ARTS

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ART SAFETY

Published May 13, 2013 by Tony

– ARTWORKS ON LOAN –

 "Birth of Venus" by Botticelli

Back to what I have repeatedly stated, namely that Italy is the country with the biggest  concentration of works of art and archaeological finds in the world, the realization that major foreign museums ask for some works to be exhibited in their cities, this endorse my statement.
Works of art that come and go, becoming “loans” worldwide. It seems that nowadays the positive image of Italy is more “conveyed” by its "wooden Crucifix" by Cimabuemasterpieces.

The most beautiful archaeological remains of Pompeii are currently on display in London, and it is a recent news that the “wooden Crucifix” by Cimabue and the “Dancing Satyr” of Mazara del Vallo will be exhibited in a museum in the United States.
In 2010 fifty masterpieces of the Italian Baroque of inestimable value were exposed to the Smithsonian Institute in Florida and in the Italian Museum of Fitzgerald Foundation of Florence, while last July, 67 works of art from Florence,  they were useful to the Chinese to celebrate the centenary of the birth the National Museum in Beijing."Dancing Satyr", Mazara-del-Vallo-IV-sec.-a.C., Mazara-del-Vallo-IV-sec.-a.C.
Many Sicilian artworks are around:  the Auriga‘s marble from museum of Mozia, a work unique in its kind, sent to London as a result of trade agreements at the Olympic Games, and now in Malibu, in the Getty Museum, where it will be on display until August 2013; the Efebo of Selinunte is located in Shanghai on display at the exhibition organized for the Triennial, which will close on January, 2013; the Dancing Satyr, sculpture of extraordinary beauty attributed to the school of Lysippos, from Mazara del Vallo is in Shanghai for the Expo, along with the “Aries” from the archaeological Museum of Efebo of Selinunte
Salinas in Palermo.
Yet, the Satyr, Aries and Auriga are part of the twenty-one works that should be immovable, but, on the contrary, they continue to travel by special permits that let them be away also for long periods.
In 2007 there was controversy on the “Annunciation” by Leonardo, which left Italy to reach Tokyo. And while the borrowing request about  the “Birth of Venus” by Botticelli of some non-European countries is still being considered, the foreign tour of “Riace bronzes” has always been rejected by the archaeological superintendent of Calabria, events that reopen the debate on whether or not works of arts, preserved in our museums, should  travel around.Riace bronzes

I do not want to be accused of catastrophism, but those who has even a bit of acquaintance with this subject knows that the displacement of ancient works is always a risk, even without wanting to get to extreme cases such as the “Le peintre” by Pablo Picasso, destroyed in a plane crash on September 2, 1998
In addition, beyond the risks, an ethic issue should give any visitor, especially if coming from a distance, the right to find in a museum every work that is there stored.

"Annunciation" by LeonardoAnd last but not the least, the possibility that the exhibition of works of art in different states can be disadvantageous for the tourism in Italy. Something that this country needs, and  by way of example I can say that if I had the chance to see “Mona Lisa” by Leonardo, here in my country, I would certainly have  one “less reason” for visiting the Louvre… uh?!

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Pompeii artifacts at British Museum

Published April 13, 2013 by Tony

Life and death in Pompeii and Herculaneum

British Museum

28 March – 29 September 2013

It is the daily life of Pompeii and its near neighbour Herculaneum before the disaster that is the subject of the British Museum’s latest exhibition.
In fact, the British Museum in London is hosting its first ever exhibition on the Roman cities of Pompeii and Herculaneum sponsored by Goldman Sachs.
Titled “Life and Death in Pompeii and Herculaneum“, with a unique focus to give a taste of the everyday life of the people in Pompeii, the exhibition will display 450 artifacts on loan from the Superintendence of Naples, until the end of September 2013, of whom some had never left Naples and which have never been seen outside Italy before.

