The Museum is set in an enchanting historical building of 1600, completely restored, situated between Bologna and Pistoia, among the woods.
This building, apart from being a rich permanent collection, offers a series of cultural events and exhibitions which will be organized not only inside the Museum, but also in the other centres.
Each visit will be a real surprise, also because it is personalized. In fact, Morena and Ernesto will accompany you inside this forest of symbols, all to discover….and for this reason please remember that reservation is needed.
Looking forward to seeing you!!!!!
sabato 30 maggio 2015
|Martino Barbieri |
Scultore e performer, comincia la sua esperienza come grafico. Poi, il segno diviene materia e scultura tramite il legno. Dal legno alla ceramica e il rame, il viaggio-ricerca prosegue fino ad incontrare nel 1984 il vetro. Ha lavorato nel campo performatico, dove l’elemento legato al gioco si fonde alla sua vena artistica.
Sculptor and performer. Calori Barbieri started working with graphic. Then, the sign became material and sculpture through wood. From wood to ceramic and copper, the research-journey continued until he found glass in 1984. He has worked in the field of performance, where the element relating to the play buried deeply in his artistic vein.
giovedì 28 maggio 2015
Sense and Sensibility
When I interpret the Temperance card, it is usually in one of two ways. First, there is temperance in the sense of tempering a blade or other tool for strength, putting it first in fire, then in water, then in fire again -- the process of stressing and blessing creating something that endures. The other way I look at Temperance is in terms of moderation, finding a balance between extremes. In many decks, such as Rider-Waite-Smith, an angel or woman is shown standing partly on water and partly on land, pouring from a blessing vessel, symbolizing what seems to be a synthesis between these two interpretations: moderation, balance, blessing, strengthening.
For my Temperance card in the LiteraTarot deck, I chose the book Sense and Sensibility, by Jane Austen. The story of the two Dashwood sisters, Elinor and Marianne, seems to me to capture both senses of the Temperance card. The emotional stresses and challenges strengthen and transform both women, bringing them to a balanced, temperate center. Dreamy, romantic Marianne grounds herself in more realistic views of love, and achieves "an apparent composure of mind. . . which must eventually lead her to contentment and cheerfulness." Elinor, on the other hand, who perhaps erred too far to the other extreme of correctness and propriety, allows her loving heart to have the full expression it longs for. Marianne becomes less selfish, and Elinor comes to accept that her own needs and desires are valid as well. At the end of the book, the sisters are happily married, both their families blessed by the angel of temperance. In my card, Elinor attends to the practical duty of the moment, while Marianne loses herself in romantic reverie. The traditional vessel pouring forth blessings is here represented by the teapot, from which flows a brew that brings calmness, strength, and harmony.
Lunaea is the creator of the Full Moon Dreams collage tarot deck. Her artwork has been published by Amber Lotus Publishing, Art Doll Quarterly, ARTitude, and other publications. Lunaea is a writer, teacher, priestess, jewelry maker, and tarot counselor who has been working with tarot for more than 35 years. She lives in the redwood forest in northern California.
if we receive answers concerning our pets. When life seems to be full of
doubt and uncertainty we tend to look for a source of inspiration: what
will happen in the future? What about my animal`s health? What will
happen if I make this decision and not that one concerning my pet?
This special Tarot for Animals, consists, similar to a Tarot for Humans, of 78 small and big arcana. Yet this special set of cards is completely different from a Tarot for Humans, because it only cares for the needs of animals of all races. It is only interested in finding solutions for our animal partners and their very special problems. To this set of cards there is a book explaining the meaning of each card. By this deck of cards it is possible for the pet owner to understand the unconscious and conscious thoughts of his pet. The owner will also be able to structure his own attitudes versus the animal. The quality of life for both, the human as well as for the animal will increase. The book as well as the cards function as a mirror concerning the animal`s past, future and present situation. In this book Gudrun Weerasinghe conveys a key to the symbols of the pictures, a practicle interpretation and also a proven method to ask the cards.
