There are spaces telling people’s histories, people who have lived or simply went through this places, now clear to our eyes by their clues: colours, signs, objects, actions, news items. Simone Parri and Giorgio Barrera achieved an aesthetic-intellectual research that overlap with existence. With their personal work they gave birth to a mutual dialectic over the infinite and idyllic landscape, referring to Caspar David Friedrich romantic painting and tracing Luigi Ghiri dialectic from the collective painting project better known as “Grand Tour”, awakening with their images absence and emptyness emotions. Some bucolic spaces from Italian province emerge on the surface. Simone Parri shot marine scenarios in spiritual-neutral colours, alluding to insatiable human tension towards infinite. Giorgio Barrera’s “Buttlefields” series bring us back to Reinassance, in the places where all the biggest battles for the independence and unity of Italy took place. By now the captured scenarios are far leftover. Places only lived by shapeless wild greenery. Light increases the sense of void and suggests the feel of being lost, loneliness and nostalgia. After the 90s photographic experiences, the places are unrecognizable beacuse they don’t show any contact to what they were. They don’t ensure living. In these images every clue of historical identity disappear, often pointed out by monuments and memorial tablets from Eastern culture. The contrast between the infinite of the nature and the human condition admittedly opens, making us feeling to be born in a huge space and how tiny and unarmed we are compared to the infinite. This tragic aspect place an observation on the escape from the superstructures: artificial images and nevrotic consumerism of urban civilization. Nevertheless, these images gave a clear effect, capable of bringing serene being to our darkness thoughts.
On the waterfront I 1991-1993 SIMONE PARRI
On the waterfront II 1991-1993 SIMONE PARRI
On the waterfront III 1991-1993 SIMONE PARRI
Vigevano 21 Marzo 1849 / Buttlefields 1848-1867 GIORGIO BARRERA
Mortara 21 Marzo 1849 / Buttlefields 1848-1867 GIORGIO BARRERA
Palestro 30 Maggio 1859 / Buttlefields 1848-1867 GIORGIO BARRERA
Photography ALBERTO PELLEGRINET Realization ALESSIO NESI
From Left: 272 Caramel Lust HELENA RUBINSTEIN. Rouge Sublime 150 YVES SAINT LAURENT. Amusing Rouge Allure CHANEL. Poetique Camelia GIVENCHY. Poetique Iris GIVENCHY. Prune Mondain 943 DIOR ADDICT. Sparkling 65 DOLCE & GABBANA.
“A distraction to the vision of the space” is maybe the perfect definition for humanity, in the words of german photographer Candida Höfer, celebrated protagonist with a personal exhibition at Palazzo Medici Riccardi until January 24th 2010, Florence. Twenty monumental shots of some of the most evocative spaces in Florence, ornate baroc architectures clearly seen by the eye of the camera in a completely detached way, only day light, with no human presence. That kind of humanity that we can still feel in the pictures, as they become an encyclopaedia of spaces within which man reached his greatness, such as libraries – places for knowledge -, cathedrals – places for faith -, museums – places for art -, theatres, colleges and many historical buildings. Candida Höfer shows these empty spaces, meticulously composed and presented in 200×250 cm prints, with a perfect contemporary and postmodern sensitivity.
IX Accademia Firenze I 2008
XVIII Biblioteca Riccardiana Firenze I 2008
VI Palazzo Cosimi Firenze III 2008
X Uffizi Firenze II 2008
XX Accademia Firenze V 2008
Creative Director at Balenciaga Nicolas Ghesquiere, never made a false step: his collections, ever realized with masterly skills, enlighten and move deeply. For the new perfume commisioned by the french maison, the first after 1955’s Quadrille, high expectations were pushing on the director, while season after season Nicolas was renewing his view, but still imposing l’air du temps in his estreme aesthetic severity. Baleciaga Paris is an extremely mysterious and introspective fragrance, classical and gentle. Supported by an amber background, the violet’s bouquet is a light gust of spring wind. It arouses an ancient fascination, it awakens dead loves memories. A sculpture-packaging, in the appearance of a blow glass bell, wraps a floreal jus similar to forest nectar. Charlotte Gainsbourg, designer’s friend and muse, faithfully interprets the fragrance in the campaign shot by Steven Meisel. She’s the polish presence, an androgynous bright lady characterized by a sexual ambivalence aura, in a simple, candid way that constitutes the common denominator of some people’s perpetual charme. This is a mystical and pagan duality not reserved exclusively to women, as we can remind in Nureiev and in young character Tadzio from Luchino Visconti’s movie Death in Venice. Fascination is a form of presence-absence and it’s like diamond’s worth, its prestige is made by a limited series of subjects, and it has to be caught in the bump instant.
Photograpy Steven Meisel
Photography ALBERTO PELLEGRINET
Realization ALESSIO NESI
From above: Compact Lipstick 2 GIORGIO ARMANI. Pochette Total Look DIOR JAZZCLUB. Ultra Correction Lift CHANEL. Lipstick Caramel Lust 272 HELENA RUBINSTEIN. Watch D&G. Blush Duo Tweed Effect CHANEL. Eau de Tolilette Flora by GUCCI. Eau de Tolilette Jil JIL SANDER. Eau de Tolilette Parisienne Y.S.L. Nail Lacquer Poetique Lily GIVENCHY. Hair Brush ANNA SUI. Eyeliner 888 DIOR. Anti-Aging Day Cream LAPRAIRIE. Collier de chain HERMES. Your Lovely Palette Y.S.L.