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Utopia Contemporary Art - CAMPAGNA - RASSEGNA INTERNAZIONALE DELL’ACQUA - LA "CHIENA": La "Chiena" recuperata nel 1982 e nel 1985 trasformata in opera d'arte

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Utopia Contemporary Art - MARKETING - INTERNATIONAL EXHIBITION OF WATER - THE "chien": The "Chien" recovered in 1982 and in 1985 transformed into a work of art

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Great scoop! here's a video with the guy Gemmadelsud !!

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.. Who won the World Cup? The wayfarer


Lola Toledo yesterday today and tomorrow .. think: Excuse me if I speak in my language: Catalan and English. I think you will allow me this time. Who won el mundial?


Hágamos a little history is undeniable that the backbone of the game guy "Vincent" is formed by a group of Barca players who play from memory: Xavi, Iniesta, Piqué, Busquets, Puyol and now Villa, and if all goes well, Cesc in the future. And if Barca players played more is because I knew that Spain zio stale throw it up. A lot of that fill the mouth with Spain bile boil them because they see this team win the victory of our Pep Guardiola, Santpedor noi (a village in the heart of Catalunya), that of the 6 cups, that of "maco joc" curiously Cruyff's heir, which laid the foundations of the philosophy of the Barca game last 20. That it was the highest standard of the "Clockwork Orange", a team who dazzled the world and deserved better luck ... What an irony of fate! The Red-Catalan won a Holland that had nothing to do with the original. The Red Gear cunning surpassed the Dutch. Football is not always justice, but this time they won the men who will remember always and above all its values: humility, perseverance and good work. Are these the values \u200b\u200bthat prevail in Spain? Honestly, I scarce ...

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España .. .. finally won a World Cup and he deserved it a long time .. more than many other nations that have won recently (Italy included) .. and not as can and must talk about this .. Andrés Iniesta (not) the young wanderer arid land of Castilla La Mancha .. was that of the dry land of Quijote ... without the fog of Friedrich or Tulips ... A boy from his face so .. .. silent without obsessing Turtle cultivated by CR9 or showrooms of Balotelli ... Josep Guardiola, the current coach of Barca once said of him: "As a part Iniesta" / Iniesta eat apart .. almost like those Children who have the delicate eye crying tears .. but do the great emotions of the players' ... .. the principles and truck drivers ... this is the triumph of sanity ... the low profile of the little man ... mancha ... the whole team .. and a technician, Del Bosque, who won a lot but he seems to be near the floor below .. or uncle that Sunday brings sweet home .. Congratulations to Spain !

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Gemmadelsud

For some time now "rife" a phenomenon that is now chic to call "trash." This usually makes me reflect on how much everything has a place in a world that is afraid to set fees "normal" a time that did not respond to specific charges was simply ignored now has a specific label.

gemmadelsud is a girl who has opened a channel on youtube and sings songs notes, interpreting them in his own way ... This phenomenon brings to mind some respects, the criticism of Faith TG4.

When a transmission is not paid by the taxpayer, each has the right not to look at if it considers that it is not: interesting, balanced, ... or for any other reason. Conversely those who broadcasts on a "channel" the private right to speak in terms of propaganda, biased, irreverent, satirical, ironic and chi più ne ha più ne metta.

Diversa è la questione se il denaro pubblico alimenta una televisione di parte - si vedano alcuni programmi di RAI3, mentre, a onor del vero, molti altri sono estremamente interessanti e fatti da persone competenti che non sono in spasmodica ricerca dell'audience - o scadente (come molte trasmissioni su RAI1 e RAI2).

Tornando al fenomeno gemmadelsud, questa tizia è una ragazzina che ha aperto un canale su youtube e ogni internauta è libero di decidere se guardare il suo canale oppure no.

Non solo, le innate capacità di comunicazione di gemmadelsud le hanno fatto raggiungere 11.000.000 di caricamenti totali of its channel.

It therefore seems out of place that visitors to the channel and the insult imprechino, ungrammatical people who inveigh against this little girl to complete denial of freedom of expression, this is the freedom we want? this is the freedom to express their talents (or anything)?

Even more serious are the services of some TG defining the girl, in no uncertain terms, a monster (in a metaphorical sense but certainly not exclusively).

talk a lot about not censoring the web, but then there ergiamo judges of decency is it not indecent remarks internist he writes to gemmadelsud:

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I Luoghi della Memoria:La "Chiena" recuperata nel 1982 e nel 1985 trasformata The work of art in

The "Chien", revived in 1982 by a project idea Angelo Riviello and transformed into works of art in 1985 as an internal situation of the base, but above all, for found creativity and quality of intervention operations in water, in collaboration with many artists involved with an open invitation, from every part of Italy, without which it was impossible that all this happened.

