martedì 30 giugno 2015
Julie Cuccia Watts
 |
| LITERATAROT JULIE CUCCIA WATTS LA GIUSTIZIA VIII Justice The Book of the Dead The Tarot card symbol of the scales found on the Justice card can be found in the zodiac sign of Libra as well as in the ancient Egyptian stories of the judgment of souls in the Book of the Dead. In these stories it is Maat the Goddess of Truth and Justice who weighs men's souls against a feather before they can pass on into the next world Typically, as shown in the image of papyrus, the deceased is led into the Hall of Judgment by the god ibis-headed Thoth, the god of scribes and writing (husband of Ma’at). The deceased is shown on the far right, accompanied by Ma'at, she is wearing the white ostrich feather on her head. In the papyrus image the deceased is able to witness the weighing of his heart in the scale against the feather of Ma'at. Jackal-headed Anubis who guides the souls of the dead and falcon-headed savior god Horus assist in the process of weighing, while a baboon, an animal sacred to Thoth, perches at the top of the scale. Ammit, the devouring monster, waits atop a pedestal to consume the heart if it is found wanting in the balance. Thoth makes a gesture of greeting to green skinned Osiris- king of the other world. Osiris is accompanied by images of the "Four Sons of Horus," who emerge from a lotus blossom, symbolic of rebirth. The action is witnessed by forty-one or forty-two figures, each holding, again, the ostrich feather of Ma'at. The cornice is a decorative frieze of alternating cobras, flaming pots, and ostrich feathers. A poem from W.B. Yeats the first song of the "Two Songs from a Play" overlays the image of a portrait of the now famous Afghan woman portrayed in the National Geographic magazine cover. Yeat’s writes; I saw a staring virgin stand Where holy Dionysus* died, And tear the heart out of his side, And lay that heart upon her hand And bear that beating heart away; And then did all the Muses sing Of Magnus Annus* at the spring, As though God's death were but a play. When I read this poem the Afghan woman’s face came into my mind with the thought there will be no justice for anyone until there is justice for everyone. The tragedy of current unnecessary wars brings imbalance and great suffering to our world and it will take generations to heal the effects. In the shadow of the reality of these atroscities theatrical performances like passion plays and other trials of deity seem hollow. I have placed a vessel representing the heart of the “God” in her hands and she will be the judge. Ma’at’s feather has fallen to the ground and the scales seem to look like they are hanging from a Cross. This is not the laughing Justice of the MAAT Tarot but rather her somber counterpart. It is my opinion the Justice card represents the full moon cycle of Libra March 21st-April 19th (the full moon of this month marks the holy days of Easter, Passover and Ostara/Eostar, its planetary ruler is Mars.) *Annus Magnus (Latin) Great year; the precessional cycle of 25,920 years. Also, the interval between two successive ecliptic conjunctions of all the planets, including sun and moon. The Hindus date the beginning of the kali yuga from such a conjunction said to have taken place in 3102 BC. It was a general belief in antiquity that cycles of varying lengths marked the terminal or initial points of eras, the occurrence or recurrence of cataclysms, and the consequent recurrence of similar events. * Dionysus or Dionysos (Ancient Greek: ?????s?? or ?????s??; also known as Bacchus in both Greek and Roman mythology and associated with the Italic Liber), the Thracian god of wine, represents not only the intoxicating power of wine, but also its social and beneficent influences. He is viewed as the promoter of civilization, a lawgiver, and lover of peace — as well as the patron deity of both agriculture and the theater. It is possible that Dionysian mythology would later find its way into Christianity. There are many parallels between the legends of Dionysus and Jesus; both were said to have been born from a mortal woman but fathered by a god, to have returned from the dead, and to have transformed water into wine. |
Elisabeth Cherry Owen
 |
