martedì 30 dicembre 2014

Rabarama Interview with Istanbul Art Snob Magazine

In 2014 Rabarama partecipated at the Art Fair Contemporary Istanbul, with Gallery Ilayda, and her artworks had a great success among Istanbul art lovers and collectors.
Following the event, the magazine Istanbul Art Snob interviewed the Artist about her career and the relationship with Oriental cultures.


The interview represent is the most recent one of Rabarama, regarding her recent career and has interesting points about her inspiration and focus on the body: “Our society is moving towards a total annihilation of the body even if many would say that this is not true because the body is so present in mass media and culture. This is the point: it is really present but as a product, not as the “temple of life” that it is.
I think that a way to contrast this is to refer strongly to the harmony and beauty of the human body, to make its inner value explicit: the body is the symbol of life, feelings, relationships, identity. “

The relationship between the Artist and Oriental cultures has always been a constant in her works, from the I-Ching series of sculptures to the symbols and letters of Chinese and Indian tradition on the skin of her sculptures, as Rabarama declares: “I feel that the Far Eastern culture was already present in my culture (maybe thanks to Venice, Marco Polo and many others) and when I repeatedly visited China I really recognized the importance of Asian culture (in general). I was fascinated by it, but not only because of “exoticism” but because of a sort of “familiarity”, as the Oriental spirituality is so universal!”

The interview reveals also some of the future projects of Rabarama:”I’m involved in very stimulating projects for 2015 and I’m happy to announce that the next year there will be the second edition of the Rabarama Skin Art Festival (with Kryolan) where the best body artists from Italy will be invited to create an artwork on the skin of the models.
In January I will be in Amsterdam at Artist-IQ event (www.artist-iq.nl) and in March there will be an important event in Las Vegas, a charity event with the Cirque du Soleil to benefit the NGO One Drop and I will donate one of my sculpture to contribute (and this sculpture is related to another big project involving art, science, culture but I can not speak of it now…top secret… )”

lunedì 29 dicembre 2014

Avviso ai Collezionisti di Rabarama

Dal 14 Agosto 2014 le sole autentiche valide sono quelle emesse da Rabarama che si dichiara disponibile a valutare gratuitamente anche le autentiche precedentemente emesse (sulle quali non vi è ragione di avere dubbi, ma per una massima tutela dei collezionisti).

Vuoi acquistare una mia opera? Esigi sempre l'autentica a mia firma.
Per massima sicurezza nelle acquisizioni di mie opere puoi rivolgerti direttamente al mio atelier: via mail a sales@rabarama.com o telefonicamente allo 049.652254 (ore ufficio).
Per questioni relative alle autentiche di opere in tuo possesso puoi scrivere direttamente ad archive@rabarama.com


The 10 Biggest International Art Scandals of 2014

from Artnet, original here: http://news.artnet.com/art-world/the-10-biggest-international-art-scandals-of-2014-197494

Sadly, among the art scandals of 2014 is listed "Italy"...but please, dear international readers, keep in mind that in Italy there are so many good things regarding art, first of all thank to all the great Italian artists and to the support of the Italian public!
Rabarama


Artist Reenacts Origin of the World at the Musée d'Orsay

Italy

What stories had the art world most abuzz in 2014? We trolled through our archives to pick out the ten most controversial, scandalous, and downright ridiculous topics artnet News covered this year. Consider your holiday boredom solved.

The Gurlitt Saga
Okay, to be fair, Cornelius Gurlitt's 1300-artwork-strong trove of Nazi loot is something of a scandal hangover from 2013. But, nonetheless, the collector, who died this past May at 81, dominated art headlines in 2014. Restitution cases were brought forward against several prominent works in the collection, including a Matisse once owned by art dealer Paul Rosenberg and Max Liebermann's Two Riders on the Beach (1901). Another large stash of potentially looted art was found in Austria. And a Rodin and Degas were later discovered back in Gurlitt's Munich apartment that started it all. Just last month, a modicum of closure to the story was achieved when the Kunstmuseum Bern accepted Gurlitt's bequest of the entire collection, though, with numerous caveats and critics.

Nazi Loot
Gurlitt's case had some significant knock-on effects. Perhaps more than ever in recent memory, the Nazi regime's cultural crimes were at the forefront of discussion in 2014, leading to renewed efforts between Israel and Germany to return looted artworks. Thanks to the tireless work of lawyers like Christopher Marinello and Pierre Ciric numerous works of art came up for dispute or were returned to heirs of their Jewish former-owners: Norton Simon's Nazi-Looted Adam and Eve, a Signac landscape, Edgar Degas's Danseuses (1896), Francesco Guardi's Palace Stairs, Camille Pissarro, Rue Saint-Honoré, dans l'après-midi. Effet de pluie (1897), and John Constable's Dedham from Langham (circa 1813) are but a few of them. Several institutions such as the American Association of Museums and Berlin's Sammlung Berggruen found themselves in an uncomfortable spot as inquiries into museum oversight with regard to looted art ramped up. And, of course, we couldn't forget the story of the Greek woman who has been financially ruined in her $150,000 quest to authenticate a set of paintings, purportedly by Van Gogh, which her father brought back from WWII.

ISIS Destruction and Looting of Antiquities
Sadly, the topic of cultural cleansing didn't remain in past-tense discussion in 2014. The rise of the Islamic State (IS/ISIS/ISIL) has seen untold damage done to the Middle East's cultural heritage sites. The group destroyed Jonah's tomb, as well as the Armenian Genocide Memorial, the Saad bin Aqeel Husseiniya shrine in Tal Afar, and Mosul's al-Qubba Husseiniya mosque, among others. But the destruction is, in some cases, not even their endgame. Numerous reports claim that they are funding much of their efforts by selling looted antiquities.

Paul McCarthy's Paris Butt Plug
FIAC got some early press when an unidentified assailant ridiculed and punched American artist Paul McCarthy, who was installing his butt plug-shaped inflatable sculpture Tree (2014) in the Place Vendôme for the fair's Hors les Murs program. Vandals then cut the cords holding the sculpture down, which forced it to be deflated and ultimately removed from the square. But, McCarthy isn't one not to get the last laugh. He exacted some sweet revenge in his show at the Paris Mint just several nights later. And, following the controversy, butt plug sales are said to have soared in France.

Exhibit B Racism Controversy
Thousands signed a petition asking for the cancellation of Exhibit B (2014), which was initially shown at the Barbican in London. They accused the installation by South African playwright, artist, and curator Brett Bailey, which was touring from the Edinburgh festival, of being racist because it features, among other things, a black man in a cage and a woman with shackles around her neck. They won the fight and the piece was canceled. But, for our columnist JJ Charlesworth, “the controversy reveals, more than anything, how divisive and backward-looking the politics of identity have become today." The piece continues to make headlines, with violent protests erupting in Paris over plans for another rendition at the end of November.