AD 79. In just 24 hours, two countries in the Bay of Naples, southern Italy, were buried by a catastrophic eruption of Mount Vesuvius. Preserved under ash, their rediscovery nearly 1,700 years later provided an unparalleled glimpse into the daily life of the Roman Empire.Plaster cast of a dog - from the House of Orpheus, Pompeii, AD79
In spite of the desolation that met the eyes of those who witnessed the aftermath of the eruption of Vesuvius, much was wrested from those ruins more than a millennium and a half later, and much continues to be found to this day – as recently as 1992, for example, 300 hundred bodies were excavated from the shore line close to Herculaneum. The volcanic ash had acted as a terrible preservative of sorts. Pompeii was said to have had a population of about 15,000, and only 10 per cent of those bodies were ever accounted for. Some must have fled, taking whatever was most precious to them – beside the felled body of a soldier we stare at a long sword, a stabbing dagger and a bag of tools. Others took with them a wicker basket heaped with bronze coins or the key to a house that would never be seen again.

The exhibition organizers have created a journey through time, with images of tranquil daily life in the ancient Roman cities that today are blended with the bustle of the city of Naples.
With over 20 years since the last major exhibition on Pompeii in the UK, recent discoveries alongside celebrated objects, including body casts, will reveal new insights into this highly captivating and humanFamily bodies story.
Starting with the bustling street, and moving through the intimate spaces of a home, the visitor will be transported into the lives of ordinary Romans nearly 2,000 years ago, before devastation struck. From the atrium to the garden, bedroom and dining room, this personal journey reveals parallels with our own lives today.

The presentation is systematic, and after seen common daily life objects, artworks, jewels and paintings,  the tragedy comes. You can see her, in a low-lit area on her own, flung down onto her face, helplessly sprawled in death, the Resin Lady, so called because the void of the body left in ash was filled with clear epoxy resin. This woman died in the basement of a villa near Pompeii. A little way away, among the most striking findings come down to London, is an entire family that died together in positions of pain and terror, braced against the hellish heat, huddled in an alcove under the stairs of their house. A child is on its mother’s lap. Mother and father appear to be falling backwards, reeling from the tremendous blast of heat. A child lies in the boxer pose – which means that its tendons would have god Pan with goatcontracted because of the searing temperatures.

And as a reminder that ancient Romans were truly made of flesh and blood, curators have not forgot some erotic items preserved from the cities (look at the marvelous penis on the handsome figure that acts as a support for the cake stand, for example). The Romans, we know,Placentarius - Cake Tray were not ashamed of their bodies and not embarrassed about sex, differently from the British of today, who have placed a kind of signal “unsuitable for children” in front of the statue of the god Pan that mates with a goat.

Statues, garden furniture, food moulds, even a mosaic warning sign reading “Cave canem” (beware of the dog) placed at the entrance of Orpheus home in Pompeii, are indicators of just how much the average person loved their stuff.
Of course, watching all the ruins of Pompeii and Herculaneum closely on site is a different story, and I can understand that this is better than nothing for British who can not or do not want to travel and come to Naples, but it becomes inconceivable to me that other people – non-resident in UK – will have decided to travel to go to London to enjoy this small exhibition, rather than come in Pompeii.

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YOUNGS IDOLS

Published April 6, 2013 by Tony

FANS MANIA

At the time of the Beatles, during their concerts, fans were crying and gave vent to their happiness at the sight of the musicians on stage, crowding and despairing even to have the chance to see them up close and touch them.
Scenes of the past?
No, this is still happening, even if today these scenes are not so striking and no longer big news as it once was. If you want to attend in person in such situations, go to a Justin Bieber or One Direction concert, for example. There, you will see hundreds of teenagers screaming and waving at the sight of young artist singing on stage.
But this is not all.
The love for their idol lead some fans to do Justin Bieber in Bologna with Giorgiaeverything, as it happened in Bologna in the only Italian stage of Bieber. Hundreds of girls aged 14 and up went to the concert even if living in other cities, and all hoped to be chosen from Justin to go on stage and seeing dedicate, face to face, a song, how usually the young singer is doing at his concerts.