| LITERATAROT ELISABETH CHERRY OWEN IL GIUDIZIO XX Judgment Pilgrim Judgment is a rather puzzling card; often it is necessary to transcend the obvious Rider-Waite-Smith traditional “second coming” ideas, to realize it is a card of thresholds and possibilities. The moment depicted here presents a time for personal review and an opportunity for change or movement in a new direction. In 1912 a mysterious red haired man named simply Mr. Pilgrim and his companion, Lady Quartermaine, arrived at the Burgholzli Psychiatric Clinic in Zurich. After numerous suicide attempts, Mr. Pilgrim has arrived to be treated by Carl Jung. The story of the main character is told through direct narrative, flashbacks and journal entries; he claims to be immortal and without a specific gender. He has been a disabled shepherd who encountered the levitating St. Teresa of Avila in a tree, a stained glass artist at Chartres, the model for the Mona Lisa, and a resident of the famous Cheyne Walk in Edwardian London. Pilgrim is unspeakably weary and wants to die. Immortality was his punishment for observing the gods mating in the Tree of Life in the Garden. Finally, there is a sign it may be his time to go and he escapes Jung’s clinic. He leaves the doctor a note, which contains the central core of what he has learned on earth: “My dear Herr Doktor Blockhead, …The so-called Mysteries have been with us forever. There is not a society on the face of the earth nor of time that does not and did not have its own version of what these Mysteries reveal of the Great Spirit, God, the gods and their relationship to our lives – and our lives to theirs. Sun-dancing, circumcision, birth itself, animal and human sacrifice, virginity, Ra, Raven, Tarot, Voodoo, I Ching, Zen, totems personal and tribal, the cult of Mary and the cult of Satan – the list is endless. In modern times, we call such Mysteries art. Our greatest shamans of the moment are Rodin, Stravinsky (much as I hate his music) and Mann. And what else are they telling us but: go back and look again. In time, these shamans will be replaced by others – but all speaking in a single voice. It was ever thus. But no one listens.” Through his encounter with Pilgrim, Jung – his imagination freed – comes to believe in his own theory of the Collective Unconscious. Pilgrim after liberating the Mona Lisa from the Louvre and setting fire to the Chartres, takes his leave of this earth and is presumably successful. Bio (CV) While Southern bred-in-the-bone, Elizabeth took a leap of faith in 2003 and moved from Louisiana to coastal Maine, which she believes to be her soul landscape. She lives in the woods with three cats and various wild creatures; just this summer was graced with the gift of having a moose calmly traverse her yard. She has made collage-like art quilts for nearly 25 years with embedded biographical references. Her work has been shown both in the United States and Europe. Accidentally veering into mixed media has caused greater distraction and more accumulation of ephemera (i.e.-stuff and clutter). |
lunedì 29 giugno 2015
Dante Mencaroni
 |
| Dante Mencaroni Gli Arcani Maggiori, disegnati da Dante Mencaroni libretto interno a cura di Silvia Mencaroni «Gnomi, Mostri, Draghi, Elfi, Cavalieri e Maghi, Principesse, Artisti, Pittori, Streghe, hanno inventato il sogno… da fantastico è diventato reale, il baco è diventato crisalide e poi meravigliosa farfalla…» |
sabato 27 giugno 2015
Keron Smith
 |
| Keron Smith The Moon and The Sun Keron Smith è nata a Auckland, ma ha vissuto a Londra per 12 anni, ritornando in Nuova Zelanda alla fine di 1997. Keron ha una Laurea in Belle Arti dall'università del Middlesex, Londra. Dal suo ritorno in Nuova Zelanda, Keron la lavorato come restauratrice a lavori su incarico del Consiglio di città di Auckland. Ha dipinto da allora molti murales. Keron Smith was born in Auckland, but lived in London for 12 years, returning to New Zealand at the end of 1997. Keron has a B.A. (Hons) in Fine Art from Middlesex University, London. Upon her return to New Zealand, Keron worked as a restoration painter on a large-scale work commissioned by the Auckland City Council. She has painted many murals and paint effects since then. |
Sheryl Sefton
 |
