FRATTALE

GRASSE, 2023

A site specific installation created by carlo maria maggia in grasse made in collaboration WITH ANTIQUE MIRROR,  AN OUTDOOR SCULPTURE. A MIRROR CAVE. A GARDEN TEMPLE. CARLO MARIA MAGGIA, FROM TURIN OF SWISS ORIGIN, WAS BORN IN 1964. FROM HIS GRANDMOTHER, A WELL-KNOWN PAINTER OF THE 1940S, HE ACQUIRED A PASSION FOR ART AND NATURE AND FROM THE AGE OF EIGHT HE BEGAN HIS ARTISTIC CAREER BY PAINTING THE REALITY THAT SURROUNDED HIM IN OIL. HE ATTENDED A TECHNICAL INSTITUTE, BUT A STRONG VERSATILITY MADE HIM CREATIVE IN VARIOUS DISCIPLINES. FROM 14 TO 26, HE RACED IN RALLIES ON MOTORCYCLES, ESTABLISHING HIMSELF ON A NATIONAL LEVEL. HE HAS DESIGNED DESIGN COMPONENTS FOR MOTOR RACING CREATING SEVERAL COMPANIES IN THE SECTOR, FOR WHICH HE CONTINUES TO PRODUCE. THE LOVE FOR NATURE LED HIM TO BE DEEPLY INTERESTED IN BOTANY, HE STUDIED AND CONTINUES TO STUDY FLOWERS AND PLANTS, BECOMING A SCIENTIFIC EXPERT AND ARTISTIC CREATOR OF GARDENS.HE WRITES BOOKS, ESSAYS AND EXTENDS HIS INTEREST TO RESEARCH IN THE FIELD OF GREENERY AND ECO-COMPATIBLE EXPLOITATION OF RESOURCES. IN MILAN, HE WON TWO COMPETITIONS FOR THE CREATION OF GREEN SPACES. AT THE AGE OF THIRTY, HE FOUNDED “THE WORKSHOP OF THE GARDENS”, A CREATIVE COMPANY RECOGNIZED FOR THE DESIGN OF DECORATIVE ELEMENTS FOR EXTERIORS AND INTERIORS INSPIRED BY EIGHTEENTH-CENTURY STRUCTURES, SUCH AS WINTER GARDENS; CARRYING OUT ACTIVITIES TO RAISE AWARENESS OF THE HISTORICAL, ARTISTIC AND CULTURAL HERITAGE.HIS GARDENS REPRESENT WORKS OF ART, WHICH THE MAN ARTIST MAGGIA CREATES, NOT ONLY AS A FUNCTION BUT MAINLY AS A RELATIONSHIP OF A RECOGNIZABLE ARTISTIC TREND IN WHICH BOTANICAL SCIENCE MAKES THE LIVING SPACE SPIRITUAL. THE CONTINUOUS SEARCH FOR HIM LEADS HIM TO TRAVEL FOR BOTANICAL EXPLORATIONS IN FARAWAY UNSPOILED PLACES OF THE WORLD. HIS NOTES IN DRAWINGS, PROJECTS AND PHOTOGRAPHIC IMAGES ARE FAMOUS.

 A sort of molecular construction

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LUCIERNAGAS

GRASSE, 2022

A SITE SPECIFIC INSTALLATION CREATED IN COLLABORATION WITH LEGADO. A COMMUNITY AND SOLIDARITY PROJECTS. FOR THE FIRST TIME COLOMBIAN CHINCHORROS BECOMES SOLAR OUTDOOR LAMPS. DIRECTLY FROM LA GUAJIRA COLOMBIANA. THE WORKS ARE KNOTTED BY THE WEAVERS HANDS LIVING AT THE “RANCHERÍAS” WHO SUPPORT THEIR FAMILIES AND COMMUNITIES WITH THEIR WORK, BUT ALSO MAINTAIN A LEGACY THAT FILLS THEM WITH PRIDE. LEGADO, A PROJECT BY GIANCARLO VOTTA AND ADA VALERIA LOCURTO THAT BRINGS TO EUROPE AND, ABOVE ALL TO ITALY, FABRICS FROM LATIN AMERICAN PEOPLES AND CULTURES SUCH AS CHINCHORROS AND TRADITIONAL HAMMOCKS, BLANKETS, CLOTHING, ACCESSORIES AND DECORATIVE OBJECTS; ALL ELEMENTS OF A TEXTILE NATURE. WE HAVE CHOSEN THE VICOLO DEI LAVAN-DAI AS THE SPACE, BECAUSE IT IS A PLACE FULL OF MAGIC AND ART. THE NAVIGLI AREA IS IDEAL FOR PRESENTING THE CAREFUL AND QUALITY WORK DONE BY OUR ARTISANS, AND WE ARE HAPPY TO BE PART OF THIS SMALL COMMUNITY THAT WELCOMES HUNDREDS OF TOURISTS AND LOCALS EVERY DAY. WE CONSIDER IT A PIONEERING PROJECT, BECAUSE IT IS NOT JUST ABOUT BRINGING ARTISANAL PRODUCTS, BUT WE ARE LUCKY ENOUGH TO DEAL DIRECTLY WITH THE PRODUCERS FROM WHOM WE CAN ACQUIRE THEM PERSONALLY, COLLABORATING WITH INDIGENOUS COMMUNITIES, KNOWING THE NEEDS AND MOTIVATIONS BEHIND THE REALIZATION OF THEIR CRAFTSMANSHIP, WHICH WE CONSIDER A WORK OF ART. IN THIS FIRST PHASE, LEGADO PRESENTS A COLLECTION OF CHINCHORROS WAYUU AND MOCHILAS WAYUU, BROUGHT DIRECTLY FROM COLOMBIAN LA GUAJIRA, FROM PLACES LIKE RIOHACHA, URIBIA AND CABO DE LA VELA. THERE, WE HAD THE OPPORTUNITY TO VISIT THE “RANCHERÍAS” AND SPEAK PERSONALLY WITH THE WEAVERS WHO NOT ONLY SUPPORT THEIR FAMILIES AND COMMUNITIES WITH THEIR WORK, BUT ALSO MAINTAIN A LEGACY THAT FILLS THEM WITH PRIDE.WE THEN CONTINUED ON TO THE BOLÍVAR DEPARTMENT AND MET ANOTHER GROUP OF WOMEN WHO MAKE HAMACAS IN SAN JACINTO. WE HAVE LEARNED OTHER TECHNIQUES AND METHODS, BUT ALWAYS WITH THE SAME ENTHUSIASM AND COMMITMENT IN DOING QUALITY WORK.FINALLY, WE VISITED IN BOGOTÁ, THE CAPITAL OF COLOMBIA, A WORKSHOP THAT PRODUCES HAMMOCKS WITH AUTOMATIC LOOMS AND COMPLETES THE PIECES WITH THE MANUAL WORK OF ARTISANS.