€23 Million Helge Achenbach Art Advisory Fraud
Taking a scroll of the German press in the second half of 2014, if it wasn't a story about Gurlitt, there was definitely a story about Helge Achenbach. One of Germany's most well respected art advisers, Achenbach was accused in June of having defrauded late German billionaire and Aldi supermarket heir Berthold Albrecht of an estimated €23 million. Achenbach's wife spoke with artnet News, and protested her husband's innocence. But in a strange turn of events just last week as the trial got under way, the art adviser admitted to some of his alleged misdeeds.

Bert Kreuk Sues Danh Vo for $1.2 Million
Collector Bert Kreuk sued artist and Hugo Boss Prize-winner Danh Vō in the Netherlands' Rechtbank Rotterdam court for $1.2 million, an action which emerged in September. Kreuk claims that Vō failed to deliver an installation for “Transforming the Known," an exhibition of his collection at The Hague's Gemeentemuseum (Municipal Museum of The Hague) that closed in September of last year, an assertion that representatives for Vō have vehemently denied.

Artist Reenacts Origin of the World at the Musée d'Orsay
The Parisians got their fair share of the profane this year. As our Benjamin Sutton reported, on May 29 the Luxembourgian performance artist Deborah de Robertis visited Paris's Musée d'Orsay, sat down in front of Gustave Courbet's infamous 1866 painting L'Origine du monde (Origin of the World), and recreated the iconic image in the flesh. In a video of the piece, titled Mirror of Origin, the artist can be seen dressed in a gold sequin dress, exposing her vagina while the museum's security guards crowd around her and usher cheering visitors out of the gallery.

€500 Million Ponzi Scheme at Paris Museum
Paris's Musée des Lettres et Manuscrits and its sister organization the Institut des Lettres et Manuscrits are at the center of a massive fraud investigation. France's anti-fraud brigade raided the museum and the various branches of Aristophil, a company owned by the museum's founder, Gérard Lhéritier, on November 18. The company is suspected by the tax authorities and Tracfin—a public body fighting money laundering and terrorism financing—of “deceptive marketing practices," and “gang fraud." The financial consequences for Lhéritier remain unclear but could be disastrous.

Italy
The cash-strapped nation of Italy had a particularly hard go of it in 2014. Especially with regard to protecting some of its most prized historic sites. Though Matteo Renzi's government approved a €2 million emergency round of funding to help protect the ancient city of Pompeii, which has been crumbling for several years, pundits were quick to conclude that the money was too tied up in bureaucratic processes to be of much use. In the mean time, thieves stole a fresco of the goddess Artemis from the site. And, a pair of American tourists were nabbed as they tried to leave the country with an ancient artifact from Pompeii. Up in Rome, a 42-year-old tourist from Russia was given a hefty fine after making the questionable choice to carve his initials into the Coliseum. The government considered shipping the extremely fragile, 2500-year-old Riace Bronzes from their home in Calabria, over 1,000 kilometers (620 miles) north to Milan in hopes of juicing ticket sales for EXPO 2015. Needless to say, they later reconsidered. And of course, last but so far from least, a student, eager to become Instagram-famous broke off and shattered the leg of a statue at Milan's Academy of Fine Arts of Brera while taking a selfie.

#bloggerswanted for my SEERCRAFT blog

#bloggerswanted for my SEERCRAFT blog (http://seercraft.wordpress.com/

I'm looking for contributors for the new blog about art and science / technology / history. 

if you are innovative, stimulating, transdisciplinary, evocative, please send an introduction of you to publicrelations@rabarama.com 
(I'm looking for contributors in the following languages: english, spanish, portuguese, french, chinese, japanese).

About:

In this time of fast changes, visual arts could be the best media to document what is happening, thanks to their immediate effect on the collective consciousness.

We would like to contribute to the birth of a debate about the mutations that technology, cyber culture, applied sciences, bionics and genetics are bringing to the human being, in the body, psyche and social relations, in a different perspective and inspired by Rabarama and other contemporary artists: innovative, stimulating, transdisciplinary, evocative.


mercoledì 24 dicembre 2014

The Destruction of Chartres Cathedral

by Alexander Gorlin, Architect, Urban Planner, Design Critic and Author.
Orginal article here: http://www.huffingtonpost.com/alexander-gorlin/the-destruction-of-chartr_b_6373480.html


As the world hurtles towards a bloodless digital future of flickering electronic screens and virtual experiences, certain places of primal architectural power become ever more valuable as anchors of the past. Chartres Cathedral is one of the most important of these sacred places, however its interior is in mortal danger of dissolving into a pale, kitsch version of its former sublime self. In the name of a "restoration" to what is claimed to be the original 13th century interior, the gray stones are literally being painted in white lime wash and beige paint with faux stone joint lines; erasing all traces of the past. This is cultural vandalism of the lowest order, on par with the Taliban's demolition of the Bamiyan Buddhas in Afghanistan in 2001.

Chartres Cathedral - before


Chartres Cathedral - after

Last month after an absence of 25 years, I was looking forward to a return to Chartres, fully expecting the magnificent, dark, cavernous interior, illuminated by the jewel like glow of the original stained glass. The effect, like the "lumiere mysterieuse" of the interiors of Sir John Soane, was to recall the light of the celestial Jerusalem, described in The Book of Revelation, the colors corresponding to the twelve foundation stones of the Holy City that had descended from heaven.

Chartres was all of one piece, as if carved from a single rock. The floors are ancient stone, out of which grow the massive columns from which the ceiling flowed upwards into interlocking curving vaults. Shockingly now, instead of the patina of age that marked and mottled the thick columns and walls, the newly applied white and beige paint looks like a rundown apartment that has been painted for an upcoming real estate sale.

The great lie of this project is revealed when one looks at the juncture between the gently undulating stone floor, uneven from centuries of wear by pilgrims, and the freshly painted columns. Any first year interior design student would see the jarring juxtaposition of the white columns that rise just above the exisiting column bases as a terrible mistake that makes both look quite horrible. The white paint makes the floor and base look filthy and dirty, while the antique floor makes the white painted columns look even more out of place, a total aesthetic disaster. Perhaps at this point they should go all the way and remove the floor and install newly cut limestone paving. Then it would again be all of a piece. After all, one pays top dollar for ancient stone floors cut from old French houses at high end decorator shops in New York or London. Imagine what the original stone floors of Chartres Cathedral would fetch!