| SHERYL SEFTON Temperance – Balance and Harmony in the South Pacific. L'amore dello Sheryl Sefton per i tessuti e l’arte del cucire si è evoluto fino ad arrivare a produrre molte “ trapunte di arte„. L’uso di fibre e tessuti, sia nuovi che riciclati, ha contribuito a sviluppare il suo lavoro. Durante gli ultimi 3 anni, ha lavorato con i tessuti al fine di includerli nel suo lavoro misto con tela di canapa, arte delle bambole, arte della carta e del fare libri. Sheryl ha completato un Bachelor sulle arti. Attraverso il suo lavoro creativo dà una voce contemporanea per espandere ed aprire tutti i livelli dell'arte visiva. Sheryl Sefton’s love of textiles and stitching over many years has evolved into the making of many “”Art Quilts”. Using fibres and fabrics, both new and recycled, have helped develop her work. Over the last 3 years, she has manipulated textiles to include them in her mixed media canvas work, art dolls, paper arts and bookmaking. Sheryl has completed a Bachelor of Arts degree. Through her creative work she gives a contemporary voice to expand and open up all levels of visual art. |
Desma Howarth
 |
| DESMA HOWARTH Knight of Pentacles (Cavaliere di Denari) Desma Howarth è una“cucitrice„ della terza generazione che è stata incoraggiata e consigliata da sua madre e dalla nonna materna fin da un'età giovane. Ha cominciato il suo primo patchwork all'età 15 anni ed ha cominciato a fare le sue trapunte all’inizio del 1985. Desma Howarth is a third generation “stitcher”, having been encouraged by her mother and maternal grandmother from an early age. She began her first patchwork at age 15 and began quilting in earnest in 1985. |
Mala Mayo
 |
| Mala Mayo Thresholds - Mala Mayo ha cominciato a fotografare nel 1969 ed ha frequentato il laboratorio fotografico di Auckland ad Elam 1972. Mala non ha esposto le sue opere dal 1975, ma ha perseguito il suo vocazione di ballerina, genitore e kinesiterapista ed inoltre ha studiato tarocchi e astrologia dal 1981. Il suo interesse per le metafore e gli archetipi influenza il suo lavoro. Questa è la sua prima esplorazione nel mondo della fotografia digitale. Le immagini provengono da un insieme di 12 scatti fatti nel Britomart Transport Centre al centro di Auckland Nuova Zelanda. Mala Mayo began photographing in 1969 and attended Auckland Photo Workshop in Elam 1972. Mala has not exhibited since 1975, but has pursued her vocation as a dancer, parent and kiniesiologist, and also studied tarot and astrology since 1981. Her interest in metaphors and archetypes informs her work. This is her first exploration using digital photography. These photographic images are from a set of 12 taken in Britomart Transport Centre in downtown Auckland New Zealand. |
Lyn Howarth-Olds
 |
| LYN HOWARTH-OLDS Retro Court Cards. Lyn Howarth-Olds si descrive come un'artista sperimentale nell'arte del collage. E' guidata dal semplice bisogno di creare. Lyn Howarth-Olds describes herself as an experimental collage artist. She is driven by a simple “need to create. |
Museo Internazionale dei Tarocchi
 |
| da sx Ernesto Fazioli, Erika, Giovanni Pelosini, Hermann Haindl, Morena Poltronieri al Museo |
Lucinda Harrison
 |
| Lucinda Harrison The Empress- Lucinda Harrison ha lavorato per molti anni dipingendo finiture di rivestimenti e murales decorativi, e solo recentemente ha cominciato ad esporre le sue pitture. Il suo lavoro sui tarocchi è stato fortemente ispirato. “Le carte dei tarocchi sembrano avermi dato un linguaggio con cui dipinger. Lucinda Harrison has worked for many years painting decorative finishes and murals on contract, and only recently has begun exhibiting her paintings. Since working on the tarot, she has been truly inspired. “The tarot cards seem to have given me a language with which to paint. |
Lonnie Hutchinson
 |
Forte della sua
conoscenza delle ricche risorse culturali provenienti dalle sue radici
polinesiane (Maori - Ngai Tahu e Samoan) Lonnie Hutchinson è un’artista
multimediale visivo, performer ed ha prodotto molte installazioni
artistiche, che esibisce in tutta l’Australiasia e in esposizioni
collettive gruppo internazionali. Il disegno si trova alla base della
pratica di Lonnie che è molto influenzata dalla cultura contemporanea,
pubblicità, hip hop, forme d’arte legate ai graffiti e dalla cultura
popolare, così come dalle forme di arte e di estetica polinesiane,
giustapponendo gli elementi negativi e positivi.
In 2000 Hutchinson è stata la prima donna a ricevere la residenza dal
Macmillian Brown Centre per gli studi sul Pacifico all'università di
Canterbury ed ha inoltre ricevuto lo stesso al primo International
Indigenous Art nel 2003 Banff Art Centre, Alberta, Canada. Attualmente
insegna all'università di Canterbury.
