La Macina di San Cresci

www.chianticom.com

Pieve di San Cresci 150022 Greve in Chianti (FI)Tel. 055 8544793

Residence for artists

One Page artdesign

environment

One Page is an idea of Duccio Trassinelli and Demetria Verduci

EARTH FIRE WATER

December 6, 2014Year 4 n. 1

The Genius Loci

Demetria Verduci

Three artists tell their stories through the elements

Italy is not just a country with anamazing historical, artistic andlandscape. It is also a crossroadsof history, traditions and localc u l t u r e s .E x p e r i e n c e s o u t s i d e t h etraditional tours, which oftenremain hidden to most people, butthat would allow curioustravelers visiting our country andour area to get in touch moredirectly with the "spirit" of theplace. For example, venturing toexplore the Via Francigena,traditional inns, or walkingaround in search of the craftsmen.Cultural tourism in all respects sothat you not only have theopportunity to know the area butto live it, getting in touch with hispeople, with the feelings itevokes, in a few words to capturethe genius loci.

The Genius Loci is a marvelousmystery, but we need to find thecourage and the ability topenetrate and reveal it, making itdecoded for contemporaryItalian, but also for those who arenot Italian. It becomes importantto clarify what is in the quality,taste, and symbols of Made inItaly and of Chiantishire, in theproducts and experiences. Butthere is another crucial point onwhich we must reflect. TheGenius Loci is not an entityhistorically determined andunchangeable. It is a characterthat evolves, adapts, interceptingnew wants and needs in the socio-

The genius loci is a supernaturalentity linked to a place and anobject of worship in the Romanreligion. This associationbetween Genius and physicalplace, perhaps originated fromassimilation of Genius with theLares from the age of Augustus.According to Servius, in fact,nullus locus sine Genius (noplace is without a Genius)(Commentary on the Aeneid, 5,9 5 ) .In modern times, the genius locihas become an expressionadopted in the architecture tolocate a phenomenologicalapproach to the study of theinteraction of place and identity.The expression of the genius lociaim is to identify the set of socio-cultural, architectural, language,habits that characterize a place,an environment, a city. A term socross , wh ich a f f ec t s thecharacteristics of an environmentinterlaced with the man withwhom he lives and habits of thisenvironment. Usually indicatesthe "character" of a place.(Wikipedia)

. . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . .

6 - 7 - 8 December 2014

PROGRAMSaturday December 6

4pm OPENING

Sunday December 7

Monday December 8

Tv report of Toscana TVby Fabrizio Borghini

6.30pm Screening of winningshort films of 1° Edition Slow Movie Contest:

“Arts and Crafts in Chianti”

4pm - 8pm5pm Skype link from Washington DC

With the artist Jillian Bonahoom6.30pm Screening short film“Il maestro Marcello Guasti

4pm - 8pm6.30pm Screening short film

“10 Piccole storie”Surreal stories of an American artist

in love with Chianti

cultural change. That in theRenaissance is obviously verydifferent from that of economicboom in the'60 . Warning, thisentity is, and can only becontemporary. Should be able toevolve and adapt practices, notbetraying the roots so that theyare interpreters of the new.It is possible to investigate andpromote the genius loci? Thejourney that, as the associationLa Macina di San Cresci wehave undertaken with theproject "Slow Movie Contest"tries to give an answer to thesechallenging questions throughan explorat ion of nicheactivities, traditional crafts,historic memories of olderfarmers. Discovering, forexample, a new form ofmarketing planning, such asshort films that tell the localgenius. Let us not forget that ourcoun t ry i s made up ofexperiences to explain andsolicit as unusual events, thenew means of communication,and even better through eyesyoung and "non-stereotypical";our territory cannot only be aplace where it is comfortableback like a comfortable slipper.It must be an area that isrenewed without the risk ofrepetition.Films and television programscan become a strong element ofthe construction of identity of aplace, a city or a region. Therealization of an event is,indeed, one of the tools whichare increasingly being used toanimate an area, making it moreappealing to a policy of culturalreorientation of the context.Basically, the interest for an areacan be driven by transformingthe area in question in a productdestination. In this sense thet e r m " a t t r a c t i v e n e s scinematogrphic" may beunderstood as a parameter toassess the force of attraction thatthe treated area exerts on thepotential tourist.Nowadays, visual media seemto be able to generate a wait andan attraction that cause people totravel to.What we are planning topromote the dissemination ofthe project?There are three main lines ofa c t i o n .Through the presentation of theMinistry of Foreign Affairs willbe contacted approximately 90Italian Cultural Institutes. Amember of our team willestablish a direct relationship in

........................