Gudrun Weerasinghe is animal communicator and created these cards to support her work for the animal communication. During her work with animals it happens that the owner asks questions like: "How will my horse get on with the horse of my new Californian boyfriend, when I move to California?" "How will my cat feel after the operation?" "What does my dog love and need and what does it dislike?" "What can I do to satisfy the needs of my parrot?" "Why does my cat urinate on the carpet?" "Why is my dog aggressive versus my child?"...
Some of these questions can`t be answered by the animal, even if we know the technique of mental communication with animals. The answer is hidden deeply in the under consciousness or in the future. Yet here the tarot for animals can support us to find solutions.
Gudrun Weerasinghe is also the artist of these 78 expressive, emotional and most beautiful paintings. This deck is worldwide the first Tarot for Animals!
The Wonderful Wizard of Oz
The literature I chose was The Wonderful Wizard of Oz by L. Frank Baum published in 1900. I thought it was a great piece of classic American literature as well as touching on the sensibilities that many lovers of tarot would appreciate.
“When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side. Not a tree nor a house broke the broad sweep of flat country that reached to the edge of the sky in all directions. The sun had baked the plowed land into a gray mass, with little cracks running through it. Even the grass was not green, for the sun had burned the tops of the long blades until they were the same gray color to be seen everywhere. Once the house had been painted, but the sun blistered the paint and the rains washed it away, and now the house was as dull and gray as everything else.“
The tornado was the first major source of movement that took Dorothy out of her bleak, gray existence, broke it into a rainbow of color, moved her past what was insurmountable and placed her in a fertile land where she could explore, know and integrate all aspects of her self. Her companions were the horses that she would commandeer along the course of the Sun in her Chariot; beastly, courageous, filled with knowledge, and heart. Dorothy would also meet and usurp her shadow, the Wicked Witch of the West, and free all she had enslaved. This whole journey takes place along the yellow brick road, so similar in color and shape to a ray of sunlight. Illumination of her self is what allowed her to return home triumphant.
At the end of the yellow brick road is the Emerald City, a perfect color as green is the middle color in a rainbow, or the visible spectrum of light, and Gods in myth and legend are often portrayed as riding an emerald chariot or sitting on an emerald throne. Of course this is where she meets Oz who, singly bespectacled like a modern Odin and Magician, gives Dorothy the tools she needs to complete her journey; faith and understanding that she possesses all the knowledge and attributes she needs to get back home by her own skill.
The painting shows Dorothy and Toto aloft in the tornado and beneath them the path they are taking from the cracked dry earth of the Kansas farms up to the insurmountable mountains, on to Munchkinland, then the yellow brick road through forests and fields of poppies, and finally to Emerald City surrounded by mountains, clouds and a glorious rainbow.
Standing at the start of the yellow brick road is the Wicked Witch of the East, hands on hips, looking indignant, knowing something was not right but not guessing she would shortly meet her doom when Dorothy’s house lands on her. She is wearing the ruby slippers (silver in the book, but ruby in accepted iconography) and perhaps she is ignorance.
The Wicked Witch of the West and her flying monkeys are in the upper left corner of the painting and my favorite part of the painting is the Fool weathervane on the house!
Meanings for this card: Knowing and remembering what you are innately capable of, gaining control and mastery of all aspects of your self and then moving along the yellow brick road of your life in balance and good character. Freedom from slavery. Autonomy.
Marie White is a stay at home mom by day and a tarotsmith by night, plying her trade with brush, hue and pulp. Combining her love of mysticism and art, she has been creating the Mary-el Tarot for the last 9 years and is finally nearing completion. Born and raised in Southern California, she recently packed up her 3 wonderful kids, Sophie, Rex and Freya, and soulmate Michael, and moved to the sultry forest in North Carolina where she can paint under the rolling thunder and the moving shadows of trees. Web: http://www.mary-el.com/
Ronnie Wiblin has had a life-long fascination with symbols, history, art and architecture. A qualified sign-writer, Ronnie has spent the last 15 years airbrushing, learning the ancient art of illuminated calligraphy and working in many other media, including the latest technology that the 21st century has to offer. Currently studying quantitative iconography in art, Ronnie has completed a tarot deck using paintings from Pre-Raphaelite artists.
