‘Food as an Image’ is a collection of printed and experimental textile designs used in a multiple of settings such as fashion, interior and set design.

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Danish food and dining culture, is translated and interpreted through its language of textures, forms and colours into textile samples and brought together with effectual techniques to create a unique and surprising design.
The project is based on Cecilie Rudolph own passion for food and shows the combination of two very different fields that are close to her heart; food & textiles, and how that is influencing the visually translation of each area from one to another in a unique way.
Cecilie find this development very interesting and it opens up for playful constellations and shows the possibilities also within textiles and cross sections.

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Scandinavian cooking is particularly popular at the moment and with that in mind the inspiration was explored within her own heritage, Danish food and dining culture. She has been looking at both modern and national proud dishes such as the colourful and garnishing “Smørrebrød”, which is an Danish Open Sandwich consisting of rye bread that is buttered and layered with a wide selection of Danish cold/warm cuts and colourful decorated to evoke the appetite. Another inspiration originates from the region where Cecilie grew up (south of Jutland). It is a kind of cookie called “Go ́ Råd” meaning “Good Advice” that is backed in a special waffle iron. Its significance is the decorative historical pattern, which is embossed on the cookie when backed. This pattern is different from family to family and has a lace looking pattern. Cecilie Rudolph have reworked and translated this ornament into a textile print design but also used the motif engraved on the fish skin in the project ‘Velbekomme’.

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Cecilie’s choice on materials and techniques is determined by her inspiration source in order to create delicious and edible looking textiles. She likes to make subtle illusions of what is actually real food and what is not. Her textile designs thereby become a part of that complete food and eating experience.
A key element is her use of embellishment and finishing techniques in order to create innovative fabric surfaces. Cecilie came up with a new and experimental way of using Caviar Beads made from PVC in combination with print, dye and layering. The Caviar Beads has a powerful effect and awake the illusion of fish eggs as well as being tactile, creating depth and sear in connection with the fabrics.
With Food as an Image she is combining Nordic aesthetic and simplicity with sophisticated couture elements brought together in a modern, playful and stylish interplay with space, textiles, interior, food and fashion in order to demonstrate what is durable in connection with food and to great a whole visual storytelling.

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Courtesy for the images, Cecilie Rudolph



With an academic background as an engineer, but artist by vocation, Andreco is certainely one of the most interesting figures of the recent italian contemporary art scene.

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Andreco, photo Alice Bettolo

Andreco was born in 1978 but he already has a very important background. He is an Environmental Engineer PhD, he did also Post Doc researches on green infrastructure and urban sustainability collaborating with the School of Engineering and Architecture of the University of Bologna, the Columbia University and the Nasa in New York City. His artistic research is focused on the relation between humans and nature and between the built environment and the natural landscape. Since 2000 Andreco is researching on different topics as anatomy, environmental sustainability, urbanism, ecology and symbolism, on the base of this researches he is creating new symbols for the environmental awareness.

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Andreco, Rise and Fall, 2015, mural for Clorofilla at Casa dei Beni Comuni, Belluno, Italy

Andreco’s work comes from an authentic passion for these themes, it is based on solid scentific bases and it is ispired by real and sometimes very urgent issues.
Most often these are interventions in close connection with the places, communities, geological and geographical conditions: large murals, installations, performances and site specific interventions (but also drawing, painting and video).
Continuous rise of CO2 levels in the atmosphere, seas’ pollution, intensive exploitation of the soils, climate change, overbuilding exasperated: anthropic pollution is for navigation systems the main cause of environmental damage.
The artist does not make propaganda, nor intend to provoke or denounce too openly. His work, characterized by a recognizable aesthetic borrowed from nature, suggest reflections, subject clearly alarming issues that everyone is free to investigate and discover.
The forms that Andrew uses to create most of his works are inspired by the mineral world and its aesthetic, with its net but not perfect shapes. They represent nature but are not abstract nor figurative. They are icons with the charm of the earth, freehand drawing which comes from a synthesis process.