This "restoration" goes against every single cultural trend today that values the patina of age and the mark of time rather than the shiny bling of cheap jewelry and faux finishes that often characterize a nouveau Russian interior. The power of materiality is a sign of authenticity in architecture for at least the past 75 years. From Louis Kahn's use of materials that reflect the work of the craftsman, whether naked stone, brick or steel, to Le Corbusier's raw beton brut concrete and the impasto of the stucco on the chapel at Ronchamp, it is a poignant reminder of the impossibility of halting the effects of time. More examples include George Nakashima's natural wood slab tables, Isamu Noguchi's rough hewn sculpture, and in popular culture, the sensibility is reflected in the evocative faded photographs of the magazine "World of Interiors", honed versus polished marble, artisanal cheese, and even misshapen heirloom tomatoes. Value is placed on exactly what Marcel Proust in his "Remembrance of Things Past" described as objects to evoke memory. How ironic that the interior of Chartres itself, the queen of memory and time, should be white washed and its past erased by the very French culture from which Proust emerged.

At Chartres the effect is not unlike the reflective surfaces of a Jeff Koon's stainless steel balloon dog; a bauble of surface without memory. In a triumph of global youth culture, the marks of age are disdained; a facelift for Chartres and the Virgin Mary covers the blotches and smooths out the wrinkles. Old age is so outré, who knew Chartres could be chic, now camera ready for fashion runway shows down the central aisle. The color scheme of white and gold beige is remarkably similar to Ian Schrager's new Edition Hotel in Miami Beach, so au courant.

What has been done so far is exactly what John Ruskin wrote in the 19th century, on
"The sin of restoration - Neither by the public, nor by those who have the care of public monuments, is the true meaning of the word restoration understood. It means the most total destruction which a building can suffer: a destruction out of which no remnants can be gathered: a destruction accompanied with false description of the thing destroyed. Do not let us deceive ourselves in this important matter; it is impossible, as impossible as to raise the dead, to restore anything that has ever been great or beautiful in architecture. That which I have insisted upon as the life of the whole, that spirit which is given only by the hand and the eye of the workman, can never be recalled."

The idea that the 13th century interior of Chartres can be recreated is so totally absurd as to be laughable if it were not happening right now. As Martin Filler has observed, there are bright electric up lights at the top of the columns shining on the vaults above (http://www.nybooks.com/blogs/nyrblog/2014/dec/14/scandalous-makeover-chartres/). These are not the candles, nor the daylight that filtered through the colored stained glass, changing as the clouds passed in front of the sun, nor day turning to night, but a crude 21st century lighting scheme.

What is being perpetrated is the revenge of the spirit of Le Corbusier in his book "Quand les Cathedrales Etaient Blanches" ("When the Cathedrals Were White") of 1947. A polemic that was meant entirely as a metaphor, that the rise of modern architecture in the contemporary world as a promise of a better life for all, was like the medieval era in France when all society worked together towards a single goal, is unbelievably taken literally at Chartres. Le Corbusier, with a touch of racism wrote "An international language reigned wherever the white race was, favoring the exchange of ideas and the transfer of culture." ... The cathedrals were white because they were new." Well clearly Chartres Cathedral is no longer new, it is 800 years old! For the "restorers" who wish to return to the 13th century, shall we bring back the Inquisition, burn heretics at the stake, persecute the Cathars and expel the Jews of France? Along the same thinking, should the ancient relic of Chartres, the sacred Tunic of the Virgin Mary, which is looking quite tattered, be rewoven into something more spiffy by Knoll or Scalamandre?

What is required here at Chartres is a step back and a careful reassement of the entire project in the manner of David Chipperfield and Julian Harrap's renovation of the Neues Museum in Berlin. Here they have, as Suzanne Stephens writes "conserved, rehabilitated, reconstructed and remodeled" in an enormously sensitive way, leaving the past while reimagining a new life for a building that had been in ruins for 70 years.

The present work at Chartres is arrogant and brutal, not done with the humility and sensitivity that this greatest of sacred spaces demands. It is a great dishonor to the cultural patrimony of France. Perhaps at this point only a miracle of Divine intervention can save Chartres. I would appeal directly to Pope Frances who hopefully would weigh in on the side of retaining the original sublime sense of the interior before its too late.


“The body of the woman for me is the sensuality and elegance while the male body represents power and balance…”

Excerpt from Rabarama interview with Istanbul Art Snob magazine.
Read the full interview here: http://istanbulartsnob.com/interview/interview-with-italian-artist-rabarama/

ARTSNOB: The body has a complicated structure but works very simply beyond our understanding. As an artist dealing with “body” how do you define the body?


RABARAMA: Thank you for asking, the “body” is really a central theme in my art. Last year I have presented an art-manifesto titled “SKIN ART MANIFESTO” (http://www.rabarama.info/#!skin-art-manifesto/c1667) that was subscribed by many artists and also by a famous brand in the professional cosmetics industry (Kryolan).

Our society is moving towards a total annihilation of the body even if many would say that this is not true because the body is so present in mass media and culture. This is the point: it is really present but as a product, not as the “temple of life” that it is.
I think that a way to contrast this is to refer strongly to the harmony and beauty of the human body, to make its inner value explicit: the body is the symbol of life, feelings, relationships, identity.

If it is treated like an object and a product, well, all life will become a product, together with sentiments and spirituality (sadly we see that this is really happening right now).
With this Manifesto I invite all the artists, designers and people to support the “beauty” as a real and living value.


ARTSNOB: I love the way you patternise the skin of your sculptures. At İlayda’s booth there were amazing ones. I interpreted it as the effect of the outer world on the human body and soul. Sometimes good sometimes evil. An existentialist effect that us humans cannot avoid. And that flourishes as energy on our bodies. How do you interpret the skin colors, prints, patterns?


RABARAMA: Our body reveals the signs of time, in the same way my “creations” tell through the use of symbols and colors the path of growth and knowledge that every human being faces along the journey of life. I chose a simple way to communicate and to confront the users creating visual cues in support of far more ‘articulated concepts , which refer to the understanding of the reason for our existence in this dimension of space-time.

Read the full interview here: http://istanbulartsnob.com/interview/interview-with-italian-artist-rabarama/

venerdì 19 dicembre 2014

Kryolan

Like all beautiful and innovative initiatives, the Rabarama Skin Art Festival was born thanks to the encounter of different persons and companies, all linked from acting towards the Beauty and with a strong interest in the Body .
Kryolan , the most famous of professional cosmetics company ( and cruelty free ! ), the great plastic artist Rabarama, the famous photographer Hikari Kesho and his living sculptures , they met , they liked and so was born the Festival.

