-scale governmental corruption hounding the Spanish Prime Minister. In other words, they want ordinary Spaniards to think about Gibraltar instead of the other more important problems affecting the country.
This may be so, but it seems to me that the whole border issue has now become a recurring, cyclical problem which is a real, real shame. From a stylistic point of view, you also employ the strategy of code-mixing with Spanish and some other languages. What is the linguistic scenario of Gibraltar today?
What is the relationship between, and perception of, English and Spanish? But in practice, of course, this is difficult, if not downright impossible. This would be disastrous for a writer. Just enough, in other words, for the Gibraltarian reader to recognise the book as a Gibraltarian book, but not so many as to alienate a British reader.
I suppose you could describe it almost as a balancing act. But it is a balancing act that is not so unusual either; this kind of thing happens all over the postcolonial world. Say, for example, that you are an aspiring Nigerian writer. Do you write your book in Yoruba or Igbo, thereby limiting your readership to people in specific parts of Nigeria, or do you write it in English, which would potentially open your book up to a readership of millions? Obviously, if you are really serious about expanding your readership, you will choose the latter.
I suppose it is all about compromise, isn t it? In fact, sometimes you even have to compromise with the plot itself. Let me give you an example of what I mean. The main tale in this collection was set in nineteenthcentury Gibraltar. I wanted its protagonist to be a Gibraltarian living in one of Gibraltar s working-class districts. The problem that I faced, of course, was that most working-class Gibraltarians in wouldn t have spoken English with the degree of proficiency that I wanted my character to possess.
To get around this problem, I had to create a character who had received a very good upbringing and also spent many years living in England. How do you represent and construct the contradictions and tensions of modern society? I think this probably stems from the fact that I come from a place which means so many different things to so many different people. I think that it is the job of the modern Gibraltarian writer to cut through these contradictions and show the reader what it is really like to live and work as a modern-day Gibraltarian.
Are your experiences of life as an expat mirrored in your writing, or in a broader frame do they affect your feelings towards Gibraltar as your homeland? You only have to take a brief look at my books to realise that most of my protagonists are rootless, directionless individuals, struggling to make sense of their position in an often alien and hostile world.
My hope is that by writing about the Rock I am helping non-gibraltarians readers learn more about us and simultaneously gain an insight into the workings of the Gibraltarian mind. I ll let you have a sneaky peak at the new book s blub! His ambition is simple: he wants to find himself a property of his own where he won t be surrounded by any pesky neighbours.
But Seracino has a problem: he lives in Gibraltar, where almost everybody lives in flats and where detached properties come at a premium. For the last few years he has been attending property auctions in the hope of bagging himself one of the old colonial bungalows that intermittently come up for sale. But so far he keeps on getting outbid by lawyers and financiers, men for whom the annual , pounds that Seracino earns as a GP are no more than small change. Then one day Seracino s luck changes and he manages to land himself an old colonial property in the Upper Rock area, the aptly named Solitude House.
For a while the misanthropic doctor revels in his new-found isolation, content to be able to sit every evening on his splendidly balustered veranda, with his feet propped up and a glass of Laphroaig whisky in hand, watching through his binoculars the oil tankers and the fishing boats endlessly drifting through the Straits of Gibraltar. But just when he is at his happiest, something happens that will not only change the way the Maltese-born doctor views his prized Edwardian bungalow, but will also threaten his very mental and physical stability In this wickedly irreverent novel, Gibraltarian writer M.
Sanchez explores the idea of self-imposed solitude in a narrative tinged with both supernatural elements and the Gibraltarian themes that have traditionally underpinned his writing. Sanchez is constructed as a Bildungsroman that intertwines the lives of two Gibraltarian friends from different social classes, Brian Manrique the timid, insecure narrator from a low social background and Henry Portas, scion of a prestigious family that has always held important positions in the Gibraltarian community. When the protagonist goes to Cambridge in to study foreign languages, he meets Henry and they start a long and complicated almost intermittent friendship, facing different adventures and situations, although their relation is often blurred by Henry s puzzling reluctance and withdrawnness.
As a matter of fact, identity is the keyword to reflect onand understand the- meaning of cultural stratifications, in a territory like Gibraltar 34 Brian s sense of belonging and displacement emerges from this context and illustrates the accumulation and uniqueness of different values, alongside the question of the postcolonial self split in-between past and present, tradition and modernity.
As a matter of fact, Brian continuously wants to move to other places, to set off in a kind of quest for something unexplored, and this feeling is matched by Henry Portas stegophilist passion the practice of climbing over ancient buildings with no special equipment , somehow a challenge to the expectations that everyone has for the son of a prestigious Gibraltarian family, whose education, marriage and behaviour must conform to conventions and traditions. In spite of its tiny geographical dimensions, Gibraltar turns out to be a rich cultural terrain, and with The Escape Artist Mark Sanchez contributes to the field of Englishlanguage world literatures through a style that is intriguing and innovative.
When did you start to write? I can remember my mother writing down a story that I was making up as a child, before I could write; but I think I wrote my first poems when I was about eight. From my early teens I was committed to writing poetry, and I started publishing in magazines in my late teens, though only one of those poems made it into my first collection. And how did your parents react against your leanings towards the arts?
They advised me to get a day job that would earn money. They encouraged my love of reading in our house there were poetry books that my maternal grandparents had exchanged as love tokens but I think they were scared that if I wanted to live as a writer I d not make enough to live off. They d both left school in their mid-teens and neither had gone to university. They were never pushy, but they did all they could to support my education, to give me what they hadn t had. Even while still at school, I thought being a university lecturer might be a good job, since it would pay me to read and write!
I didn t quite know what university lecturers did, but I thought I d like to be one, and that it would provide me with financial security both my parents had been bank tellers, so that was the bank-tellerly way I thought while letting me go on writing poetry. What do you remember of your stays in Glasgow and Oxford? Was there any writer or friend who encouraged your writing? Did you choose a particular writer to inspire your work? The poet who has meant most to me over the years has been T. Eliot, whose Complete Poems and Plays I bought when I was fifteen and used to carry to school with me as a sort of talisman to ward off mathematics.
It was the music of Eliot s verse that I found totally engrossing. Couldn t understand much of it, but loved it from the start. At school we read The Love Song of J. Alfred Prufrock: I was hooked from the opening lines, and then read the rest of Eliot s poetry for myself in a state of intoxicated bemusement. When I found out that Eliot had worked in a bank, and maintained a day job, I liked that too. I was lucky enough to have Edwin Morgan as my tutor in my second year I remember his enthusiasm for Milton s Areopagitica! However, he was the only living poet in the vicinity and I showed him some of my too many sonnets soon after I started at Glasgow.
Not sure he liked them much either, though he gave me some encouragement when he read one about W. At the end of my second year he asked me if I d read MacDiarmid. Reading MacDiarmid made me realize just what was possible for Scottish poets to do. When I went to Oxford as a postgraduate I felt ill at ease. The milieu was alien to me. Herbert both postgrads there too and with a lot of students from overseas.
I fell in love with a refugee and, among other things, this made me think very much about what it meant to me to be Scottish, and what it meant to lose your country. In Oxford I wrote about Scotland, and knew I wanted to return though that took me six years! I read voraciously and among my favourite poets were two very different ones John Ashbery and Les Murray both of whom I met through the magazine, Verse, that David Kinloch, the American poet Henry Hart a fellow postgrad , and I founded in We wanted to publish Scottish work in the best international company, and it was great to meet people like Seamus Heaney and Douglas Dunn through Verse.
In most of your poems you show a strong and complex commitment to Scotland: this is clear from the very first book you published, A Scottish Assembly, which followed your experiences in England, and Oxford in particular. Would you talk about the issue of belonging to a place or going back to a place considered your own omphalos?
Before I went to Oxford I d not thought very deeply about what it meant to me to be Scottish. The longer I lived outside Scotland, the more Scottish I came to feel. Scotland excited my imagination both poetically and politically and seemed, willy-nilly, to be a good deal of my subject matter; but I wanted to try and give a fresh sense of Scotland, one that was open to the outside world, to science and technology, to pluralism. So the sort of verbal intermingledoms in some of my poems in A Scottish Assembly and elsewhere are trying to articulate that.