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In order: Climate Change Mitigation, 2014; Nomadic Landscape, 2013; Resilient Bush, Biancospino: Superground, 2013

Among his most recent works, we can remember the project CLIMATE01, a big wall installation that he made in Paris, the city who recently hosted the COP21 - Sustainable Innovation Forum 2015. It represents the first step o fan art project inspired by the scientific climate change. Scientists estimate that the CO2 concentration in the atmosphere have a direct connection with the rising of temperature and climate change. 350 parts per million of carbon dioxide #CO2 in the atmosphere is a safe level. The CO2 concentration in atmosphere now is around 397 ppm and is predict 400ppm for the 2016.
Related to this global event, Andreco decided to realize a big mural work on the facade of the Richomme Primary School, in the 18th district, inspired by the consequences of the climate change and also an installation in wood and climbers plants in a community garden with the participation of the people of the neighborhood.

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Andreco, CLIMATE01, 2015 (Paris)

“In the climate change era the environment needs new symbols to withstand. We are in the century of the environmental crisis and my artwork is affected by it. My research is focused on the relation between humans and nature and between the built environment and the natural landscape. "Man is nature becoming conscious of itself " (Elisée Reclus) Since 2000 I'm constantly researching pushed by curiosity, finding connections between art and science, symbolism and environmental sustainability, anatomy and urbanism, bodies and cities, ecology and social justice, emotion and actions. I believe that multidisciplinary researches are needed. I support the idea that individual and collective freedom of thinking is a primary value. The objective of my research is to produce new visions, symbols and formulas, to make the invisible visible, showing the beauty of the hidden natural process as a contemporary alchemist that learns from the past.
There isn't just a method (I don't follow a specific scheme for my work) but the artwork production process is mostly site specific and influenced by the contest, the people that I meet and the environment. The artwork can be related to searching materials and natural elements, observing transformations and simplifying ideas in shapes. Sometimes I'm looking for a delicate balance, others times for a heavy impact. A common operation in my work is to transpose natural elements from the landscape to the built environment, changing the point of view, the perception and the conventional meaning of the objects, with the clear statement: Nature as Art” (Andreco).

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Andreco, Rocks, 2013 (Chiusa Pesio - CN); Philosophical tree, 2012 (Bologna), photo Marco Monicelli

*Courtesy of the images: Andreco



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The Fiemme Valley is one of the best known valley of the Trentino region, a bustling tourist destination known for its forests of spruces, the so-called resonance firs, which are the natural heritage of these places. From these precious trees comes from the most appreciated string instruments in the world; it is said that Stradivari himself he went into the forests of the Fiemme Valley to choose the most suitable trunks for his violins.
The wood of the resonance firs, particularly elastic, can transmits in a better way the sound and his lymphatic channels, like tiny organ pipes, create resonance. To make excellent instruments, even today, are usually used secular trees chosed with awareness. From generation to generation, the woodmans take care of the trees, watch over them and guard them, passing on a unique knowledge.

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The survey of MASBEDO stars here: from the firs' forests where these tree grow. With the project Sinfonia di un'esecuzione, the two artists decided to explore the relationship between life and death, in the migration between two complementarity.
The exhibition is in fact a project on the idea of renaissance, on the act of power; but also a reflection on the nature, the rites, the skilful gestures and executions, real or metaphorical, of our time. From the death of the tree comes the birth of marvelous instruments, in which the wood is revived.
The rough matter, irregular and mighty becomes harmony, lightness and fragility. To achieve the creation of the sublime is necessary to use a destructive and poignant gesture: an execution.

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"For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like heremits who have stolen away out of some weakness, but like great solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives foro ne thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. [...] Trees are sanctuaries."

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Images: MASBEDO, Sinfonia di un'esecuzione, 2015, un progetto per il MART di Rovereto, courtesy MASBEDO
*Extract: Hermann Hesse, Wandering



Eelco Brand (Rotterdam 1969) has began is artistic career as a traditional painter and during the 1990s began to use the 3D computer animation creating videos that may go beyond the static effect of the traditional painting.