Giorgia also was at that concert who, although not a Bieber fan, had accompanied her friend who likes Justin. Life sometimes does tricks, and Georgia could not foresee at all that among thousands of screaming fans, from the stage Justin would choose her to be the “less lonely girl” of the evening. Under her friend’s astonished eyes, she was made accommodate on the stage, where Justin took her by the hand and made sit down, then dedicating her a song. Justin was there a few inches from her, singing with affection a song and looking into her eyes.
I can not imagine how much envy all the girls, that were there, have felt at that time. Not everyone has such a luck, and chance would that, the one to be kissed by fortune was not even a follower, like the hundreds who were there dreaming of being close to Justin, to touch and kiss him…. willing to do anything for him.
Envy has no limits and in the following days Georgia was bombarded with insults on Facebook and Twitter, so as to force her to close the accounts. This probably would have happened the same, even if she had really been a big Bieber fan, because her luck had been so much, too much to the point of inciting envy and jealousy.

One Direction

In fact, a similar fate had already happened to a seventeen year old from Bologna, fuckingly lucky to have won a free ticket for the concert of One Direction in New York, and especially to have had the opportunity to meet Harry Styles, as well as see his image immortalized in wax at Madame Tussaud’s.
Being close to your idol, is priceless!
Is not this enough?
Sounds strange if not impossible that five Norwegian schools have brought forward the exams date because of the concert that Bieber should hold 16, 17 and 18 April in the Telenor Arena in Oslo.
Well, five schools in Aalesund have decided to change the dates of the exams, planned on 16 and 17, to prevent students, engaged in the test, from “playing hookie” because of this concert.
But fans mania is all this and more, and in Norway the decision to postpone the exams has even received the consent of the official Norwegian Minister of Education.

For pity’s sake, let me kiss Bieber or touch Harry Styles!
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Cappella Sansevero

Published March 24, 2013 by Tony

SANSEVERO CHAPEL
Raimondo of Sangro

San Severo

Who has had the opportunity to read some articles in which I speak of Naples, about the long-standing problems facing the city, will be became aware of my love-hate feeling towards it. Different matter, however, is to consider this city under a cultural and artistic point of view. As many assert, and I am convinced, it is a city – if not the only – with the highest concentration of natural beauty and works of high historical and artistic interest, a truly huge cultural heritage. Among these is included the “Chapel of San Severo” or “Santa Maria della Pietà” in the historic center of the city.
Its creator, Raimondo di Sangro VII, Prince of Sansevero was a scholar, a soldier, an inventor, anatomist and esoteric Freemason born in Foggia in 1710 and died in Naples in 1771, around which many legends were born.   The members of his family were grandees of Spain, owners of countless feuds in Apulia (as Sansevero Torremaggiore, Castelnuovo, Casalvecchio), and, by paternal line, claimed to be directly descended from Charlemagne.
Motherless since childhood, he was assigned to the paternal grandparents who at 10 years sent him to study at the Jesuit School of Rome, where he remained until 20 years.  His father was gone to Vienna, to escape incarceration because accused of having killed a girl’s father in Sansevero, with whom he had fallen in love, and later retired to a monastery in Rome where he took his vows. Naples was the permanent residence of Raimondo’s family where he came back as soon completed his studies. In the same year, by proxy, since she lived in the Andes, he married the fourteen Carlotta Gaetani d’Aragona, who met only six years after the wedding. During his life, the prince of Sansevero took care of many things of a military nature, arts and culture, but also of inventions and alchemy. Adjacent to the family  mansion, separated by an alley, is still the chapel of his family, and according to legend, it was built by the ancestors of the prince in 1593 on an ancient temple of Isis, while in 1744, 100 years later, Raymond resumed the restoration works. Construction’s works that drained the family’s coffers and lasted until the death of the prince, but that made the small church with his Masonic influences and allegories, a masterpiece of Baroque Neapolitan, attended by famous artists.

