domenica 14 settembre 2014

Beyond Visibility


The village of Tiébélé lies in the south of Burkina Faso, near Ghana. It’s a small village, with a land area of only 1.2 hectares, but also an important one because the residents are the royal members of the Kassena people, one of the oldest ethnic groups in Burkina Faso. It is a very difficult place to get to because the Kassena people wish to remain isolated from outside influences and preserve their own buildings and traditions. They believe modernity is a threat to their culture, and so prefer to keep to themselves as much as they can and limit their visitors. It takes a long process of negotiations to be admitted into the village.

 


"Space has no room, time not a moment for man. He is excluded. 
In order to 'include' him — help his homecoming — he must be gathered into their meaning (man is both the subject and object of architecture).
Whatever space and time mean, place and occasion mean more.
For space in the image of man is place and time in the image of man is occasion.
Today space and what it should coincide with in order to become 'space' — man at home with himself — are lost. 
Both search for the same place, but cannot find it.
Provide that place."

 




"Is man able to penetrate the materials he organises into hard shape between one man and another, between what is here and what is there, between this and the following moment? 
Is he able to find the right place for the right occasion? is he permitted to tarry?
No. So start with this: make a welcome of each door, and a countenance of each window.
Make of each a place, a bunch of places of each house and each city, for a house is a tiny city, a city a huge house.
Get closer to the centre of human reality and build its counterform — for each man and all men (today the architect is the ally of everyman or no man).
Whoever attempts to solve the riddle of space in the abstract will construct the outline of emptiness and call it space.
Whoever attempts to meet man in the abstract will speak with his echo and call this a dialogue.
Man still breathes both in and out, when is architecture going to do the same?
When it does watch the thin lines — those narrow borderlines — loop into the places people need; watch how they are persuaded to loop generously into a tiny-huge.
Inbetween realm
It is with this in mind that i venture to call architecture
built homecoming"


 
 

"When I say: make a welcome of each door and a countenance of each window; make of each a place and a bunch of places of each house and each city, because man's home-realm is the Inbetween Realm (the realm of architecture sets out to articulate), my intention is to provide the right scope for multimeaning.
As soon as the equilibrating impact of the Inbetween Realm (extended so that it coincides with the bunch of places both house and city should be) manifests itself in a comprehensibly articulated configuration, the chances that the terrifying polarities which hitherto have harrassed man's right composure may still be reconciled will certainly be greater.
It is still a question of twin phenomena, a question of providing the inbetween places where they can be encountered, readily mitigating psychic strain."


 
 

"Tree is leaf and leaf is tree- house is city and city is house - a tree is a tree but it is also a huge leaf - a leaf is leaf, but it is also a tiny tree - a city is not a city unless it is also a huge house - a house is a house only if it is also a tiny city"

All the qotes come from 



Many thanks to Laura Scarpa for making me descover this magical place and architecture
Beautiful images here

mercoledì 10 settembre 2014

Keef




(S)treep to Gaza

C'è questa bella iniziativa per raccogliere fondi a favore della ricostruzione del sistema sanitario di Gaza: (S)treep to Gaza
Sono stato invitato, insieme ad altri illustratori, a realizzare un disegno sul tema, da mettere in vendita on line.
Le persone che hanno organizzato sono fidate e so che i soldi raccolti andranno a buon fine, per cui se avete voglia di comprare l'illustrazione mia o di qualcuno degli altri, trovate tutte le info nel link qui del sito di Comicout. 
Il testo è di Fabiana: 
“Così il mare rifletteva le loro anime, livellava le loro differenze, leniva la loro inquietudine, sussurrava di pace e speranza ai loro bambini”

(S)treep to Gaza
Acquerello e tecnica mista su carta indiana lavorata a mano - 25x25

venerdì 5 settembre 2014

Djerbahood

Après la Tour Paris 13, la team Itinerrance dépose ses valises dans un village traditionnel de l’île de Djerba, Erriadh.
Véritable musée à ciel ouvert, Djerbahood est un village investi par des artistes venus du monde entier. Le village d’Erriadh à Djerba accueillera cet été les oeuvres d’une centaine d’artistes de trente nationalités différentes. Erriadh, lieu authentique  et traditionnel, deviendra un espace d’expression pour chacun des artistes issus de cultures diverses.

Djerbahood su Instagram








giovedì 28 agosto 2014

Lire Lyon: Shots from the exhibition

Qualche immagine dall'inaugurazione della mostra al Goethe-Institut in Lyon e dalla città. 
Organizzazione ottima della serata e della mostra a cura di Christina Hasenau e di tutto il team Goethe a Lyon. Grazie mille!




