Time puts whells in Annalisa's wood

Art Gallery "l'Ariete", Bologna
February 27th - March 11th
by Marcello Venturoli .................

It is more and more difficult for me to stay away from my artistic interests as "traveler in art", when to be esthetic operator and its results I interwove almost as a gamble and Morandi was Morandi, man and bottle, and Burri was Burri, silence illuminated and icon of the sack. I felt this limit of mine during the beautiful day spent on the roofs of Trastevere, the Roman neighborhood where Annalisa Ramondino lives.
Her ready made works in old wood were pointed out to me by Felice Botta, also a poet of junk art, Master of all those who have intended to reuse wood as a protagonist, a surface already worked by time that we, descendants, place on the throne of contemplation, with a feeling between guilt complex and nostalgia. But as I arrived to the artist - Roman by choice (she was born in Palma de Majorca, with rooted memory in Naples, even if her past is horizontal, unlike her sister Fabrizia, a writer, whose past is vertical) - it was the environment and her character that strongly interested me: a kind of white and luminous hive of stairs and small terraces, white doors and mezzanine and again stairs that end in a cubicle from where no Lautrec could admire inserted between television antennas and roof tiles, San Peter's cathedral on the left and the monument to Vittorio Emanuele III on the right, that that seem two collages. Each corner of the main space, so unitary it becomes a sort of living room, inhabited, with great discretion, mostly by hundreds of objects from every Continent placed on shelves and showcases.
I came to study the sculptures recycled from ceilings, boards, planks, boats, gates. furniture, almost ready to take inventory of the works of an orthodox "arte povera" artist, beyond Duchamp, relative, maybe, of a Nevelson from whom she remembered not the metaphysical order of the attics in the closets, but only the disorder of more than one epoch, like in a "Dadapolis" (the title her writer sister gave to her "Neapolitan kaleidoscope"). Instead I found myself in the presence of a house-exhibition: an almost infinite inventory of hypothesis of "found" objects from every country, popular and refined, relics and commercial things, junk of every day use, of rite and taste, from India to the Third World, from Europe, thoroughly visited by Annalisa, to China. Accompanied by this bazaar, before Annalisa showed me the series of her works in a difficult chronology, I came across a pile of boxes without covers, of various dimensions, but mostly square (whose internal walls the artist covered with mirrored papers, silver, mother of pearl, and painted patches of a soft, affectionate palette, almost as if these boxes could remain empty, that is full of that nothing imagination knows how to fill, or otherwise contain some of those objects that had reached the end of their travels in Trastevere, like in the harbor of Thousand And One Nights.

So, instead of beginning to see her finished work, we passed the first two hours traveling under the roofs with things from all over the word, put into the mother of pearl boxes of Ramondino. Unpredictable person, she's always the opposite of what you can deduce of her, for example that she is a collector of things like some travelers with their cameras hanging from their neck even when they go to bed or to the bathroom, who shoot continually even without looking, but instead she collects for a reason, each object has a lasting message; you could think she relies on the anarchy of a sensitiveness without science, but instead she is a science professor and taught in that role for ten years; she is so transparently a friend, she knows how to laugh with such feeling, that the other half of the good mood that she puts you in, is given to you by her and she doesn't take yours away when you don't have yours any more; she looks like a girl escaped from marriage for love of love and instead, widowed very young, she keeps the idea that marriage is a youth matter and she has a son who is about to become an architect. She looks like an only child because her uniqueness denies any sisterhood, but instead she chose images because her sister chose words; but I think she's much more allied with her brother, who is an architect and a lover of ceramics. The extraordinary book "Dadapolis" I found in the bookshop these days, brought me to be close to the existential emotional machine of the Ramondino sisters, to Naples as the common denominator, but for Annalisa, Naples is a place in the world, maybe to depart and then to return, as if she made it similar to a old Hong Kong neighborhood, a Neapolitan one or Trastevere, for Fabrizia the thousands and thousands voices of culture are more and more contributing to rooting her in the shadow of Vesuvius.

