“Talking About Denise”
Tag : Italian
There are no real words to describe the work of Italian photographer Marco Pandullo. They are just breath-taking, romantic and very sexy with an always beautiful use of light. Moments of perfectness, stunning shapes and faces. “The formula for success does not exist for me. I’ve read a lot of biographies about great artists, photographers, directors, etc., and every story is different. Something that cannot be missed is surely a pure passion and strength to go ahead anyway, doing the best that you can, adapting yourself to the situations.” We can only agree with Marco´s words (you can read an interview here) and we can definitely see this passion through his pictures. Yes!
Italy is not just the country that can offer one of the best culinary or tourism experiences. It is also a country that has much to offer within the music section. I myself had the opportunity to make sure of that in November at Turin‘s Club To Club festival where I also had the chance to talk with a couple of locals and found out more about the producers and djs of this lovely country. Well, I was quite positively suprised. It’s a little bit of a shame that Italian artists are not so often mentioned on music websites… So I decided to ask a member of Bosconi label, the young and very talented house producer Herva, to introduce us to the Italian beats. Enjoy!
„I think this album feels like coming home, which none of the other albums felt like. The others albums felt like I was kind of travelling through.”
Jack Savoretti tells me when we talk about his new album “Before the Storm” that will be released on the 4th of June. “Before the Storm”, as a symbol of anticipating something bigger, is full of beautiful musical moments by the 28-year old London based singer-songwriter.
The perfect song to him is like a painted picture, a captured moment, a perfect photograph and listening to his new releases and also his old albums his music certainly does make you feel like you are captured in a moment of memories and dreams. I love the fact that he just needs his voice and a guitar to cast a spell over his listeners. His musical travel has taken him from his beginnings of constant writing from an early age on, to later picking up the guitar to put music to his words, onto releasing successful albums and having his music on TV shows like One Tree Hill, Grey´s Anatomy and The Vampire Diaries – just to mention a few of his thrilling moments. Right now he has just returned to the UK from this German tour, where he continues to play a list of concerts. Nevertheless he found some time to talk to me about his music, his life and what makes him happy…
Hello dear Jack, thank you so much for taking some time to talk to me. I was told you have just been doing the soundcheck- did everything go well?
Hello, yes thanks all went well. Now the show has to go well too.
You are playing at the Great Escape Festival in Brighton later on…
Yeah, at the Komedia Bar in Brighton.
Are you still get excited when going on stage?
Yeah, sure if I wasn´t excited I wouldn’t do it.
Btw unfortunately I missed your Berlin concert a couple of days ago. I hope you are coming back soon…
I hope so too. I loved Berlin.
Ah really, cool. Because actually I heard from some other bands that Berlin and Hamburg are the more difficult cities to take over the audience. Did you feel the same way?
No, coming from London, everything else is easier. Berlin was nice. London is probably one of the toughest crowds in the world. They are spoilt for choice. I love Hamburg. It is one of my favourite places to play in Germany.
You know some people say that Germans are a bit reserved so sometimes it is a bit harder for the artist..
They are very civilized. But I wouldn’t say cold, only very civilized and well behaved. laughs.
So let´s talk about your new album „Before the Storm“ It is coming out on the 4th of June, so really soon now! You must be very excited about this! Are you also a bit anxious about the critics or are you not worried about that in general?
Actually this time I don’t read any. Because if you read the good you believe the good. If you read the bad you believe the bad. But anyway they are just doing their job, that´s how I see it. Anyway it is a shame, because sometimes that can really get in your way and it can interfere with how you feel because of their opinion, which is just one person´s opinion. But otherwise I don’t really mind.
Well, I think your songs are very beautiful. To me your music sounds dreamy, romantic. So I wanted to ask you how much of yourself is in your songs? Are you a romantic dreamer?
Well, I think everything in the songs is genuine. Either I have seen it or I have seen someone else live it. Even if its made up you can use your imagination to get to the most romantic. But I think all music is romantic, I don’t think just mine. I think even the Sex Pistols can be romantic.
I initially wanted to ask you the question of what inspires you, but you have answered that in so many interviews already. ..
Laughs. Yeah, true. Everthing. I get inspired by everything.
You produced this album with Martin Terefe – how was it to work together?
It was mainly with him and a team called the Suppliers. The Suppliers are the main brain behind this album.
So who are The Suppliers – is that your band?
No, my band is called the Dirty Romantics. But The Suppliers are my kind of Inhouse Band but also like the Inhouse production team.