List of artists who adhere to the idea of \u200b\u200bdesign (individually or in groups) and going in the City of Country in 1985 fecero parte attiva di tale situazione, con laboratori, interventi e azioni nell’acqua, con performances, teatro di strada, musica, proiezioni video, installazioni e ambientazioni. Un libro-catalogo, (edito nel mese di gennaio del 1987 dalla Tipografia Boccia di Salerno, per conto del Comune di Campagna), documenta l’intera operazione, con testi di Angelo Rivello , Enzo Di Grazia , Rino Mele e un racconto di Alan Frenkiel .

Gli artisti:

Salvatore Anelli (Cosenza), Pasquale Anzalone (Eboli-SA), Antonio Baglivo (Salerno), Elsa Boero (Genoa), Francesco Bonazzi (Verona), Ilaria Bona (Bari), Lucia Good (Bari), Giovanni Canton (Salerno), Camillo Capolongo (Cicciano - NA) Lorenzo Cleffi (Salerno), Gaetano Nicholas Cuccaro (Picerno - PZ), Jasmine D'Ambrosio (Salerno), Fausto De Marinis (San Martino Buon Albergo - Verona), Vincenzo Epifani (Roma) , Maria Pia Fanna Roncoroni i (Treviso-Milan), Alfonso Filieri (Roma), Pina Flowers (Macerata), Franco Flaccavento or (Cosenza), Nicola Frangione (Monza), Giorgio Gallotta (Eboli, SA), Giancarlo Jasmine (Genoa), Riziero Joints (Venice), Rosa Greek (Salerno), Pino Grimaldi (Salerno), Pina Guide (Capaccio Scalo - SA), Elisabetta Gut (Roma), Angela Hart O'Brien (Prato), Giovannastella Lanocita (Praiano-SA), Ruggero Maggi (Milano), Anna Malapelle (Verona), Patricia Marks (Praiano-SA), Mariano Mastrolonardo (Napoli), Alessandro Mautone (Praiano-SA), Gisella Meo (Roma), Christian Molde Ravenna (Venice), Emilio Morandi (Pontenossa - BG), Gutte Norrild (Praiano-SA), Giuseppe Onesti ( Spilimbergo-PD), Gerardo Palmieri (San Cipriano Picentino-SA), Sergio Pavone (Genoa), Gloria Giovanetti Persians (Roma), Vincenzo Pezzella (Milan), Antonio Pierno (Bari) Lisa Pintucci (Bari), Giuseppe Pipoli (Bari), Antonio Porcelli (Genoa), Angelo Riviello , Alba Savoi (Rome), Vittorio Scarpa (Eboli, SA), Beppe Schiavetta (Savona), Vito Sersale (Milan), Rosario Vairo (Capaccio Scalo-SA), Rosanna Veronesi (Milan) Henry Viggiano (Napoli), Donato Vitiello (Praiano-SA), Anna Zeppieri & Riccardo Bergamini (Roma) .

Groups:

Cooperative "Theater - Work" (Venice), Experimental Theatre "The Candlestick " (Salerno).

internal situation

Armando Aiello (painter), Gino Aiello (Photographer), Nino Aiello (painter), Arturo Busillo (painter), Giuseppe Busillo (sculptor), Liberato Capaccio (Photographer), Felix Capaccio (Photographer), Antonio Caponigro (Friends of the Theatre), Guido Carpenter (piano), Antonio Corsaro (Photographer), Emilio D'Amato (Photographer), Vito D'Ambrosio (photographer-musician, composer), Giovanbattista De Angelis (painter), Jasmine Fezza (photographer-musician), Lucio Ganelli (designer), Pompey Ganelli (Photographer), Daniel Gibbons (violin), Angelo Giordano (sculptor), Lino Iuorio (Photographer), Vito May (writer and translator), Olga Mirra (painter), Pasquale Perrusi (painter), Maurizio Ulin (cartoonist-historian).

internal promoter group "Friends of the Museums"

Liberata Cerrone, Anthony Corsaro, Vito D'Ambrosio , Bruno D'Agostino, Vito D'Agostino , Dante De Chiara , Jasmine Fezza, Vito May, Sandra Mirra, Maria Rosaria Polisciano , Angelo Riviello , Berardino Stable, Mario Velella.