.......................?

. . . . . . . . . . . . . . . . . .

order to create targeted events indifferent cities, focusing on allthe places to tourist vocation.Widespread dissemination, alsoi n t h e w o r l d , w i l l b eimplemented by identifying andinteracting with Clubs, ,Associations oriented culturaltourism, trade associations,automobile clubs,Motorcycle Club, in order topromote and organize eventswith the screening of the short ofSlow Movie Contest . With thesame methodology will beidentified cinema club. Thesurvey is to ensure the screeningof the movie; for that , a personwill operate through the internetconstantly and methodologya i m e d a t m a r k e t s ; t h ecommunications will not betrough search hunt, but troughthe dialogues and directcorrespondences.SLOW MOVIE DOWN IN THES Q U A R E !Is well known that our area isfrequented by many tourists fromall over the world and fromdifferent cultural backgrounds:some are attracted to the outlet,other museums, and others totraditional trattorias and winebars. We'll try to catch theattention of those who enjoy theslandscapes, culture and theintrinsic characteristics of theter r i tory .Generally the permanence of atourist varies between 3 and 6d a y s .So SLOW MOVIE take to thestreets, two young people withfree time in the summerevenings, a digital display ofgood size, a laptop computer.On summer evenings, in thestreets of our country and whynot? Also Piazzale Michelangeloand Piazza del Campo, willscreen short films of contestabout Chianti .The screenings will be ongoing,specifically in relation to theturnover of tourists and will betraveling from the major centersof tourist attraction, Florence andSiena, at small villages as theVolpaia in Radda in Chianti orCerbaia in San Casciano, and soon.What better advertising spreadthe word and the short films?Tourist destinations "successful"offer visitors something uniquebecause they create a sense ofplace, an identity different fromother places.

. . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . .

...................

...................

.

.

.

Con il patrocinio delComune di Greve in Chianti

The exhibition "Terra Fuoco Acqua" comes from the will andopenness to discussion and dialogue between the artists and theirenthusiasm for art. For several years Alfredo Correani knows JillianBonahoom and by their mutual esteem, during the last sojourning ofthe American artist at La Macina di San Cresci last July, comes theidea of a possible combination, confrontation and dialogue betweentheir languages through an exhibition. Marcello Guasti is definitelya personality and an artist with whom to meet and compete, even inthe name of his long and distinguished career, is always somethingposi t ive and valuable.This exhibition is an example - in contrast with the contemporaryworld that sees so many artists not recognize in comparison with theothers an opportunity for growth and enrichment - instead how,through modesty and curiosity, it is possible to create a dialogueconstructive among the artists, their languages and works.Each ofthe three protagonists is here associated with an element - earth, fire,water - significant of a their artistic period or constant source ofinspiration in their art, thought and life. Feature that joins Alfredo,Jillian and Marcello, is undoubtedly a strong focus on nature and itsformal values, ideals and substantial.This event, however, wants first of all to introduce the threeindividual personalities in their specificity and particularity, leavingthe artists themselves, to tell more in their capacity spontaneous,truthful, and directly, through their stories, thoughts and words, andespecially through the works that will be exhibited at the Macina diSan Cresci, in the beautiful natural setting of the autumn hills ofChianti, from 6 to 8 December 2014.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

..........................................