The second edition of the Festival will be held in Italy in 2015, stay tuned on www.rabarama.com

These are some photos of the final event last year:


























giovedì 18 dicembre 2014

Rabarama in Amsterdam, January 2015

BREAKING NEWS
In January I will be at a great art event in Amsterdam, the ARTIST-IQ (https://www.facebook.com/ArtistIQAmsterdam) in an astonishing venue, with my friends of Van Loon Galleries
STAY TUNED for the updates and surprises (subscribe to my website: www.rabarama.com )

From January 17th untill February 1st there will be a unique artevent in the Beurs van Berlage: Artist-IQ. Five ages of art will be brought together. Four leading galleries in the Netherlands will show a selection of original artworks from their range. The event will be framed by gastronomy and music. The visitor can enjoy a very accessible new artexperience that will excite the senses.


martedì 16 dicembre 2014

The sculptures of the Parthenon + video "secrets of the Parthenon"

Read the full Article here: http://www.ancient.eu/article/780/
by Mark Cartwright

The extraordinary quality and quantity of the marble sculpture which adorned the 5th century BCE Parthenon in Athens made it the most richly decorated of all Greek temples. The sculpture, now mostly separated into the Parthenon Marbles (Elgin Marbles) and the Acropolis Museum Collection of Athens, once consisted of 92 metopes, a unique frieze running around all four sides of the building, and both pediments filled with 50 monumental figures. The sculpture presented scenes from mythology which were a metaphor for the Greek triumph over Darius and Xerxes in the recent Persian Wars. The whole edifice and fine artwork were designed to wow onlookers and glorify Athens and her patron goddess Athena. As the instigator of the whole project, Pericles rightly boasted "...we shall be the marvel of the present day and of ages yet to come".

The left section of the east pediment of the Parthenon. On the far left Helios and his chariot rise from the base of the pediment, next is Dionysos reclining, then the figures are female deities, possibly Demeter, Kore and Artemis. (British Museum, London)

THE PARTHENON
Built between 447 and 432 BCE, the Parthenon was dedicated to Athena, the patron deity of Athens, and contained a huge twelve metre high cult statue of the goddess made of wood, ivory, and a whopping 1,140 kilos of gold. Constructed in the golden age of Pericles, the massive temple measures around 31 x 70 metres and was a celebration of the Greek triumph over the invading armies of Persia. It was designed by the architects Iktinos and Kallikratis to proclaim to the world the glory of Athens, and for this reason its exterior was embellished with some of the finest architectural sculpture ever to be produced in antiquity.

Pentelic marble, 22,000 tons of it, was taken from nearby Mt. Pentelicus and used in the construction, as it was appreciated for its pure white appearance and fine grain. Traces of iron in the marble have, over time, given the stone a soft honey colour which is particularly evident at sunrise and sunset.




NEVER BEFORE HAD A GREEK TEMPLE BEEN SO RICHLY DECORATED.
The decorative sculpture was supervised by the master sculptor Pheidias, who was also responsible for the giant statue of Athena which stood inside the temple. That different sculptors worked on different pieces is evidenced by the varying quality of the sculpting and the sheer volume of work required. This was also, no doubt, a necessity due to the short time-frame for the construction.  Never before had a Greek temple been so richly decorated. The main theme of the sculpture was the fight between order and chaos, a metaphor for the wars between Greeks and the Persian enemy they considered "barbarians". Much of the sculpture has suffered damage of various sorts over the centuries, but with the aid of descriptions by Pausanius of the 2nd century CE and drawings made by a Flemish artist (perhaps Jacques Carrey) in 1674 CE, some of the more seriously damaged pieces may be tentatively identified.



THE PEDIMENTS
Pediments present the sculptor with the challenge of filling a triangular space, and in this case a large one of 28.55 metres long with a maximum height of 3.45 metre in the centre. Fifty outstandingly rendered figures decorated the pediments (but only eleven survive). These were sculpted in the round despite the fact that the back would not be seen from ground level, 16 metres below. In addition, the ends of the pediments had a lion-head sima or gutter (in this case false), one of which, from the north-east corner, survives.

To solve the problem of diminishing space in the corners, the sculptors had figures reclining near the ends or dissolving into an imaginary sea or even had the sculpture overhang the lower edge of the pediment. The east pediment depicted the birth of Athena (which connects nicely with the frieze's depiction of the Panathenaic Festival held on the goddess' birthday), whilst the west pediment showed the competition between Athena and Poseidon to become the patron of Athens, the former offering the Athenians a salty spring, the latter the first olive tree. This was another unusual feature - to have the deity of the temple appear on both pediments.

The west pediment was dominated by the two gods Athena and Poseidon (each three metres tall) arguing over who should win the favour of the Athenians. What stood between them survives only in fragments but may have been either Zeus' thunderbolt or Athena's winning gift of the olive tree, possibly in bronze. Either side was a chariot with rearing horses, that closest to Poseidon probably carries his attendant Amphitrite, while on the left Athena's chariot is driven by Nike. Athena is also attended by Hermes, while Iris stands close to Poseidon. Then extending to the edges are various standing or seated figures, probably early Attic kings and heroes; the most certainly identified is Kekrops, portrayed with his conventional snake coils. Another easily identified figure is a sea monster representing the power of Poseidon to control the seas. The reclining figure on the far left side, whose leg disappears into the base of the pediment, has been identified as the river god Ilissos or Eridanos.


The central composition of the east pediment is more speculative due to the paucity of the surviving pieces and the loss of the bronze identifying attributes the figures would have held in their hands. Zeus is centre-stage with his daughter Athena, just born, standing immediately to the right fully armed. Next to Athena stands Hephaistos who assisted in the birth by splitting open Zeus' head with his axe. The other Olympian gods make up the rest of the pediment sculpture. Helios and the horses of his chariot spring from the left corner which represents the ocean Okeanos, which encircled the world. Next is Dionysos reclining on his panther skin (the best preserved figure but possibly also identified as Hercules on a lion-skin, even if his early presence would be incongruous at the birth of Athena), next could be Demeter and Kore (or Persephone) sitting on wooden chests, then Artemis (or Hebe) who seems about to step out of the pediment as she leans forward. Hera and Apollo may have stood to the left of Zeus. On the right side, after Poseidon's chariot, are probably Hestia, Dione, and Aphrodite who reclines on her mother's lap and may be identified by her robe seductively leaving one shoulder bare. In the far right corner may have been Selene (the Moon) or Nyx (Night) with the horse heads of her chariot team filling the right corner, mirroring those of Helios on the opposite side. The horses of Helios, though, are depicted full of energy as they begin their daily journey across the sky, while Selene's horses look exhausted, as they are at the end of their daily run and sink back into Okeanos. This signifies that the whole scene must be at dawn.