Consulting and references to "external": Alfonso Tafuri (Our Italy's Salerno), Jasmine D'Ambrosio (Studio Sign, sign and Associates); Angelo Trimarco (University of Salerno - History of Criticism ' art); Rino Mele (Università di Salerno - Cattedra dello Spettacolo)

Referenze fotografiche: Angelo Riviello
http://angelo-riviello.blogspot.com/

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"Chien" recovered in 1982 and in 1985 transformed into a work of art

International Review of Water-La "Chien" The Gates of Art, The Water Gate (a situation out of isolation and cultural arts, including employment, reflection, provocation, offense, recovery, anticipation, Research and continuity)

GOoD Muscat, April 2004 (text published on the web site of the City of Countryside),

revised in May 2006

I must say, as stated once Achille Bonito Oliva , debuting in a symposium on "Contemporary Art in the Mediterranean basin" (I think) , at the Museum of Contemporary Art "Luigi Pecci in Prato, 1988:". .. I am the advocate and theorist of Trans ...". Clearly, if he had not the sponsors, specific references and deep esteem in the art world as a "critical military," as he called himself, and as allies, especially artists, his staff, to express and make visible good, especially through the recovery of manual dexterity, such as painting his theory, his thought, his idea of \u200b\u200bstyle and design (some say his bet), would be for him, just a theory ... a repressed desire to achieve ... ... ... a utopia neither lost nor won bet: a bet not! He also would not have passed into history, but to the geography (to name one of his provocative, humorous and happy statement, addressed to those critics of art, che non allineandosi con lui, forse vittime di una gelosia nei suoi confronti, fino a renderli “impotenti”, non sapevano fare altro che “criticarlo”, in modo patetico, senza la forza e l’”inventiva” di creare un progetto alternativo). Grazie alla sua genialità, intelligenza, intraprendenza e convinzione, però, che gli sponsor, i riferimenti precisi nel mondo del sistema dell’arte e gli artisti, che collaborarono, vinsero la scommessa, con un  ritorno di immagine all’insegna di un successo globale clamoroso, conquistando finanche gli Stati Uniti d’America (trasformandosi da Transavanguardia Nazionale a Internazionale ), che fino ad allora, dagli anni 50 in poi, con l ’Action Painting , e poi negli anni 70 con la Minimal Art , la Land Art (o Arte Ecologica ) , l’ Arte Concettuale, ma sopratutto con la Pop Art negli anni 60 (grazie al ricco collezionismo privato statunitense nei confronti di una ricerca artistica di punta, nata dalle radici delle avanguardie storiche europee, rappresentate da artisti che per sfuggire alla 1^ guerra mondiale e alla persecuzione nazista, prima della 2^ guerra mondiale, si rifugiarono negli U.S.A, tanto da trasferire la denominazione di capitale dell’arte contemporanea, dalla mitica Paris to New York), also exercised in the art world, a policy of "cultural imperialism", and Europe, could only express individual personalities, as Lucio Fontana, Alberto Burri , Jean Fautrier , Antoni Tapies , Jean Dubuffet, Francis Bacon , Yves Klein, Piero Manzoni , Joseph Beuys, etc.., and some movements like the ' Kinetic Art, the New Realism of Pierre Restany Pop Art and the Roman also called the " Pop Art of the Alley" in the 60 and L 'Arte Povera in the 70's Germano Celant .

The "Chien" ... recovery. An ethno-ecological and emotional recovery. The recovery of individual and collective memory on the spot, to be made known outside the "four walls", as well as to recognize the universal heritage of humanity. The recovery of identity, anthropological, historical, ecological, immediately after the tragic earthquake of November 23, 1980 , which was thought to anything but protect ourselves, our past, for our future through our possessions, produce positive ... to produce wealth, breaking up the stereotypes and unconscious resignation, out of habit, not out of the ordinary ... provoking, sometimes harshly, the power requirements. Contemporary creativity in the service of an event with a spectacle of ancient origin in the Arts, a city in southern Italy ... in a territory, inland from Salerno, rich in history and signs, forgotten by too many long years , asking for help ... that needed to be reborn to new life.

An argument that this was part of relevance to the poetry of an artist who worked like me ("SODDING" in those days, the art market and the "sign" personal and subjective that they sought places of Members 'art half the world) using every artistic medium, in an interdisciplinary way, photography, cinema, painting, sculpture and sculptural installation architecture, art, environment and behavior as a result of an idea and content, since from 1975 on Memory Roots ... on and on ... Reality. Poetics witnessed by two collective, an estate in 1976 at the Palazzo della Permanente, Milan (entitled " 500 artists for factories struggling "), with a particular job, where the exposure school report souvenir photo with the class (1975-76) , entitled" Operation Mnemonica Passiva”, l'altra alla Galleria del Milione di Via Bligny (dal titolo " Arte per i Diritti Civili "), dove esposi una mia lettera di adolescente, inviata ad uno dei miei fratelli (il più grande) carabiniere a Firenze e con due mostre personali tenute a Salerno, alla Galleria Taide, la prima nel 1978 (dal titolo “Affetti” ) e la seconda nel 1981 (dal titolo “godardiano”, “Due o Tre Angoli di Casa” ) .  Nei film, grazie anche alla conoscenza del regista, teorico e poeta Raffaele Perrotta e del film-maker (operatore poi di Vittorio De Seta ) Federico Bruno (located between a search Cinema ex-Independent and Underground Cinema d'Artista ), among others (made between 1975 and 1976, with direct mounting in the car and with little cash , derived from the sale "in cycle" of books in installments Einaudi, Milano) in 1977 summer, to campaign, turned a movie on Super 8 bathrooms on the river Atri The Sciumè " winter " The Pig " killing of these animals. A year later, in 1978, a director of Cinecitta, Ermanno Olmi plays the movie "The Tree hooves, set in the world of peasant low Bergamo, where the killing occurred in a pig very similar to that of the hinterland Salerno (strange coincidence). The recovery of its own root-autobiographical, intimate, historical, anthropological and cultural, through personal memories and through the sites, monuments, customs, pre-and post-earthquake ... post-war begins in childhood, in the 50s.