It´s your third album over a period of 5 years – how would you describe your musical and personal development during this time?
I think this album feels like coming home, which none of the other albums felt like. The others albums felt like I was kind of travelling through. And there was also the industry, where I still had to figure out what I like about it and what I don’t, – like when you go to a new town. On this album it feels like coming home. It feels solid and I just feel like I know a lot more what I am doing now.
Even though so the album is called “Before the Storm” – which in a way doesn´t sound too settled to me. So why did you chose this title?
Well, the title is like an anticipation. This album feels like it is anticipating something bigger. It just gives me the feeling of the calm before the storm.
You also recorded a song with Sienna Miller ( Hate&Love) – how did this come about and how was it work with her?
She is a friend. I met her a couple of years ago in a club where she was singing Nancy Sinatra by herself a capella. And it was amazing. And I actually realized, wow she could sing. A couple of years later I wrote this duet and I just thought she would be the perfect person to bring this into life- and she was.
In an interview some years ago about your last album you said that “ I think melancholy is my biggest influence. “ Is that still the same now?
I think so.. I mean music is melancholic to me, so the minute I hear any notes or any rhythm it always takes me somewhere or it takes me back somewhere. So yeah I think melancholy is still a crucial part. I wouldn’t do this if I wouldn’t feel melancholically.
Well, I was actually wondering about this melancholy, because you always come across very happy and cheerful…
Yes, I am a very happy person. laughs
Sure and obviously everyone has different sides to his personality…
Yeah, I just have my moments, but not all the time. But I am not singing all the time either. laughs
But when you write your songs, you get inspired by this melancholy.
Yeah, definitely. Or whenever I have a melancholically moment, usually the best thing is to pick up a guitar and do something with it rather than just get sad.
I also read that you once said that “while you are not old and cynical it might be a good time to write songs” So what are your plans for when you are old and cynical? Still writing songs anyway?
Laughs. I am gonna live off my songs. And live on a dessert island somewhere and be old and cynical.
So do you really think you will get old and cynical?
Yes, I probably will. I get older and I get more cynical every year. So it only goes in one direction. I am definitely not getting any younger. And very likely I will get more cynical.
But why, because of the world, because of people?
I think with age you just do. I think it is hard to keep positive when you keep losing your youth and your energy. It´s hard to stay positive. You gonna have to accept it, though become a little bit cynical. Well maybe I will be surprised but I have the feeling I am going towards this direction.
Ok, so what is a good song in your eyes?
I am happy with a song when it captures a moment. Like a photograph. It doesn’t always have to make sense. To me one of the perfect song is called The Weight by The Band. To me even if you don’t always know what it is talking about it just paints a picture, it captures a moment. Just a perfect photograph.
And now last I will ask you some typical C-Heads questions:
What makes you happy?
And what makes you sad?
Not seeing my daughter. And rainy days.
Well, then you should move away from London.
I know. I am trying.
But don’t come to Berlin, it is pretty similar here as well.
I know it is going to be an Island somewhere in the Mediterranean. Formentera is my dream place…
What are the 5 things you cannot live without?
My guitar. Spaghetti. Good wine. Sunshine. Sea
Can you tell us a secret about you?
I have no secrets. Laughs. I never share my secrets, I am sorry.
No worries, I thought this would be a tricky one. So, what has been the best life lesson for you so far?
Seeing what it takes to bring somebody else into this world. It makes everything else look very small.
Is there anything that you want to add? Or anything that I should have asked you?
No, that was great. Laughs.
So you concerts starts about 10 p.m.right? How are you going to prepare yourself?
We are just about to open a bottle of wine and have a plate of pasta. The only thing missing now is the sunshine and the sea.
Well, you are in Brighton so you have the sea..
Yes, true we have wine, pasta, guitar and the sea. Only the sunshine is missing…
Jack, many thanks for your time and good luck for your show tonight and the album release!
Interview by Sigrun Guggenberger
As we all know Italy have a long and stunning tradition of great painters and artists. But what is happening with the digital era? Are this artistic manual tradition going to disappear in favour of softwares? Fortunately there are still some amazing painters and one of those is Agostino Arrivabene. Come and take a look with us to his mysterious and weird populated world, rich in symbols, chambers of wonders and secrets… Sometimes a paintbrush can make you dream.
Looking at your paintings we feel like we are floating in a dream, in a subtle atmosphere among mysterious creatures. How important is the oneiric element in your art?