It is only a few years that Annalisa Ramondino has devoted herself to the cult of the image with the exclusive fervor of an ancient girl of Pompei to the Eleusinian Mysteries and, as I'll say later on, this passion of hers shows itself as series of artworks that have their own physiognomy of style that also takes from different moments of the course of visual history on the edge of Dada and beyond. This of the "theater of things", - we almost put on together in ours first meeting, as if we wanted to give reciprocal comprehension and conclude that criticism is a creative matter and also bearer of a message of ideas of the most silent of gestures, - it is a moment that I would place in the pop cultural thread, where things are recognizable, out of their context of usage and purpose, like, as I said, in Dada, but in these ones Annalisa Ramondino circulates more than the civilization of consumption, I would say the civilization of traveling, and in the travels that mirror of nostalgia, of loss, in which the object-trouvé assumes the value of memory, of discovery, when it doesn't have a value of relic, of useless and lost thing.
In each of these boxes post up to the walls of the gallery in a habitat prepared for the performance of one or more objects: the little statue of the Madonna and the bottle in which is inserted a tin flower, the wind up green bird and the weight made of stone of a loom, chrysalis of toys, silver profiled figurines, pearls, beads, cups, amulets, feathers, lachrymatories, daggers. Here, the object-trouvé operation is to be understood to the letter in the meaning that even if it can appear in some cases as a mysterious object, fragment of a more complex and fungible, it is found in its natural state and as such placed in the showcase, like an eye that opens at the end of a journey.
We enjoy, In this period of the young art of Annalisa Ramondino, not only the joyful fever of the gathering but also that of contemplation, given not only to herself and to those who stare with her, friends and unknown people, but the pleasure of contemplating us that the sculptures have, a sort of reciprocal pleasure.
The beauty and the magic in this stylistic period, in my opinion more "classical" than the others I will talk about later on, consist in the fact that each sculpture can be recounted, because it has a story; and without doubt, like any image of a thing or an object of art all you can tell with words adds penitence to prestige; but here it happens that the objects in theater don't need a name and an address, as they are so emblematic of a journey: that journey Annalisa Ramondino began weaving life with art, the found things, full of love and rapture, with her need for awareness and reflection, the fruit of a thousand meetings, with the tenderness of returning, the obliviousness of the perpetual running around the world, with the limpid, poetic recognition of maturity.

A friend who renovated his country house, gave her the planks removed from the ceilings, these are the material for her "white" shapes. The artist seizes one, touches it affectionately and informs me about its provenance: "this is an old door…" And showing another one: "This is a piece of beach cabin… these are frames". From the remains she takes away the object, the object is cut, it is void inside, it is placed with its regular facets, on the outside a sort of veneer of decades, some times of half centuries, in the inside a sort of hidden sound box . She doesn't add colors, if it's the case, she removes some. Seen closely as handwork (as they are and with the collaboration of skilled woodworkers) you become aware of the finely workmanship of these objects, sometimes with overlapped layers of papers, originally pasted to the ceilings to be painted.
Towers with squared or cusped tops, that have a surface marked by time in such a "spontaneous" and incontrovertible way and so truthful and so rich with symbolic meaning, that no informal painter would be able to imitate it. You could conclude that these blind skyscrapers or curbstones without road, or, as we will see, memorial stones, are happenings due to bad weather or to the hands of vandals. They are, instead poetic constructions for found objects, from relics, from materials whose complexion and tint cross the night of times.
This is a prototype which repeating itself in various heights and dimensions in the assemblage, as house, tower, creates archaic, medieval towns, cities, towered acropolis. And according to the choice of shapes and the disposition the artist gives them, from houses they became ensigns of defunct. disciplined in brief space in ascent, yes, like that of the skyscrapers, but with another immobility, another silence. Can it be that the sculptor wants to tell us, playing very seriously with all these experienced woods, that it isn't so difficult to be dead?
One of these "landscapes" created with different towers stand out from the others because it takes life from the painting, at least in the sense of a fixed and frontal construction, The various parallelograms, also constructed and assembled, are this time connected with small boards to which the artist has nailed pieces of colored iron (the two main lessons that Annalisa took from the recent vanguard are from the Burri's irons and the collages or posters of Rotella). Here, the assemblage of different woods, as I was saying, is more in the style of a chromatic vision, because they play in more significant spaces, almost as if it was the air that drew the shapes between solid and solid, where azure, gray, ochre, prevail in the poetic palette; and then the embrace of the palette istoriato with consumerist metal relics, imposes on the image another life: a sense of immutability and, at the same time, of tenacious survival comes from this construction, as a presence and a memory.