In 1991, onstage at the theater Square Theatre, Town Country, in the 7th Review of Water (9 th year of recovery Chien), combined that year, on an experimental basis (for yet another lack of funds) to 7 ^ Children's Theater Festival, presented a performance entitled "Magritte" "Interval: This is a non Donkey . A Tribute to four asses real, between the joy of children, that world disappeared anthropological farmer, who played themselves, with voices of actors outside the field, which posed questions to the public, involving them in the chorus of voices to sing, the same respite a rosary, their definition of "Donkey," taken from the vocabulary Palazzi, the Italian language. ... Some of the dominant ruling class, and present (as a party) in each public, provincial, regional and national, tried to make a complaint against me. But alas! Lacked the extremes: they spoke only of "Donkey" ... simple, honest and humble donkey, endangered in the use of pack animals in the farming world, now today, almost definitely gone.

keeping intact the content in an intuitive and creative, with conviction and determination, a transfer and an encroachment on workers outside the limited size of the canonical work (be it painting, photograph or film), to invade the physical space- office of the city, so much to remember, for some aspects the one ' Arts Ecological 70's, Walter De Maria's , Christo, Richard Long , etc.detta also Land Art or Earth Art (above), aware that the lesson of Fountain (with its Spazialismo ) a decade earlier, the physical space surrounding the canvas, boundless, extending into space in the area. It was, for me, a natural gesture to operate outside of places for art. Quite the opposite of what was happening then in the art world, which was closed in himself, in enclosed areas of places system. Working in fact, with the invention of other places: open places, with the need and in an attempt to involve and acquaint the public with contemporary art, to make him share the experience, "... to reflect on the relationship between man and nature ... ", to put it Dorfles , thinking in this case, the recovery of Chien, such a happening of Happenings, and not only, but also (between Chien and the Museum), as a place for research, reflection, discussion, meetings, workshops, experiments and inventions. Progetto.Soddisfacente sprang a man morally artist, but a project "crippled," "unfinished," in its investments economic development for the city man for the Community, through ignorance of others, especially the public institutions is not appropriate at the time, invaded only at the time by "politichini" of party politics, which represented the absolute denial of any human development and civic, artistic and cultural, social and economic development. Unable to grasp the new, linked to existing shareholders, and encourage them to ensure continuity. I was far away, in those years, as also documented by an article published on page National de "Humanity - Special Arts" of September 30, 1983, the aims "fundamentalists" of the Trans As the artists were far away (across multiple languages \u200b\u200band interdisciplinary, including visual art, performances, happenings, photography, installations, laboratory, theater, dance, music, poetry ...), that a little later, would join in its expansion project idea, literally invading the City of Countryside, 1985 to 1994: Francesco Bonazzi, Anna Malapelle and Fausto De Marinis from Verona; Rings and Salvatore Franco Flaccavento from Cosenza; Sergio Pavone, Anthony Porcelli , Beppe Schiavetta and others, from Genoa; Nicola Gaetano Cuccaro and Archangel Moles from power; Emilio Morandi, from Bergamo, Raffaella Formenti from Brescia; Nicola Frangione, Monza; Rosanna Veronesi, Vincenzo Pezzella , Milena Barberis, Paolo Barlusconi and others, from Milan, Alessandro Mautone , Vitiello Donato, Patrizia Marchi, Giovanna Stella The Nocita, from Praiano, Angela Magrini Hart O'Brien (Ireland), Florence; Birgitt M. Shola Starp and Gutte Norrild Copenhagen; Gisela Robert , Monaco of Bavaria; Barbla and Peter Fraefel from Biel Switzerland Ekard Godwin, of Vienna; Aitor Romano and Jose Bravo Caracas; Maria Wojcik of Wroclaw (Poland); John and Renata Street, from Ravenna; Alfonso Filieri , Elisabetta Gut, Gisella Meo , Gloria Persians, Riccardo Bergamini & Anna Zeppieri, Emilio Leofreddi, Massimo Liberti, Marco Fioramanti , Vincenzo Cozzi, Isabella Moroni and others, to Rome; Lucia Buono , Ilaria Bona and others, Bari; Fulgor C. Silvi, from Pesaro; Camillo Capolongo , Enrico Viggiano, Mariano Mastrolonardo , Hannibal Oste, Salvatore D'Imperio, Nizzo De Curtis, Giuseppe Desiato , Giulia Piscitelli , Lorenzo Scotto Di Luzio , Cassander Pasquale and others, from Naples; Arturo Casanova and others, from Caserta; Pina Flowers , from Macerata; Riziero joints, Molde Ravenna Christian and others, from Venice ; Angelo Casciello from Scafati, Giovanni Canton , Baglivo Antonio, Gerardo Palmieri, Mirella Monaco, and others, from Salerno, Vito D'Ambrosio , Fezza Gelsomino, Antonio Corsaro , Ganelli Pompeo, Antonio Luongo (called Antoniucci) Nino Aiello, Daniele Gibbons and others, Country, George Gallotta , Vittorio Scarpa, Pasquale Anzalone, Antonio Pierro from Eboli; Eva Rachele Grassi and Ermanno Angelo Senator (nomads), Rome, Paris and Salerno; Alfonso F. Mangone (nomad) from Cosenza, Florence, Amsterdam, Berlin and Altavilla; GOoD (myself, nomadic), Rome, Zurich, Positano, Copenhagen, Milan, Berlin, Barcelona and Country, etc.. Two generations of artists, born between 1935 and 1950 and between 1951 and 1970. I did not and had no hope elsewhere, formerly dominated by only a Mostrismo Painting tout court, throughout the whole of the 80's, an army of soldiers (including artists also good, my friends, who were "burnt" by cynicism of the mercantile system of art), with high supervision and oversight, where light was stronger than a single idea (and rightly so, in some ways), Achille Bonito of Oliva (whom I admire and respect, and I think one of the greatest art critics in the world) and its "allies". Depressed and "pissed off", recording with dignity this humus of dissent, I felt compelled to relax, have fun and to continue my research, between public and private sectors and make them available in my city ... the city that has I was born, where I "took refuge", not to feel "useless" and "unemployed" and came without a subsidy to continue research (the opposite of what was happening and in the rest of civilized Europe, these nations , we know very well, in relation to their children, for which creano opportunità, e vengono aiutati nelle loro ricerche), in un’Italia (dei poteri forti), che  incapace di guardare, di ascoltare e di recepire, nella sua tanto decantata “democrazia”, “civiltà” e “libertà”, nell’abbraccio ipocrita dell’inno di Mameli, altre voci...di figli traditi...diverse dal coro, che non venivano ricambiati nel loro affetto (anche se "irrequieti" per smuovere i luoghi comuni) anche nell’interesse e nei confronti della "madre patria", capace, quando se e quando si ricorda, di rendere omaggio, a questo o a quel dato artista, solo dopo la morte . Un altro luogo comune di cui, pare si vada fieri, in our "beautiful country". And now things seem to go bad ... the culture of emptiness and "Berlusconi that would advance.