THE METOPES
The Parthenon is again exceptional in that all the metopes were filled. The 92 metopes were carved in high relief (up to 25 cm in depth and almost in the round), and each slab measures around 1.25 x 1.2 metres. Thirty-two metopes, alternating with triglyphs, were placed along the long sides of the building, while each façade had 14. All the backgrounds were originally painted red.

The most important metopes were on the east side, as this was the principal entrance to the temple. Here the Olympian gods fight giants for control of the universe; four scenes show chariots but some of the gods remain unidentified due to their damaged condition. The west metopes depict Greeks fighting Amazons, the latter being another metaphor for foreigners and, as such,  they wear oriental hats and costume. The figures are so badly damaged that it is impossible to be certain the figures are female, but the alternative, that they are Persian soldiers, seems unlikely given the mythological subjects of the rest of the sculpture on the Parthenon. The Greeks are semi-nude, and probably the hero Theseus is included in the narrative while the Amazons ride horses or fight on foot.  Each metope portrays a one-on-one duel with sometimes the Amazons winning, sometimes the Greeks.

The north metopes show the fall of Troy - once again taken as a metaphor for Persia, an established convention in Attic art - with the first three (from the western end) showing deities seemingly in judgement of the proceedings, including Athena descending from her chariot. Other scenes include warriors leaving their ship, Odysseus searching for Helen, Menelaos meeting Helen, and the escape of Aeneas. The south metopes depict Greeks fighting centaurs, another metaphor for chaos and barbarism, possibly at the wedding of Perithous, the king of the Lapiths, when the centaurs became drunk and attempted to abduct the Lapith women. Theseus, the king of Athens, was one of the guests at the wedding, hence the connection with the city. They would have originally had bronze additions such as weapons; nevertheless, these metopes, nearer the steep sides of the acropolis, are amongst the best preserved of the Parthenon's sculptures, and they show a vibrant, dynamic struggle between the protagonists.


THE FRIEZE

The frieze measures 160 metres in length, is almost one metre high, and includes an astonishing 380 figures and 220 animals, mostly horses, all carved in low relief (maximum 6 cm) overlapping across 115 slabs. Through a combination of surviving pieces and drawings, 90% of the frieze can be reconstructed. Running around all four sides of the building between the outer colonnade and the inner cella, the narrative of the frieze begins in the south-west corner and then runs parallel down the long sides to conclude at the far end, exactly over the main doorway. Such a design was an Ionic feature and more typical of treasury buildings. However, in reality the Parthenon and the gold sheeting on the statue of Athena also served as the city's treasury and that of the Delian League. The frieze was unusual in that it did not depict scenes from Greek mythology and unique because all four sides depict a single subject - the Panathenaic Procession. This was a religious ceremony held every four years which involved a procession along the Sacred Way and finally delivered a new, specially woven robe or peplos, the arrhephoros, to the ancient olive-wood cult statue of Athena housed in the Erechtheion next door to the Parthenon.

As the space is narrow in which to view the frieze, the background of the scenes was painted blue, figures were also brightly painted in blue, red, and gold, and the relief made deeper at the top so that the figures seem to lean towards the viewer far below. Some details were painted rather than sculpted, three-dimensional additions such as weapons and horse reigns were added in bronze, and eyes were rendered using coloured glass.

A cavalcade fills 70% of the composition, and the actual robe ceremony seems to be depicted in the centre-east portion. There are dignitaries, musicians playing the kithara and aulos, and horsemen variously portrayed naked or wearing tunics or armour and perhaps representing the heroes of Marathon but also perhaps athletes riding for sport; some also see the mythical founder of the Panathenaic Festival Theseus as one of the riders. Other figures in the procession include marshals, elders or judges holding olive branches, charioteers (apobates who jump on and off their moving chariots whilst  wearing full hoplite armour as in the sporting event of the festival games), sacrificial animals (rams and oxen), women carrying water-pots, bowls and loom stands, boys carrying trays of offerings, heroes, and the Olympian gods who seem to be in animated conversation as they await the arrival of the procession.

Athena and Zeus take centre-stage, and they are both rendered slightly larger than the other gods in the frieze. The twelve gods are seated on stools with a throne reserved only for Zeus, and they are attended by two lesser deities. From the left side is Hermes with his famous hat on his lap, next is Dionysos who rests his arm on Hermes' shoulder, then comes Demeter who holds the torch which she used to search the underworld for her abducted daughter Persephone, then come Ares, Iris, and Hera, who is raising her bridal veil, then, finally, Zeus on his throne. To the right side is Athena with her aegis on her lap, then Hephaistos with the stick he carried for his lameness. Then sit Poseidon whose trident was added in paint, Apollo, who would have worn a gilded wreath as indicated by the small holes in his hair, Artemis, Aphrodite and, finally, Eros holding a parasol.

In the centre, on the east side, is the climactic scene of five figures engaged in the ceremony involving the peplos. There are three children, two of which are certainly girls. The adult male is perhaps the senior archon, who receives the peplos, and the woman may be the priestess of Athena, who takes a stool from one of the girls.

CONCLUSION
The Parthenon remained in use for over 1,000 years, but when it was converted into a Christian church in the 5th century CE, much of the decorative sculpture was deliberately damaged or removed in an effort to wipe away the pagan past. In addition, the inclusion of an apse on the east side required the removal of part of the east frieze. In 1458 CE the occupying Turks converted the building into a mosque, and in 1687 CE it was used as a powder magazine. This proved disastrous when a shell from the attacking Venetians set off the powder and ripped the heart out of the building. The Venetian general Morosini then did further damage when he tried to remove figures from the west pediment, smashing the horses when his rigging tackle collapsed. It seemed that the great art of this once great monument was destined to be lost forever.