Terra Fuoco Acqua

Caterina Pacenti

P.zza Matteotti, 80

Greve in Chianti

Tel. 055 8546372

Mercati settimanaliMartedì: Strada in ChiantiGiovedì : Mercatale V.P.Sabato: Greve in Chianti

Consegne a domicilio e fornitureCell. 339 1846142

IL TEMA

HANNO DETTO

LA MATERIA

Una Paginaonline su :www.chianticom.com Stampa : Tipografia Grevigiana

He studied at the Art Institute of Porta Romana in the sixties, studentof Professor Renzo Grazzini by whom captures the magic of colorswhich then will represent: purple, green and ocher. His works are fullof meaning human and artistic. Forms tormented, insistent andtwisted of the grapvine take a deeper meaning in the imagination ofthe artist's representation and understanding of man, along the pathwinding and complex of his existence. The skies are so marginal andhorizons high, relative to the Earth, which becomes the main part rand featuring the works of Alfredo, which no doubt has linked histhought and his life, so visceral, the latter element.

Alfredo Correani

Born in Detroit, MI. She received her BFA from the College for Creative Studies and a Master to'American University, DCShe is painter and art teacher inArlington, Virginia, where she currently lives.Since 2009, is a regular artist-in-residence at La Macina di San Cresci. Her works have been exhibitedin several solo and group exhibitions and are in private collections in the US and public collections herein Italy; the City of Greve in Chianti has acquired among others her painting "Flower Festival" ;everyyear it is reproduced on the poster of the same festival in May.

Jillian Bonahoom

Interview semiserious with Jillian Bonahoom

The world of your paintings is made up of many colors and humanity. It affects the way in which youreturn the reality in your paintings: an interpretation I would say harmonious, in the colors and basicshapes, but mostly devoid of dismay that characterizes so much of today's art, deeply connected to theanxieties of our present world. Why did you choose this way so serene representation? It has to do withyour personality? Or is it just a kind of catharsis from the ugliness of reality?

If we were to introduce you as an artist in 3words we should say...

The artist or artists that you like? Why?

You are a painter and teaches art at a school.Tell us in brief a particular episode of your life as an artistor your experience as a teacher.

One time you said, "I like to paint on canvas bigger than me." Today painting especially the figurative isconsidered a more traditional technique. Installations, video art, performance art are forms moretrendy. What do you think of contemporary art?

There is no doubt plenty of anxieties and ugliness in our present world. I choose to focus on the beauty. Ido have a more positive personality, but the main reason is that I live with these paintings for an extendedperiod of time. I focus on every square inch. The colors and compositions are in my mind for months.Why dedicate that much of my time and energy to ugliness and dismay? I guess I'd rather spend that timesurroundingmyself with the beautiful and harmonious parts of humanity and our natural world.

Expressive vibrant painter

Recently, I have been looking at and admiring the artwork of Xenia Hausner andAndre Derain. Both fortheir unconventional use of color and theatricality of their subject matter.Hausner creates very largepaintings of actors/props that reference the stage and set design. Derain, most famous for his fauve-stylepaintings, uses expressive color in both portraiture and landscape.

I jokingly say that unemployment breeds creativity. There was a brief time in my life that I wasunemployed between student teaching and grad school. I was lost I loved teaching, but couldn't find ajob. I also wasn't ready for grad school. So, I gathered my savings, and applied to La Macina di SanCresci. I had never been out of the country for an extended period of time, but packed my bags and leftfor 5 months. La Macina helped me realize myself as a painter and allowed me to develop my work. Ithink that was the most important time in my painting history.

I enjoy all types of contemporary art including installation and performance. Though I identify mostlywith the history and tradition of oil painting, I am curious to see how artists are working and what formart is taking.

You paint, but you could have been an actress of theater and I would see good in a film by FedericoFellini.What is the best memory that your mom has about you as a child?

The last movie you saw and the last book you read.Chef We Are

Completely Beside Ourselves

A time machine takes you to the'500, still here in Tuscany. You're walking with your air curious aboutwhat surrounds you. A man walks behind you; he is intent on making sketches in his notebook andcarelessly bumps into you. He is Leonardo da Vinci. What did you say?