The "Chien" (to return to our specific), which over the centuries, with the waters of the river Tenza, served to an economic reality and local production (his wealth), to bring water to the paper mills, tanneries, to pasta , to the mills (there are more), the creterie (the last after the earthquake struck, the family D'Alessandro), the former power station (also demolished, in a ruin that held up to severe weather conditions) , had been his last and only a decent use, namely that of street cleaning, which has always organized the City of Countryside, at least since 1889 (as we shall see shortly), in the summer, until a few years before the earthquake of 1980, it was a cheap, natural and ecologically clean the main street: the living room of campagnes. Administrative order is pinned up, in which the mayor ordered and Citizenship of the cleaning of the course. The historic resolution that formalizes the Chien (of ancient unknown origin), is 1889 (as noted by a search for Mario Onesti, from a book of local history Raffaele D'Ambrosio ). At the same time, the mayor gave further instruct the auctioneer to alert the rest of population located in many neighborhoods ups and downs, the Old Town and the ancient city. In that 1889, was restored channel that picks up the river Tenza and even the floor of the Corso Umberto, the better to slide the water, the project of Pastor Anthony . It is expected to resume by the municipality, or a delegate as the Pro Loco, to reuse the "Chien", as traditional, ie, to clean the streets of the old town, also to differentiate it from its new use, which arose after the earthquake with a specific project, from 1982 to 1985, elevated by the undersigned, for “Opera d’Arte”, come intervento sul territorio, partendo dalle proprie radici, da una propria formazione artistico-culturale e dal proprio "essere" artista, con la collaborazione di numerosi artisti, provenienti da ogni parte d’Italia. Senza di loro era impossibile, effettuare, sia il recupero e sia la trasformazione dell’evento in una nuova entità culturale.