Left as a glorious ruin with looters and souvenir hunters freely taking mementos from the site, in 1801 CE the Earl of Elgin obtained permission from the indifferent Turkish authorities for the right to take casts of the remaining sculpture and remove any pieces he fancied. This collection, known as the Elgin Marbles or Parthenon Marbles, was bought by the British government in 1816 CE, to be finally displayed in the British Museum, London. A portion of the frieze, a metope, and a head from a pediment figure also reside in the Louvre, Paris and several more pieces are scattered around European museums. Some of those pieces left on the monument were not removed until the 1980s and 1990s CE and have consequently suffered severe damage from air pollution; they are now displayed in the Acropolis Museum a few hundred metres from the Parthenon and arranged exactly in the sequence as they were originally with casts for the missing pieces. The debate goes on to unify the sculptures in a single exhibition space, but wherever they are to be seen, the Parthenon sculptures continue to enthrall the visitor and capture both the admiration and imagination of all, no doubt just as they did 2,500 years ago.

Frank Muller

Frank Muller & Rabarama
With the top luxury watches maker Frank Muller, a sculpture inspired by time!

Frank Muller and Rabarama

Rabarama at Frank Muller



giovedì 11 dicembre 2014

Hikari Kesho

Hikari Kesho is a great artistic photographer and his main inspiration is the female body.
We have collaborated to create an amazing shot of me in body paint emerging from one of my sculptures and also for some portraits and... (you will know...)

Rabarama photographed by Hikari Kesho
Hikari Kesho has developed a unique style for photographing female bodies, making personal researches on the theme of body expression. He uses often black and white with gothic contaminations and connects uniquely to the world of fetish fantasies.

Hikari Kesho artworks have been published in many books and magazines (Goliath books, Playboy, Blue magazine ) and in 2012 he was selected (the only italian photographer) for "The Art of Contemporary Shibari", a multi-media exhibit including still photography, video, and live performance art by Photographers, Riggers and Models for the Fotofest 2012 Biennial, the first international Biennial of Photography and Photo-related Art in the United States. Hikari Kesho's photo "Observing the Stillness of Brenta River" was chosen to be the official poster of the Biennial.



Rabarama body painting and sculpture - photo by Hikari Kesho

You can also watch this video about the making of this shot:


mercoledì 10 dicembre 2014

Art and politics: Elgin Marbles, Greek PM says British Museum loan 'an affront' to the Greek people

Antonis Samaras, the Greek prime minister, says the country's history "cannot be broken up, loaned out, or conceded".
In a statement sent to The Telegraph, Mr Samaras said that the move by the British Museum was an "affront" to the Greek people.

By Nick Squires, in Rome and Victoria Ward (source: Telegraph )

The Elgin Marbles at the British Museum 
Greece has expressed outrage over the British Museum’s "provocative" decision to loan one of the long-disputed Elgin Marbles to Russia.
Antonis Samaras, the Greek prime minister, expressed anger over the museum’s loaning of a headless marble statue of a river god to the Hermitage Museum in St Petersburg until Jan 18, for an exhibition that starts on Saturday.
Athens has called for decades for the return of the Elgin Marbles, saying they were taken to London when Greece was ruled by the Ottoman Empire and that the Greeks had no say in the matter.
The loan is the first time in 200 years that any of the sculptures, also known as the Parthenon Marbles, have left Britain.
In a statement sent to The Telegraph, Mr Samaras said that the move by the British Museum was an "affront" to the Greek people:

"The decision by the British Museum to give out on loan one of the Parthenon sculptures for exhibit in St Petersburg is an affront to the Greek people.
"The British argument held until recently - that the Parthenon Marbles cannot be moved - is no longer valid; just as the existence of the new Acropolis Museum invalidated the other British argument that there was no appropriate space for exhibiting the sculptures.
"We Greeks are one with our history and civilization, which cannot be broken up, loaned out, or conceded."
He said the Parthenon and its sculptures had been “looted” by Thomas Bruce, the 7th Earl of Elgin, Britain’s ambassador to the Ottoman Empire in the early 19th century.
The chairman of the Marbles Reunited campaign, Liberal Democrat MP Andrew George, criticised the British Museum for snubbing the Greek request for the return of the sculptures and lending them instead "to a country which has backed rebels who kill British citizens."
He said the sculptures had been “purloined in a dodgy deal by Lord Elgin during a period when Greece was occupied by the Ottomans.

British Museum defend Marbles decision
“I sense that the British Museum's grip on the sculptures is weakening. If Britain did the decent and gracious thing and returned the sculptures, the Greeks have made clear that they would willingly loan many other Greek artefacts and great works to Britain so that they could be 'shared and enjoyed by as many people...as possible'."
The loan was also described as provocative by the head of another UK-based association campaigning for the marbles to be given back to Greece.
“I’m incensed by this,” said Eddie O’Hara, the chairman of the British Committee for the Reunification of the Parthenon Marbles, which has campaigned for their restitution for 30 years. “It’s at best insensitive and at worst, frankly provocative.”
The piece on loan is a reclining male figure of the river god Ilissos, taken from the west pediment of the Parthenon.
Greece has enlisted the help of a British legal team, led by Geoffrey Robertson QC and Amal Clooney, the new wife of George Clooney, to press its claim to the sculptures more forcefully.
They visited Athens in October, touring the Acropolis Museum and holding talks with the Greek government about initiating a possible legal fight.
“The British Museum says the loan to St Petersburg will help un-chill relations with Russia, but at the same time they are chilling relations with Athens,” Mr O’Hara, a former Labour MP for Knowsley South in Merseyside, told The Telegraph.
“I’m sure there are plenty of Russian artefacts in the British Museum that they could have leant to St Petersburg.”
“The timing is very provocative. Last year Unesco asked the British government and the British Museum to submit the issue to mediation. They received no response. Last month Unesco asked them once again to respond. Again, there has been no response. Instead the British Museum has decided to loan one of the sculptures to the Russians. It’s provocative and downright rude.”
The headless marble statue is one of a number of similar items that once decorated the Parthenon, the temple which crowns the Acropolis, the rugged, sheer-sided redoubt that looms over Athens.
The British Museum said it would be difficult to make a similar loan to the Acropolis Museum because the Greeks have always indicated that they would not be prepared to give the artefacts back.
“The Greek government has always refused to borrow, to date, but the trustees' position is very clear that they will consider any request from anyone who is prepared to return the object,” Neil MacGregor, the director of the museum, told the Today programme on Radio 4.
The campaign to have the marbles given back to the Greeks would continue, said Mr O’Hara. “The artistic integrity of the Parthenon is compromised under the current situation,” he said.
“They should be seen in their proper setting.”

martedì 9 dicembre 2014

Range Rover & Rabarama

Originale evento di inaugurazione della nuova sede padovana Jaguar Land Rover (Autoserenissima) in collaborazione con l'artista Rabarama (www.rabarama.com), il giorno 24 gennaio 2014.
Quella di Rabarama è stata una performance live che ha visto protagonista la nuova Land Rover Evoque, con le textures ed i colori rappresentativi dello stile dell'artista, oggetto di un'operazione di wrapping.
L'ispirazione creativa punta ad avvolgere l'auto in una sorta di talismano beneaugurante e protettivo, composto da una matrice cellulare che lega il micro al macrocosmo, l'individuo (in questo caso in movimento nella propria auto) alla comunità.

