go to site Billiani, Renewing a literary culture through translation, in Translation as intervention, edited by J. Munday, Continuum, London , pp. Narrator-poets and their poetry collections published by Mondadori Narrator Title of poetry collection Year G. Borgese Le poesie di G. Aleramo Poesie S. Borgese Poesie G. Soldati Canzonette e viaggio televisivo P. Palazzeschi Cuor mio a new critical category A. La stella del mattino A. Palazzeschi Poesie R. Palazzeschi Via delle cento stelle: Bacchelli Giorni di vita e tempo di poesia G. Bassani Epitaffio S.
Bassani In gran segreto G. Bassani In rima e senza G. Testori Ossa mea A. Bevilacqua Vita mia V. Pratolini Il mannello di Natascia e altre cronache in versi e in prosa A.
Bevilacqua Il corpo desiderato G. Bonaviri Il re bambino A. Bevilacqua Messaggi segreti G. Bonaviri Il dire celeste e altre poesie A. Bevilacqua Legame di sangue S.
Aleramo Tutte le poesie A. Bevilacqua Tu che mi ascolti: Bevilacqua Le poesie V. Pavese Lavorare stanca C. Pavese Poesie del disamore e altre poesie disperse C. Pavese Poesie edite e inedite G. Morante Il mondo salvato dai ragazzini Jacob S. Quarantotti Gambini Al sole e al vento N.
Maraini Donne mie L. Maraini Mangiami pure P. Volponi Poesie e poemetti L. Orengo Canzonette D. Maraini Dimenticato di dimenticare G. Orengo Cartoline di mare P. Volponi Con testo a fronte: Ottieri Vi amo C. Pavese Poesie giovanili C. Gadda Poesie C. Pavese Le poesie N. Orengo Cartoline di mare: Cerami Canti di scena: Orengo Spiaggia, sdraio e solleone L.
Romano Poesie P. Ramondino Per un sentiero chiaro B. Fenoglio Epigrammi A. Bevilacqua Duetto per voce sola: One might point to the fact that both Mondadori and Einaudi have pub- lished the poetry of Bevilacqua, Cerami, and Orengo, for example. In the list below are the poetry collections by narrators published by Garzanti Table 7: Narrator-poets and their poetry collections published by Garzanti Modern Italian narrator-poets: Narrator Collection Year a new critical R.
Palazzeschi Difetti F. Cerami Addio Lenin A. Un concerto di poesia S. Addamo Il giro della vite P. Levi Ad ora incerta G. Testori Diademata R. Pazzi Calma di vento E. Morante Alibi S. Addamo Le linee della mano: Bruck Monologo O. Ottieri Il palazzo e il pazzo F. Camon Dal silenzio delle campagne Of these 14 narrators-poets, only 4 were also published by Mondadori, which gives an indication of the difference in publishing style and literary tastes. As Ferretti has put it, 57 Ivi, p. Palazzeschi Viaggio sentimentale S.
Palazzeschi Schizzi italofrancesi G. Testori Crocifissione G. Testori In trigesimo V.
Zavattini Toni Ligabue P. Bernari 26 cose in versi S. Addamo Il bel verbale A.
Vigevani Piccolo bestiario A. Addamo Alternative di memoria: Raimondi Poesie G. Bonaviri I cavalli lunari So, for example, it published the little-known poems by well-known writers: The small publishing house Guanda, founded in by Ugo Guandalini, specialized in poetry, especially poetry in translation in the 58 Ivi, p. In fact, no other publisher was so influential in publishing foreign poetry as Guanda, during its heyday, roughly from until the death of Guandalini in Petroni Versi e memoria E.
Bruck Il tatuaggio Modern Italian F. Cordelli Fuoco celeste narrator-poets: Petroni Poesie a new critical category G. Bonaviri Il dire celeste e altre poesie E. Bruck In difesa del padre O. Ottieri Storia del Psi nel centenario della nascita; Il padre O. Ottieri La psicoterapeuta bellissima N. Giuseppe Bonaviri was a noted Sicilian novelist; Franco Cordelli wrote one book of poems before beginning a career as a novelist. In conclusion, fewer than half of our 84 poets 39 were published by the three large publishers: Mondadori, Einaudi, and Garzanti, which sug- gests that narrator-poets have not clearly entered into the official canon of Italian poetry.