La Chiena dopo il sisma del 1980, rischiava di scomparire, a parte l’emergenza  nel caos della ricostruzione, ma anche perché ci si vergognava, nell’arretratezza, di pulire il corso principale della città, con la Chiena, nei confronti dei paesi viciniori, adeguatisi alle conquiste del “progresso civile”, come Eboli e Battipaglia, che per lavare le strade usavano i camion “gettiacqua”…mentre una volta, senza fiumi, per loro era duro, e guardavano con invidia Campagna, che con disinvoltura, si permetteva il lusso di lavare le proprie strade con un fiume…

La Chiena elevata e trasformata in Opera d'Arte del 1985, che si fece conoscere a livello nazionale, non fu solo il particolare di un recupero, per nobilitarla, ridandole dignità, iniziato nel 1982, con la donazione di una Fontana (ridimensionata a causa della infelice costruzione ex novo degli Uffici Postali avvenuta tra il 1992 e il 93, considerato un vero e proprio schiaffo all’ambiente) rimasta incompiuta (la “Fontana Chien's "1982-94 to locate in Warrior Square, degraded and hurt to death since the 60's, with the demolition of the Seat of San Bernardino of Siena ) which was part of a show, in 1984, design ideas for a Festival of Sculpture Workshop (one yard by Angelo Trimarco, of the School of Art Criticism in the same school of Salerno ... Filiberto Menna, Achille Bonito Oliva , Antonio d 'Avossa and others), whose donation was accepted by the City of Countryside, until 1994, "forcing" the author to make such a gesture, without initiating the review linked to the Chien lab, whose work remained in the donation, spread in their location in various parts of the city), that fall within a much broader project, was an important element, along with the proposal for a Museum of Contemporary Art (Former Convent of the Dominicans) , proposing a Hostel for scholars and students (former convent of the Observant-Church of the Immaculate Conception) and to protecting and maintaining the Historic Architectural-Urban-City Country, but it was also an artistic situation. A situation of "poor but beautiful, very significant, the fragment of a small Italian company, which in some ways anticipated, by about twenty years what is being debated today in the artistic experience, between the north and south of the country and in the "spectacle" of art in various aspects of behavior, which with on-site laboratories, where "Peripheries become the Center," such as the Certosa di Padula (south), or in the case of 'Ex Soave Hospital of Codogno (North), in the practice of an application by public and private, in normal daily practice of the art circuit.

Simply put, artists and discerning groups of intellectuals, already at that time, they understood the failure of national policy, attempts in the industrial area on the south, acting with their intuition and a strong starting ahead of schedule, at a time already for them, post-industrial. Politics, then, as usual, arriving late on this aspect of bankruptcy, sena make any "mea culpa" (as he was surrounded by the courts of "clean hands"), it is only in the 90, timidly starts to speak that of "Factory Tourism" for the South. great merit, it is the current President of the Campania region, Antonio Bassolino , which in this issue to be mayor of Naples, for one, would restore the face of culture in Naples and art by returning Tourism (quality, in my opinion) after thirty years of absence, setting the stage for many realities of the South and the entire south of Italy ..

In 1985, after the first experiments (1982-83-84), following the collapse of an insula wholly demolished road, left the first edition of "New Chien," which had a resonant echo of the national (the newspaper Reporter back on the front page): the challenge of a "dreamer" accompanied by the collaboration of other "dreamers" ( Antonio Corsaro, Vito D'Ambrosio , Gelsomino Fezza , Maria Rosaria Polisciano , Liberata Cerrone , Vito e Bruno D’Agostino , Vito Maggio , Mario Velella , e altri), sembrava vinta! Si realizzò un grosso Happening, creativo (e ri-creativo) dell’Acqua, a più mani. Una Piena d’Acqua: il fiume Tenza deviato lungo le strade della Città di Campagna. Una Piena d’Arte: un evento pensato innanzitutto come Opera d’Arte in movimento, sul territorio, con interventi nell'intervento, in cui avveniva di tutto, in piena libertà creativa, con ogni sorta di medium, anche il più povero e improvvisato, dati gli scarsi finanziamenti. It was a real revolution in aesthetic-poetic and behavioral, of artists who amused themselves like children. It was a feast, where he was given the opportunity to express themselves, too old and genuine local artists and to whom, young and naive, he wanted to explore the world of art. If he had made in New York, the Americans would have called, most likely as "Water Art". There was a situation of "resistance" which differing from the aesthetic experiences of the dominant culture in vogue at the time, not only in Italy, gave free play to the creative freedom and expression. Artists from all over Italy, including foreigners (some on holiday in Paestum, including una coppia di giornalisti danesi) che occuparono l’ex Convento dei Domenicani, per farlo diventare un Museo d’Arte Contemporanea, dentro e fuori le mura (con la complicità scettica dell’Amministrazione Comunale). Artisti che in gran parte, non si riconoscevano nel movimento coatto (di tutto rispetto e che fu una grossa novtà) della Transavanguardia, e/o in altre correnti similari più deboli, del Post Modern , la cui “novità” era la “non novità”, nel suo eclettismo e disimpegno politico, con un ritorno alla manualità, alla decorazione, all’uso del colore, con riferimenti all’arte e ad artisti del passato, in cutting edge research, elegantly "imposed" by the art system. Artists "disobedient" and travelers who landed at Countryside, who chose the city as a "refuge", and who have left their works to the Convent of San Bartolomeo of Giordano Bruno, a Book / Catalog (curated and coordinated graphically, even in captions, by myself, with the exception of the symbol of the museum, always drawn by myself, but used as a decorative element to Jasmine D'Ambrosio on the cover of GOoD ) and a sign in the consciousness and memory, individual and collective Campagnes entire community. Artists (of which, some have died) who are still waiting for a letter of thanks from the City of Land and a tribute show (the occasion of the twentieth, 2005, I think it's time to do it) and all the cultural associations, in the first place by 'Association Giordano Bruno who ran the museum for many years and, in particular the Pro Loco , that since 1996, he inherited and managed the waters Chien, laurels, in the vacuum of a project, without acknowledging, to human limitations, the source of the content in the original project, who was and is always at the forefront of artistic and cultural life of this (it is his vocation natural) and in particular a bracket of his life, was made available to the community campagnes.