Photo credit: Aisha Farr. I was going out with a semiconductor physicist, and stole vocabulary from her. I wanted the ironic readings to be possible, but not predominant. Do you accept this idea that a poem can be originated first in a sound or a rhythm or in a larger formal intuition rather than in some urgent message to be expressed?
Oh yes: poems often come from phrases and rhythms, then the ideas are generated alongside those. The great thing about verse is verse: by which I mean that it s a sense of lineation that adds an extra punctuation to the flow of everyday language and lets it dance.
An apprehension of that dance is what you re after in a poem. Etymologically and actually, poetry is about creating, making, shaping: ideally making a shape that is satisfying in its attunement. That s why poems have to sound right, to have a music of their own that may also engender or be in touch with a wider sense of attunement, or, on occasion, of productive dissonance.
It seems an arrogance of the twentieth century to assume that this had to involve abandoning belief in God, but for a good number of people this is so. I have conflicted feelings about religion, but I venerate its shaping intelligence and that intelligence seems to me very close to what goes on in poetry. Having said that, it s easy to be grandiose: I like funny poems as well as love poems and religious poems.
Poets like Dunbar and Burns, and Eliot who can range from erotic poetry to comic poetry to religious poetry appeal to me strongly. I am struck by the way in which your poems often contain the simultaneous presence of voices and languages, not only and not necessarily from Scotland. We live, as you say in Simultaneous Translation from the collection, Talkies, between the lines, or close to the binding of a parallel text.
Would you spend a few words on the issue of hybridization and crossing-over? Probably my imagination is excited by meetings of the familiar and the other, by clashes and kisses between sameness and difference. Rhyme involves that, and I ve been enjoying using rhyme quite a lot recently. Very few of my earlier poems the ones in collections rhymed; but they were often built out of fusing together different textures, kinds of language or culture.
Ideas of cultural crossover, mixing, hybridity were and are important to me. Poetry, like identity, is porous. Because Scotland is important to me, and because I support Scottish independence, I m all the more aware of the need to avoid ideas of purity and isolationism. Often through making versions of other poets, or crossing into the unfamiliar, you re going in quest of what may be missing in your own culture. You have worked, especially in the last ten years, on Latin language and on some of the most beautiful and interesting texts by George Buchanan and Arthur Johnson.
Would you talk about this experience with and into Latin? I studied Latin and Greek at school, but my knowledge of them has rotted away, so now I need cribs, though I can make some sense of the original. In Apollos of the North the Latin versions or in Simonides versions of Greek in Scots , I m in touch with poetry that s both familiar and quite strange to me. The Latin culture of Scotland, which for so many centuries was Scotland s window on and link to the international literary community, has been shamefully neglected; and, as someone who believes in poetry as our greatest abiding art form, I wanted to remind people of some bits of that lost continent.
I suppose the making of those Latin poems fed into my sense of the many-strandedness of Scottish literary history that I ve written about in Scotland s Books. Would you please talk about this process of grafting foreign texts onto your own writing? And: what s the threshold between translation and version for you? I like playing with kinds of cultural crossover, what academics like to call hybridity, and play is an important part of making art. But there s also a conscious wish to write from a Scottish perspective that reaches out to other perspectives and that welcomes difference.
The little Paz poem I loved for its eroticism; the Buchanan for rhetorical brio; the Pessoa for a kind of complex wistfulness and attunement. In making versions, you re trying to stretch yourself and supplement what you have to offer. I have a very bloody-minded view of translation in poetry: all that matters is that the poem works as a poem in the target language. But the truth is that at root I m so embarrassingly monolingual that, with the possible exception of a translation of the Old English poem The Dream of the Rood in The Penguin Book of Scottish Verse , which I started when I did know Anglo-Saxon, I have to rely on triangulating cribs when I translate so what I make are versions; to call them translations would be to claim an expertise I don t possess.
In your volume Contemporary Poetry and Contemporary Science you write an article on the relationship between the human and the machine, and computer in particular. What s the impact computer has had on your creative writing, and on the procedures you absorbed not only from technology in general 38 I ve been fascinated by that line of engagement with science and technology in Scottish poetry that runs through the work of John Davidson, MacDiarmid, and Morgan, and which fits with some of the thinking of the philosopher George Davie. Science and the history of science excited me for their metaphorical possibilities, not least in A Scottish Assembly, a book whose title is partly political, but also signals a wish to gather together different kinds of Scotland including the artistic and the scientific.
In particular, ideas of the virtual fascinated me when I was writing about death in my collection Spirit Machines; but as computers have taken over more and more of my day job, I ve found I ve come to resent them as hostile to contemplation, and often as a distraction from what I like doing most. Presenting an anthology of Scottish poetry in Italian translation, in , I said that in Scotland it is the passion for sensuality, for an agnostic link between man and nature to enable the reader to enjoy a new sacrality, a sacrality relieved from institutional and ceremonial conventions.
Do you agree with this statement? If I could, I d like to articulate, more fully than I ve managed so far, a sense of the sacred. For me the language of Christianity is not bankrupt but profound.
I am in awe of it, even as I find it hard to believe. Do you consider yourself a Scottish poet or a British poet writing in the United Kingdom? A Scottish poet: that s just a factual description; but I also enjoy writing about Scotland. At different times, I ve found reading Irish, American, and Australian poets, as well as poets from England and Wales, a fortifying experience. Australian poets, for instance, have faced some of the same questions as Scottish poets, and have worked through them.
The English language is everywhere, so one can get too hung up on ideas of the peripheral. Though these have an academic tone, they do connect at a certain level with issues I ve had to face in poetry. What is your impression about the New Scotland? Are you happy about its new cultural and literary milieu, or you think it s still a peripheral satellite of the English-speaking world? I think this is a great time to be living and working in Scotland.
Scottish political independence has excited me for decades, and seems closer now than it has been for centuries. Whatever the outcome of the referendum on Scottish independence, the direction of travel over the last thirty years is pretty clear. Poetry can be written anywhere and under any circumstances, but I count myself very lucky to be a poet at this particular moment in Scottish cultural and intellectual life, and to be working in St Andrews, a small, sometimes sunny, often windswept seaside town full of seagulls, poets, and students of poetry from round the world.
Venice, April M. The protagonist of your latest novel called Tikkop has the same name of the one in the previous novel set in Paris. Mulder seems to attract all the characteristics of a kind of alter ego or someone you use to exorcise your relationship with your father. Am I wrong? The name Mulder started as a joke. It is my father s name, not mine. I am his illegitimate son and bear my mother s name. Mulder is now my alter ego indeed. My father is born on the island of Java, part of the colony of the Dutch East Indies.
His family was of mixed Indonesian blood though those roots have officially been denied. The family said that the color of their skin came from an Italian ancestor. My father s first wife divorced from him just after the Second World War, when the Indonesians declared themselves unilateral independent. The new Indonesians family laws were partly based on the Muslim sharia. A sharia divorce was not recognized in Calvinist post war Holland. He came from a lost war, a lost colony and experienced Japanese war camps and torture, but the Dutch weren t interested in the stories from colonial refugees.
He was too weak and traumatized to work properly, so he lost his status. And then he had a bastard son! My father was the perfect outsider: he had a sharp and critical view at all things Dutch. He was from the outside looking in. As a writer I need that look too. So as homage to him I call my alter ego Mulder. And I gave him a few of my father s characteristics too: well dressed, good mannered and obsessed with cleanliness. I let my Mulder discover the dark sides of the Parisian banlieue or the poverty of South African townships.
He is sensitive for discrimination and migration. I want my alter ego to be touched by the filth of a painful reality we often don t want to see. I smell my father when I type his name. I share his fear for stains. In the process of writing, we become very sensitive for other smells, especially for the smell of misery and poverty. This cross cultural encounter is often at the basis of most of your novel, and has revealed itself to be formative for all the other issues you deal with in your works My mother is a Dutch born farmer s daughter.