The majority of them published with smaller publishers e. More than a half of all narrator-poets surveyed, 43 out of 84, have no poetry volumes currently in print, even if they have collectively pub- lished volumes. In fact, a substantial number of these 43 writers have even published five or more collections of verse.
The narrators with the most publications of poetry in print are A. Bevilacqua with seven, and then six narrators with three collections on sale: The case is somewhat different with Pavese and Morante. In addition, there are currently substantial anthologies of poetry by Giovanni Testori,66 Paolo Volponi,67 and Alberto Vigevani68 in print. Testori, Poesie , edited by D. Rondoni, Mondadori, Milano Zinato, Einaudi, Torino Tutte le poesie , edited by E. Testa, Einaudi, Torino Once more, writ- Modern Italian ing poetry is found to be a regular activity for novelists and short story narrator-poets: This authority on the part of the publisher also derives from the credit he or she is awarded by all participants in the recognition chain, ranging from writers to members of literary juries and literary critics.
This naturally leads to the topic of literary prizes. Only seven have gone to 70 G. Sapiro, Translation and the field of publishing: Marrone, Routledge, London , pp. Moreover, the seven writers thus anointed rarely find their way into anthologies: Blakesley from them, and the last time Aleramo was anthologized was more than a half-century ago, not coincidentally a few years after winning the Premio Viareggio. This indicates that even such symbolic capital as given by a prize has not been enough to canonize many Italian narrator- poets. The most recent comprehensive encyclopedia of Italian writers is the two-volume Encyclopedia of Italian Literary Studies, published by Routledge in How does it measure up in terms of its critical bibliography, with esteemed contributors from universities all over the world?
In other words, for 41 of the 68 nar- rator-poets, one or more books of their poetry is unlisted. Only in 27 of the 68 entries do the bibliographic references correctly list all of the books of poetry published by narrators. There are numerous cases where narrators who have published poetry are listed as having pub- lished none, such as Flaiano,84 Fenoglio,85 Manganelli,86 and Rea. Scheiwiller, Scheiwiller, Milano ; Id. Fenoglio, Epigrammi, edited by G.
Manganelli, Poesie, edited by D. Piccini, Crocetti, Milano The same holds true if we look at the only critical reference work dedicated to Italian poets — the Dizionario della poesia italiana, edit- ed by a noted poet, Maurizio Cucchi.
This again demonstrates the absence from the Italian canon of the majority of narrator-poets, and is all the more significant since the volume is edited by a leading contem- Modern Italian porary poet. I have argued that the vast production of poetry by modern Italian narrators is not just a curiosity, but a widespread trend.
While such verse is generally ignored or spurned by critics and the literary establishment, it nonetheless bears further examination. Moreover, analysing the poetry produced by such authoritative figures can simultaneously enrich and complicate the history of modern Italian poetry. Finally, it is beyond doubt that the verse of many Italian narrator-poets deserves much more attention than currently received: Narrators who published poetry Narrators who published 15 volumes of poetry: Narrators who published 14 volumes of poetry: Alberto Bevilacqua, Giuseppe Bonaviri.
Narrators who published 13 volumes of poetry: Narrators who published 11 volumes of poetry: Luigi Compagnone, Nico Orengo. Narrators who published 10 volumes of poetry: Sebastiano Vassalli, Paolo Volponi. Narrators who published 9 volumes of poetry: Ottiero Ottieri, Roberto Pazzi. Narrators who published 8 volumes of poetry: Libero Bigiaretti, Amalia Guglielminetti. Here in NYC, he has recently brought his talents to our streets.
Strong contrasts, vivid colors, effects, and the use of mixed medium and varied technique combine to impact strongly on the viewer. In particular, symbolizing the attitude of the artist, this exhibition is a revelation, showing an advanced full experience, impossible to explain with words. Made with a unique iridescent material that allows the artist to regulate light spectrum gradients in every aspect of color, repetition, directional displacement and rotation.
In order to maximize this experience, Pantone is also relying on new technologic supports and different spaces dimension, able to expand the exhibition out from the traditional boundaries.
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Felipe Pantone has just left his tag in New York City, his bright creations are influenced by the internet and the technology hungry world we live in today. Glitchs and computer generated graphics are the sign of the times and Pantone uses this concept in his art. His style is characterised by the use of bold colours, geometrical patterns and Op Art elements.