I enhance what is urgent inside me. Sometimes I translate what my essence demands into dim atmospheres. I raise universal human values to images, or symbols, or, even better, archetypes that transfigure reality through a language bound to ancient mysteries, such as the Eleusinian Mysteries (the ancient rites for Demeter). Signs and images lead to an event that upsets the observer, but if they are investigated one discovers that their meaning is never fortuitous, although they often awake in myself through a technical procedure, as it used to happen among Surrealists in the first half of the XX Century. Maybe this is not so suitable to this expressive attitude, it is far more obscure and even unconscious, which is typical of the oneiric language. Actually some of my dreams gave rise to authentic pictorial cycles, such as the one dedicated to the most mysterious of Angels, Lucifer, or the Eden cycle, which was generated by the dream of the holy lake that obsessed me since 1990.
You look like a visionary person to me, how do you live this condition? I mean, what is in your opinion the line between dream and reality in our lives? Maybe they are not separated entities and it is all about man’s perception…
I would like to stress the fact that my visionary vein stems from a mystical research: in my experience visions have always a mystical background, they are a strong communication line with the eternal, the mysterious and the infinity above us. As a man, I prefer to think of myself as a shaman, who throws prophecies to the world, who discloses messages and images concealing higher and wider meanings. At first these can be quite obscure even to myself, but as time goes by or through the sequence of works to come, they show their meaning. Reality is certainly an important source of inspiration, because I think it remits to a ultra-reality hidden underneath appearances. This is a heritage of my studies of Plato and Marsilio Ficino’s Platonism.
Your paintings fallow the ancient tradition of animalia, mirabilia naturae, vanitates, landscapes, still life. What is your relationship with this current of ancient painting?
The cycle of my paintings you mention began after I had the chance to see a book on Wunderkammern by Adalgisa Lugli, a late important Italian scholar of this particular art form. The works preserved in museums all over the world, both in present and ancient collections, influenced my art considerably, because in them I see a sort of virtual museum of reality, seen through the deforming glass of a collector in the domain of the absurd.
And I have also to mention the Wunderkammern: you yourself define your works as “modern virtual Wnderkammern”. Can you please explain us this definition and the relation with this art form?
Wunderkammern are “rooms of wonders” showing how man sought in Nature the most varied oddities, embracing the supernatural and the dreadful. A sort of museum of paradises and hells on Earth, created by Nature and recreated by man in mirabilia and artificialia. The works of Animaliers have always struck my imagination because in these figures the artists convey the melting of human and animal nature.
Are there any symbologies in your paintings, which are downright rooms of curiosities and jewels?
I think that the surreal element in art comes from unconscious automatisms. The simple sign of a paintbrush or a pencil produces a mysterious image that can seem fortuitous, but rather expresses, as in dreams, the most alchemic and the most hermetic ties of our unconscious, authentic rebuses that bring the observer to look at himself, or better at the many questions urging from his own unconscious. The basic elements of my work certainly have their roots in two historic and artistic currents: since the early years at the Academy of Arts in Milan the works of the American period of Max Ernst and Massons had a strong effect on me, and I can say the same for the final years of Gustave Moreau, which is ahead in the most contemporary abstractionism. Moreau reaches such an acute and refined formal synthesis that the image becomes an emotional essence, produced with colour or with the gesture of pigment matter only.
Dreams and nightmares, light and darkness: is your idea of life more oriented toward the light or toward the dark?
I see myself on a ridge observing two opposite realities: good, evil, light, darkness. I am seized by both, I analyse both, both help me in knowing myself better and in focusing more clearly my many-sided essence. I love waving between two opposite reigns.
Which artists and personalities do you admire the most?
They might be a great number. In the first years of my education I deeply studied ancient art, especially Egyptian art, ancient and archaic Greek art, and most of all the Sumerian art. Later, primeval Flemish art and Italian art of the XVI and XVII centuries nourished my hot and pressing creative work. At present time my path and my look concentrate on the language of contemporary art. I can mention several international contemporary artists: Antonio Lopez Garcia, Lucien Freud, Odd Nerdrum, Gerhard Richter, Ernst Fuchs, Werner Tübke, to the most trendy Neo Rauch, Peter Doig, Paula Rego, Cecily Brown, and the psychedelic art of Henning Kles, to Justin Mortimer and Adrian Ghenie.
If your works were a piece of music, a movie or a book, what would they be?