II - Papessa/High Priestess
The Sibylline Prophecies
The Mists of Avalon
Morgaine, sister of the future King of England, goes to Avalon as a young girl to train as a priestess. Her Aunt Viviane is the High Priestess, and she teaches her to “Always believe what the Sight tells you, for it comes to you directly from the Goddess.”
In order to complete her training as Priestess, Morgaine is cast out of Avalon with only her ritual dagger. To return, she must break through the mists and summon the barge that will enable her to re-enter. In the card, Morgaine stands between the misted, magical island of Avalon and Glastonbury, which represents patriarchal, regimented Christianity on earth. The barge is a vessel that allows her to navigate between the two worlds, an alembic that illustrates her newfound powers, knowledge, and abilities, including the Sight and the responsibilities it demands. While you can see the colors of the rainbow more clearly on the Glastonbury side, the rays radiate from Avalon as well, though they are more elusive to the average eye.
Nicola Campbell, Helen Pollock, Brigitte Lorenz, Lea Holford, Jill McClaren, Linda Williams and Susan Dunster
Major Arcana Collage
Women of Spirit are a group of Auckland women who created a collage tarot deck over a period of two years. Each Tarot card both captures the group’s musings as a whole, as well as reflects the individual artistic work of the person who created it. They completed the deck in 2003. The Women of Spirit Tarot deck is available for sale in A3 size as well as in postcard size, from Helen Pollock
mercoledì 27 maggio 2015
Francesca Ricci ha studiato Scenografia presso l’Accademia di Belle Arti di Firenze e vive a Londra
dal 1998. Ha partecipato a numerosi progetti indipendenti, collaborato con varie compagnie
teatrali nell’allestimento di spettacoli ‘fringe’, scritto di arte e cinema per varie riviste virtuali e
cartacee e pubblicato la raccolta di racconti ‘I Buoni e i Cattivi Frutti’ presso l’Editrice Clinamen di
Firenze (2003). Nel 2005 ha fondato, assieme a due collaboratrici, Interlude Magazine, rivista
londinese independente di arte e scrittura, seguita da 20×20 magazine (2008-2013) assieme a
Giovanna Paternò. Di recente ha partecipato alle seguenti mostre: ‘Tabula Impressa‘ (con Kiril
Bozhinov), dalla Rosa Gallery, Londra (2013); ‘Celestial Bodies’, dalla Rosa Gallery at the London
Art Fair (2013), ‘Cross Sections/01′, dalla Rosa Gallery, Londra (2012); ‘I Beg You To Hear Me!’ (con
Kiril Bozhinov), dalla Rosa Gallery, Londra (2011); ‘20×20 magazine: collected visions’, Madame
Lillie’s, Londra (2010); ‘agency@theAgency’, The Agency Gallery, Londra
(2010); ‘Art/Value/Currency’, The Pigeon Wing, Londra (2009).
Il suo lavoro è apparso o ha avuto menzione in varie riviste, tra le quali Dazed and Confused
(Novembre 2013) e Abraxas Journal (Settembre 2013).
Francesca Ricci has been living in London since 1998, after graduating in Stage Design at the
Academy of Art in Florence. She has been involved in several independent projects, collaborating
with theatre companies in fringe shows, writing on art and cinema for magazines and publishing a
collection of short stories in Italian in 2003. In 2005 she co-founded the independent art
magazine Interlude, which published four issues, and 20×20 magazine together with Giovanna
Paternò. Recent exhibitions include ‘Tabula Impressa‘ (solo, with Kiril Bozhinov), dalla Rosa Gallery,
London (2013); ‘Celestial Bodies’, dalla Rosa Gallery at the London Art Fair (2013), ‘Cross
Sections/01′, dalla Rosa Gallery, London (2012); ‘I Beg You to Hear Me!’ (in collaboration with Kiril
Bozhinov), Dalla Rosa Gallery, London (2011); ‘20×20 magazine: collected visions’, (group show)
Madame Lillie’s, London (2010); ‘agency@theAgency’, (group show), The Agency Gallery, London
(2010); and ‘Art/Value/Currency’, (group show), The Pigeon Wing, London (2009).