At the age of nineteen in she fell in love with a handsome young man, originally from the Banda Islands Moluccas who had joined the military and was sent to Holland to be trained as an officer in the Royal Colonial Army. The couple left for Java and got three daughters. During the Japanese occupation of the colony , all the Europeans were interned in Japanese concentration camps.
Thanks to his dark complexion my mother s first husband could disappear among the locals and joined a resistance group. After a year he was caught by the Japanese and decapitated. Her marriage with this Indonesian man was a difficult one. The Europeans in the colony frowned upon here: she had crossed the color line. But the indigenous population mistrusted the couple too. The young colonial officer had to appease national sentiments and was sent to the far outpost of the colony.
My mother was very alone and isolated in those years. She learned the local lingua franca and was very much influenced by Asian mystique. She was never part of the colonial clique and here souvenirs 40 Not sentimental at all! After the war, she met my father in an evacuation camp on Sumatra a meeting with consequences.
I was conceived there. Once back in Holland, she always defended the half blood Indonesians who were more or less forced to leave the independent Republic of Indonesia. Though educated by the colonial Dutch they were often regarded as strangers in Holland. The Dutch post war bureaucracy was very cruel and had no understanding whatsoever for people coming in from the tropics. She hated the condescending manner of Dutch officials regarding people of color. It became part of the National myth that the colored migrants from the Dutch East Indies smoothly integrated into Dutch society.
Indeed the first generation never complained and accepted a humble life in a cold country, but their silence was one of rage. Now their children tell the real stories. My mother told me about another reality. The double life most of these migrants were living: Indonesians at home, Dutch outdoors. My father had great difficulties to adapt to Dutch way of live: the bad and blunt manners Dutch call that: honesty , the bad food, and bad way of dressing up.
My father was more a man of bella figura, perhaps he was an Italian after all. He died when I was 10 years old. He was more sentimental about colonial life than my mother was. But they shared the view that one lives with more countries and cultures in your head a word like identity luckily did not exist in those days. One could be a bare foot child and a shoe child at the same time. Enjoy a rice table with ones fingers and with fork and knife. This idea was very important at home.
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It shaped my view too. Let s talk about one of the strong issues in your works: travel. You often tell your interviewers that as a child you already dreamed about traveling, and dreamed about Africa? Fra bad painting , Transavanguardia e quiete nostalgico. E noi boicottiamo internet Giulio Iacchetti disubbidisce a tutte le regole di mercato prestabilite, mettendo in moto mani e mente. E con l'ironia quale unica arma, manifesta come il design possa anche essere un mezzo per comunicare, mettere in discussione e insegnare Un lento dialogare di riflessi, luci, sensazioni visive Dalla Giudecca azera si approda alle Zattere dell'Asia Centrale.
Capatina in zona Arsenale per la Georgia e, a concludere, l'Ucraina targata Pinchuk Senza lasciare mai il ventre sazio di risposte concluse, ma reinventando continuamente le sue domande. Una riflessione mediata dallo scontro fra una natura incontaminata e il suo vitalismo contenuto Metti che si tratti d'una rivista. Dove a parlare di oli e pennelli siano gli stessi artisti. E magari qualche critico. Ma sia giovane e possibilmente poco inserito Le storie di oggi in tavole Incontaminate divagazioni costruite su geometrie pulsanti.
Incandescenza vivace di un candore che si fa territorio, manipolazione, incoerenza stigmatizzata Il progetto espositivo nasce dall'incontro di due elementi convergenti: da un lato Fabbrica, edificio tra i migliori esempi di recupero e riconversione di siti industriali presenti in Italia, dall'altro le sculture di Giorgio Bevignani, artista che si esprime attraverso enormi installazioni modulari a sospensione realizzate in cemento, terracotta o gesso e dipinte con pigmenti fluorescenti. L'andamento ritmico e discontinuo della spirale simboleggia il tempo mentre i moduli imprigionati nella rete metallica rappresentano la materia geologica che scandisce le ere, una sorta di pulviscolo che si irradia in una sottile fascia luminescente.
Il curatore della collezione, Filippo Maggia, racconta a "Exibart" il percorso intrapreso. E parla dei progetti futuri e delle new entry della collezione Un invito a toccare, riflettere e ricordare. In occasione del Leone d'Oro alla carriera, Yoko Ono propone una personale molto personale Per un nuovo modo di concepire design e arredamento. Ripensare l'antro domestico diventa esercizio d'arte Con una doppia personale che inizia intimista e si chiude in maniera solare. Giocando sugli stereotipi del Sud Con storie scritte e disegnate dopo aver soggiornato nei luoghi in cui visse a lungo il popolo italico.
Con disegni dissacranti e un dipinto fitto di figure e scritte. E poi un poster e un invito ad affidarsi alla magia. Son le opere dei palermitani ora bilocati al Nord Gli spazi di una chiesa sconsacrata congelano e fanno emergere la forma umana. Fra il chiarore del legno nudo e l'acutezza del taglio di subbia E Jeff Koons rimedia con gli spinaci di Braccio di ferro Per un picnic griffato Arabeschi di Latte Per ripercorrere gli anni cruciali della storia americana. Dalla crisi del '29 al New Deal rooseveltiano Tra contemporaneo e moderno, tra repliche e opere mai viste.
E il palazzo risponde, brillando e tintinnando Una poetica inscindibile dal nostro tempo La rassegna romana istitusce un laboratorio di monitoraggio permanente per artisti e ricercatori. Sul tema delle arti digitali Un artista messicano cutting edge. Che guarda anche al sociale Fatta di lavori dove fragili carte accendono la presenza di piccoli oggetti. Inseriti come enigmi al loro interno. Mentre all'esterno della galleria I fumetti, con le loro storie, sono frutto della fantasia di giovani artisti e dialogano armoniosamente con i reperti archeologici del Museo Nazionale Etrusco di Villa Giulia.
Gli autori invitati, due per ogni sede scelta, si sono immersi per una settimana, fisicamente e metaforicamente, nella cultura e nei luoghi dell'Etruria; il periodo di residenza e lo studio delle sedi hanno suscitato in loro la scintilla creativa per ideare fumetti inediti, ispirati dall'enorme bagaglio storico e culturale col quale sono stati in contatto. Nelle sedi di Cerveteri e Tarquinia, le stesse immagini in mostra a Roma, saranno riprodotte su pannelli ed inserite nel percorso museale, contaminando in maniera artistica il percorso di visita, che in alcuni punti chiave mirerebbe a far rivivere ai visitatori le stesse sensazioni provate dall'autore.
Ultimo ingresso ore Informazioni ; Sito Internet www. Questa edizione del festival jazz a Villa Medici assume dunque una dimensione internazionale, attraverso il confronto tra giovani musicisti di origini diversea grandi nomi del jazz. La sua improvvisa morte avvenuta il 14 dicembre ha contribuito a crearne il mito. Per condividere la sua musica, Aldo Romano ha scelto con cura i compagni di viaggio, ricongiungendo musicisti di diverse generazioni in una formazione di alto livello nel panorama del jazz europeo: al sax, la giovane Geraldine Laurent che ha vinto il Django d'Or Jeune Talent nel , valore assoluto del nuovo sassofono jazz femmine, e al contrabbasso, Henri Texier, musicista di talento da anni suo compagno di strada.
La batteria del leader dialoga da quasi quarant'anni con il contrabbasso di Texier, con una rispondenza notevole anche sul piano timbrico. E' Jazz, Just Jazz. Italia e in collaborazione con CulturesFrance. Ma non solo Committenze diverse, ambienti antitetici. Eppure la meraviglia d'un dialogo a distanza che funziona.
Poi una capatina dalle parti di Palazzo Grassi, per attraversare infine il Canal Grande e inoltrarsi in Dorsoduro. Una scarpinata lungo i Balcani veneziani. A due passi dalle nostre coste Un'alta statua, oltre le due cinte murarie, domina lo splendido scenario naturale della Valsugana, presidiando la soglia del maniero.
In attesa. Forse con il ventre pieno di soldati in armi, come un cavallo di Troia Ma stavolta in chiave curatoriale. Con una postilla degna di nota. La scoperta dell'" impulso grafico decisivo ". Nasce un nuovo tipo di pittura che guarda a Est. Ma senza dimenticarsi di provenire da Ovest E un artista turista che espone souvenir del suo Grand Tour mentale.