Acknowledging and informed by the rich cultural resources of her Polynesian heritage (Maori –Ngai Tahu and Samoan) Lonnie Hutchinson is a multi-media, visual, installation and performance artist, who exhibits throughout Australiasia and in group shows internationally. Drawing lies at the basis of Lonnie’s practice which is as much influenced by contemporary, advertising, hip hop, graffiti art forms and popular culture as by Polynesian aesthetics and art forms, juxtaposing negative and positive elements. In 2000 Hutchinson was the first woman recipient of the Macmillian Brown Centre for Pacific Studies residency at the University of Canterbury, and was also a recipient of the first International Indigenous Art residency in 2003 at the Banff Art Centre, Alberta, Canada. Presently she teaches at the University of Canterbury. |
Kate Millington
 |
| Kate Millington Metamorphosis - Kate Millington è un’artista che utilizza molti mezzi, compreso la stampa ed il mosaico. Si è specializzata in opere su grande scala di mosaico, molti di cui possono essere osservati nel centro di Auckland. Ha sempre avuto un interesse nei tarocchi ed è il fiera di possedere l’antico mazzo della sua vecchia nonna. Kate Millington is a practicing artist in many mediums, including print-making and mosaic. She specializes in large-scale mosaic works, many of which can be viewed around central Auckland. She has always had an interest in tarot and is the proud owner of her late grandmother’s tarot deck. |
Dean Sacred
 |
DEAN SACRED
Judgement
Dean Sacred è stato un tatuatore per 14 anni,
iniziando a Hamilton Nuova Zelanda, e ultimamente aprendo il “Tatuaggio
Sacro” a Auckland. Nel 2004 si è associato all’Illicit HQ a Auckland.
Dean è nel vecchio stile di tatuaggio giapponese ed americano.
Dean Sacred has been a tattooist for 14 years, starting in Hamilton New Zealand, later opening Sacred Tattoo in Auckland. In 2004 he joined Illicit HQ. in Auckland Web Site Dean is into Japanese and American Old School styles of tattooing. |
Claudia Pond Elyley
 |
| Claudia Pond Elyley Last Card Claudia Pond Eyley è un’artista visuale di Auckland che lavora con molte varietà di mezzi. E’ molto famosa per le sue stampe su seta come celebrazione della flora e della fauna della Nuova Zelanda, il suo lavoro inoltre richiama il senso di giustizia e di pace. Nel suo curriculum include un murale importante alla Auckland High Court e 11 vetrate per la chiesa cattedrale di st Mary. Claudia recentemente ha completato due documentari circa sul “guerriero dell'arcobaleno” e la protesta antinucleare in Nuova Zelanda. Claudia Pond Eyley is an Auckland-based visual artist working in a variety of media. Well-known for silkscreen printing as a celebration of New Zealand flora and fauna, her work also addresses peace and justice issues. Her commissions include a major mural at the Auckland High Court and 11 stained glass windows for the St Mary’s Cathedral Church. Claudia has recently completed two documentary films about the Rainbow Warrior and anti-nuclear protest within New Zealand. |
Damon Keen
 |
| Damon Keen The World Card. ‘She is a tree of life to them that lay hold upon her’ Damon Keen è un cartoonist ed un illustratore di Auckland, Nuova Zelanda. Il suo lavoro è soprattutto legato al mettere a fuoco la scienza e l’ambiente. Attualmente lavora per il Consiglio regionale di Auckland, in cui opera per il Sito Web site di EcoKids. Nel suo corso della sua vita desidera ardentemente vedere gli esseri umani tornare alla luna ed è speranzoso che la civilizzazione sopravvivrà a questo secolo Damon Keen is a cartoonist and illustrator from Auckland, New Zealand. His work is primarily science and environment focused. He currently works for the Auckland Regional Council, where he runs their EcoKids website. Web site In his lifetime he yearns to see humans return to the moon, and remains hopeful that civilisation will survive the century. |
Pino Settanni
 |
| "This Tarot is an unusual idea by
Pino Settanni, the photographer who has given us many remarkable
portraits and compositions directly inspired by the Commedia dell'Arte.