Cristo velato

The chapel is known mainly for three idiosyncratic statues that adorn it, two of which “Veiled Modesty” and “Veiled Christ“, seem to be covered by a transparent veil of marble – that is all one with the sculpture –  and to date critics has not yet figured out the technique used. Same goes for the third statue entitled “Disillusion” on which there is a network created by marble. One of the hypotheses, by modern admirers of the Prince, is that it is the result of a process invented by the Prince to “marbleize” the fabric. This procedure, however, has not yet been put to the test, and still do not seem to be a convincing explanation. One possible interpretation of these works’ allegorical message, focuses on the Enlightenment, which is that through the reason man reaches the disappointment and gets rid of false truths. In the of the chapel’s “Underground Cave” we find two special “mummies” defined  “anatomical machines” by the prince, two human skeletons (a black woman and one man) with their entire circulatory system (including capillaries) perfectly visible.
It is not known how such structures have been obtained and legend has it that the Prince would obtain the “metallization” or “plastination” of the blood circuit “injecting” a compound of his invention and, therefore, the two subjects had to be alive at the time of the experiment (note that the syringe did not yet exist at the time). However, whether they are machines or real bodies is not certain, since the owners of the Chapel have always refused to let perform any type of investigation.

Disillusion

It was easy for the common people to give birth to magical stories on the erudite and mysterious Prince of Sansevero, who, however, did nothing to discredit the rumors rather, cloaked in the secrecy of his life, for days he remained closed in in his alchemical laboratory, where studied and realized his experiments and his inventions. It should be added that, in the basement of the palace, a printing press had been placed and its noise, very original for the time, could well fuel further rumors. From general accusations of alchemy, witchcraft and atheism, other more serious charges took root, without any basis as far as we know, such as kidnapping poor and homeless for his ignoble experiments. For this and more, he was nicknamed the “black noble”.
The Cappella Sansevero also known as the Capella Sansevero de’ Sangri received its alternative name of Pietatella (from the word pity) from a painting of the Virgin Mary (La Pietà), spotted there by an unjustly arrested prisoner, as reported in the book “Napoli Sacra” by Cesare d’Engenio Caracciolo in 1623. When the chapel was constructed it was originally dedicated to Santa Maria della Pietà, after the painting.
With its thirty works of art and decoration in late-Baroque, the chapel has always been a destination for tourists and visitors.

Metal Veins

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ITALIA’S GOT TALENT

Published March 18, 2013 by Tony

2013 ITALIA’S GOT TALENT

italia's got talent

Also this year the Italian version of “Talent show” is over. As you know, this TV show’s format is similar to “American Idol”, born years ago in England, and based on the discovery of new talent, in any discipline.
In this fourth edition of Italy’s Got Talent, started on January 12, last Saturday during the finals, the sixteen finalists have competed to let viewers choose the winner.
As in the past, the three judges have been Maria De Filippi, Gerry Scotti and Rudy Zerbi and the presenters Simon Annicchiarico and Belén Rodríguez (who participated despite being pregnant).
Among them were some who really deserved to win and I want to mention:


Walter Orfei Malachikhine, a sixteen year old boy belonging to the homonymous circus family, which struck the judges with his acrobatic numbers.

walter-orfei-malachikhine
Sara Venerucci and Danilo Decembrini, a pair of artistic skaters, three-time world champions.

Sara Venerucci and Danilo Decembrini
Daniele and Alessandro Suez, twelve and fifteen years, two brothers acrobAdomako Danielatic dancers who have conquered all with their skill.

daniele alessandro suez
Ripalta Bufo, a good 22-year old soprano from Puglia who has performed a difficult song from “La Traviata”.

Ripalta Bufo
Brothers Lo Tumulo (Daniele Sportelli and Elio Angelini), a comedy duo who made us laugh through a macabre comic sense, parodying and joking about death.