Un'operazione ironica e scanzonata, ma anche sottilmente critica La domanda che pone questo nuovo ciclo di letture concerne precisamente quello strano sapere proprio del romanzo e della poesia: cosa sa la letteratura? Scrittori francesi e italiani verranno ogni mese a rispondere a questa domanda parlando della loro esperienza personale e di letteratura; presenteranno i loro libri, e ne leggeranno alcuni brani, i quali saranno sottotitolati in italiano.
Il presente ciclo vi invita ad ascoltare la vita segreta del linguaggio, attraverso la parola singolare di uno scrittore. Lettura in francese con sottotitoli in italiano. Info pubblico: Tel. Su Exibart. Goldin chiede mila euro al comune scaligero. Un'estate molto italiana per Mark Lewis, artista-cineasta finora assai poco visto dalle nostre parti. La versione integrale sul catalogo della mostra sarda, edito da Silvana Editoriale Cinquanta minuti di spettacolare coinvolgimento emotivo e sensoriale.
Di fronte a un facsimile Lo spettatore del contemporaneo si scopre homo ludens , diviso tra infantilismo e piacere di sfidare e sfidarsi. Dove alla corazzata ArtBasel si affiancano miraggi solari in chiave di design. E dove impazza ancora una volta la febbre della fiera parallela. Indotto, incoraggiato, eppure naturale e autentico. Proponendo suggestivi, e forse oggettivi, punti di vista. A monte, una citazione di Deleuze.
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Per spiegarci che, per vedere, abbiamo bisogno di un supporto traslucido In un bosco La Fondazione Mud compie il grande passo e inaugura il suo spazio espositivo in Zona Bovisa. Un progetto che nasce all'insegna della condivisione e del dialogo. Una mostra apparentemente ordinaria si trasforma in una festa di colori e forme. Che, a distanza di cinquant'anni, lascia spazio ad attualissime riflessioni Semmai non entusiasmano le altre aree. Riflessi rugginosi e cromie slavate. Superfici materiche che raccontano di uno stato d'abbandono.
Fotografie d'imponente formato, che guidano la visione alla ricerca del dettaglio Non per rendere "belle" le cose, ma per sperimentare gli altri lati del possibile. Declinando all'infinito due eterni opposti, il bianco e il nero, l'artista americano, alla sua prima personale europea, disegna un universo in mutamento Per una mostra scostante all'occhio occidentale. Incuriosito e poco abituato a espressioni artistiche di questo tipo La mostra si divide in tre momenti: 1 - Una grande installazione a parete che ha dato il titolo a tutta la mostra, "Assalto al Cielo" , lunga 8 metri di base per 6 metri di altezza.
Quest'opera riassume bene in se tutta la poetica di Carone, fatta di contrasti e contraddizioni: in questo caso, tra l'atto di forza dell'azione violenta e rivoluzionaria dell'assalto e la tenerezza poetica e onirica del sogno e del desiderio impossibile di conquistare il cielo. Un'occasione rara per conoscere il pensiero verbale, e non solo visivo, di un artista. Un falso Un bilancio quinquennale. Arnesi impossibili. Metamorfosi sensuali. Per parlarci dell'amore Dove, al Polo Museale di Santa Lucia, fa capolino la luce tenera e sentimentale di un protagonista del Barocco.
Pasqualino Rossi, fino a oggi inopportunamente trascurato Rara scultrice del secolo Novecento Ora compie gli anni. E li porta bene. Anzi, benissimo. Happy birthday Donald Duck Matteo Sanna torna a parlare con luci e proiettili. Ma questa volta l'io da scoprire si sta evolvendo. Per la storia di un'India che globalizza la propria religione. Un altro spiraglio dell'arte contemporanea dal Subcontinente A Pitti Immagine la Sardegna che veste la moda Per una sera sfila per Roma, quartiere Monti Pistoia senza pastoie, insomma. Parola di Ludovico Pratesi, fresco di nomina a curatore di Palazzo Fabroni.
La malinconia e il turbamento del ritorno alla patria. Sono i padiglioni africani: con le Comore contro il divieto di utilizzare l'imbarcazione tradizionale del Paese, il Gabon in versione no-global, il Marocco memore della dittatura. E la pars construens resta all'Egitto Alla quinta prova da Emi Fontana, l'artista milanese mette in scena i carburanti dell'uomo: cibo ed emozioni. Rendendo protagonisti i loro "contenitori" E desidera che si parli di lui. Nel bene o nel male. Per eccitarsi e far divertire. Oppure scandalizzare.
Un inno alla vita. Una danza neofuturista. Di un artista elettricista Nel frattempo, spirito libero e sensibile, ha partecipato e vinto il concorso Subway per al scrittura poetica, editato da Saggiatore. Con questo evento Nemo vuole avvicinasi al pubblico in maniera diretta, partendo dal suo luogo intimo, per ricreare quel presupposto dell'incontro che si trova alla base della sua creazione. Una ri-partenza, ri-vestita a festa, essenza del ri-ciclo, per riprendere fisicamente un viaggio mai interrotto celato nella solitudine e nell'alienazione di anni bui.
Preparandosi a tutti quei luoghi a cui anelita e a cui si rivolge, reali e virtuali, propri e di altri, suggeriti e incalzati con e dalle sue stesse opere. Parte dei suoi lavori possono essere visionati sul sito www. Andrea Zaccaria. Ospite Settis I bambini mandiamoli al Madre E nella Casa di Giulietta non poteva mancare una celebrazione dell'amore.
Oggettivandosi in astrazione Un orizzonte di affioramenti. La memoria della forma attraverso una percezione libera, lirica. Un brano di Persia al centro di Roma Ma anche e soprattutto la Roma meno battuta dall'odierno artworld. Quella Roma percorsa da fremiti e antiche spoglie, da sangue animale e talvolta umano L'allestimento di uno scenario atomico evoca lo spettro del riarmo.
Seconda prova di Raskin da Riccardo Crespi. Che aveva inaugurato, nel , proprio con l'americana Alla scoperta di un'arte che sceglie la periferia per scoprire interferenze tra mito e storia, sacro e profano.
In barba ai circuiti convenzionali. La Biennale di Mosca va in Garage Politi accusa, Exibart rilancia E intanto arriva Brad Pitt L'archivio dell'artista contro la mostra milanese. Alberto Salvadori ci parla del suo doppio incarico. Al via la seconda edizione della biennale greca. Il percorso espositivo propone numerosi ritratti e caricature di Marinetti e alcuni capolavori fondamentali presenti nell'originaria collezione dell'artista, o da lui fatti acquisire al Comune di Milano, come le opere di Umberto Boccioni Linea e forza di una bottiglia e Sotto il pergolato a Napoli, e di Giacomo Balla Spazzolridente ed Espansione di primavera , delle Civiche Raccolte d'Arte di Milano.
Un' ampia sezione documentaria arricchisce la mostra: manifesti futuristi; fotografie; lettere, come le famose lettere prestampate futuriste; cataloghi d'epoca; cartoline, come quelle del napoletano Francesco Cangiullo utilizzate da tutti i futuristi; alcuni numeri delle riviste "Poesia"; "Vela Latina"; "L'Italia Futurista e documenti eccezionali: le lettere di Kandinskij a Marinetti, il Canto LXXII di Ezra Pound, la lettera del prof.
Kimura dal Giappone e un manoscritto di Marinetti sulla fotografia. Ultime due domeniche per prenotare il laboratorio gratuito per i bambini 14 e 21 giugno h. I batick della mamma di Obama A Roma artisti e pubblico writers per un giorno Ecco come offrire al mondo un'ora d'arte E un reporter artista. O un artista reporter. Quando l'obiettivo affronta la cronaca senza stucchevoli moralismi, diventa un cazzotto nei denti Quando la conoscenza mediatica, dopo esser stata pubblica, diviene un mezzo personale.