Cocktails will be served, suits will be donned, and fine contemporary art will be available to peruse. The exhibit is currently open to the public up until February 4, Jenny Holzer has launched a new exhibition at the historic Blenheim Palace in England. Additionally, she has created a virtual reality mobile app for the showcase. The text highlighted in the pieces are culled from The Not Forgotten Association—a charity organization that provides assistance for military veterans in the UK. The exhibit is currently open to the public up until December Pantone, who works in the optical and kinetic tradition, uses strong contrasts, vivid colors, mixed medium and varied techniques to focus on the interaction between the displacement of the light spectrum and shape-color dynamism.
The exhibition, featuring iridescent material that allowed Pantone to regulate the light spectrum gradients in color, repetition and directional displacement, symbolizes the attitude and experimentation of the artist, according to the gallery release, and expands the exhibition beyond traditional boundaries. Planned Iridescence will run until November Since its onset, the group has never focused on a single ideology, poe cs, or language.
This exhibition aims to underline the international relevance and attention that is now pointing at five outstanding artists represented by GR gallery, that are simultaneously attending the most important art event in the world: All Italian, these artists are among the founders or prime representative of the Optical Art and Kinetic Art.
An movement emerged in the early 50s in Europe and South America that rose quickly in the early 60s also in the U. On both sides of the ocean, it has had a long and outsized influence on visual art, architecture and design. In the last few years, the art world has witnessed a deluge of Op and Kinetic art centered exhibitions by major international museums and galleries and the markets took notice. The exhibition puts together 15 recent artworks, including paintings on canvas and wood, works on paper and sculptors, executed between and , engaging in a conversation about the infinite possibilities through which the power of astral nature interacts with one another.
Vibrant, exhilarating hues seem to explode from reassuringly geometric shapes—a visual sampling of longer days and warmer temperatures, reminding us of what power positivity, hope, and faith yield in these uncertain times. The exhibition, curated by Alberto Pasini and Eva Zanardi , will feature 25 recent works by the two artists, engaging in a conversation about the infinite possibilities through which quadrilaterals—fixed on canvas through an exhilarating palette comparable to that of pop art—interact with one another.
The show is not to be missed! He was photographed March 27 in front of a Ron Agam piece in his office. Both Agam and Casentini are invested in researching and experimenting with hard-edged color field painting and geometry. The exhibition will feature 25 recent works by the two artists, engaging in a conversation about the infinite possibilities through which quadrilaterals—fixed on canvas through an exhilarating palette comparable to that of pop art—interact with one another.
Their modern takes on the style see them also master form, color, and linework while putting their own unique take on the aesthetic. Thursday February 23, 6: Feb 23—April 16, In Europe and South America, it emerged in the early s, and has enjoyed an uninterrupted, if at times understated life since that time. Its ability to have a successful afterlife is due to its ability to produce interference between the physical presence of its surface and the illusory effects its patterns create.
Since , the art world has witnessed a deluge of Op-Art and Kinetic-Art centered exhibitions by major international museums and galleries. The markets took notice: Straddling conventional graffiti, typography and abstraction, his work fuses bold elements of graphic design with highly evolved geometric shapes. The viewer perceives oscillation through the illusion of a continuous wave produced by the physiological experience of space and movement.
Meticulously layered stripes in tightly woven structures create a musical rhythm and repose. By using undulated cardboard surfaces painted with acrylic colors, Renko creates tridimensional geometric structures that can be read from several angles, giving the impression of movement. Last week, GR gallery unveiled its fourth exhibition dedicated entirely to Op and Kinetic art. Interferences , on view at GR gallery until April 16, , features recent works by four innovative artists from Europe and America: An Op art immersion, the exhibition sets the output of these four artists in conversation with one another, sparking a dialogue between their distinct masteries of line and explorations of pure color and form.
Despite this, Op art has maintained a lengthy afterlife, yielding an outsized influence on visual art, architecture, and design. GR gallery, entrusting that this movement would undoubtedly see a revival, has promoted and supported artists of these two often-overlooked movements since its inception in Italy, and thereafter in New York. Without fail, the last few years have seen a deluge of Op and Kinetic art featured in museum and gallery exhibitions around the world.
Optical art is a creative movement that began to take shape in the s. The GR Gallery of New York presents an exhibition that shows how much there is to be explored in the field of visual perception: Contemporary Op and Kinetic Art. The exhibition includes Gilbert Hsiao, Sandi Renko, Nadia Costantini and Felipe Pantone, artists who use the line as a fundamental element in their work. The work of Felipe Pantone is recognized for his approach to graffiti, the colors that remind us of video games or any image of the digital era through abstract creations.