Land Rover Evoque Rabarama
Le lettere presenti sono estrapolate dal nome "Rabarama", scelte per richiamare la positività del Sole, e le due rune germaniche simboleggiano l'individuo nella società e la Terra.
Rabarama ha inoltre ideato una performance di body paint e acrobazia, volta a creare la giusta e suggestiva atmosfera, che precederà il disvelarsi dell'opera realizzata dall'artista sulla nuova Evoque, performance che continuerà nel corso della serata coinvolgendo gli ospiti dell'evento.
Il mondo contemporaneo ci ha abituati a considerare i confini tra arte, design ed altri ambiti estetici, come non netti, ma continuamente in osmosi reciproca, in un virtuoso circolo di stimoli; la performance dell'artista si inserisce in tale processo in divenire, con l'idea di creare un evento unico per celebrare i numerosi successi della prestigiosa casa automobilistica e la nuova location della concessionaria, punto di riferimento per tutta la provincia, con i suoi nuovi spazi, ma con l'esperienza e la professionalità di sempre.
La vicinanza tra Rabarama e l'universo delle arti performative sarà nuovamente ribadito dalla donazione di un'opera scultorea dell'artista, in occasione dell'evento filantropico di One Drop e Cirque du Soleil.

www.rabarama.com 

REALIZZAZIONE VIDEO
DNA CULTURA http://www.dnacultura.it/

Limestone 'Venus' 23,000 years old dug up in France

A limestone statuette of a shapely woman some 23,000 years old has been discovered in northern France in what archaeologists Thursday described as an "exceptional" find.

A person points to a 23,000 year-old chalk statue of a woman called the "Venus of Renancourt" which was found at the paleolithic site of Renancourt, France, November 27, 2014


Archaeologists stumbled on the Paleolithic-era sculpture during a dig in the summer in Amiens, the first such find in half a century.
"The discovery of this masterpiece is exceptional and internationally significant," said Nicole Phoyu-Yedid, the head of cultural affairs in the area, on showing the find to the media.
"We were expecting to find classical vestiges such as tooled flint or bones," said archaeologist Clement Paris.
But on their second day of fieldwork, the team found a pile of limestone that included fragments which did not seem natural.
"That same night we carefully pieced together the 20-odd fragments and realised it was a female statuette," he added.
Carbon-14 dating of organic material found at the site showed the statue to be 23,000 years old.
About 12 centimetres (4.7 inches) high, it shows a woman with big breasts and buttocks. The head and arms are less detailed.
"The fact that the sculpture is not totally realistic shows the intent was to produce a symbolic image of a woman linked to fecundity," Paris said.
Around 100 such figures have been found in Europe, mostly in Russia and central Europe, including around 15 in France, most of them discovered in the southwest.

Read more at: http://phys.org/news/2014-11-limestone-venus-years-dug-france.html#jCp

15 Most Majestic Caves Around The World That You Must See!

Nature as an artist :)

These stunning caves around the world can be found in some of the world’s most beautiful places in Asia, North America and Europe. Although some of the caves are open for public, like Phraya Nakhon Cave in Thailand, the majority of them are only open to extreme adventurers who have to get their passes in advance. The people who get the chance to visit these beautiful caves are required to use some special equipments. Our thanks to the professional photographers to show us wonderful caves and help to learn about mysterious places on earth that are still unseen by humankind.





view all the images here: http://www.colorsandjoy.com/15-majestic-caves-around-the-world/

sabato 6 dicembre 2014

Bentley Commissions New Series of Brand Inspired Art

By Dave Pinter, PSFK
source here

Debuting during Art Basel, Design/Miami 2014 is a car factory inspired light sculpture

‘Bentley Elements’ is a new series of commissioned art and design pieces which over time will present work from artists and craftspeople responding to inspiration from the Bentley brand. The automaker debuted the first of the series at Art Basel, Design/Miami 2014. The project is a collaboration between car maker Bentley and British creative directors Campbell-Rey who identified light as the first theme to be explored.

Milan-based conceptual artist Massimo Uberti was called to create the first installation. Uberti creates 3-dimensional geometric neon sculptures which are more like drawings in light. Bentley invited Uberti to spend some time at their Crewe, England factory to get inspired.

Massimo Uberti - Bentley Elements
Uberti was particularly drawn to the flourescent light covered inspection tunnel where the completed vehicles get a close look at fit and finish prior to delivery.

After working through some initial drawings, Uberti settled on a shape mimicking a factory. Inside is a representation of a craftsperson’s work table and chairs. The work reflects the production process and in particular how Bentley relies on both mechanical and human touch to produce their cars.

I like to realize architectures of light. As with all the painters from the beginning of history, light is central to my work. I employ neon tubes to build places for poetical inhabitants, trying to create dreamlike spaces that allow for reflection – something that I think is necessary for everybody.

Massimo Uberti - Bentley Elements

Massimo Uberti - Bentley Elements


FUNNY: This Is What Happens When The Terra-Cotta Warriors Meet Pop Culture

By Laura Rosenfeld 
source here

"The Future Looks Viral" is a weekly series where we profile the people behind an innovative, new online project, be it a parody Twitter account, web series or artsy Instagram profile. They all have one thing in common: the potential to go viral.

The Terra-cotta warriors are one of the most famous archaeological discoveries of modern times. In 1974, a group of workers digging a well in the Chinese city of Xi'an stumbled upon thousands of these life-sized soldiers built to protect the tomb of China's first emperor Qin Shi Huang about 2,000 years ago. Since then, the discovery has been seen by millions of people around the globe in various exhibitions and has become an iconic piece of world history.

Though these statues may be ancient, that doesn't mean they can't be used to give a fresh perspective on contemporary political issues. That's just what San Francisco-based provocateur Lizabeth Eva Rossof did when she created her Xi'an-American Warriors collection, which takes the famous clay, militaristic bodies of the warriors but replaces their heads with more contemporary figures that might be even easier to recognize: Mickey Mouse, Bart Simpson, Batman, Spider-Man and Shrek. You may have heard of them.