Lo Tumulo
The duo Los Hermanos Macana, consisting of two twin brothers (Enrique e Guillermo De Fazi) from Argentina, talented dancers of a “passionate” tango.

Los Hermanos Macana
Anyway, at televoting among the finalists Adomako Daniel has triumphed, a 21 year old native of Ghana, who has competed in a lyrical piece, a version of “At Last” by Etta James, giving a display of all the nuances of his particular voice.  He is assigned the expected prize of € 100,000. Daniel had already tried his luck at the X-Factor show, a few years ago, but was rejected.

DANIEL ADOMAKO
An important victory for the 21 year old guy from Brescia, who has always had to struggle, even with his father, to show his talent and desire to succeed. He impressed the audience by his celestial voice but by humility and kindness arising from a slight effeminacy.

Adomako Daniel

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NEAPOLITAN LULLABIES

Published March 13, 2013 by Tony

NEAPOLITAN LULLABIES & NURSERY RHYMES


I do not think exist a people and a culture that does not have their own lullabies or nursery-rhymes, and since only few of them have a contemporary origin, we often must look to the past and find those created by our ancestors, those transmitted by our grandmothers, or that perhaps we ourselves played when were children.
In the past, lullabies and nursery rhymes were much in vogue and represented the essence of a wise, funny and jeering culture handed down from mother to son and that over time has become a popular culture’s wealth.
This unique literary genre found fertile ground in the ancient Neapolitan folklore that gave birth to many lullabies, nursery rhymes, tongue twisters, spells or spiteful-rhymes, that sometimes represented a daily “lived in”, and although at the beginning they were only transmitted orally, now fortunately is still possible to trace many of them around.
Here, I will mention the most famous texts, and to the extent possible, also will grapple with an almost-impossible translation into English (an acceptable literal translation, though the rhymes will inevitably be lost!), hoping that fans of this genre will appreciate my effort.