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Eelco Brand, C, pigment print, 3D-CGI, 2013, 120x184 cm. Courtesy the artist

Continuing to assume the role of the painter, the artist gives life to nature and unreal landscapes: digital animations that come from a vivid imagination.
"Moving paintings" showing short video sequences constantly hovering between dream and reality. The reference to the theme of nature in his work is constant.
Eelco Brand shows us so much wonderful variety of plants as fascinating as unknown: flowers, fruits, trees, transporting us into the darkness of mysterious forests or upward high in the sky, above billowing clouds. Small portions of a luxuriant nature which is able to constantly regenerate, apparently harmless from any human danger.

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In order: Eelco Brand, HEUVELS, 2006, c-print, 110 x 178 cm, courtesy the artist and Studio la Città, Verona; SR, 2015, pigment print, 3D-CGI, 85x160 cm, courtesy the artist

Imitation is a part of being human. Eelco Brand uses both paint and digital techniques to create images that reflect his conception of nature. In this sense his works are not so much the depiction of an actual place or event, but the way he imagined it and modelled it in the calculated space of digital art. Viewing his work can be both an alienating and deeply human experience. His subjects are modelled to the utmost detail to create a kind of hyperreal cosmos, a simulacrum of nature. Still, we experience these models of forests, flowers and mountains as pure conveyers of meaning. These static images speak the language of scale, light, repetition, infinite detail and the deeper meaning of a simple gesture.
Beyond the veil of lifelessness that digital images seem to generate an intense expressive power. This power shows itself in the ease with wich his movies create dramatic effects using only light and scale. From one single leaf that flies gracefully, a flower that blooms in a perpetual way, the branches of the trees floating in the air, to the mysterious and gelatinous forms arising from the undergrowth; every time we realize that a digital reality can awaken our dormant romantic soul and our innate sense of protection toward nature of which we have often no trace.

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In order: Eelco Brand, VWV.movi, 2015, 3D animation, sound, HD screen 23", 35 x 57 cm, courtesy the artist and Studio la Città, Verona; AE, 2015, color print, wood frame, 95 x 80 cm, detail, courtesy the artist and Studio la Città, Verona; HB, 2013, pigment print, 3D-CGI, 150x100 cm, courtesy the artist; SL.movi, 2014, 3D animation continous, HD creen 23", 35 x 57 cm, courtesy the artist and Studio la Città, Verona

"Painting largely consists of adding and removing elements. You work on an image that evolves through its own logic. For me, constructing a 3D image is the same as painting. But the fascinating thing about working with 3D constructions is that you can enter the virtual space behind the two-dimensional surface and, more importantly, you also have the possibility of animating a scene. This means that suddenly you can go beyond the static medium of painting, and can add both movement and sound. This has created completely new ways of constructing and presenting works. The scenes I construct as prints or animations are virtual and hand-made. I don't use photographic materials or scanned images."*

* Eelco Brand
Videos: in order, 3.movi, 2014, 3D animation continous, courtesy the artist; VWV.movi, 2015, 3D animation continous, sound, courtesy the artist and Studio la Città, Verona



There may be a refusal acceptable within the urban fabric?
Basically they are traces of life, testimonies that tell the history of the place, the history of consumption, the story of those who live in social reality.
A refusal that can not be put back in the chain is a consumer dimension as street furniture.

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On this basis GGAPART has identified, within the city context, 6 different places that mingling with one another and interacting independently, make up the full system.
Certainly they donʼt represent all of the spaces for the refusal, they have deliberately excluded others, also more commonly known or used, but these 6 areas so different show many ways of being by metropolitan citizen.
Six personalities reflected in the way of waste abandonment.
So this is the question: waste that are part of the urban context in which we live can be considered part of everyday life, traces of and accepted for this? If it was "no", which we dispose of our sight, and if it so, what can we tolerate?

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Hungry human men feed often junk food. Then there are urban animals that are in urban food waste a secure source of survival. What apparently looks like garbage is actually sharing the domestic meal.