You are an artist and also a gourmet.As you know for Italians the food is an art. In your opinion, whatkind of art are the marshmallows?

You have a magic wand for a moment. What do you do?

My mom remembers that I always had to touch things to investigate the texture or depth of thematerial. She remembers me painting my face with chocolate ice cream at age 3.

The last movie I saw was , written and directed by Jon Favreau. The last book I read wasby Karen Joy Fowler.

Hmmm. . . I would probably invite myself over to watch him in his studio. I love to watch artists atwork, and he would be so fascinating to watch.

Marshmallows are a beautiful, simple art. They master the chewiness, lightness, and bounciness tomimic eating a sugary cloud!

I would poof myself to Greve, of course!

One Page

Actually yes, there was a very special moment in which I realizedthat painting was a necessity for me. This happened in the periodduring which I was in the military service in Livorno, since we livedin a world completely different from what had been until then, forfour months I have not touched a brush, a pencil, and then one day Ihad a great desire to paint, on leave I went to buy the colors, thecanvas, and in the dorm, I started to paint with the attention andcuriosity of all comrades. It was a very beautiful and meaningfulmoment, I knew that the painting was part of my life; I could notabstain from paint .

Yes, when I was in elementary school I had drawn on a sheet of anotebook an autumn leaf with all its colors, but since oil paints werethen passed all below on a sheet of notebook, but I was left with thisbeautiful image.

The design is the basis to make a good painting, if there is a not agood design personally I cannot make a beautiful painting. First Imust sketch or draw and after hand over on the canvas.Then I keep all the designs, not throw them .

Land is the basis of life, working the land is a great wonder whenthis sprouting seedlings, which then also give us to live. Place thefeet on the ground gives me a feeling of power, I feel the power ofnature. The earth is one thing that never ceases to amaze me, I find ita staple and wonderful element. Unknowingly in my paintings allthis is clear and hence the preponderance of the earth than to heaven.

Although in my work I do not have great figures but I have hundredsof drawings of human figures and nudes. By attending theAcademyof Nude and some private courses, I really gave vent to all mydesires to paint the human body. Pictorially, however, I feel moreattracted to the landscape. Many times I observe for hours thelandscape in front of me, I find that the campaign is a wonderfulthing, for me is mainly a sense of peace, beauty, something thatnature has given us. And looking at the scenery I think: I have to dothis, this moment have to stop, like a photograph, because now has apoetry all its own that will not be repeated. The figure, the humanbody is beautiful but you can always find it and for me it is not aschallenging to make a landscape.

There was a time when you realized that you could not abstain fromp a i n t ?

There is an image of your childhood memories associated topainting or drawing

Drawings or make sketches before painting? Then you unpackedthem or keep them all?

You have been called a "man of the earth," What is for you the earthand it is possible to say that in painting you privilege this item?

The human f igure has space in your pain t ings?

. .

.

.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?

............................................................

...............................................?

.........................................................?

............................

.

.

?

Interview with Alfredo Correani

You're a man of the earth, you have been attracted to the shape of theearth? Have you ever thought to sculpt or try to sculpt?

What do you think makes artist a woman or a man?

What does art mean to you

What is the person you think better understand your art?

What a critic has never written about you or your art and youwanted instead to write and tell of you?

When I was studying at theArt Institute, the sculpture was one of theareas in which I did better because touch, kneading, to have thematter in the hands and pull something out of there, were wonderfulfeelings. It is a work to which I would have liked and would love tospend more time, I made some small things but for reasons of timeand space, painting is more accessible and less problem for me.They were also the 'family needs to make me prefer the painting tosculpture. The first 30 years I was at home with my parents, they hadme satisfied allowing me to study at the Art Institute, but they weretwo workers, poor people, who came from the land too, and thatseeing these works - it was the graphics, took pieces of paper werestuck - they could not understand. So it was already so that I couldafford to paint and, as it always did, then I had to put everythingaway because the house did not have to do anything. Soautomatically at that time I had not been possible to sculpt really,until I got back to my house, and there I took my first work in clay,which gave me so much satisfaction. Then I made small sculpturesof stone and mosaics. Working the matter was a nice experience.