And here I have to pass on to another chapter of my writings, the one concerning the houses with the wheels and other games. If Annalisa Ramondino's simple way of dealing with forms or shapes inside a very slow gestural motions that I have till now described, can be easily described as playful, the development of her work seems more evidently and openly so, thanks to some well realized irrationalities and imaginative transgressions. Because the sculptor, literarily speaking, puts wheels on her towers, houses and tombs.
Another extraordinary aesthetic operator, Miela Reina from Trieste, a contemporary of the Roman pop "La tartaruga", occasionally added wheels to some - but more related to consumerism - objects, among toys and comics and strolling sculptures. Here Annalisa's, wheels are in my opinion a way of smiling - or even laughing - at all that archaic and primordial sense of her own shapes, another way, serious, of playing. And then, with the wheels, the sculptor can move the unmovable, can give to it the dimension of the real object and prevaricate over this reality, by maintaining perhaps that, with or without the wheels the object remains tower, skyscraper, memorial stone, it suffices that we don't remove it from the imagination.
The object-trouvés with wheels, like the funnels for example, became war machines with a flag on the top, carriages where men remain immune in addition to invisibles, object-trouvés are such a whole with rust, that the swarthy opaque skin that cover them half-breeds them. freeing them from the old usage as far as they became unrecognizable furthermore when they are overturned, as they are. And then, on the thread of the playfully run with wheels, there's for us also a tent or the hut or the pyramid, having a such abstract shape, so closed and so deprived of any ornament, that you just can't define it as joyous. But who says that the execution of the game can't be performed even when one is grieving ?
Closer to the logic of the wheels are other objects made by the artist like the little theaters, reminds us. with the wheels, the nomadic destiny of these rustic stages; and also the carts, little more than boxes with wheels, that they seem added to the traditional things of the furniture for Hades, for children, drastic rebellious in the light of the sun.


A tribute to Dada - with nostalgia for the Schwitters or the Rauschenberg but also sensitive alignment to the experience of the bidimensional collage on old paper and writings, or cardboards cadenced in soft "natural" tonalities to pretend landscapes of houses - that can be celebrated in Annalisa's collection of works. But while in the work of some artists, mainly women, this painting operation of materials that can even have some precise implication of taste of the object-trouvé, is brought to a conclusion of final refinement (it suffices to think of Giovanna Leonetti and, why not, Anna Bruna Cusmano) in Annalisa Ramondino is to be evaluated as a recognitive stage maybe not as physiognomical as the other ones.
But what is certain is that all the instances proposed by the artist are alive and coherent, not like samples and formalistic attempts but as expression of thoughts and sentiments, of abandon and of human irrevocable choices, that only images can thoroughly reflect.