A static container and unchanging that keeps so repetitive habits daily consumption. They are waste passage of urban society.

Dumps and mountains of waste creates real areas of abandonment within the city. For proportions and dimensions become antechambers of the most impressive and official social landfills.

The dynamic, characteristic of the road, is opposed to the static nature of the waste thrown on the asphalt. The clash between the two ensues the evolution of the same waste that, undergoing a process of degradation induced and repeated, becomes an integral part of the environment.

The edge of the sidewalk becomes a barrier that unknowingly promotes buildup. Real micro urban spontaneous landfills environment creates and regulates.

These are expropriated areas involuntarily by man, which turns them into areas of no environmental value. These become places without schemes where anyone can intervene without having to comply with rules and laws commonly imposed and enforced.

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For all images courtesy GGAPART
This news was published in the context of spontaneous reports that come to Platform Green. For more information about the sending process of your project or work, please, go to the "Contacts" or “About” area.



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Mycelium Design, courtesy ©Officina Corpuscoli | Maurizio Montalti

Mycelium Design is an interdisciplinary research project that uses the fungal mycelium to develop new materials applicable to architecture and design. Through an important artistic, technical and scientific work conducted by Maurizio Montalti and Officina Corpuscoli it has origin the "Growing design": a project that explores how the mycelium of the funghi can be a natural binder for the creation of materials.

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"The new design, focusing on natural processes and particularly on the characteristics of many fungal species doesn't consider nature as something we can merely see, but as a raw material to "cultivate", seeking new production alternatives and creative possibilities. Maurizio Montalti is therefore a bio-craftsman, who needs to directly feel and under stand the matter, to better comprehend its behaviour and properties. 
We are looking at a radical change affecting the basic paradigms of design: production is replaced by cultivation. A creative process that involves a series of qualities: slowness, imperfection, simplicity. That's how his definition of "Growing Design" come sto life; a dynamic type of design, which consider the process of becoming and the multipli city characterising contemporary time."*

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Platform green TheGrowingLab Officina Corpuscoli Maurizio Montalti design organico green design

Mycelium Design, courtesy ©Officina Corpuscoli | Maurizio Montalti

In a period marked by an increasing attention for the environmental issues, the ecological problems, this could be an attractive option, although with its problems and its complexities.
If we think of design as an entity that can help to address and resolve certain problems, then we can think to generate a new period in which not only to take inspiration from nature (thing that happens since long time) but to generate new hybrid types with the direct use of nature.
The material proposed by the Mycelium Design project is sustainable, it ha san attractive appearance and low production costs: aspects that seem to depose to its favor.

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Platform green TheGrowingLab Officina Corpuscoli Maurizio Montalti design organico green design4

Mycelium Design, courtesy ©Officina Corpuscoli | Maurizio Montalti

*Marco Petroni, from Another world is possible, text published in the catalogue of the exhibition The Future of PlasticFondazione Plart, 2014



Paysage (Landscape) is the project of the French artist Morgane Denzler that was presented for Artissima 2015 by Bendana | Pinel Art Contemporain.

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Morgane Denzler, Paysage (Landscape), 2015. Courtesy the artist and Bendana | Pinel Art Contemporain

In the pursuit of her research regarding memory and landscape, Morgane Denzler appropriates two visions where « the whole » is opposed to the  "point of view". Two philosophies are therefore confronted. The result is a new series of works where the landscape is folded, unfolded; deployed in space. For Artissima, Denzler proposed a group of works entitled Paysage (Landscape). Ten pedestals of different heights supporting folded laminated photographs pasted on aluminum are deployed in the exhibition space. The artist thus presents a hybrid of cartography and alpine landscapes, inviting the viewer to forget the unique perspective in favor of a decentralization of the appearance. One has to «walk around in order for the landscape to appear.  One is guided through by the landscape; what it reveals and what it hides, its folds and its sequences. Morgane Denzler deconstructs a distorted relationship with nature where standard views are diverted and incline to poetry and the experience (visual and sensorial) of the landscape. The viewer is then absorbed by the landscape which correlations are permanent and infinite. If the West has created a landscape reduction strategy at their scale, the artist recalls the vastness, depth and density. In her work the landscape is not only a place of encounter between man and his environment, it is above all the place of "world operation".