I would certainly compare some paintings to Gustav Mahler’s symphonies, especially the unfinished 10th symphony. And my brother has initiated me into the music of Lisa Gerrard and Diamanda Galas and Jan Garbareck. As for motion pictures I would mention all movies by Luchino Visconti, Lars von Trier, Woody Allen, Tim Burton (one of my idols) and the last cult film of Darren Aronofsky “The Fountain”. The books that I think represent my pictorial world at best are the “Theogony” by Hesiod, “Death in Venice” by Thomas Mann, “The Doors of Perception” by Aldous Huxley, Proust’s “Rechèrche”, and the extraordinary essays by Karoly Kerenyi, especially the one on “Dionysos”.
What is the relationship between an ancient-tasting aesthetic like yours and the today’s art society?
I see myself as a potential very eclectic astronaut: I love waving in the worlds by Greenaway, in the subtle veins of Leonardo da Vinci, but also in pop and dark atmospheres. Sometimes I consider cinema as the communicating valve to my reality, both real and fancied. I think that contemporary art is fruitless if it does not create or preserve its natural bonds with the past. Dandyism is among my aspirations, but it translates into a sort of debauched monasticism, where the bohème is the rule.
You also worked at the scenes for “Hans Heiling” by Heinrich Marschner. How important is theatre for you?
I love theatre, especially for its scenes, choreographies and costumes. I collaborated with Pierluigi Pizzi at the opera “Hans Heiling” by Heinrich Marschner. We put my painting world in the spotlight, reproducing my paintings in 3D and at huge dimensions. Hans’ room was a sort ofWunderkammer containing my “mirabilia”, which were reproduced in enormous sculptures. My relation with Pierluigi Pizzi has grown steady through the years, because it is based on mutual esteem. This year Pierluigi Pizzi invited me, together with the curator Vittorio Sgarbi, to represent the Italian pavilion at the 54th Biennale di Venezia. For this occasion I created a diptych where St. Sebastian was represented. I decided to dismiss the traditional image of the Saint standing upright while he’s being pierced by arrows focusing on the look of two women who have different visions: the first sees St. Sebastian fluctuating above his bed in a dark bedroom after she healed his wounds; she sees flowers blooming from the wounds, and flowers are pouring thru veins and capillaries. The second canvas represents Lucinia’s dream, who saw St. Sebastian stranded in the bights of the Tiber river, with his corpse retrieved for people’s worship.
If aliens came on Earth, what place would you show them to make them understand our culture?
I do not exclude that aliens might come to Earth and I think that the endless space and the possibilities of universe can host other forms of life and civilization, that might be even more mighty and advanced than ours. If I met an alien I would take him to an Italian museum of ancient art and I would try to teach him to paint.
A good artist is always a dreamer, what are your visions?
The strongest is man, receiving grace and revelation from Gods, the awareness of being a creator, a demiurge between human and divine. That is why I believe that my paintings have a strong mystical inspiration.
Interview by Chiara Sestini
Images © Agostino Arrivabene
“I think the female figure is totally beautiful and shouldn’t be kept in secret.” True words! We asked the Italian photographer Francesco Carlucci three questions about him and his newest project “Sometimes clothing is optional / Art nude public shoot”.
Who are you? Where are you? Some details about yourself…
My name is Francesco Carlucci, Uncle Frenxi for my friends ;) I’m a young Italian self-made photographer born in 1987. I’m energetic, stubborn and I think that sleeping is a waste of time!
What does photography mean to you?
Mmmmhhh… not easy to answer! I can say that photogaphy is my natural way to be creative and to communicate! I say “natural way” because when I started to take my first steps into the photography world, I never studied technique, lighting or anything else, I just held the camera in my hands and took pictures! For me the less you think about how to do the picture, the better it will be!
Tell us about ur project ” Art nude public shoot “
“I think the female figure is totally beautiful and shouldn’t be kept in secret.” I wrote these words in one of my first editorial shooting in 2009 (you can see it here)! And my project “art nude public shooting” is simply the best way to explain and to prove it! This is the reason why the models that I photograph for this project, have to be really comfortable with being naked in public! It´s the only condition I require!! Venice has been the second stage of my project, and has been a really exhilarating experience. Even if we were in the dark of the night, there was scores of policemen everywhere; we spent hours walking through the city and just few seconds to take pictures! Charo (the model) says I’m crazy… but I say she is more crazy than me! Now I have others cities on my plan, and I’m looking forward to go on with my project!
photoraphy: Francesco Carlucci – www.francescocarlucci.com
model: Charo Galura
Interview by Christine Guggenberger