Marcello Venturoli, January 1993


Annalisa Ramondino "Constructions"

CulturalAssociation Photographic Archive Parisio, Naples, in collaboration with Art Gallery Atonia Jannone, Milan
June 3rd - 28th 1996

by Anne-Marie Sauzeau

For a long time Annalisa Ramondino collects.
Residual pieces, leftovers, findings, if we can call them such.
Of fabric or mat, glass or mirror, wood. Notice that they aren't pure samples of nature (like roots or pebbles), but cull of culture, thrown away in the street, when a house "dies".
Of course, everything comes from nature - cloth from linen fiber, glass from sand, and from the tree comes the board, shaped into a door.
But then the cloth covers a body, the looking glass is intimate with the face, the plank would support a ceiling and the door protects the intimacy. They are these poor, treated and mistreated "things", painted and painted again, patched up and restored, worn out and then discarded, that Annalisa picks up.
And with the things, she gathers all the stratified memory of gestures, events and calamities that shaped them little by little: essentially the care of the human hands, that maintenance or inventive energy that now is weakening, stagnates yet for a while, before it surrenders to the decay, before it thins out.
As long as it is still releases energy and memory, as long as the old oak plank painted with lime still pulses, Annalisa listens to its organic consistency, she saves it, namely she takes care of its good part.
To the painted and scraped plank she offers a new body, a new dwelling.
She rescues it from the unrecognizable to integrate it in another construction: a harmony, a recovered form. This happens with a drastic and baffling change of scale.
Which isn't unusual in the run of the avatars of incarnation, in the cyclical succession of destinies.
Is it really a miniature the new "urbanity" of this old wood? A fairy record? Optical illusion? It is more likely that it is a real house, I mean a real hamlet gathered together. It rises in the remoteness so that it seems a mirage in the sun and in the marine haze.

Anne-Marie Sauzeau, 1996


Annalisa Ramondino "Tales of Peace and War"

Art Gallery Antonia Jannone Disegni di Architettura, Milan
March 13th - Aprile 8th 1997

by Marcello Venturoli

Di already passionately wrote about Annalisa Ramondino, an "Arte Povera" artist beyond Duchamp, magnet of "object-trouvés" in any continent, that she disposes, like sumptuous nativities, in her "theaters of things", and about her skyscrapers, rooted and movable, recycled from worn wood, when they were exhibited in the Art Gallery "L'Ariete" in Bologna in 1993 (in "Time puts wheels in Annalisa's wood"), and here, due to the exiguous space I have at my disposal, I won't repeat myself. I will only say that in the elapsed three years, the artist succeeded in giving a physiognomy to her sculptures, or objects, or significant things, or Lilliputian trophies, or pensive and smiling games of the memory and the imagination, making so, that the "object-trouvé" - even remaining in the company of her theater of mental images, adapted - like a color from a tube on the palette of a refined "nuancesist" - to collaborate - structurally at times in the skeleton, at other times in the skin - to the emancipation of that little "created thing", or that sculpture-toy.