 










 







martedì 26 agosto 2014

I Wish I Knew How It Would Feel To Be Free


Nina Simone  (born Eunice Kathleen Waymon; February 21, 1933 – April 21, 2003) was an American singer, songwriter, pianist, arranger, and civil rights activist. She worked in a broad range of styles including classical, jazz, blues, folk, R&B, gospel and pop.
Her musical style arose from a fusion of gospel and pop songs with classical music, in particular with influences from her first inspiration, Johann Sebastian Bach and accompanied with her expressive jazz-like singing in her characteristic contralto.
from "Wikipedia

"Of all the major singers of the late 20th century, Nina Simone was one of the hardest to classify. She recorded extensively in the soul, jazz, and pop idioms, often over the course of the same album; she was also comfortable with blues, gospel, and Broadway. It's perhaps most accurate to label her as a "soul" singer in terms of emotion, rather than form. Like, say, Aretha Franklin, or Dusty Springfield, Simone was an eclectic who brought soulful qualities to whatever material she interpreted. These qualities were among her strongest virtues; paradoxically, they also may have kept her from attaining a truly mass audience. The same could be said of her stage persona; admired for her forthright honesty and individualism, she was also known for feisty feuding with audiences and promoters alike. 

If Simone had a chip on her shoulder, it probably arose from the formidable obstacles she had to overcome to establish herself as a popular singer. Raised in a family of eight children, she originally harbored hopes of becoming a classical pianist, studying at New York's prestigious Juilliard School of Music -- a rare position for an African-American woman in the 1950s. Needing to support herself while she studied, she generated income by working as an accompanist and giving piano lessons. Auditioning for a job as a pianist in an Atlantic City nightclub, she was told she had the spot if she would sing as well as play. Almost by accident, she began to carve a reputation as a singer of secular material, though her skills at the piano would serve her well throughout her career. 

Simone's best recorded work was issued on Philips during the mid-'60s. (...) These records can be breathtakingly erratic, moving from warm ballad interpretations of Jacques Brel and Billie Holiday and instrumental piano workouts to brassy pop and angry political statements in a heartbeat. There's a great deal of fine music to be found on these, however. Simone's moody-yet-elegant vocals were like no one else's, presenting a fiercely independent soul who harbored enormous (if somewhat hard-bitten) tenderness." from Richie Unterberger, All Music Guide

martedì 19 agosto 2014

Lire la Ville / Die Stadt Lessen / Reading the City

Domani alle 19.30 inauguro la mostra di illustrazioni a Lione in Francia. 
Chi si trovasse da quelle parti, è il benvenuto! Rimarrà aperta fino al 5 Settembre.
Sul sito del Goethe-Institut, che finanzia il progetto ed ha organizzato la mostra, c'è una breve intervista di presentazione del progetto in corso.

Tomorrow at 19:30 I will inaugurate this exhibition of illustrations in Lyon, France.
If you will be in Lyon in the next days, you are welcome! It will stay open until Sept  5.
On the website of the Goethe-Institut, which funds the project and organized the exhibition, there is an interview to present the on going project.
Goethe-Institut Lyon


Athens

Alcune immagini che ho scattato ad Atene pochi giorni fa. 
Mi riprometto sempre di stare più a lungo in quella città. Non so neppure perchè, ma esercita un fascino su di me, dalla prima volta che la visitai: magari è solo perchè rappresenta la porta per le vacanze. 
O forse perchè è una città sconfitta: lo era già molto prima dell'inizio della crisi.

Il Rebetiko, la musica del Pireo, è nato qui:
"Il Rebetiko (Ρεμπέτικο) (...) è considerato dai Greci come il tango per gli argentini, il blues per gli americani e il fado per i portoghesi. È nato a cavallo tra XIX e XX secolo, nei bassifondi della società greca, da persone emarginate che volevano raccontare i loro disagi o le loro peripezie tramite la musica. La tematica delle canzoni riguardava storie di povertà, prigione, droghe, storie d'amore, problemi sociali, prostituzione, messe in musica in modo passionale, a volte triste, a volte ironico o scherzoso" - (da Wikipedia)

da "Rebetiko - La Mala Erba" di David Prudhomme
In queste immagini scattate velocemente, quasi in corsa, alterate nei colori e nelle atmosfere, ho l'impressione di aver trovato una chiave di lettura per provare a descrivere e raccontare Atene attraverso i disegni. 
Poi spero che presto arriverà il momento di disegnarla bene, con calma, in modo da cercare di trasmettere quel sentimento tormentato che ha per me, ogni volta che la rincontro. 
Perchè la attraverso da 10 anni, e ci sono affezionato.
  








Questo video invece, è di Ifigenia Liangi, un architetto che insegna alla Bartlett School of Architecture a Londra e viene da Atene. E' la rappresentazione di un progetto architettonico, radicale nella sua sperimentazione, poetico, calato nel contesto.
La ricerca di un linguaggio personale, che racconti Atene oggi, attraverso l'architettura.
Nel suo sito si trovano immagini e disegni che mostrano il "making of" del video, fortemente ispirati alle atmosfere che si respirano in quella città, in questi anni.