Per parlare del proprio modo di fare arte Per due stili diametralmente opposti Una nuova rubrica per indagare il sottobosco dell'architettura nostrana, e non solo. Lo smentisce un demiurgo che, tramite processi intuitivi, si riappropria del significato del termine 'artista'. Come osservatore, disegnatore e alchimista A testimoniare la ricerca pittorica in Sardegna nel primo Novecento. Dopo anni di custodia nei depositi, vedono nuova luce importanti opere datate tra il e il Ora finalmente fruibili Wit e per Emmi, la casa editrice di Exibart. Per la prima volta, venti tele di Monet lasciano il Marmottan di Parigi.
Per esser esposte con quelle stampe giapponesi che tanto ispirarono gl'impressionisti Una mostra al Ludwig Museum di Budapest ne sviluppa la matassa. Non senza qualche sorpresa Fissa attimi di grafite che subito diventano memorie, e raccoglie ogni possibile traccia sul suo passato. Lucca, Museo del Fumetto Nell'anno internazionale dell'astronomia, il Museo del fumetto rende omaggio a Galileo Galilei. Con una grande mostra dedicata alla scienza. Albi rari e visioni illustrate anzitempo si sviluppano fra monoliti e ambienti lunari.
In attesa di nuove sezioni La fotografia mostra se stessa come la lente d'un prisma. Ma l'occhio che guarda troppo a se non fa che escludere il mondo della visione. A volte fin troppo umano-centrico A opera di un giovanissimo artista. Terra promessa per le gallerie italiane E dove, se non a Carrara Dove si vende arte, in tutte le sue declinazioni. A cominciare dalla fotografia. Un colloquio sull'iniziativa con Tommaso Stefani A scandire il percorso del film-maker Mark Lewis, alla prima antologica italiana.
Che ha anticipato la partecipazione dell'artista alla Biennale di Venezia in rappresentanza del Canada Ma Roma no, non cambia. Guardandolo, ci si chiede come quel miracolo di bellezza possa durare Tra danzatori non vedenti e musica dal vivo, Virgilio Sieni accompagna in un viaggio. Alla ri scoperta del movimento Che arriva a Milano con le sue grafiche. Per rivoluzionare i pilastri di venticinque anni di musica. E d'arte Tre punti tre linee tre punti. Un Esse-O-Esse che corre sulle pareti. Una sorta di nenia recitata intorno a un'imponente e coloratissima kaaba, che polarizza il movimento.
Nuovamente ironia e gioco di parole, ma con un piccolo cambiamento Al MAK di Vienna una serata dark. Ma se dipingono i tombini Tabula rasa sul fronte figurativo a opera delle avanguardie, distruzione del reale a furia di guerre. L'Origine ritrovata in piccoli segni, embrioni di una nuova vita e di una nuova arte. Anzi, la visione del mondo. Sul filo di una scandalosa proposta Le recenti prove su carta di Sergio Risaliti Spirito, luce, natura e musica in novanta opere. Per un'antologica propriamente detta, con piglio scientifico e rigore nella redazione di allestimento e catalogo L'opera si estende nello spazio circostante, avvolgendo il pubblico A Roma nasce il Museo Nazionale Per Roma Bonami sceglie Doug Aitken.
Ma l'impaginazione taglia la cover dello Speciale Biennale. Tra birre e tele volanti Molti i padiglioni "costruiti".
gli ordini continuano ad arrivare come se piovesse
Buon viaggio. In foto, a Palazzo Brandolini Rota Espressioni del volto che rivelano segrete dinamiche emotive. Che ci rivolge ancora la parola Raccontato da un'artista che non depone mai l'armatura da battaglia. Mentre racconta le donne e gli uomini Fra tradizione e innovazione, Oriente e Occidente.
Soprattutto quelli oltre e fuori dal Castello. Nella scuole, in Accademia, in Fiera Un'affermazione perentoria come un imperativo morale. La visione provoca allora un misto di stupore e attrazione. Portate le maniche lunghe In laguna, ma anche in patria Mostrandone aspetti non registrati dalla cronaca ufficiale, ma non per questo meno importanti per la formazione dell'immaginario collettivo. Ci pensa un istituto bolognese Pennellate e dripping che fanno pensare a Pollock, rivisitato attraverso van Gogh.
I dipinti dell'americana invitano a un viaggio all'interno del "secondo" Informale. Dagli anni '50 ai ' Un'occasione per parlare di cultura contemporanea fra vette internazionali e meditazioni locali. Fra ritorni modernisti al Rinascimento e incisori surrealisti Buona la prima Designer a domicilio sbarca a Faenza, in occasione del Festival dell'Arte Contemporanea.
Se spesso si considera il connubio arte-design come strumento di comunicazione di nicchia, il progetto dei ragazzi di Resign sembra aver trovato la giusta dimensione Dal dettaglio, ricercato con instancabile zelo, all'astrazione poetica della composizione. Oltre la materia, gli scatti diventano filosofici L'apparente sicurezza dell'ambiente domestico si frantuma in un orizzonte instabile E pure impegnato Sinonimo d'immaginazione, desiderio, ricerca.
Torna da Lorcan O'Neill l'artista capitolino, protagonista di un rush ubiquo di fine stagione Esposizione Internazionale d'Arte di Venezia. E sul futuro, non tanto roseo, del sistema dell'arte. Una intervista che trovate sullo speciale Biennale di Exibart. Oggi pure in allegato al Corriere della Sera, in quel di Venezia e dintorni Che si materializzano attraverso opere semplici, ironiche e spiazzanti Per un concorso trasversale, promosso dalla Fondazione Cologni. Ne abbiamo parlato con il responsabile della comunicazione, Alberto Cavalli Le icone di Warhol hanno sempre la potenza dell'intuizione geniale.
In riviera, il racconto d'una carriera Una nuova religione in uno spazio ex-religioso. Per vincere i timori e sacralizzare un nuovo senso di speranza La trilogia prende il titolo dalla rubrica che Pier Paolo Pasolini tenne dal 6 agosto del al 24 gennaio del sul settimanale "Tempo" e che proseguiva il suo impegno rappresentato dalla precedente rubrica "Dialoghi con Pasolini", che lo scrittore e regista aveva tenuto su "Vie Nuove".
Si era infatti aperta una crisi profonda con il nuovo sviluppo del capitalismo e con il trauma del sessantotto e Pasolini intraprese una riflessione profonda e molto spesso illuminante su quanto avveniva. La trilogia IL CAOS vuole rendere testimonianza di questo stato dell'arte, affrontando in maniera esplicita situazioni e tematiche sociali ed etiche, attraverso il lavoro di quegli artisti che stanno significativamente intervenendo in quest'ambito.
Riflettere sulle condizioni dei lavoratori e di come oggi intendiamo questa categoria. Ingresso libero Catalogo: Immagini a colori; Dimensioni, cm 18 x 24,5. Gli artisti presenti in questa esposizione sono entrati in contatto solo sporadicamente con il mondo del vetro ma, unitamente ad esso, utilizzano anche materiali molto diversi. Venezia e dintorni. Marco , Venezia Tel. Marco Per accredito giornalisti tel. Accade a Carbonia Fra arti "maggiori" e applicate, il contemporaneo si nasconde tra l'antico.
E il gioco riesce alla perfezione Come ricordi lontani nella memoria, sfocati, ma mai dimenticati. In tele, il percorso di una vita di pittura. Per una Villa Manin targata Goldin Come reagire a esso? Prima personale italiana per il Figlio dell'Est Dalle incursioni situazioniste ai giardini d'artista, passando per la New Media Art. Tutta l'arte fuori dal museo Lo sguardo frantumante del fotografo ricostruisce i suoi Passaggi. Stratificandosi in memoria Realizzata negli stessi spazi che in vita sono stati laboratorio, atelier e luogo d'incontri.
E che ancora oggi continuano a raccontare storie Niente sesso, solo idee. Sul sipario della Fenice Per celebrare il Rito del fuoco Roma, Milano? No, Bitonto Eppoi dite che la scultura non vi da da mangiare Laboratorio sperimentale a cielo aperto per giovani artisti Il Museo Magritte di Bruxelles apre le porte al pubblico il 2 giugno. Con oli su tela, disegni, sculture; ma anche spartiti, foto d'epoca e film. Da quando le sacre storie degli dei e degli eroi finirono in versi scritti dai poeti e tramandati nei secoli. Rendendo obsoleti menestrelli e cantastorie In un flusso di coscienza che, libero, attraversa le dimensioni esistenziali Conteneva forse la soluzione del mistero che da sempre avvolge la sua data di nascita?