Whereas in 1993 the artist "put together", today she "builds", if then she was overwhelmed by a thousand hypotheses of replaceable and independent objects, thanks to the connection of "pieces" or only their simple material union, now the artist is able to design those sculptures exactly as she wants them to be,tende di comando I mean that she can give them an accomplished and poetic threedimensionality, as if they were characters on a stage, or rather on wide white tables, as they are now exposed in the Art Gallery Antonia Jannone, where, on three stages, her significant objects of war and peace, play a still chess game.
Each one of these stages has a different atmosphere.
In the first one (and partially in the second) the war machinery prevails: those Command Tents that remind us of the famous one painted by Piero della Francesca in his "Constantine's Dream". The singularity of these presences is due to the fact that the antique solemnity doesn't disappear, it only becomes minimal, it doesn't impoverish itself by the spiring of little funnels over the conical summits or by the silvery sheets that once were used for weaving Liberty dresses and now serve as doors to guarded captain's gateways. A lightly ruffled atmosphere develops in "Towers" entirely build with zinced sheet metal, whose surfaces are offended by time with ready-made stains and splits, and in "Fighters" , big funnels equiped with wheels and flags, wooden cylinders that have the faith of fable.
Of course, in Annalisa's encampments, there's not even a dribble of all the venom that nowadays still intoxicates the world's populations, but it is a fact that this war game of hers isn't less admonitory and moving than that of a serious pacifist philosophy. Open and shut "Command Tents" tell us, without any doubt, in their reiteration, something similar to tournaments, certainly not to battle fields; but the war game (then fallowed by the peace game) isn't played by a child, the artist composes her war devices by filtrating them insidethe forms of a well recognizable vanguard which returns, from Brancusi to Melotti; and if, as it is by her choice, "poor", detached and playful of the object-trouvé, her war engines are illuminated by an ironic smile, while remaining persuasive. The second table's characters aren't very different in their intentions, but they have a plainer, a more abstract, style. It suffices to interrogate the "Darkroom's Towers" that present themselves as observatory engines; or those little, ingenuous perches with wheels, made of wire and entitled "Enemy's Gage" or that unmistakable armored car obtained from a tin ice grater.
To live up to peace needs, table number three doesn't need doves with olive twigs in their beaks, to this implied narrator it suffices to show "Revolving Chimneys" and "Imaginary Towers", that tell us: "Let's be at peace anyway, by being wicked and overbearing you only lose the wonderful energy of your existence, and all the propellant of fantasy love gives you will wither in hatred". Here, on this table-theater, Annalisa Ramondino refers to her world of travels: with houses, buildings, towers, "Constructions With Flag" that are cans whose interiors gleams with tin and with tall metallic cones that grow over them, representing chimneys, And what to say about the "imaginary Towers"? From "melottians" vertebrae of wire spring others more delicate and thin, like tactile impressions of rivers, of traces, over which airplanes and clocks flash, what to say about the "Automotive Pyramid" , unique in all the world, or of the "Great Building made of air gages", that transparent skyscraper, that becomes permanent because it holds flags on its top!