In 1984, while in Milan, a group of artists, including Stefano Arienti, also against the dissidents and Trans Painting Cultured , and other similar currents as Magic Primary , the New New , etc ., busy (without the complicity of the Municipal Administration) of the former factory Brown Boveri, the Fair Isle, Via De Castilla (my last home in Milan, home and studio at number 20 - 3rd floor 1 st door on the right) to make a Museum of Contemporary Art (Museo Casa Laboratory). Two years ago they were going to do two artists from Campania: myself and Vincenzo Pezzella, who already lived in a house occupied the city of Milan, in Corso Garibaldi 89, in the building with the former ice cream factory occupied by Luciano Fabro , Hidetoshi Nagasawa , and early, by Antonio Trotta, Spagnulo Pino and others, and where they came to visit us often Antonio M. Faggiano and two young artists from Benevento, just landed in Milan, Archangel and Pompey Bocchini, fellow of Mimmo Paladino . The intent non riuscì. Gli artisti furono sfrattati e l’ex Fabbrica fu abbattuta (ci stanno riprovando oggi, nella Stecca Artigiani, nella stessa città e nella stessa strada, anch’essa destinata all’abbattimento, per un progetto-telenovela, lungo di vent’anni, e non manca Stefano Arienti , insieme ad altri, come Gabriele Di Matteo , Grazia Toderi , Mario Airò , Loris Cecchini , Bert Theis , etc.). A differenza degli artisti che raggiunsero Campagna, il cui intento riuscì. Decollò la Nuova Chiena , e l’ Ex Convento dei Domenicani di Giordano Bruno ( House Museum Laboratory ) was recovered, thus saving it from abandonment and neglect of the time (though later, despite the constraint of the Superintendence of BAAAS, was shot down the ' former convent of the Observant-Church of the Immaculate Conception : serious note!). Other enzymes, with other occupations, former factories and pasta, we were in Rome, I think, Barrio San Lorenzo ... but these were just occupations, to vindicate the State, the right to have at least one study ... a workshop, a place "free" to do research and work by the artist, and largely, though with different approach, lined up almost all the philosophy of winning Transavanguadia.

Ironically: the company "failed" the artists of Milan, was reported by many magazines, and especially by an authoritative magazine of contemporary art, which in a few months, went around the world ... writing as a "little significant page" in the Chronicle of Art. The company "successful" artists "refugees" to campaign, it was shown in normal print of many newspapers, scholarly journals and general periodicals, which in a few days, made a tour of Italy ... it was not registered "strangely "Art in the Chronicle. Miss the authoritative specialist journals, by critics who said and say they are aware of new, or more simply, the difference, except (in the various roles of approach) of Rino Mele, Antonio Castaldi, Antonio Bottiglieri, Tafuri Alfonso, Massimo Bignardi , Erminia Pellecchia, Carla Errico, Maurizio Vitiello, Angelo Trimarco , Sabino Manganelli, Simone Barucco , Aldo Elephant , Pino Simonetti, Christina Tafuri , Antonio d'Avossa , art writers as Alan Frenkiel , Ferruccio Massimi, graphics (and more) as Jasmine D'Ambrosio (famous for his Card Campaign "of 1985 with edition in 1996) and others ... For disinformation? ... I do not think an intellectual, and in this case, an art critic, resourceful, alert and curious, read the newspapers, or simply a reporter ... just declare it! For dialectical weakness against an emerging and increasingly successful, charismatic and undisputed Bonito Oliva ? E 'likely. Or to be more "bad" for failure to culture? Or laziness? Even this is likely! Or, for the isolation in which to (and pay) the city of Country ... "unknown" country ... or rather "invisible" country (even in the name ... confusing campaign with the campaign ... so that I stress with my countrymen, as historically more correct City Country by Civitas Campaniae inland from Salerno (as suggested and that observer to the Latin, by the young local historian, Maurizio Ulin ), where it was impossible something to happen? or lack of organization, mainly due to insufficient funds? Or why poorly represented politically? E 'likely to have been a bit of that. One thing is certain: where there are no investment, there can be no development! Where there is skill and conviction, you can not convince the rest of the world! Yet money, in those years, there have been to the city of the country, and certainly not lacking in the Province of Salerno and the Campania Region and the Ministry of Tourism and Recreation (now Ministry of Culture ):... lacked the sensitivity, the foresight and humility to listen. The money, time, seems to take other routes ...