Her work has been featured or mentioned in several magazines, including Dazed and Confused
(November 2013) and Abraxas Journal (September 2013).
Partecipa da anni a mostre e concorsi in tutta Italia, ottenendo premi e riconoscimenti, tra cui il premio Creatività giovanile della Toscana a Firenze nel 2002, il secondo premio Valsusart giovani a Bussoleno (TO) nel 2001, il premio Regione Calabria Cav. Paolo Condurso nel 1997.
Matteo Arfanotti has participated for many years in exhibitions and competitions in Italy, and has gained many awards and acknowledgements, among which is the Young Creativity Award of Tuscany in Florence in 2002, the second award is young Valsusart in Bussolen (Turin) in 2001, and the Calabria Region Paolo Condurso Award in 1997.
Antonio Giuri, in arte Anthos, è pugliese, nato a Galàtone (LECCE), nel segno dei Gemelli, primogenito di tre fratelli ed una sorella. La sua infanzia è stata breve, già caratterizzata da un’indole riflessiva. Il suo titolo di studio è la maturità scientifica. Ha viaggiato in Italia ed Europa. Attualmente è impiegato presso un’azienda d’illuminotecnica.
Vive a Bologna dal 1986. Durante tale periodo ha continuato a dare forma alla mistica poetica, le cui radici sono nella pagana Messapia, la terra della “Taranta”, l’odierno Salento.
E’ socio fondatore del “Coordinamento Associazioni Grecìa Salentina”. Il suo credo è il dialogo. Lo sport preferito è camminare a piedi.
|Re di Bastoni|
Il loro sito web
Altri indirizzi: Vocisconnesse
IV The Emperor
One Flew Over the Cuckoo's Nest
The Emperor card is one that deals with self-asserted power. It is aggressive authority, creating it's own environmental control with an innate instinct and skill to do so. Others are drawn to follow the emperor, and respect his leadership. It is a card of great traits, like power, command and experience but the emperor is also subject to boredom, restlessness and impatience.
I chose McMurphy from the novel One Flew Over the Cuckoo's Nest, and as I reread Ken Kesey's masterpiece it's meanings breathed within the lines and pages. Randle McMurphy was the emperor of the asylum. He made that clear in his first minutes entering the hospital. He greeted all the patients (regardless of whether they be acute or chronic) and let himself be known. He told them he likes to know who he'll be playing (cards) with. He quickly challenged whoever was the "bull goose loony" of the place, and explained that he's accustomed to being top man. Since Harding seemed to be loosely the leader of the group, McMurphy let him know clearly there's only room for one bull goose loony, and that he's so crazy, he not only voted for Eisenhower last election but that he's planning to vote for him again next election! I think initially it was more about dominance for McMurphy, but ultimately he found himself becoming a true leader. He inspired those around him to be who they really were, and to care about living. He got not only respect but also great love from those around him, and they believed he believed in them. He gained true power, and for the first time was a threat over the enemy, Nurse Ratched. In the end McMurphy made the biggest sacrifice in the emperor's fight and lost his mind. The chief understood this and suffocated him so his legend would survive longer than his body. In this illustration, we have McMurphy at his throne, playing cards with some of the other patients in the asylum feeling pretty good about himself.
Teppei Ando is an artist in his mid twenties currently seen moping around a bank 9-6, for a change from his starving artist position he had been so loyal to since leaving art school. Unknown to his coworkers, Teppei still secretly holds barnacleistically - if you will, to high hopes of being an illustrator and continues to seek low paying freelance work with greedy ambition. He hopes to continue to keep it real and perfect his style and make friends with all the best sandwich places in the bay area (because once you get to know them, they tend to be the nicest of fooderies).
|Laurie Amato, USA|
|Victorian Crystal Tarot|