Marcello Venturoli, 1997



Il Manifesto January 27th 1999

Annalisa Ramondino's Lilliputian Cities

by A. DI GE.

Little fences, nomadic tents, microscopic dwellings made up with the joyful bricolage of childhood.
It's this way that Annalisa Ramondino's cities thrive, the urban landscapes of her magical world.
"Utopian Cities" is the title of Annalisa Ramondino's solo show of sculpture, and to be in tune with her works we must change dimension, "turn into Lilliputians", like the critic Paolo Levi wrote in the catalogue. It isn't a queer observation. The sculptor graduated in Science and it is maybe from that, that her interest for microcosms comes, for their "organized randomness". Assemblages of wood and iron compose her unique imaginary metropolis. The landscape, that ensnares our sight is a sequence of anti-Pop buildings.
Her sculptures, cherished by a refined manual skill, hidden behind an informal pretence, are little theaters to animate, intertwined memories of dwelling architectures from many countries. An outstanding example is the "Command Tent" that refers to African houses scattered in the desert and also to fabulous country circuses that travel for only one season. What about human beings? They are banished from this metaphysical urbanization that privileges the object-trouvé as spatial icon. And the void becomes, this way, a metaphor of an uninhabited future…


Annalisa Ramondino's Utopian Towns

by Paolo Levi

Annalisa Ramondino's micro-urban constructions show how much the artist is endowed with a not waggish irony. Her culture, in fact, has its roots in Dada and widens itself in a profound interest for the language of materials, whose assemblage becomes a chromatic state.
By revealing themselves, the objects become allusive, like three-dimensional icons that will inhabit a tiny theatre of memory.
Like Alice, the artist seems to come to gripes with her dreams, with immediately communicative imageries, because she knows how to draw in space an alphabet of archetypical and primary forms.
She herself inhabits and designs utopian cities and, as she herself says, residual, or rather reduced to game dimensions, where the space is essentially allusive, inhabitable only by the fervent fantasy of the child that every true artist preserves.
To respect our Alice, we, correct observers of art, must play the game she politely proposes, by sharing with her the sociability of the unspoken and to rereading the subtle calligraphy of the non-visible. In the mean time, we must be aware of the profound fracture that we are going to create by unveiling the so to speak "real" that desecrates the conventions of space.
We must turn ourselves into Lilliputians and participate in these cities metaphysical silences that transfigure our perception or to gauge the weight of our useless gigantism, as a deserved condemnation to our pride of wanting to become adults .
But what matters, in this game, is the wish of becoming accomplices, ourselves actors of a fairy tale told and heard among relics, offcuts of wood, left on the floor by a Geppetto who accomplished his work of manipulator of concreteness.
Now - and unwillingly - we must abandon the metaphor and correctly remind the visitor of this exhibition, Annalisa Ramondino's cultural heritage. Leave it to Marcel Duchamp to remind us of the meaning of the word Dada, that defines itself as extreme protest against the physical appearance of painting and metaphysical attitude.
Here our artist, with educated coherence, puts that lesson into pratice by using new materials, like, among others, proclaimed Hans Arp and Kurt Schwitters on 1920 "Dada Almanach".
They were artists that referred to, as Maurizio Calvesi wrote time ago, not matter as a primary and indistinct substance, but the "materials", that are reality in its historicity, in their manifoldness and unlinearity, ultimately, waste and relics from everyday life.
Annalisa Ramondino's assemblages remind us of those brilliantly constructed by Cubists and Futurists. like the magnificent and metaphysical construction entitled "Residual Cities" ("Borghi Residuali") hold with wheels, where the operation is the explicit matching by analogy and contrast of "not-forms". The pieces of wood or iron are for the artist the occasion for overturning painting and sign, to highlight the figurative casualness, giving dignity to communicative sign. Her "Metropolis" aren't, however, those which emerged, horrid, from George Grosz's, or Paul Citroen's the anguished fantasy, that were hostile proliferation of houses infected by deformed gigantism. To Annalisa Ramondino the model is the essential form of a Renaissance at its dawn, where the "ornamentation" rests also in the optical illusion, like the "Command Tent", where the expressive exactness melts with the "divertissement" and skilled manipulation.

The motif of the city is that of an endless scenography destined to impossible theaters, but it implies a positive, optimistic morality, dense with vitality.
Who crosses the threshold of the "Great Building Of Air Cages" finds in it the pleasure of entering a transparent and light universe that enmeshes us, and here the metaphor becomes the real experience of entering a net-box, where we can pretend to be invisible to who doesn't participate in the game.

The admonishment we get - because, like in every tale, a profound "natural" morality is also readable here - reveals us that liberty, the real and creative one, doesn't consist in the anarchic denial of conventions, but in the ingenuity of creating awesome spaces where our mind is free of wandering, even being inside and respectful of the strictest rules.
Annalisa Ramondino's cities tiny spaces seem to concentrate, with its essentiality, all possible of our own knowledge, as a germinative moment, dense and light.
The historical memory nourishes itself with these extremely concentrate moments, of plastic lumps that are able to expand themselves in the fantastic way of the recovered time. "It suffices the gesture of a skilled hand to bring into existence an entire universe of a chivalrous and heroic era, of antique and solemn rituals, that only strategic simulation games can summon, the dame, or sand constructions, or imaginary journeys on the four wheels of a barrow.
Providing that the pleasure of risking remains intact and that we are able to appreciate the subtle fear of losing, providing that we avoid the predicable, the preordained and the conditioning of daily life.
Art, at bottom, is made of exactly this.