Yet, in 1987, there was also a presentation of the book / catalog of the "New Chien "(bilingual, very eloquent and full of pictures, of the intervention of the river and on other measures, between the City and the Museum) St. Augustine at the Palace of the Province of Salerno, of which subscribed to an audio tape recorded" memory "(a document is still well preserved after 18 years), were present, among the various institutional presences and absences, especially in Region: President of the Province, bringing the greetings, the late Pasquale Mirra (Mayor Country), which opens the meeting; Joseph Acone (university professor); Marcello Caleo (university professor), Andrea De Simone (Adviser provincial); Antonio Bottiglieri (Provincial Councillor culture) and the late Corinth D'Orazio (Councillor for Culture of the City of Countryside), who closed the debate. A meeting was unnecessary? I do not think! It 's a good little piece of a mosaic, giving his special contribution documentary reinforces the story of a recent past, which still exist.

An artistic situation, the fragment of a small Italian company, asking for attention for a reading and a closer analysis of those 80 years, who is still waiting to be recognized, at least, from the world of Italian art, in shared by the city of Salerno, via Naples and Rome ... to finish in Milan and other cities and European capitals and international, for another "small page" to write. But in order for this to happen, we need a political choice from the usual out of conviction and funding continues, more and more conspicuous, by public and private institutions. Defend, heal, encourage heritage "survived" the bulldozer wild gamble and invest in the rebirth of the Museum , the Fucanol i, with the integration of a Review of Art winter, which lasts a month, and a three days a Soul Music Festival (Ethnic, Jazz, Blues, Pop, Rock, e perché no...Contemporanea) e soprattutto della “Chiena” - Rassegna dell’Acqua , affidandone però la cura, a mani competenti, e non a “hobbisti” da “dopolavoro”, i quali dovrebbero solo amministrare e presenziare (e bene anche!), se si vuole uscire fuori dall’isolamento culturale e produrre ricchezza, se si vuol essere ascoltati, con autorevolezza, per prima cosa dall'Ente pubblico Provinciale (basta guardare lo splendido volume fortemente voluto dal Presidente Andria , a conclusione del suo mandato, a cui va il nostro plauso, promosso e pubblicato dall'Ente, nelle Edizioni l'Orbicolare 2004, dal titolo "SALERNO charm of a Mediterranean province" , to realize how it was handled History Country: ... more and more "invisible city" and "punishment behind the blackboard"). The same funding, which in those 80 years were not allocated, to take off, and the city / territory, in its aspect historical-artistic and monumental urban , plagued by the serious consequences of the earthquake (which he needed to create a future ), that the nascent Museum, New Chien, the New Fucanoli , and the historical situation of artists who represented the tip of the iceberg for a slow thaw, up to 90 years. An exception such as that of Milan, art, confirmed, and confirms the rule!

I like to finish quoting a final step "prescient" and "prophetic" (always present) of Rino Mele (Chair Professor of the Performing Arts, University of Salerno), a written testimony of what was achieved at this beginning of the 80's, both as a house museum and is emerging as a laboratory to re-experience the intended use of the "Chien": "... Campaign is too small for many other notice of any failure of his symbolic space, but is also quite large for this small, imperceptible catastrophe to resonate with an echo in echo when added to the avalanche of action is missing, cultural sins of omission which is always too late to remedy ... .

References:

Rino Mele - "The Convent of Giordano Bruno" - from the Book / Catalog "'A-Chien Kermesse National Contemporary Art" - Museum Editions Campaign - Campaign 1987

GOoD Moscato - "Range (Interstallo)" - from the catalog, "The Scope of Article - International Meeting of Contemporary Art - City Issues City Country 1997

Dorfles - "History of Visual Arts" - Editions Atlas - Bergamo 2000

Alessandra Piolselli - "Public Art Italy - Undo Net - Milan 2004




Photo credits: Gino Aiello, Antonio Corsaro, Vito D'Ambrosio, Dante De Chiara;