LULLABIES

Vòca vòca mastu ciccio
nà panèlla e na sasiccia
à panèlla c’ ‘a  magnamme e a sasiccia c’ ‘a stipamme
Voca voca marenaro
quanti pisci vanno a mare
vanno a mare a la marina
voca voca nenna mia
Row, row Master Ciccio
a (piece of) bread and a sausage
we eat the bread and
will store the sausage
Row, row seaman
how many fish are in the sea
go into the sea in the marine
row row my child
E fa la nonna e fa la nunnarèlla,
ca ‘o lupo s’ha mangiato ‘a pecurella.
E pecurella mia comme farraje,
quanno mocca a lu lupo te truvarraje?
E pecurella mia comme faciste,
quanno mmocca a lu lupo te truvaste?
E pecurella mia comme campaste,
quanno mmocca a lu lupo te truvaste?
And have you a lullaby and sleep,
that the wolf ate the sheep.
And my lil sheep how will you do,
when you’ll be in the wolf’s mouth?
And how did you do my lil lamb,
when you were in the wolf’s mouth?
And my lil lamb how did you survive,
when you were in the wolf’s mouth?
Nonna nonna,
nonna vo’ fa’ chesta nenna bella,
nonna vo’ fa’ mo’ ch’è piccerella,
che quann’è grossa s’addurmenti sulella
E nonna nonna, chè la nonna è bona,
li pare tuoie dòrmen’ a lu lietto,
sola ’sta nenna nun trov’ arricietto
Lullaby, lullaby
sleep (is what this) cute baby wants,
sleep (is what) this lil girl wants to do,
who when older will sleep all alone
And lullaby ’cause sleeping is good,
your peers are sleeping in the bed,
only this child is not finding peace
Nonna nonna.
Quanno sant’Anna cantav’ a Maria,
quante belle canzone le diceva!
E le diceva: adduòrmete, Maria.
Maria ch’era santa s’addurmeva;
e le diceva: adduòrmete, Dunzella,
tu si’ ‘a mamma de li virginelle ; e le diceva: adduòrmete, Signora,
tu si’ ‘a mamma de lu Salvatore;
e le diceva: adduòrmete, Regina,
tu si’ la mamma de Gesù Bambino!
Lullaby
when Santa Anna sang to Mary,
how many beautiful songs she sang!
And she said her: Mary asleep
Mary who was a saint fell asleep
and she said her: Damsel asleep
you are young virgins’ mother
and she said her: Ma’am asleep
you are Savior’s mother
and she said her: Queen asleep,
you are Christ Child’s mother!
 Oh! la nonna, nonnarella,
’sta figlia mia se fa i suonne belle;
se fa i suonne che se facette Maria,
cu l’ uocchie chiusi e cu ‘a mente a Dio.
Cu l’ uocchie chiusi e cu ‘a mente ai Santi
’sta figlia mia pozza crescere santa!
Oh sleep, lullaby,
this my daughter has good dreams;
dreaming the dreams that Mary did,
with closed eyes and mind to God
with closed eyes and mind to Saints,
may my daughter grow (as a) saint!
Vieni suonno e vieni chiano chiano
cu ‘a lanterna e lu bastone ‘n mano.
Vieni suonno e vieni ra lo monte
co’ na palloccia d’oro e rare n’ fronte.
rare n’ fronte e mo’ re nce fa male
nun tengo pezze pe la mmerecare.
Vieni suonno e vieni ca t’aspetto
Come Maria aspetta Giuseppe.
San Giuseppe mio vicchiariello
porta lo suonno sotto ‘o mantello.
Vieni suonno e vieni e non tardare
sta figlia se vole riposare.
Come lullaby and comes slowly, slowly
with lantern and a walking stick in hand.
Come slumber and come from mountain
with a gold ball and throw it on the forehead. T
hrow it on the forehead and without harming. I don’t have rags to medicate. Come slumber, comes that I wait for you. Like Mary expects Joseph.
Saint Joseph my old man
bears the sleep under the cloak.
Come slumber, come, don’t delay
this daughter (child) wants to rest.
Nonna, nonna, nonna nunnarellòooo
Tutte so’ brutte e ‘stu figliu mio è bello
‘stu figliu mio è malo ‘mparato,
e nun s’addorme si nun è cantato,
nun è cantato da li belle donne,
stu figliu mio bello mo’ s’addorme.
Nonna, nonna, nonna nunnarellòooo
all are ugly and this my child is beautiful
this child of mine is not educated,
and doesn’t fall asleep if it’s not sung,
if to singing aren’t beautiful women,
now this cute baby of mine will sleep.


Nursery Rhymes, Tongue Twisters, Spells

A farfallina rossa me murzecate ‘o musso
nu poco e vino russo me fatte ‘mbriaca’
mannaggia cca, mannaggia lla’
mannaggia a lettera e papa’
nu pare e zucculillo
na rosa inde e capilline’
guaglio’ che guarda a fa’
je a mossa a saccio fa!

A lil red butterfly, you bit my lip
a little red wine made ​​me drunk
damn here, damn there
damn the dad’s letter
you look like a rat
a rose in the hair, boy why you look at me
I know how to do the move!

Ce steve ‘na vota
‘nu viecchie e ‘na vecchia
stevene e casa areto a ‘nu specchio,
stevene e casa areto a ‘nu monte…
statte zitte che mò tu conte.
E tu conte dint’ ‘a tiana,
mammeta e patete i ruffiani.

Once Upon a Time
an old man and woman
were standing at home behind a mirror,
were at home behind a mount …
shut up now this is the story.
And I’ll tell you it in the pot,
your mom and dad bootlicker.