Paolo Levi, 2003


Factories by Annalisa Ramondino

by Donata Tchou

The construction of a building imposes a profound interrogation about the identity of its inhabitants to be, namely about the way they want to live, about with whom they want to meet in its interior, about how they want it to appear from the outside.
fabbricheTo the questions; Where are you from? From where did you come? Little pieces of metal or of waste, already painted, reassemble themselves to rebuild their place of origin. A little factory. Recreated, obviously, in the way we can recreate an architecture of the memory, showing a simpler form and some sharp details.
Factories which make you think about the work, hard work, even if useful, but also about the buildings themselves, motionless, on Sundays, seen from faraway. Little objects composed, well ordered, having the same regularity of the compositions of Heinrich Tessenow.
To Tessenow architecture was the work of projecting and building at the same time, a trade which linked the handicraft to the design following simple principles. He suggests, for example, to split up and reassemble the objects: "As much as we can subdivide and compose, the better result will be; to do so we always can take nature as an example, in it everything is articulated to the minimal particular and everything is composed in a whole." Annalisa does this, she subdivides, recomposes, she asks herself about the origin of things and about the way they can regain an important, meaningful, identity, even if not completely defined, by using the poetry of the truth that comes from memory. A memory filtered by a little ironic thought, that answers you and whispers you other questions, adding little marks of instability and fragility, materials that don't hide their fatigue, on the contrary, they keep their story with them, upon a structure made of frail textures, a little out of proportion. Annalisa's micro-architectures are, more than models of buildings or prototypes of furniture, individually, a suggestion for an ambiguous and rich identity, full of history.

Donata Tchou 2005


Il Mattino, March 2nd 2005

Ramondino, when Arte Povera becomes a game

Educators, artists, exponents of cultural and civil society, all together for "Art & Game in View" an exhibition that is a project, that of bring young people closer to art, of stimulating children's interest and curiosity. on the theme of creativity and civil responsibility, on the reuse of leftover materials, for example. The exposition - sponsored by city Councilors of Culture and Projects for Children, and organized by the Morra Foundation, the University of Salerno and the Fine Arts Academy - will be inaugurated Saturday morning in the Sala della Loggia of Castelnuovo, and until April 8th will be followed by meetings and seminars. Two exhibitions "Selected Artistic Objects" of Annalisa Ramondino consisting of one hundred works produced from 1991 and 2005, divided into three themed areas - and "Africa at Play". The people responsible scientifically are Vincenzo Bergamene, Enrico Castelli, Francesco Coppola and Annalisa Ramondino. The artist, since the early Nineties uses in her work exclusively discarded materials (wood, mirrors, paper, cloth, iron, plastic, sheet metal and pieces of abandoned objects) fragments of daily life, of memory, of images, of long out of use techniques, producing objects that remind me of games and toys. The idea to connect the two shows in one unique event was born with the intention to establish a relationship and confrontation between art and education .


Il Mattino, March 5th 2006

Africa At Play: Children And The Precious Art Of Recycling

by do.tr.

Children as masters of recycling, re-usage and imaginative re-elaboration of the waste materials, with astonishing results in the creation of toys came out from nothing: wood, wire, tin, pieces of scrapped industrial waste, fragments of plastic, fabric, paper, mirrors, bottles, transformed into cars. bikes, trucks, dolls: The exhibition that opened yesterday and will last until April 8th 2006 - in the Sala della Loggia of the Maschio Angioino - is an evocative inventory of Arte Povera objects, exhibited in a double itinerary connected to many events about art and playing.
On one side, the exhibition "Africa At Play": a selection of toys created by children from several African regions, with great handicraft, from recycled materials, taken from Anthropologic Museum "Tamburo parlante" (Montone, Perugia) collection directed by the anthropologist Enrico Castelli, and from the private collection of Alberto Fortunato.
On the other side, a selection of sculptures of Annalisa Ramondino, collector of African toys and here author of evocative objects constructed between 1991 and 2005. An original contamination of worlds, experiences and knowledge that refer to each other in the exposition. It's not by chance that this project, conceived by the architect Franco Coppola, is related to another eight events that will involve persons and spaces of the city till April, with a - logic. This educative project, subtended to the cultural event "Arte & Gioco" ("Art and Game"), will be presented tomorrow In the Maschio Angioino at 9,30 .

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