It is an interesting idea because it is innovatory. It gives the
structure of the traditional Tarot a lively, dynamic and expressive
dimension. All the characters which inspire the Major and Minor Arcana
in this Tarot are real people. By being placed in an esoteric context
and then photographed by an artist, they express the very essence of the
Tarot message through their vibrant personalities. We must pay tribute
to these artist-models who succeeded in merging perfectly into the
symbolic structure of the traditional Tarot. All the symbolic scenes are
interpreted solely by women, except for the role of the Fool, played by
Mario Scaccia, one of the greatest actors of the Italian theatre. Jean Louis Victor (Excerpt from Tarot Settanni Ed. AG. Muller) Pino Settanni was born on 21 March 1949 in Grottaglie (Taranto) Italy. He has been taking photographs since 1966. Since1973, the year in which he moved to Rome, where he has since lived and worked, he has been a professional photographer. Web site Published Illustrated Books: 1975 "Voligrammi" - Texts by: Georges Boudaille, Emilio Villa - Ed.Nuova Foglio, Macerata; 1979 "Sicilia di Guttuso" - Text by: Dario Micacchi - Ed.La Bezuga,Florence; 1986 "Guttuso-Fotografia quotidiana" - Text by: Piero Berengo Gardin Ed.Mazzotta, Milan; 1989 "Ritratti in nero con oggetto" - Text by : Camilla Cederna - Ed: Pieraldo, Rome; 1992 "Simboli,Sguardi,Sogni" - Texts by: Mauro Bolognini, Irene Bignardi - Ed.Piraldo, Rome; 1994 "Vizi pene e tinteforti"- Text by : Domenico de Masi - Ed.Museo Ken Damy, Brescia-Milan; 1995 "Tarot Settanni"-Text by: Jean Louis Victor - Ed.AGMuller/Urania, Neuhausen CH; 1998 "La memoria le immagini"-Texts by: Simona Argentieri, Giampiero Mughini - Ed.Pieraldo, Rome. |
Kerstin Mahlmann
 |
| born march 1975 1995-2002 studies of fine art in Florence/Italy and Hamburg/Germany since 2002 visual artist from 2002-2007 studio in Hamburg since august 2007 studio in Cologne recent exibitions october 2007 „The otherside of the moon“, Kunsthaus Hamburg, through the bbk (artist’s association) Hamburg (g) may 2007 „The Fish“, Franticham, Dugort, Ireland february-april 07 „Textspuren“, Trinitatis Church Bonn, Germany (s) oct.-november 06 „Robert Schumann, Bipolar-Who listens to the angel’s singing, listens to the devil’s whispering as well“, Endenicher Herbst, Sprinhmaus Bonn (s) august 06 „Tarot“, Mail Art, San Demetrio Corone, Cosenza Italy (g) july 06 „Selfportrait – a show for Bethlehem – a show for peace“, Al Khaf Galery Betlehem (g); further places: Offycina Art Space Szczecin, Poland (oct.06); Mac-Museo de Arte Contemporáneo de Santa Fe, Argentinia (jan. 07); MACRO, Contemporary Art Museum Rosario, Argentinia (dec.06) november 05 „querbeet“, Künstlerhaus Hamburg-Bergedorf, Hamburg (s) october 05 „Saitenspiel der Seele“, St. Johannis Church Harvestehude, Hamburg (s) september 05 „Introspektion“, Kulturtage Alfter, Kulturkreis Alfter e.V. (s) june 05 Galery Stuhlmann, Wedel bei Hamburg (g) september 04 Galery im Uhrturm, Dierdorf (g) june 04 „elbart“, art event at the ancient elb river tunnel at Hamburg (g) Kerstin Mahlmann Möörkenweg 18g 21029 Hamburg vg BildKunst 1314341 BBK1969 |
Jacob Kunstmann
 |
Jacob Kunstmann nasce
in un paesino vicino ad Anversa il 21 marzo 1948 ed appena ventenne
fonda il centro Arcadjia Nouveau, dove raccoglie il pensiero esoterico
dell'Europa dell'Est.