I believe that at the base there must be something inside you, whichthen grows and develops over time, but that, however, I think there'salready inside you. I believe that learning is important and for me itwas studying at theArt Institute, however, I realized that in additionto the study, if you do not have within you that little bit more, well,there's nothing to do, it necessary this to make art.

Art is an important aspect of my life, I've always brought with herand feel like something to transmit, communicate and pass, I do notknow but I hope my son one day take this into account. I do notknow if I do my painting well or bad, but it is important for me tokeep track of me, of my passage on earth

I have my son who always criticizes me, but when he comes to seemy exhibitions he is very attentive and happy with the work that Ido, even if he does not show it; I noticed it and i gratifies me verym u c h .

Rather than take away something, they always tell something moreabout me, they understand me , in some way, made me aware ofcertain things inside me and put in my work, but on which I hadnever paid attention, I never questioned.

.........................

.....................................................

..........................................

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

..................................

??

.

.

December 6, 2014

UNA PAGINALa presente pubblicazione non rappresenta una testata giornalistica in quanto viene pubblicata senza alcuna periodicità. Non può pertanto considerarsi prodotto editoriale ai sensi della Legge n. 62 del 7.03.2001

One Page

Marcello Guasti

He graduated in Graphic Arts at the Art Institute of Florence where he will return in the role of teacher.As the title of the monograph dedicated to Marcello, "Between nature and geometry", the artist livesthe art swinging and doing live and communicate the two things. The nature is made up of the fourelements that often return protagonists of his works and the geometry seems to represent "the landing"of a search for the essential and meaning.His first important monument starring the Fire; the flame that pierces the pliers to represent the strugglebetween good and evil. In fact rich in symbolism, references, allegories are his works, especially thosedestined to public places, squares, monuments to celebrate the sacrifice of death, the work of man,peace, nature that gives us life and other values and insights, warnings for man and society.

...............................................................................

December 6, 2014

Was born before Marcello or drawing is like asking if it came first the chicken or the egg, what answerme when I say that perhaps your attitude and passion for drawing are born with you?

.

We know you do a lot of drawings and sketches, then throw them or keep them all?What is for you the drawing?

In your biography it connects your aptitude for manipulation with your childhood spent in the bakery,what is for you the bread?

What are your memories of the Arno

What the nature is for you?

As Marce l l o born scu lp to rrenaioli

What is the shape in the sculpture more and more you feel your own, more complete, more meaningful?

If for some reason you had to destroy all your works, and you could save only one, which would yous a v e a n d w h y

What is for you the fire?

Drawing and art aside, what was your first love

I tell you that before born the drawing because I know that my mother felt little itchs in her body andwas I who drew already

I have notebooks that I always carry with me, they are my cigarettes, in the sense that I do not smokeand those give me this outburst. I always design even if I am in the midst of the people, if I want to draw,drawing. On notebooks jot down many elements at start very instinctive and automatic, and then Iwork on and become drawings enough complete. Let's say I've made about 25,000, then choose and putthem on the cardboards that I keep and then what I'm most interested,I develop or as drawing or as asculpture.

It is a question to be $ 100,000. The bread I would say almost a God, because I come from a family ofbakers, my mother was a baker, my brother Luciano was a baker, we were twins, but we not look like,he was much nicer than me. Then I was a boy I always had hands-on, in the evening my brother went tobed early and sent me to do the yeast, I remember that I was sleeping on top of the bakery and aroundfour felt in the smell of bread. So for me the bread is beautiful, has great significance, a meaning of life,joy, not only because it feeds, but precisely because it is an "object" old who did survive humanity. Yes,the bread I feel it essential .

As a young man I was always on theArno river , I bathed, the water was a bit cleaner, and there the onesthat fascinated me most were the figures of sand diggers, these bronzes that moved with a slow pace butstill clocked in pull up the sand from the bottom of the river. By the time they have been supplanted bythe dredgers, electricity, so now these workers are no more inArno andArno lost a little 'its charm.