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Morgane Denzler, Paysage (Landscape), 2015. Courtesy the artist and Bendana | Pinel Art Contemporain

In conversation with the artist

Andrea Lerda
Dear Morgane, first of thank you for your disposability and congratulation for you work really interesting. Please, would you explain me how did you decide to realize the project "Paysage (Landscape)"?
Morgane Denzler
The Project Beyond Landscape developed very naturally after a stay in the Alps. It was a continuity of a long research about landascape and cartography that started in 2012 with a work called Cartographie. That first stage already questioned the ways in which western landscapes are represented.

What does landscape represents in your life and in your practice? Moreover what is landscape today?
I believe there are two points, the landscape that man builds in order to exist, to lead a daily life, his own environment. But there is also the natural landscape with which he intereacts in a completely other way. It is a landscape in which there is very little space because it goes beyond and reduces itself to simple nature, where man only is obliged to experiment his own physical and intellectual limits. According to me, landscape is a vast experimental terrain of self discovery and understanding.

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Morgane Denzler, Paysage (Landscape), 2015. Installation view at Artissima 2016. Courtesy the artist and Bendana | Pinel Art Contemporain

If I am right, you propose to deconstruct the landscape's vision (the European way to look and to live the landscape) and you sustain the necessity to be part of the landscape.
Actually, its an ongoing questioning; far from being a sole valuable or necessary way of capturing a landscape. The destruction of landscape; folding it, breaking it into pieces constitute for me a way of understanding the history of the way in which my own culture percieves it. Very often it is the contrary of my natural intuitions regarding landscape. During my research and in my readings of Vivre le Paysage (2014) of François Julien that I discovered that there existed other totally different ways of perceiving, seeing and even living landscapes depending on the culture.
My work tends to propose different hints of thoughts and experimentation that concern everybody. Triggering the right to error, confusion and evasion in a world where our own perception is so mediatised, guided preconceived interfaces is for me a way of creating distance between man and what surrounds him. However, this choice of ways of capturing landscape according to cultures and certainly individuals is fascinating.

What happens exacly after the deconstruction of the unique point of view of landscape?
I am not sure of being able to respond to this question because I am not able to evade from a unique point of view (european). Nevertheless, I am convinced that after the deconstruction of this sole point of view there is certainly a new fascinating way of relating to ones own environment.

"Landscape is not only the meeting place between Man and its environment, it is above all the place of « the operation of the world". What do you mean?
You take these words from the beautiful text written by the the art critic and curator Julie Crenn. But, I think that what she means is that man needs to understand his own presence in this world by operating and taking position within an environment vaster than him.

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Morgane Denzler, Paysage (Landscape), 2015. Installation view at Artissima 2016. Courtesy the artist and Bendana | Pinel Art Contemporain



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Roxy-Paine, Amanita Virosa Wall, 2001, photo Sergio Tenderini

After the show presented at the Filatoio in Caraglio (Gardens of paradise. Masterpieces of art from the fifteenth to the nineteenth century), the one presented at the Galleria Civica in Trento (Nature. Art and ecology), we conclude this brief overview of the cultural events that italian museums have recently devoted to the nature theme with an exhibition currently underway at Villa Panza and the Panza Collection in Varese.

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In order: Roxy-Paine, Amanita Virosa Wall, 2001, photo Sergio Tenderini; Meg Webster, Volume for Lying on Flat, 1989, photo Sergio Tenderini

The question of mankind's relationship with nature has never been as topical as it is now: mother or stepmother, the entity that we are putting in danger or the hazard that can do us harm? The sustainability of the environment is made all the more difficult due to the intervention of mankind, which is unable to refrain from altering it with a view to enhancing the quality of its own existence. It is on these issues, which also encompass the relationship between mankind and the cosmos, that the Natura naturans exhibition focuses: a dual personal show dedicated to two American artists from different generations, who use different languages and who have opposing perspectives. What brings them together is an idea of nature as a continuous cycle of growth and decay, as encapsulated in the phrase coined by the philosopher Baruch Spinoza, from which the exhibition takes its title.