Per creare un cortocircuito fra arte, critica e storia dell'arte. Un discorso serio e intelligente, che guarda al passato per parlare del presente. Rubando gli strumenti ai diversi "addetti ai lavori" In chiusura la stagione espositiva della Galleria Marconi In galleria, circa 20 opere nuove e recenti, di cui alcune di grande formato, che offrono una riflessione sulla pratica della pittura e sul processo di formazione cha sta dietro all'immagine.
Scott Short lavora a cavallo tra copia e originale, ribaltando il rapporto tra astrazione e figurazione. L'artista parte da semplici fogli monocromi colorati che fotocopia in bianco e nero centinaia di volte. Nelle sue mani, la fotocopiatrice diviene strumento che crea un originale attraverso la copia. L'artista resta comunque colui che crea l'occasione, che riconosce una forma e sceglie di catturarla. Le sue trame appaiono come enigmatici paesaggi immaginari, tracce di una memoria inconscia o personificazioni di tanti, incompiuti stati d'animo.
Rallenta i lavori della stazione". Quattro giorni di full immersion nel mondo della fotografia contemporanea. E dalla Grande Mela si guarda all'Europa E il proprio fine. Per dare il giusto peso alle cose. E intrappolare la vita, che altrimenti scivolerebbe via Corrispondenze fra cielo e terra nella carta da spolvero di Barbara DePonti. Per una Milano dalle architetture stellari. Fra sociologia e poesia Gioiello dell'architettura contemporanea, fortemente osteggiato a fini politici.
Parliamo della controversa vicenda del Museo di Cagliari, opera di Zaha Hadid. Al centro d'infinite polemiche. E ora rischia di sfumare definitivamente Stampe incorniciate da grate in ottone, collage di capelli, autoritratti inquietanti. Anche a quelle suggerite da questa recensione Is there a real crisis? If so, how could it be bypassed in your opinion? Are there any bands that turn you on?
I also think that vinyl sounds better. It has dimension and depth. It spends money on total rubbish, rips the bands off to a crippling degree and allows the likes of Spotify to run fucking riot. There are millions of bands that turn me on. LDP: I want to leave on a high note asking you what else do you like besides music, if you feel like tellin' it.. Ron Royce. Troppo avanti. E a Ron Royce, che molto gentilmente ha risposto alle mie domande, di certo il coraggio e la voglia di rimettersi in gioco non mancano affatto.
RR: Tommy ed io abbiamo deciso di proseguire con la band ed intendiamo anche incidere un nuovo album. Ci stiamo scambiando idee concrete per le canzoni. Ma non abbiamo ancora iniziato a scrivere. LDP: Sei considerato -giustamente- anche uno dei migliori bassisti metal di tutti i tempi. Come hai iniziato? Quali sono stati i tuoi modelli? RR: Sono nato in una famiglia con la vocazione per la musica. Infatti reputo che nessuno sia superiore all'altro. Ad ogni modo la maggior parte delle canzoni contenute in Grin sono una creazione di Tommy; lui rispetto a me ha esercitato un'influenza di gran lunga superiore sulla scrittura dei testi per questo disco.
LDP: Che opinione hai della scena metal oggi? Ci sono al momento due generazioni di nostri seguaci in giro, spesso sono i genitori che spingono i loro figli ad assistere ai nostri concerti. Solo con il secondo album si convinsero a produrre il videoclip insieme al pezzo "Masked Jackal". La CBS era il distributore statunitense per i Coroner ai tempi dell'uscita del terzo album. LDP: Voglio chiederti quali sono i tuoi progetti per il futuro.
Di cosa ti sei occupato negli anni di stop della band? Quali sono le tue passioni, i tuoi interessi al di fuori della musica? Dopo esserci sciolti nel , ho assecondato le mie idee, inciso un mucchio di musica a casa e mi sono proposto per entrare a far parte di alcuni progetti musicali, cosa che ho fatto. Poi sono tornato a giocare a calcio, per poi smettere di nuovo dopo la riunione dei Coroner.
LDP: Parliamo della scena discografica. Non credo sia sbagliato dire che si vuole rischiare sempre meno e che la fusione delle majors abbia creato un appiattimento verso il basso. Cosa pensi della situazione del mercato discografico oggi? Ad un certo punto le persone dovrebbero finalmente essere costrette a pagare una piccola cifra ogni volta che effettuano il download di una canzone; gli stakeholders incaricati sono andati alla ricerca di soluzioni a questo problema per diverso tempo, come sapete.
LDP: Mi parleresti della tua strumentazione? Che bassi stai usando? Riguardo gli strumenti, al momento e per svariati anni ho suonato un basso custom realizzato a mano da M. Come spieghi questa scelta? Che rapporto hai con il fretless? Ho impiegato il fretless per l'incisione di alcune delle nostre canzoni. Ero solito prendere in prestito un basso fretless per l'occasione, ad esempio in "Gliding above".
Nei primi tempi dei Coroner ho anche fatto esperimenti con un basso fretless a 8 corde su pochi pezzi. I Coroner sono stati progressivi senza indulgere nel sinfonico, devastanti senza ricorrere allo speed, come spieghi una tale alchimia? I've been waiting for a Coroner's album since , which is the year of their last studio album called Grin. From my conversation with Ron Royce, the fantastic bassist and singer of the great swiss band, I assume that there is real hope of finding again a group that I madly have adored during trash period but who felt unconfortable within the boundaries of styles, as they're way head of them.
They were too advanced. Their technical quality was so remarkable that any pre-packaged suit could dress them properly. Metal and technical trash were the core concept, but from that central node came out a little bit of everything, with a futurist and avant-gardist approach that was able to join powerful and complex riff with glacial settings, as well as the biggest band's cover Hendrix and Beatles and slow anthems, which seemed to wonderfully cover you as dark capes.
Coroner, with five albums and two compilations, have been etched in the mind and heart of anybody loves heavy sounds and who, in those same sounds, is also searching for evolution, advance, risk, musical and structural expansion, because the progression always deals with courage. And Ron Royce, who very kindly answered to my questions, certainly doesn't lacks the courage or the will to prove himself again. The powerful swiss combo, in fact, reunited in and despite the abandon of their drummer Marky, the current prospects for new material are solid and very exciting.
It makes you wonder how Coroner's music is gonna play today, as they should be considered, by listening to their older records, a band that didn't suffer any form of sound ageing, unlike more commercial and certified scenes. As a kind of personal poll, over the years, I could experience the love firstly felt for this great group by metallers considered as globally, which is obvious, but it regularly ended up in preferences of progressive fans, as well as in avant-gardist ones and even in favourites of both Rock In Opposition and Kraut-rock's followers, between which I can include myself.
Ron is right when he says it is not possible to prefer one album over the others; Coroner should be read and discovered for their comprehensive body of works, as well as for their anavoidable path towards, as already mentioned above, the evolution of both sound and expressive force, which culminated in a momentaneous farewell and out-of-the-box album, reflecting a technical expertise that it would be very hard to follow.
To these brief but necessary comments about the band I must add a detail that cannot be ignored, which is to say that Ron Royce should be definitely considered one of the most amazing and original bassist of the rock as a whole, and surely he should be regarded as the Prince in the metal scene. Many people defined Coroner as "The Rush of trash", which shall be interpreted for the best, by reminding us the complexity showed by both of them, by the way it remains a limited definition which isn't able effectively to describe the potential of Ron and company.
Well, now I will let you enjoy the interview with Ron Royce and, as I hoped, I'm looking forward to getting in touch with one of the most influenced musical experience for me, that's also - and perhaps mainly- true for writing. Is there a good chance to record a new album? This is why Marky left the band and Diego is now with us. But we have not started yet with the songwriting. I think the new coroner album will be released not before LDP: At the same time, you are also considered — and rightly so- one of the greatest metal bassist of all the time.