For me it is all, I look at all of the nature, when is spring I look at the buds that bloom, I look at themountains bare or rich vegetation, trees, all but a tree which is called ailanthus, comes from far away,and was carried by a naturalist in Europe.All that is in nature is sacred to me, the only one that if I had ahacksaw in my hand , I would saw this tree because it stinks, is weed and has nothing to do with ournature in Tuscany and in Europe; has symmetrical leaves, I do not like, the smell is unbearable, it'sunnecessary and makes the huge bunches of seeds .

I started out as a painter, I have several paintings of the period of and in that time I had the crazeto conquer the Renaissance techniques, I also did the paintings in egg tempera, then it was very difficultso I went back to oil. The sculpture was created by painting, painting these forms I suggested formsrelated to the third dimension so the first sculpture was created by the drawings and shapes that werealready made in the engravings and paintings.

A beautiful woman, whole, do not throw anything away, the best part for me has always been thethighs, which are motorways and sometimes you also runs over 200 per hour. Joke, but now, at thistime, the shape is always born of intuitive forms, from these little sketches I do on notebooks, is notlinked to natural forms but in psychic forms.

I would save all, all the works have their own meaning, their value to be there, but if I were to choose, Iwould save the monument to fallen policemen in Fiesole, is the first and perhaps remained the best.

The fire is related to nature, is the fire that destroys, is the symbol of strength, vitality, there is a verse ofSt. Francis says: "Blessed is my God for all your creatures" and fire calls, "robust and strong", very nicethis verse. The fire for me is a beautiful thing .

My first love was a girl, that marked me for life, left me to be with a Maltese, during the war, because inher house had a great hunger and the Maltese was in the British army and led her to eat , so she left me.After a couple of years back and told me that had not forgotten anything and that was always in love; I,proud, told her everything had passed, after I cried but did not give for won. Then she is married to aperson who has always been in love with her, we was rivals but now, as you know, old age is beautifulbecause it smooths everything.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.........................................................................................?

..............................................................................................................

................................................................................................?

....................................................................................................?

...... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ?

?

.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .?

..............................................................................

......................................................................?

.

....................................................................................?

..................................................................................

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

.

?

.

?

?

.

?

Interview with Marcello Guasti

Excellence of the area:Fonderia d’Arte Del Giudice Leonardo

For over three generations, the Del Giudice Leonardo Art Foundry has handed down from father to sonthe ancient technique of lost wax casting.Even today the workshop look like an ancient shop, where works result from a magical series of shapes,materials and colors. Even though the foundry keeps the typical flavor of an artistic renaissance forge,where artists meet, create and share their ideas, it make use of the latest technological solutions.The forty years' experience in the casting techniques leads to masterful fusions of contemporary, classicand modern works of various dimensions made of bronze, brass and aluminium. The Del Giudice artfoundry follow the global development of each project, from the initial sketch to the finished work,thanks to a team of skilled modelers, processors, wax sculptors and finishers.As a result of the cooperation with sculptors, several works become part of private collections, galleriesor public places throughout Europe.

Good soil and ancient tradition:Antica Fornace Mariani

A hundred years old presence for an old work fitted in the centuries-old story of Impruneta and of itsvaluable “cotto”. The founder of this kiln-family was Anselmo Mariani with his brickyard in Ferrone (end '800 beginning '900) and then with the more renowned one in Impruneta, bought from another“historical” family: the Scacciati. On the original production of building materials followed soon thatof the manufactured artistic terracotta, for which specialization he made use of his sons' ( Angiolo andArmeno Mariani) cooperation. Today the company of Impruneta, which sprang up through AngioloMariani's intuition with the new brand MITAL, bases itself on his three sons ( Luigi, Franco andEnrico) and produces not only artistic articles but also manufactured traditional materials of the classic“cotto” of Impruneta , which is employed in the building of residences and villas. Besides, obviously, awide range of articles for the furnishing: basins, vases, jars, flower stands and flower holders. With afurther specialization, very much appreciated by a large clientele spread all over the world: the one offigures and statues of different sizes.