THOSE WORKS ARE ROTECTED DESIGNATION OF ORIGIN (PDO), BECAUSE WE HAVE PRODUCTS OF QUALITY, NOTORIETY AND CHARACTERISTICS THAT ARE DUE EXCLUSIVELY TO THE GEOGRAPHICAL ENVIRONMENT WHERE THEY ARE PRODUCED, INCLUDING NATURAL AND HUMAN FACTORS.OUR CHALLENGE IS NOT ONLY TO SELL THESE PIECES THAT WE ARE SURE EVERYONE LIKES, BUT TO INTRODUCE THESE ELEMENTS, AS DECORATIVE OBJECTS THAT GO BEYOND THE TERRACE OR THE GARDEN. WE ARE CONVINCED THAT A HAMMOCK CAN BE ENJOYED IN AN ENCLOSED SPACE AND IS PERFECTLY SUITED TO ANY STYLE. OBVIOUSLY THERE ARE SPACE LIMITS, BUT THE ATMOSPHERE THAT CAN BE CREATED BY INCORPORATING A PIECE OF THIS TYPE, FULL OF COLOR AND LIFE, WITH MORE SOPHISTICATED AND LINEAR ELEMENTS, CAN ONLY BE APPRECIATED AFTER TESTING, AND HAS ALREADY BEEN THE SUBJECT OF MUCH INTEREST FROM VARIOUS DESIGNERS AND DECORATORS.

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LES BON_BONS

 GRASSE, 2021

A SITE SPECIFIC INSTALLATION REFLECTING ABOUT THE THEME OF IMMIGRATION BY MARC ALBERGHINA. THE WORK INVITES US TO REFLECT ON A MORE INTIMATE TERRITORY, YET SHARED BY ALL, THE OBJECT OF POLITICAL, SOCIAL AND RELIGIOUS ENSLAVEMENT: OUR SPIRITUAL RELATIONSHIP TO THE REPRESENTATION OF IMMIGRATION.  THROUGH THIS VISUAL PROVOCATION, BORN FROM THE ATTRACTION FOR THIS LAND THE ARTIST TRIES TO MOVE SPIRITS AND SURPRISE VISITORS WHO WANDER AROUND THE GARDEN.  HIS RESEARCH ON ENAMELS, HIS KNOW-HOW DISAPPEARED DUE TO POLITICAL UPHEAVALS, A CHANGE IN FASHION AND FOR LACK OF HAVING BEEN TRANSMITTED. THESE “RUSTIC FIGULINES”, PRESTIGIOUS WORKS WERE DESTROYED, FORGOTTEN, VICTIMS OF THE RELENTLESS CHANGE OF TASTE. IT WAS ONLY IN THE 19TH CENTURY THAT ARTISTS WITH FRESH EYES RESTORED THEIR STATUS AS TREASURES TO THESE SUBLIME SURVIVORS. IS THE VALLAURIAN HERITAGE FOLLOWING THIS PATH? IS THE CITY OF VALLAURIS DOOMED TO LOCK ITSELF INTO THIS SAME VICIOUS CIRCLE? TO CHALLENGE US ON THIS SUBJECT, MARC ALBERGHINA INVESTS THE FIELD OF THE GROTESQUE. THE FRENCH LANGUAGE REDUCES THIS TERM TO A NEGATIVE VALUE JUDGMENT. YET THIS IS DENYING ITS TRUE DIMENSION IN THE FIELD OF ARTS AND LITERATURE: DENOUNCING THE VICES OF ITS TIME IN THE GUISE OF A DEEP AND MULTIFACETED, PLAYFUL OR DISTURBING DISCOURSE WHOSE CONSTITUTIVE AND ESSENTIAL VALUE IS POLITICAL ETHICS AND PROTEST, UNLIKE KITSCH. ITS OBJECTIVE IS TO SHAKE UP THE ESTABLISHED ORDER.