Bart Simpson Xian
(Photo : Courtesy of Lizabeth Eva Rossof)

Yes, Rossof's series is like a mash-up of Eastern and Western cultures, ancient times and new media. The collection originally debuted as part of her "Hey, China!" show at the Charlie James Gallery in Los Angeles in 2010. The show explored the long tradition of replication in China through paintings by Chinese artists that replicated Associated Press photos banned in the country. The Xi'an-American Warriors are a commentary on how creative media from the United States is often replicated in some form in China.

"I think it's an interesting area of exploration and discussion, certainly, and how differently our countries, the U.S. versus China, view reproduction, replication and intellectual property and that they're so contrasted," Rossof said in a phone interview with T-Lounge. "At the same time, the views on freedom of information and freedom of access to information is also very different."

Though this might seem like pretty heavy stuff to some people, Rossof said her statues give a "playful commentary" on these issues. Similarly, the inspiration for the statues actually came from an August 2009 article from the famous satirical publication The Onion, which described an army of terra-cotta Mouseketeers unearthed beneath Disney World's Cinderella Castle. Soon, Rossof traveled to Xi'an and enlisted the help of a studio to create the statues before shipping them to the U.S.

Mickey Mouse Xian
(Photo : Courtesy of Lizabeth Eva Rossof)

"That was conceptually part of it. I wanted them to be of the same earth as the rest of the replicas," Rossof said. "The Xi'an Warriors themselves were replicas. They weren't unique pieces. They were churned out, many, many, many, many of the same piece."

The heads of the characters and their warrior bodies were actually created separately and then put together in various combinations. There are 225 different combinations in total.

The five characters represent many of the major media groups of today, which was Rossof's intention with her picks. You've got Mickey Mouse from Disney, Shrek from DreamWorks Animation, Bart Simpson from FOX, Spider-Man from Marvel and Batman from DC Comics. The original collection also included a Ronald McDonald statue, but it wasn't so easy to recognize the face, so he was later replaced by Spider-Man.

Of course, you always run the risk of having something lost in translation when it's produced in a foreign land. That's exactly what happened to some of Rossof's statues, such as a candle holder-like hole included on the heads of the first Bart Simpson figures. But that's sort of the point of the pieces as well, to have them not look exactly like the characters but a little off.

venerdì 5 dicembre 2014

Giovanni Allevi

Giovanni Allevi & Rabarama
During the initiative "Volarearte" by Fondazione Henraux, Giovanni Allevi held a symphonic concert in the heights of Monte Altissimo in Tuscany, at the presence of my monumental sculpture and with a performance by bodypainted preformers (Stephane Boko and Yanelis Brooks-Sanchez):



Rabarama & Giovanni Allevi from Rabarama on Vimeo.


Giovanni Allevi is an exceptional artist of unique intellectual and musical commitment and one of the main uncontaminated and pure composers of the current international panorama.
Allevi (who is 43 but looks 15 years younger) is a pianist, composer and conductor who graduated with top marks in piano and composition. He also holds a cum laude degree in Philosophy (he wrote his dissertation on “The Void in Contemporary Physics”) but still says: “Through my music I see the world with the eyes of a child”. On stage he wears jeans and tennis shoes, not because he seeks to change the usual appearance of classical musician but because he wants to feel completely himself: all he cares about is his music, the rest is optional.
Thus, Allevi became a social phenomenon, the enfant terrible who shocked the musical Academia with his talent and charisma. He became part of the imaginary of new generations, who pack the concert halls in which he plays and with whom he has a special relationship, which Allevi himself defines “mysterious”.
His compositions sketch the canon of a new Classical Contemporary Music through a learned and emotional language. This language distances itself from the dodecaphonic, minimalist experience in order to affirm a new European rhythmic and melodic intensity based on the forms of classical tradition combined with the sounds of today.
Allevi’s music seeks to be the mirror of today’s multilayered, multiethnic society and to give voice to the "dangerous loneliness of the composer". He prizes the piano as a means of expression for its "closeness to the soul, to emotions and adrenaline".

Giovanni Allevi and Rabarama

As a result of his intellectual commitment to define a new contemporary classical music in both Italy and Europe, Giovanni receives rave reviews and attracts the esteem not only of those in the world of art and culture but also of figures such as the Italian President Giorgio Napolitano, Pope Benedict XVI, Nobel Mikhail Gorbaciov and many others.
Amongst the most recent of his many successful concerts and tours are the opening concert of his US tour at the New York Carnegie Hall, the piano solo concert for San Carlo Theatre in Naples in Piazza del Plebiscito where he played in front of eleven thousand people, and the concert on 1st September 2009 at the Arena di Verona, an historical event which was defined as the “Woodstock of contemporary classical music”. In this concert Giovanni conducted his symphonic music, played by the “All Stars Orchestra” (an orchestra of 90 musicians chosen form the world's best musical ensembles) in front of 12000 people. This concert was also released in a special CD/DVD edition by Sony Music. Worth mentioning is also Allevi’s concert in the Forbidden City in Beijing during the 2008 Olympic Games when the Maestro conducted the China Philharmonic Orchestra which brilliantly performed his music.
However, Giovanni never abandoned his big love, the piano. He is back on stage in 2010 with a series of piano solo concerts in Switzerland, California and Japan, continued with great success in Italy and hit some of the top European cities in 2011. In the Alien World Tour he presented his latest album of unreleased solo piano Alien, (Bizart/Sony Music certified gold) with his most beloved works. Since 30th April 2012 the first release of Giovanni Allevi for the French market has been available: “SECRET LOVE”. The record was published by RCA Victor/Sony Music France and it is a collection of his most famous piano solo compositions, containing 14 studio and 4 live tracks.

The great concert season was back in 2012 with stunning live events in Italy and in London where during the Olympic Games he was called to represent Italian music for the second time consecutively. After that he superbly conducted his first concerto for violin and orchestra which was included in SUNRISE, his new album of symphonic compositions
which was released on 30th October 2012 on Bizart/Sony Music label.

Giovanni Allevi
The World Première that saw Maestro Allevi conducting the Orchestra of Teatro San Felice and solo violinist Mariusz
Patyra, winner of Paganini Prize, took place in Teatro San Felice in Genoa on 14th November 2012. The reruns were all sold out and by popular demand the project is being proposed again throughout Italy in 2013.

Allevi is also a successful writer: Traveling With the Witch (March 2008) and The Music in My Head (November 2008) are his best-sellers published by Rizzoli. In September 2011 his third book and aesthetic manifesto Classical Rebel was released. This is an intense philosophical reflection on the relationship between Art and Life and a further confirmation of the solidity of his classical education and cultural stature. Here philosophical thought expresses his artistic aesthetics which aims at renewing the forms of tradition while remaining faithful to them, and at living the present day truly and passionately.