Nadia Costantini, Italian painter and sculptor who works with the positive-negative contrast to create the illusion of movement in her work, presents a series of work with geometric figures that give us the feeling of depth. Because not everything is said in the exploration of optical art, until April 16th GR Gallery will present to us the most outstanding creators so far in this subject.
I know that as soon as I arrive, my blue, wintry mood is bound to be uplifted. Ron Agam approaches, smiling. His expressive hazel eyes are soft-spoken, exuding a radiant aura of positive, serene energy. Talent runs in the family; as the son of world-renowned Israeli kinetic artist Yaacov Agam, Ron only began painting after he turned 52 he is now 59 years old.
Following his long and successful career as a fine art photographer, Ron had an epiphany after he turned down one of the largest and most lucrative job opportunities of his career—a photo book for luxury group LVMH. His use of color is unique; through juxtaposing power-saturated hues, every color reverberates, simultaneously igniting the vibrancy of its counterparts. As a child I witnessed how my father was working. He would use — shades of a color, a mesmerizing process to witness. How do you think the American public will receive your work?
Given the present general increase in value of geometric abstrac on, I would say that the American palate has now learned to taste this kind of art; many young people take on this language, interpre ng it di erently; they recover and modulate it using informa on technologies. How does your work assimilate into this context?
The common ground is clearly a sort of shared alphabet that each of us uses and combines di erently, expressing his own personality. Interest stems from the comparability provided by the creators and curators of the exhibi on. Nadia and I somehow belong to the same school. This is an extraordinarily happy me for you. How do you interpret this period and what would you expect from year ? I believe apprecia on stems mainly from the outcomes of the turn my chroma c researches recently took. Then, I met gallerists who believe in my work enough to include it in their exhibi ons.
Allo Spazialismo, che ebbe in Lucio Fontana il suo fondatore e teorico, aderirono pittori come Gino Morandis e Virgilio Guidi, mentre Ennio Finzi, Riccardo Licata e Carmelo Zotti rimasero ufficialmente slegati dalla corrente, ma ufficiosamente molto vicini allo stile adottato. Quando chiedo al Direttore quale rapporto leghi il pittore partenopeo alle opere degli Spazialisti, la risposta mi soddisfa, e mi rivela anche una scelta di strategia logistica della Galleria: Rune depositarie di memorie antiche?
The exhibition runs until 5 February at number in Bowery and is curated by Giovanni Granzotto. It is a tribute to the relationship between the gallery and the art scene in Venice over the last forty years. Since the Fifties, and for about three decades, Venice has been a real hotbed for creativity, an international catalyser of clever minds and the co-creator of a unique moment in art history, taking its first steps from the Spatialist movement. Being aware that that was not the place to outline a complete background of the incommensurate events involving post-war Venetian art, the organisers chose six painters as protagonists of this exhibition; they are all Venetian by birth or adoption, and their personal and professional lives are interestingly intertwined in close relationships with the Gallery, in a close cooperation that led to their mutual growth.
The artists chosen are the signatories of the manifestoes of Spatialism: Gino Morandis and Virgilio Guidi ; those artists who shared their inspirations and creative impulse with the movement, without ever formally joining it: Ennio Finzi and Riccardo Licata ; the symbolist-surrealist painter Carmelo Zotti , gravitating towards the movement; and the Venetian master Emilio Vedova , front and centre of post-war European formal art.
On display six works by each painter, leading the visitor on an ideal path through different styles spanning from impetuous, informal signs and gestures, to synthetic, minimal perspectives, in a dimension where creativity is made possible by the extraordinary influence. GR gallery is proud to announce a solo exhibition of the American artist David R.
Prentice, featuring 25 of his minimalist abstract paintings from the past 5 years. Switching gears, the artist dove into realistic landscape paintings in the 80s. After a long and successful career with landscapes, he has revisited Minimalism with the colorful yet subtly moving pieces on view at GR gallery. These most recent works invite the viewer to contemplate how the colors move and blend seamlessly to create a dreamlike composition. GR Gallery hosts yet another spectacular contemporary art exhibit: One that hypnotizes and heals.