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DRUGO

 GRASSE, 2021

AN ARTISTIC SPERIMENTATION CREATED BY MATTEO CIBIC FOR VGO ASSOCIATES. A DREAM WORK FOR A DREAMLAND.

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LA CHAPELLE DE LA LUNE

GRASSE, 2020

THE PROJECT IS THE REDEVELOPMENT OF AN UNUSED ARCHITECTURE IN ORDER TO CONVERT IT INTO A DOMESTIC CHAPEL. A NEW SACRED PLACE DEDICATED TO THE CONTEMPLATION OF THE MOON AND ITS PROTECTIVE GODDESS: DIANA. THE MOON IS ONE OF THE OLDEST SYMBOLS OF HUMANITY; IT REPRESENTS THE EXCELLENCE OF FEMININE MODELS, THE MOTHER OF THE UNIVERSE. ITS FUNDAMENTAL QUALITIES ARE RECEPTIVE: THE MOON REFLECTS THE LIGHT OF THE SUN. THE MOON SYMBOLIZES INTUITION AND CLAIRVOYANCE. SENSITIVITY IS ALSO AN INTEGRAL PART OF THIS MAGIC STAR WHICH WILL OPEN THE DOORS OF THE INVISIBLE BUT ALSO OF THE UNCONSCIOUS AND INTUITION. THERE WAS A TIME WHEN THE FEMININE AND HER GUIDING LIGHT, THE MOON, WERE ALL-POWERFUL. IN THESE PEACEFUL, AGRARIAN SOCIETIES, PRIMAL FEMININE POWERS LIKE EMOTION, SEXUALITY, CREATION, COMMUNION WITH NATURE – WERE HONORED. AND THE MOON, WHICH WAXED AND WANED IN PREDICTABLE CYCLES, WAS A SYMBOL FOR THE BIRTH, GROWTH, DEATH, AND RENEWAL OF LIFE ON EARTH. 

THE MOON IS A GRAVITY ROUNDED ASTRONOMICAL BODY ORBITING EARTH AND IS THE PLANET’S ONLY NATURAL SATELLITE. IT IS THE FIFTH-LARGEST SATELLITE IN THE SOLAR SYSTEM, AND BY FAR THE LARGEST AMONG PLANETARY SATELLITES RELATIVE TO THE SIZE OF THE PLANET THAT IT ORBITS.THE MOON IS, AFTER JUPITER’S SATELLITE IO, THE SECOND-DENSEST SATELLITE IN THE SOLAR SYSTEM AMONG THOSE WHOSE DENSITIES ARE KNOWN.AFTER THE SUN, THE MOON IS THE SECOND-BRIGHTEST CELESTIAL OBJECT REGULARLY VISIBLE IN EARTH’S SKY. ITS SURFACE IS ACTUALLY DARK, ALTHOUGH COMPARED TO THE NIGHT SKY IT APPEARS VERY BRIGHT, WITH A REFLECTANCE JUST SLIGHTLY HIGHER THAN THAT OF WORN ASPHALT. ITS GRAVITATIONAL INFLUENCE PRODUCES THE OCEAN TIDES, BODY TIDES, AND THE SLIGHT LENGTHENING OF THE DAY.

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LA TENT NOIR

 GRASSE, 2020

FRANCO RAGGI REISSUES HIS FAMOUS 1976 “RED TENT” FOR VGO ASSOCIATES, BLACK AND WHITE FOR THE FIRST TIME. THE TENT IS BUILT WITH LITTLE. PRINTED SHEETS AND BAMBOO CANES. AN ARCHITECTURE THAT SWAYS WITH THE WIND. ELEGANT AND FRAGILE. A TEMPLE THAT BECOES LIGHT AND LOOKS AT THE STARS. A DWELLING IN WHICH TO STOP THAT MAKES US REFLECT ON THE EFFICIENT, ECONOMIC AND EASILY TRANSPORTABLE TEMPORARNSS. WE ARE NOMADS, WORLD TRAVELERS IN SEARCH OF OURSELVES. “A LOGICAL INTERSECTION BETWEEN THE SACRED AND THE EPHEMERAL; AN OBJECT IN BALANCE BETWEEN THE “STABLE” IMAGE OF THE TEMPLE AND THE TEMPORARY PERFECTION OF THE NOMADS’ TENT; THE MOST IMMEDIATE AND UNIVERSAL ARCHITECTURE WITH THE GRAPHIC CHARACTERS OF THE “SUPERSTAR” OF ARCHITECTURE. ” FRANCO RAGGI 1975-2021

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