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In order: Meg Webster, Stick spiral, 1986, photo Sergio Tenderini; Roxy Paine, Crop (Poppy-Field), 1997-1998, photo Sergio Tenderini

Roxy Paine works according to the principle of translation and transformation with the use of synthetic materials from industry, colonising the spaces with works that faithfully reproduce flowers, plants and fungi. Meg Webster addresses this same theme, producing monuments dedicated to the earth, which is viewed as a tireless source of life.
Twenty-eight major works and installations, produced between 1982 and 2015, are featured along a route that meanders its way between the indoor and outdoor spaces of the villa, searching out a harmonious equilibrium between nature, architecture and the pieces in the permanent collection.

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Roxy Paine, Dinner of the Dictators, 1993-95, photo Sergio Tenderini

The exhibition is curated by Anna Bernardini, director of Villa Panza & the Panza Collection, and by art critic Angela Vettese 



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Francesco Mattuzzi, BLAST, 2015, courtesy the artist

Until the 31 January the Galleria Civica in Trento presents an exhibition focused on an argument as actual as urgent: the ecology. Starting from the original definition coined by de scientist Ernst Haeckel in 1866, Margherita de Pilati, curator of the show, proposes an exhibition tour including different aspects that today the term "ecology" implies.
From the commitment of the environmentalists, to the political duties, passing for the philosophy, the economy, the consumerism, Nature. Art and ecology wants to underline the primary role of the sense of responsibility, exploring the relationship between human beings and nature, to the search of new and different empathies.

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In order: Su-Mei Tse, L'écho, 2003, Mart; Marcelo Moscheta, A line in the Artic #3, 2012, courtesy Galleria Riccardo Crespi

In conversation with Margherita de Pilati, curator of the exhibition

Andrea Lerda
The theme that the exhibition Nature. Art and ecology faces is in my opinion as fascinating as important.
From the Land Art, to the environmental art, up to the recent experiences of the Eco Art, a great sensibility towards the nature (but also of the landscape) and an important attention for all the environmental issues is costantly increased. Thanks also to the precious contribution offered by the ecocriticism movement, step by step the collective conscience has understood the importance of a non anthropocentric position.
Which are the new aspects of this argument that this exhibition intend to investigate?
Margherita De Pilati
Your reflection is the same that inspired our decision to realize this exhibiiton. With Nature. Art and ecology we know to propose a partial gaze on a theme very articulated. In this occasion we have decided to exhibit some works, which are part of the Mart Collection, alongside to some site specific installations and other pieces coming from private collections.
Departing therefore from our identity, we have decided to relaunch the attention on a global thematic. A theme that influences the life of everybody and that in this period is object of political discussion and international debates.
It is not necessary to face the environmental matters with a new point of vew, on the contrary it is important to talk about them seriously, with responsability and perseverance.
The works on display, belonging to different periods and geographies, prove it. It is no longer the time for proclaims, there is nothing new to say, now it is the time to act!

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In order: Olafur Eliasson, Untitled (islandeserie #25), 1997, Mauro De Iorio Collection; Robert Gschwantner, Eye land, 2014, courtesy Paolo Maria Deanesi Gallery, Trento; Giuseppe Penone, Lo spazio della scultura, 2001, Mart, deposit, private collection; Michelangelo Pistoletto, 5 tronchi divisione moltiplicazione, 1996, Mart, private collection

The precarious balance on which rests the relationship between man and nature is increasingly evident. Do you think that art can really affect a feeling ecologist?
Art has anticipated the ecologist feeling since the 70s and has never ceased to investigate it, expanding it and supporting it. As in all ages, sometimes the artists can preficure the future (this is the case of Joseph Beuys); other times are interpreters of their time.