A re-visitation of work he created almost 50 years ago, 25 of David R. Relaxing colors, reminiscent of early spring or dreamlike environments evoke introspection. Painting should nourish in the same way; it should make you feel better. It is an adjunct to healing. It helps you overcome trauma and sadness. Subtle palettes hereby mesmerize viewers, inspire reflection and soothe.
Thursday October 13, , 6: Prentice, featuring 25 of his Minimalist abstract paintings from the past 5 years. Beginning in the late 50s, David R. After a long and successful career with landscapes, he has revisited the Minimalist ideas with the colorful yet subtly moving pieces on view at GR gallery. These most recent works of his draw the viewer in to contemplate how the colors move and blend seamlessly creating a dreamlike composition.
Just in the last period, he decided to recapture abstractminimalist art bringing it towards a new avant-garde. He has exhibited his work in several exhibitions all over the world and he now lives between Manhattan and Ashikawa City in Japan. Io uso il tessuto delle calze per realizzare opere che prendono origine dalla matematica e dagli algoritmi, una mia grande passione.
Ci racconta la sua originale ascesa nel mondo della moda? A un certo punto lei disse: Senza perdere tempo le presentai dei disegni semplici, geometrici, regolari, il cui tema portante erano le righe bianche e nere, o bianche e blu, bianche e rosse, orizzontali e verticali. Se dovesse mettere Firenze e New York a confronto? Se devo essere onesto quando sono a Firenze vorrei trovarmi a New York e viceversa. Chiudiamo con un consiglio per un giovane artista.
Nei Paesi nordici, in Europa, in Russia. Curated by Giovanni Granzotto and Alberto Pasini is a sublime exhibit of twenty-five works by Emilio Cavallini—a designer, weaver, and mathematician, who never leaves his masterpieces to chance. In the manner of Da-Vinci, Emilio sketches, plans, and locks precision into a program prior to launching into a three-dimensional frenzy. Very much like Karl Lagerfield, Cavellini weaves nylon hosiery into sensational fractals, whose every angle-to-space convex enact a precise mathematical formula; Chanel does the same but through tweed.
Rigorously organized grids supply potential momentums with vertigo effects that mesmerize. Erecting bifurcated images on the side, hosiery remained the primary canvas through which his affinity for mathematics flourish. He would only later make his magnificent tapestries accessible to the public. For more information on kinetic and op art, please check http: I have known Emilio Cavallini for over 20 years and I consider him a dear friend but you have my word that I will stay utterly objective.
Always ready to praise someone, always ready to forgive, no matter what. We met in Milan in the early nineties and we immediately bonded. At that point, Emilio was at his peak fame as a fashion designer and he hired me as a model for many of his whimsically original fashion shows. Needless to say we had a ball. I have always known that he personally created and designed his groundbreaking pantyhose patterns, something that set him apart from all the other fashion designers. Like a mad scientist, Cavallini was guiding and submitting chaos into order.
The resulting art works are at once muscular yet ethereal, their beauty lies both in their objective elegance and grace and in their deeper conceptual strive of trapping the infinite in the finite. It was then that I understood how he channeled his peculiarly boundless energy. Simply put, Emilio makes energy tangible. Gregory de la Haba: Why in your opinion are we witnessing an Op Art and Kinetic art resurgence? I personally find the fact that these two art movements are introspective and void of any political, religious or social commentary immensely refreshing.
First and foremost, Kinetic art and Op art are not the same: Many of the Op and Kinetic artists were fascinated by mathematical puzzles, and scientific experiments in phenomena such as the parallax effect, in which objects appear to move in relation to things around them. They combined science and art but, at the same time, explored the philosophical depth and intellectual aspirations of Geometric Abstraction and its spiritual overtones.
Works by artists such as Argentine painter Eduardo Mac Entyre and Omar Rayo Colombia , among others, suggest a higher, meditative purpose. Can you imagine an artist weaving together vibrantly radiant spools of yarn and thread into intricate patterns? Emilio Cavallini, who is a renowned avant-garde fashion maven, structures his artwork on a palette of geometric arrangements. Unsparing in color and vision, viewers can treat their eyes to wonder. His imaginations are a beautiful ecosystem of threads: He expounds on weaving elaborate designs, which speak to the synergy between chaos, organization and placement.
Calze bianche da sposa, calze colorate, calze decorate, calze a righe, a pois, lucide e opache. Calze che compongono geometrie, formule, movimenti, effetti ottici. A solo exhibition of the Italian artist and kinetic and op art innovator Franco Costalonga at the GR gallery.