How did you start? Who are the artists by whom you got inspired? RR: I was born in a musically gifted family. When I was small I used to do singing performances along with my cousin Doris, who herself is a well known country singer in Switzerland. My biggest influence as a kid, however, was my uncle who used to be the guitarist of a swiss progressive rock band in the seventies. Because I was playing soccer as a goal keeper, I did not bother playing music for many years.
I started playing bass at 17 only, because I figured I was already too old to learn the guitar and a regular bass only has 4 strings, which makes it easier to start with. Do you believe that Grin is the album that can reflect mostly your artistic maturity, a decisive step towards the overcoming of your artistic horizons? RR: I think that we improved with every album we released. I agree, Grin is a super album, but I can not claim it to be my personal favorite one.
Most of the songs on Grin by the way, are crafted by Tommy; he had far more influence on the songwriting for this album than me. LDP: What do you think about metal scene today? Is there around anything original, in your opinion, or do you think that new bands are just used to revise what it has been already sowed? Is there any band or artist you are interested in, in this moment? RR: According to my very long experience in the metal scene, I have come to know the fans of the metal scene as a very loyal crowd. It is very remarkable to witness these days, when we perform, that there is the very young people around, as well as the older generation, who already knows us from the ies and ies.
There are actually two generations around, oftentimes the parents who inspire their own kids to attend our gigs. Originality is probably the most important factor to me, when it comes to songwriting, but it has become really difficult these days, because there is so much competition around. Tommy would be a better reference to answer these questions, as he produces a lot of younger bands in his studio.
Has your originality ever created any barriers to your path, especially inside a scene that maybe could have asked you the cementing of a more rigid style? Only with the second album, they agreed to produce the videoclip along with "Masked Jackal". Personally, I reject any kind of stereotyping, especially because there should be no boundaries in music and the different styles are too comprehensive, especially these days.
What kind of interests or passions have you got, outside of music? After we broke up in , I pursued my own ideas, recorded a lot of music at home and was asked to participate in some musical projects, which I did. And I returned to soccer playing, which I stopped again after Coroner reunited.
Cds are in decline, people are used to download music, only vinyl seems to have awakened the demand of enthusiasts and neophytes. What do you think about the record production markets today? RR: Well, this trend has been developing over the past decades and is the reason why many of the older bands are forced to perform live and go on tour again. Same for us here, we all have our jobs, because we could never make a living out of music anymore. Eventually, people should actually be forced to pay some small amount of money each time they download a song; the collecting companies have been looking for solutions to this problem for a very long time, as you know.
LDP: Would you like to talk about your gear? What kind of basses are you used to play at the moment? Regarding instruments, currently and for many years, I have been playing a custom made bass hand crafted by M. Bruderer , but most probably I will soon be switching to Warwick bass, because I have a good offer from them and I consider their basses excellent quality and suitable for me.
How do you explain this choice? However, it is exceedingly difficult to play and therefore not practical for me, because I simultaneously have to concentrate on my voice while playing bass at the same time. I did implement fretless bass on the recording of some of our songs on the albums. I used to borrow a fretless bass for this purpose, for example on "Gliding above". In the early stages of Coroner, I additionally experimented with an 8-string fretted bass on a few songs. It has a great groove going and shows that you were able to remain at the highest levels of a compact sound, including by reducing your complexity.
How do you explain this alchemy? The compact sound and the alchemy of our playing, I think is mostly a result of many years of practicing and rehearsing together for hours every single day with adamant discipline and extreme dedication, which are two indispensable qualities to achieve most goals in life. Coroner's Discography: R. Barry Sparks. I started to know about and recognise Barry Spark's bass playing thanks to Cosmoquad, a power rock fusion trio who is still closed to both hard rock and fusion fan's hearts; I was used to consume a massive dose of fusion bass at that time, that's how I found Cosmoquad.
I was immediately struck by Barry Spark's sound; he simultaneously proved to be virtuous and balanced. I felt, it was clear, that Barry was capable of extraordinary technique even though without flaunting his own evident skills. He never risked leading to a sort of "circus" performance: with too much tapping or slap, as well as with too many solos. Barry was able to introduce himself with a fierce and a powerful sound, without getting caught up in those usual traps which are typical of bass heroes.
So I started searching for any records in which Barry took on the role of bass, since then. I found him with Yngwie J. Malmsteen, the great Michale Schenker. Barry is one of the top rock bass players out there, which is not surprising. That's because he can unite the emphatic groove, which is ideal for boosting such tough and complex tracks, and the bass player's awareness. It is him who fills and accomodates the structure, who holds it up and, if you like, encourages it. I wanted to interview Barry for a long time.
It has been a courtship that I started with shy e-mails some years ago, and now, here we are, with an interview that confirms Barry Spark's spirit of rock, as well as his own eclecticism, kindness and his willingness as person. His opinions about the world of rock and also the disintegration of the "true and real" music that is to say "listening it on a physical medium" , show that in this artist you can find the soul of rocker together with uncommon intellectual honesty and consistency, which are qualities really difficult to find in the musical scene nowadays.
LDP: First of all, Barry, how did you start? When and why did you choice electric bass? I would air guitar with my brother while playing Kiss records! I loved Ace Frehley the most. Around I bought an electric guitar out of a Sears catalog for about 50 bucks! My brother also started playing as well. A year or two later my brother wanted to form a band with his friend from school. I didn't really want to be left out, so I decided to play bass. I instantly loved it and practiced for hours and hours everyday, playing along with records..
Tygers of Pan tang "Spellbound" was another favorite to jam to. Also Fran Sheehan from Boston played great too. All the great rock bands from that time I still love these players today! These albums blew me away! It still doesn't really get better than that stuff. Stanley Clarke is unreal! Untouchable for that super fast finger picking! Oh yes Percy Jones from Brand X is awesome too.
Of course Billy Sheehan showed us all a thing or two as well! How can you always find your own state of mind in such exciting situations, so easly? Which are the experiences that you'd rather remember? BS: Well, I have been very honored to have been given the oppurtunity to play with so many great guitarists and bands. I think with each different project I don't really change my mindset or anything, I just try to play what is best for the song. Of course if I can add a cool lick or a cool part, I try to do it! Sometimes, yes, less is more, but I have always also had the attitude to "go for it' a bit and let the magic happen.
Again, it's not something I really think about. I just think my influences run deep! So my Geddy, or Entwistle impersonation which hopefully by now sounds like my own twist on it is always there. For example.. It was a bit like "Cream" and also Ted liked it that way, so that encouraged me too! LDP: You have recorded two solo albums, very different from each other, also various and peculiar, and in both of them you didn't push your virtuosity, even tough you could just do it, instead of preferring the musical composition and the amalgam.
Do you think you could record an ultra technical solo album, anytime soon? Have you planned any other foray as alone artist? BS: That's a good question. Well, in the past, on at least these two albums you are talking about, the first one actually had no bass at all! Strangely that was an entirely acoustic album. And that came about for several reasons, one being, I wasn't set up to really record a proper full blown album you need to think that this was way back in or so, and the digital recording wasn't so easy to come by as it is now. So that was done on ADAT machines.
Anyhow I knew I could at least make a good sounding acoustic album this way and I still think that album sounds pretty good. For the next one, it was more of an attempt to make a "pop rock-ish" sort of thing. So funnily enough. Sometimes when I write songs which is usually done on an acoustic guitar, well, on that album, I didn't really notice until much later. But I think the bass was probably done rather quickly, although the bass playing is fine, maybe more simple is all, which sometimes is better if the song calls for it.
Also my mindset might have been on the guitar perhaps, where as, if I come into a studio to play on someone elses album, I am using my "I am a bass player" brain and probably hoping to shine on the the bass a bit! Anyhow my point is that I may have just played a bit more simple because I was thinking about the guitar parts and just not trying to "show off" so much as a bass player. But it's mainly a duo of just him and I.. I play all of the instruments and it's a real "old school" rock album!