The word Ecology, as you wrote in the introduction to the exhibition, has become a social and cultural mantra.
Don't you believe that art can represent a simple exercise of form and style without bringing to concrete results?
Although the art has a social and educational role, we must remember to do not assign it a particular and specific responsability. On the other hand we have to remember that contemporary art, which sometimes serves the prejudice to be quite difficult to be understood, actually is very direct and immediate, thanks to the media used, such as video, photography, installation and sound; all elements and instruments that characterize the daily life of everybody and therefore very easy to be interpreted.

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In order: Stefano Cagol, The ice monolith, 2013, courtesy the artist; Christo, The Gates Central Park N.Y., 1991, Mart, collection Domenico Talamoni; Willy Verginer, Tra idillio e realtà, 2014, courtesy the artist

Curated by Margherita de Pilati
Galleria Civica di Trento I Mart
Until 31 January 2016


Masterpieces from the fifteenth to the nineteenth century

This is the title of the exhibition that the Marcovaldo Cultural Association in Caraglio presented as part of a larger project entitled "Taste and beauty from the garden to the table" and focused on the garden and the vegetable garden.

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Chiara Camoni, Porcellane, 2008, pencil on sheets of porcelain, 37x130x8 cm. Monza, private collection

An itinerary curated by Martina Corgnati and Paolo Pejrone who presented about a hundred of works dedicated to this theme, from the fifteenth century to the present day: a tale of beauties and delights but also of production spaces, gardens and orchards.
The chapters through which the project was developed are four: Gan Eden: the perfect garden; The Four Seasons; Gardens' portraits and to finish From the garden to the table.
The first section is dedicated to the ideal garden. The theme of the garden is symbolic, very present in medieval and Renaissance period, in its various branched such as the Eden, the Hortus Conclusus and the Garden of Gethsemane.
The second section of the exhibition was instead designed to analyze the theme of the Four Seasons, which is often in connection with the Three Ages of Man subject and in general with the iconography linked to this time; an argument that is fully justified by the seasonality of crops of orchards and gardens.

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In order: Renato Guttuso, Passeggiata in giardino a Velate, 1983, oil on canvas, 121x149 cm. Varese, Francesco Pellin Foundation; Bartolomeo Bimbi, Il cedro, second decade of the eighteenth century, oil on canvas, 51x65 cm. Poggio a Caiano, Villa Medicea, Museo della Natura Morta, inv. Poggio Imperiale n. 200; Christian Berentz, Casino dell'Aurora a Palazzo Rospigliosi, second half of the seventeenth century, oil on canvas, 48x39 cm. Roma, Galleria Nazionale d'Arte Antica in Palazzo Corsini; Giulio Paolini, Giardino all'italiana, 2013, lithography, 42x32 cm. Monza, private collection

In the third section the two curators have gived ample space to the landscape paintings and to the suggestions that several artists have given to various types of gardens: from the royal gardens to those of private villas, to the Vatican courts.
Finally, a focus on the fruits of the earth that come from the vegetable garden to the table; it is time to present some important examples of still life: open-air markets views and paintings depicting the products created by human labor in the fields: fruits and vegetables of all kinds.

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In order: Oscar Ghiglia, La signora Ojetti nel roseto, 1907, oil on canvas, 48,5x50,5 cm. Courtesy Società di Belle Arti, Viareggio; Caretto & Spagna, Recinto. Azione di recinzione di porzione di spazio. Recinto 04_Pecetto Torinese, 2006, inkjet print on cotton paper, 20x27. Courtesy of the artists; Plinio Nomellini, Bambini in giardino, 1913-1914, oil on canvas, 92x103 cm. Firenze, private collection; Giuseppe Pellizza da Volpedo, Passeggiata amorosa - Idillio Verde, 1901, oil on canvas, diameter 100 cm. Ascoli Piceno, Pinacoteca Civica