Cicerenella teneva no gallo
tutta la notte nce jeva a cavallo,
essa nce jeva pò senza la sella
chisto è lo gallo de Cicerenella.
Cicerenella tenea na gallina
faceva ll’ova de sera e matina,
l’avea mparata a magnà farenella
chesta è ‘a gallina de Cicerenella
Cicerenella had a cock
all night she rode on it,
she did it without the saddle
this is the cock of Cicerenella.
Cicerenella had a chicken
laid eggs in the evening and morning,
she had learned it to eat the corn
this is the hen of Cicerenella
Storta picòscia,
tiene ‘e coscie mosce mosce,
e sotto ‘o suttanìno,
tiene ‘o scoglio ‘e Margellina.
Crooked bowlegged
you’ve legs limp limp
and under the slip,
have the Mergellina’s cliff.
‘A gallina zoppa zoppa,
quanti penne tene ncoppa?
E ne tene vintitrè,
uno, doje e tre.
E teneva nu turnesièllo,
e s’accattàje nu susamièllo;
mièzo a me, mièzo a te,
mièzo a’ figlia d’ ‘o Re!
The hen lame lame
how many quills gets on?
It has twenty-three,
one, two and three.
And had a coin,
and bought a cookie
half to me, half to you,
half to the daughter of the King!
Chiòve e ghièsce ‘o sole,
tutte ‘e vecchie fanno ammore;
fanno ammore cu ‘a tiàna,
tutte ‘e vecchie so’ ruffiàne;
fanno ammore ‘inte ‘o ciardino,
tutte ‘e vecchie malandrìne
It’s raining and sun comes out,
all old women make love;
make love with the pot,
all the old are pandering;
make love in the garden
all the naughty old
Fieto, fietillo,
chi l’ha fatto ‘o peretillo?
‘o peretillo è gghiuto all’uòrto,
e chi fete ‘e cane muòrto?
Stink, small stink,
who did the fart?
the little fart went in the vegetable patch,
and who stinks like a dead dog?
Nuvena, nuvena,
ca màmmeta è prena
ha fatto nu figlio
e se chiamma Michele,
e tene na figlia
c’addora ‘e tabacco
e quanno cammina
l’abbàllano ‘e pacche.
Novena, novena,
your mom is pregnant
gave birth a child
and his name is Michele,
and has a daughter
who smells of tobacco
and when she walks
dance her butt
Quanno mammeta fa ‘a cazetta,
‘o mazzarièllo addò s’ ‘o mette ?
Si s’ ‘o mette areto a ‘e rine,
fa ‘a cazetta p ‘e pellerìne;
si s’ ‘o mette areta ‘a porta,
fa ‘a cazetta p ‘ ‘ o guardaporta;
si s’ ‘o mette dinte ‘o lato,
fa ‘a cazetta p ‘ ‘o nnammurato;
si s’ ‘o mette ‘inte ‘a cintura,
fa ‘a cazetta p ‘ ‘a criatura;
si s’ ‘o mette sotto ‘o core,
fa ‘a cazetta p ‘ ‘o cunfessore.
When your mom knits the sock,
where does she put the stick?
If puts it behind her
knits the sock for the pilgrim;
If puts it behind the door
knits the sock for the doorman
if puts it on the side,
knits the sock for the lover
if puts it under the belt,
knits the sock for the unborn
if puts it under the heart,
knits the sock for the clergyman
Sbatte ‘e mmane ca vene papà,
porta ‘o zucchero e ‘o baba’
nuje ‘o mettimmo a cucenà
e ‘o nennillo s’ ‘o va a magnà…
Blink your hands that now dad comes,
brings sugar and babà
we put it to cook
and the child goes to eat it
Dimane è festa, e’ o sorice ‘nfenesta,
a jatta cucina e o’ sorice mett’o vino,
mett’o vvin’a carafelle, e o’ pane
a felle, a felle
Tomorrow is holiday, the rat comes by window, the cat cooks, and the rat pours the wine, put the wine in jugs, and bread
sliced​​, sliced

E sarde se magnane alice,
l’uocchi tuoi so doie curnice
si saglie n’coppa mammeta che me dice?

Sardines eat anchovies,
your eyes are two frames
if I come to you, what your mom tells me?

