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ANDY WARHOL –THE NEW FACTORY
16 marzo – 6 luglio
Fondazione Magnani Rocca
Mamiano Traversetolo
Parma

Andrew Warhola, better known as Andy Warhol and is now home and for the next seven weeks to the Magnani Rocca Foundation. Walking through the austere halls of the permanent exhibition of the Foundation, is the siren song - Velvet Underground & Nico - to lead you into a parallel world, illuminated in pink pop.

Andy Warhol is one of those figures that I admire sincerely. I like him, his humble origins and the fact that non abbia rinunciato a seguire la sua cometa nonostante l'estrema ristrettezza di mezzi e la malattia che da bambino lo costrinse a letto per lunghi periodi. Mi piace che abbia continuato a credere nella sua idea demistificatrice di arte e del concetto di “pezzo unico”, considerando l’arte un prodotto, anche quando critici importanti lo definivano uno zero assoluto. Adoro la sua creatività divertente, ironica e irriverente e la versatile facilità con cui riusciva a passare dai libri di ricette impossibili, Wild Raspberries 1959, disegnati come se fossero illustrazioni per bambini, con torte giganti dai colori pastello e un breve testo, la ricetta, a lato. Apparentemente molto poco Warhol. Tutto cambia improvvisamente quando quasi per caso eyes linger on the recipe, and after a first look disoriented text you laugh, absolutely delusional ("take a basic sponge cake than three weeks old ..").

Some of Warhol's works have been carried out in silk screen with bright colors, even in spite of their content, often from the news stories. The series of screen prints entitled Electric Chair (1971) came the announcement of the death penalty imposed on spouses communists Julius and Ethel Rosenberg, accused of spying for the Soviet Union. This case struck and broke the American public and mobilized intellectuals and Communist artists from around the world. Warhol was shaken by the brutality of the event and even if the execution took place in 1953, he continued to work in later years, to create this series screen with an electric chair that stands in the hall of the executions, empty, of Sing Sing. The result is a sharp, eye-catching colored bruises yet, so striking a vision to become uncomfortable, annoying.

addition to chronicle the life of every day, made of mass-market products entering the homes of Americans, offered interesting ideas. It seems that the series of paintings that established him, that of Campbell's Soup, which was born from a suggestion apparentemente banale di un amico – perché non dipingi ciò che più ami?. E lui lo prese alla lettera consegnando all’immortalità una zuppa in lattina, che a detta sua aveva costituito il suo pranzo per la maggior parte della sua vita.

Ancora, nella mostra lunghe pareti espongono le serigrafie dei volti noti di una o due generazioni di star di Hollywood. Con colori flashanti si succedono, solo per citarne alcuni, Liz Taylor, Elvis Presley, John Lennon, Mao Zedong, Mick Jagger, Marilyn Monroe realizzato un mese dopo la notizia del suo suicidio.

E poi, nel periodo della Factory di New York (1963-68) prolifico regista di film (In those five years created more than sixty film), always bold and often outrageous, certainly innovative.

It 'been called "The Mirror of Our Times" for those who chose to turn them into works of art and the approach which was placed against them. And 21 years after his death, still is, though perhaps "Our Times" today are less light-hearted, more cruel, certainly less colorful.

Not to miss: the series of albums that Andy Warhol was responsible for the cover, only to name a few: the famous banana peel from the album of the ambiguity and Nico Velvet Undergroung Featured zip Sticky Fingers (1971) The Rolling Stones.

Where

Fondazione Magnani Rocca
Mamiano Traversetolo (PR)

When
Tuesday-Sunday from 10 to 18
closed on Monday



Admission Adults £ 8
visiting students £ 4

Ringworm As Its Healing

FROM RUSSIA

January 26 to April 18

Royal Academy of Arts

London

The Impressionists have really made history. Their names are pronounced with admiration of art even by those who do not intend to, but that he was dazzled by the gold of the sunflowers and the tenuous fragility of lilies.

influences that this revolutionary movement has generated not only in France but in the rest of the world and in this particular case in Russia, it is really about Russia poco.Della turn of the century is reminiscent of the February Revolution and then the d 'in October, the overthrow of the Tsarist regime, events so formidable as to leave little room for cultural change. But in Russia from the late nineteenth-early Nine were many who look to the West and the new artistic movements, both eyes of collectors, that of painters.

The first hints of renewal came even earlier, in the sixties of the nineteenth century, when a group of artists in St. Petersburg decided to emancipate the Imperial Academy of Arts, founded the company then known as The Wanderers. They rejected the biblical and mythological subjects from art to introduce Italian rather than scenes of daily life and snapshots of their contemporary Russian society, such as Ilya Repin, who painted October 17, 1905 and Leo Tolstoy barefoot .

Thirty years later the Muscovite Sergei Shchukin and Ivan Morozowa formed, in fifteen years, two of the largest collections of French art. In particular, so Shchukin became Matisse's patron, which he bought and which commissioned many works on large canvases, as Dance . Since 1909 these two museums were open to the public and private Russian artists who had no opportunity to form in the spirit of Paris could still know the works of French artists through these collections.

This show is simply wonderful. And do not rule out returning to see her again soon. I consider it unique because it collects a espoizione authors and works geographically distant, belonging to different historical past, each of them approached by the witness of a particular current, never cancel but rather putting them in a culturally refined design. Gauguin, Matisse, Chagall, Van Gogh, Cezanne, Corot, Repin, Mashkov, Altman, Golovin, are all here.

Not to miss: Ida Rubinstein, the famous Russian ballerina who had shared the stage with the company Ballets Russes Diaghilev, portrayed here by Valentin Serov in a bare-shouldered. The face shot for three quarters, the lithe body and edgy at the same time. The look intense and focused as if it were a scene.