Nel 1975, inizia la carriera artistica e le sue opere trovano spazio nei luoghi più strani d'Europa: stazioni di treni, aeroporti, fabbriche etc. fino a lasciare ampie tracce nel quartiere di Greenvillage a New York, attraverso l'aiuto del genio ormai scomparso di Neil Corrim. Da allora il suo lavoro riprende lo studio degli alchimisti praghesi del XVI e XVII secolo (John Dee, Michael Maier, Sendivogius, Oswald Croll) e trova traduzione nel reale attraverso la ricostruzione di laboratori alchemici realmente esistiti sui quali egli interviene attraverso l'utilizzo della cartapesta e di colori su vetro. Il suo laboratorio alchemico, rivisto e corretto dal suo intuito artistico, dona ad ampolle, provette ed altri strumenti uno scenario magico e interattivo. Jacob Kunstmann ha recentemente curato l'installazione di uno dei suoi laboratori a Reiss (Oslo). In Italia: Museo di Minaralogia di Bologna per Bologna 2000, a Riola di Vergato è stato presente nel 2002 nella sala mostre di Alvar Aalto, nel 2004 ha esposto all’Accademia di Belle Arti di Bologna. Attualmente lavora sui ritratti fotografici. |
Jacob De Chirico
 |
| Ancorata a due alberi,
gigantesca attende, la tela di ragno di Jacob De Chirico. Già una preda –
un quadro – invischiata fra le corde, penzola inerte e invoca l’autore.
La mente allestisce con arte, annoda i pensieri. Solitaria, metodica
aspetta al varco l’idea che sfarfalla leggera: una tela ben tessuta non
ha paura del vuoto. Intervistato, il nostro pescatore di quadri volanti muove la bocca senza emettere suono, fa il verso ai commenti didascalici, imita le boccacce dei pesci dietro i vetri degli acquari… Antonia Montenovesi Sito |
Lucio Mondini
 |
| IL MAGO - Lucio Mondini - Nato il: 28/02/1978 a Milano Breve Curriculum: Dopo il diploma al Liceo Artistico, ottiene la specializzazione in “illustration designer” presso la scuola scuola "Arte & Messaggio" di Milano. Collabora a progetti musicali e visivi, è stato selezionato a diversi concorsi di illustrazione partecipando a mostre collettive, tra cui "Strade del Cinema / Silent Art Movies" 2005, "Fumetto International-Talent Award" 2006 con esposizione alla Triennale di Milano, Collettiva Visual-e 2003, Milano, 8° Concorso Internazionale dell’Accademia Pictor con esposizione a Lingotto Fiere nell’ambito di “Torino Comics” 2007. Vive e lavora a Milano insieme a Jessica Angiulli e come libero professionista nell’ambito editoriale si occupa di illustrazione, fotografia e grafica. Il loro sito web Altri indirizzi: Voci sconnesse Blog |
lunedì 15 giugno 2015
Biagio Pancino
 |
| La Morte- Biagio Pancino negli anni settanta
avvia una riflessione sugli strumenti artistici ed inizia a colorare da
prima i propri pennelli, poi gli utensili: spatole, scalpelli, martelli
ect., poi i panni della famiglia (vestiti, maglie) che stende
all'esterno ed infine colora tutto cio' che incontra. In questa frenesia dell'Azione a Ginevra organizza un pranzo con tutte le cibarie dipinte solo a condizione che venissero consumate durante la mostra. Questo ottiene un enorme successo. Ed egli da bravo -situazionista- avvia un'ulteriore riflessione fredda sugli strumenti. Non gli interessa tanto qui raccogliere le -reliquie- e venderle, quanto mantenere un distacco culturale dall'arte ed agire sul modo di consumarla, dato che gli strumenti d'uso sono anch'essi prolungamento delle braccia dell'artista, un appendice quindi e che pertanto divengono strumenti di conoscenza con i quali analizzare l'opera-cibo. Un po' come avviene per il chirurgo che solo tramite il bisturi puo' sondare, puo' indagare il corpo. Ma cio' non lo soddisfa ancora dato che l'artista resta ancora il Demiurgo dell'opera. Egli scopre l'organico e la sua effimera durata nel tempo. E' il 1985 quando lancerà il Manifesto dell'Effimero dove nel consumarsi dell'organico egli trova l'afflato dell'eternità data dal colore che avvolge i -poveri resti organici- e si pone quale momento di luce eterna che si compie da solo nell'Opera senza aiuto dell'Artista Demiurgo e com'era previsto da Duchamp che si compisse sotto l'occhio vigile dello spettatore. Boris Brollo |
Iscriviti a:
Post (Atom)