Aiza, aiza, aiza
acala acala acala
accosta accosta accosta
â saluta nosta
!

Lift up, lift up, lift up
turn down, turn down, turn down
put close, put close, put close
to our health
Carùso, mellùso,
miette ‘a capa ‘int’a ‘o pertùso,
e vene ‘o scarrafòne
e te ròseca ‘o mellòne.
bald, melon-like
put your head in the hole
and get the roach
and gnaws the melon.
Munzù, munzù, munzù,
è gghjuta ‘a zoccola ‘int’a ‘o rraù.
‘A signora nun ‘o vo’ cchiù,
magnatillo tutto tu.
Munzù, munzù, munzù,
a rat went to finish in the ragù
the Ma’am does not want it more
eat you it all.
Dinte a chesta manèlla,
nce stev na vòta na funtanèlla,
venèven a bere ‘e paparelle…
piu, piu, piu…
Inside this little hand
once there was a small fountain
came to drink the little duckies …
cheep, cheep cheep …
Sennuzzo, va `o puzzo
va a mare
va add’a cummare
vide che te dice
e vienamello `a dicere.
Hiccups, goes to the well
goes to sea
goes from godmother
hear what she says
and come to say it to me

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Ron Mueck

Published March 11, 2013 by Tony

THE HYPERREALSISM IS SERVED!

"Mask II" Self-portrait
“Mask II” Self-portrait

Ron Mueck (born 1958), an Australian sculptor who works in England, is one of the most important contemporary artists of hyperrealism.
Its huge and incredible sculptures, between the grotesque and the unsettling, have been for a long time on show to the ex-Millennium Dome in London and at Charles Saatchi gallery.
His career started as models and puppets creator for film and television (he worked for the movie “Labyrinth”). His company is established then to London to deal with photorealistic and animated objects to the advertising industry. This activity led him to assert that “the photograph virtually destroys the physical presence of the original object,” and that’s why his interest then turned to sculpture.
In 1996 Mueck devoted himself to the “fine arts” in collaboration with the mother-in-law, Paula Rego, to produce small figures as part of a tableau on display at the Hayward Gallery. The work entitled “Pinocchio“, amazed so much Rego who introduced him to Charles Saatchi, who, immediately impressed, started to commission him some works. In 1997 Mueck created “Dead Dad”, which bears his name in the limelight as a participant in the exhibition “Sensation” at the Royal Academy.

pinocchio
Dead Dad” was nothing but the scaling of his father’s body after his death. This is the only Mueck’s work in which he used his own hair.
Mueck’s works reproduce faithfully every minute detail of the real human body, and playing with scale reproduction transmit disconcerting sensations.

Dead Dad
Boy 1999” five meters high, has characterized the Millennium Dome, then exposed to the Venice Biennale.

'Boy' - ARoS Aarhus Kunst Museum, Århus, Jutland, Denmark (new)

In 2002, the sculpture, “Pregnant Woman” was acquired by the National Gallery in Australia, for $ 800,000 Australians.

Pregnant_woman
Most of his sculpts show naked and dressed people, while some others, such as the woman “In Bed” of 2005, are covered by fabric.
To create his work, Ron Mueck uses resin, fiberglass and silicone. Hair are real (for the uninitiated, human hair can be purchased).

In Bed
In 2002 he held a solo exhibition (titled ‘Big Man’) at the Hirshhorn Museum and Sculpture Garden in Washington. Subsequently, other exhibitions at the Museum of Contemporary Art in Sydney and National Gallery in London.

'Big Man'

The works explore the contradictions between reality and artifice, creating a tension between reality and fantasy. Just a game between ambiguity, illusion and imitation. Veins, wrinkles, hair, complexion, skin, spots, no detail is overlooked in order to obtain a perfect resemblance to the “real life.”

A girl

Each work is the beginning of a story, a world introspective expressing an inner state.
Needless to say, his works, seen up close, produce a unique emotional and psychological impact!

Wild man two women

The artist at work

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