My favorite style of music. It is being mastered now and I am very happy with how its coming out! On this album, when it came time to record bass, I approached it the same as if I would play on a Ted Nugent album or something, so I really wanted the bass to stand out. I really wanted to have the bass been a very important part of the song I really went "over the cliff" I went for a more "Geddy" or Entwistle" tone using a seperate track for distortion, which I blended with my clean signal same thing I do live, whenever possible anyhow the bass on this album really stands out I think and I allowed myself to "play" quite a bit!
It's not all out shredding so much because, I mean, the songs still need to have the right bass part. But I took a different approach and I wanted the bass to really say something. I think it has some of my best playing ever on this album! You are part of this "race" of extraordinary bassists without any awe of guitarists. Do you think that the emancipation of electric bass in the hard rock is still in progress? BS: Well, first off, I thank you for including me with such good company! As for if the bass is continuing to evolve?
I certainly hope so! To be honest, a lot of what is happening today is sort of discouraging young players, not putting in the time to practice as much as I did 20 years ago and still do! Today people want "instant satisfaction" and with all the amazing technology which is wonderful but it also stops people from really having to play so well you can always fix it now and it's easy to do so.
I don't want to sound so negative. It's just that "times have changed" and I sometimes can't help but look back at Zeppelin, Deep Purple or listen to Rush or my old Yes albums or anything from those "good ol days" days! It seems now. Don't people even have the attention span to listen to a whole album? It's all about people's I-phones!
I am a vinyl record collecting freak, so that keeps my love of Rock alive. But of course there are many great players today too and I hope the bass continues to evolve! But as along as music is "mere background music" on people's I phones If they were released today, how many people would even listen to the whole thing?
Maybe "money" would be a hit but that's it! It wouldn't have a chance, people are facebooking and playing video games instead of "listening" to good music! When Van Halen first came out, everyone I mean everyone, not just guitar players was listening to Eddie Van Halen and saying That guy can play guitar!
It was exciting for the whole world. Now a lot of the really good euro metal bands are playing really good but it's mostly only other guitarists listening. I remember in the 80's, going to a rock concert was the best and most exciting thing for people to do. Now even the most popular bands can't really play the arenas like they did back then, because people are just not as "into" it as they were. It's nice to be able to play huge stadiums in Japan with B'z nowadays because it just won't happen in most other places in the world.
The Japanese fans still love to see live music. One more point is that when I was growing up now I am sounding old! This was very important stuff. And it meant a lot to me. I knew each member of every band I liked, most of younger people don't pay much attention to who the drummer is or bass player well I could be wrong but it seems this way to me Again it seems music is less important when you get it for free and when it isn't an actual "product" you can feel in your hands, if it's just an mp3, you can't even see Jimmy Page was so mysterious, it made him a Rock God!
Well you just can check Katy Perry or whoever, and you can read on twitter what they ate for lunch, so much for the mysterious Rock Gods! Led Zeppelin was larger than life, because you didn't get to know every detail. You only had the Music! But all the negativity aside, I do try to always think positive and hope things get better. So people And keep "real" music alive! LDP: I'd like to know something about your relationship with fretless and what kind of technical skills do you prefer on bass, as you master all of them BS: Fretless!
Well, that is a tough bass to master isn't it! As for my fretless playing I feel I have a long way to go on that! I play it from time to time but I would never say I am a fretless player so much! Tony Franklin is amazing, as well as Marco Mendoza. I am much more comfortable on a fretted bass, but I do love fretless and when I feel brave enough I try to play it too! Mainly I am a finger player and very proudly I do play with all four fingers, even my pinky, I am not sure if I have ever seen anyone else play this way. I am most comfortable playing fingerstyle. Rock bass is really my thing.
From time to time though, if needed, a pick works well for some rock stuff. I love Chris Squire!
second deluge Ebook
But if I don't need to do it. For me, fingerstyle is the way to go. Long ago I read an interview with Steve DiGiorgio, who said that in "Mind's Journey" you taught everyone a glorious lesson and it's true! You received a great demonstration of esteem by a lot of people. Are there any peculiar musicians, whom you particularly appreciate? BS: Well first off, I want to thank Steve for such nice words! At the time I don't think we really thought very many people were paying much attention to those albums. John West is a great singer and we knew it was good stuff, so it's nice to hear maybe some people actually were listening.
Again, as for the bass, I was just trying to do the best job I could do. I do think I was playing well at that particular time hopefully I am better now! Which I always try to be in that. Practice for me is very important as the bass is a very demanding instrument. As for people I admire, the list is long. All the people I have ever worked with, I feel are great and I have played with many of my heroes.
Michael Schenker is still probably my fave lead guitarist ever. As for bassists, some I mentioned already but I will make a list again here. Jaco of course! Even guys like Pete Sears form Jefferson Starship was a cool player, most guys I like were not so much soloist guys some are. Most are great "Rock" players, I always wanted to be a great "Rock" bassist.
Of course I love and appreciate jazz and other forms of music. These guys were all larger than life Rock N Roll Gods! Another guy I admire very much is Steve Morse. He is a great player and I also used to read his guitar magazine columns every month. He always had great wisdom! LDP: What kind of gear do you play at the moment? My brother Kevin had designed these for me first. A white one you can see me playing in lots of pictures. This is now made by ESP. Dokken guitarist Jon Levin came to a gig in New York, I remember him saying, "wow that bass looks cool on you!
I said, it may look cool, but it sounds terrible! Hahaa so anyhow Jon and I were going to have a small company in Wales make us some custom instruments. That kinda fell thru, so I asked my brother to give it a try. And he made me a great bass! He came up with the shape, sort of Thunderbird like, but a bit smaller and different woods, maple and alder. Anyhow these basses I love and I like having my own "Thing" they are truly unique and they Rock! As for amps, in Japan with B'z I have some real cool custom speakers made by a Japan company called F. As for amp heads, usually ampegs, a classic or pro 4 works well but mostly, because I like how reliable they are and how they all always sound the same, a GK Rb is an easy choice.
My strings are S. T and my pickups are Seymour Duncan. LDP: Why don't you talk about your next plans? Are there any records that are coming out? How is your collaboration with B'z progressing? As for B'z, I love playing for them. They are great people, they play great, the music is great, basically it's a real cool thing! B'z have a new album coming out in Feb, I believe, and a huge Japan tour will be form March thru to July, so I am very much looking forward to doing all of that soon! LDP: Let's close with a question focused on your taste in music. If you might list on instinct some records you love, what titles would you mention to me?
BS: Ok. Some of my fave albums in no particular order.. But these albums are sort of "part of my life" very important music to me. The soundtrack of my life stuff! Well there are many more, but on a desert island maybe I could survive with even just these! Thank you for the great questions! Io vendevo dischi, gli ultimi anni della professione fantasma, e lui veniva in negozio. Preferisce concentrarsi su quanto vuole esprimere, fottendosene dell'aspetto glamour e autocelebrativo della cosa. Ne sentirete parlare e certamente ascolterete la sua musica.
Sei su territori amabilmente sfuggenti, cantautorato profondo, di matrice americana, rock trasversale. Come ci sei arrivato? Credo quindi che tu ti riferisca proprio al sound dei primi lavori, soprattutto Later, primo vero album. Con Ferdinando ci trovammo subito in sintonia e per quei 3 anni, tra il primo EP e Later, abbiamo lavorato benissimo, partorendo il sound al quale ti riferisci che era nelle corde di entrambi. Tutto il tour fu acustico, io ed il chitarrista Giuseppe Di Donna. In Italia comunque, soprattutto al nord, ci sono molte band e cantautori che si rifanno ad artisti classici americani, come Springsteen, Tom Petty e tutto quel filone Quali sono i collegamenti culturali tra la tua musica e altre arti?
GL: Ti ringrazio per i complimenti. Ho amato "American Tabloid" soprattutto la parabole esistenziale e professionale di Ward J. Littell, tuttavia non so fino a che punto mi abbia influenzato ma immagino che, a braccetto con certo cinema, lo abbia fatto. LDP: Il lavoro come portiere di notte ha un suo fascino letterario molto peculiare, e nel tuo caso, songwriter e musicista, sarebbe uno spunto magnifico per Leonard Cohen e Stan Ridgway.
Related Ufo: oltre il contatto: Prospettive e scenari di un incontro epocale (Italian Edition)
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