Special project...Flashback is opera viva

Federica Peyrolo, Almanacco

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Federica Peyrolo Almanacco (2021)

Inauguration Thursday, September 2rd, 6.30 p.m. Piazza Bottesini, Turin

and live on Facebook (@flashbackfair)

The fifth poster of Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini on Thursday, September 2rd at 06:30 p.m. And live on – @flashbackfair: Almanacco by Federica Peyrolo (2021).

In this seventh edition of the Opera Viva Barriera di Milano project, the tale that deploys year after year carries on with its fifth episode, namely, Almanacco by Federica Peyrolo, whose search focuses on the meeting and relationship, on the link and the dialog

The work developed by the young artist from Susa is a digital poster consisting of 599 drawings on paper, which were developed throughout 2020, which is nowadays the annus horribilis by definition: these drawings compose only one image where you can reflect yourself and find the others again, where every time can you recognize the empty and the full. The richness of data and information contained in this image renders the accumulation of individual and collective stories, just and an almanac does. This particular almanac records a shared experience, which is – at the same time – traumatic and essential, difficult but – in many ways – interesting: its relevance lays in its ability to capture sensations and feelings that – otherwise – would disperse in white noise.

As the artist states as related to her work: “There is something I would like to yell, something I would like to reach running barefoot in the snow, I try to stay afloat, but little is sufficient to take me back where you can’t breathe, where everything is immense and seems it no longer belongs to anything. In this everything, I no longer manage to see anything: I look for footholds, stories, links, but the full empties, they are only flows of images, of memories: a full that seems to have to end soon, which is never worth it . I remember “us” when we used to say: “because it is worth it”; they were infinite sandcastles, one on top of the other, but I had never realized how much building was faster than the sea. Now, it is not like this. I am lying beside my different constructions, I look at them being swallowed by water and I do not do anything. I am waiting to be caught I remember “us” when we used to say: “because it is worth it”; they were infinite sandcastles, one on top of the other, but I had never realized how much building was faster than the sea. Now, it is not like this. I am lying beside my different constructions, I look at them being swallowed by water and I do not do anything. I wait to be caught in the wave, but I do not decide, I no longer know how to hope, my eyes are not shining, I am crying. It is like a useless, unjust war, a self-declared war: everything is fine, the sky, the colors, the money, the friends, everything is granting me affection and I cry. I only see the end of everything, without managing to see the fullness in the middle of where I am. I am drowning. Drowning in a dry sea. I can’t breathe because I have too much air.“

Federica Peyrolo (Susa, 1989) started her artistic practice in 2010, dedicating herself mainly to videos and performances. After the bachelor degree at Accademia Albertina in Turin, she completed her studies in Visual Arts at the ’École Supérieure de Beaux Arts of Le Mans in 2014, and attended the post-graduated Le Fresnoy_National Studio of Contemporary Arts, Tourcoing. Her search focuses on comparison and link, which are almost always declined in the form of a dialog that – on the one hand – involves the person and – on the other hand – is sometimes answered by the objects of everyday life, by the memories, the music, the human experiences and – sometimes – by the very elements of nature. Her projects were presented in institutions and festivals such as: offsite Art (L’Aquila), Paris Nuit Blanche FRASQ le Générateur (FR), International Art Festival Nanjing (CHN), Siderare’15 Fondazione VOLUME! (Rome), collezione IGAV Castiglia di Saluzzo, Galleria Moitre (Turin), Galleria SubRosa (Athens), Cittadellarte – Fondazione Pistoletto (Biella), Galerie du Dourven (FR), RESO’ 2017 Lugar a Dudas (COL).

Lucrezia Testa Iannilli, Gates

Flashback, all art is contemporary


The Flashback Special Project Opera Viva Barriera di Milano, il Manifesto

Lucrezia Testa Iannilli 
Gates (2021)

Inauguration Wednesday July 28th, 6.30 p.m. 
Piazza Bottesini, Turin
and live on Facebook (

The fourth poster of Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini in Turin on Wednesday, July 28th at 06:30 p.m. and live on Facebook – @flashbackfair – il with work Gates by Lucrezia Testa Iannilli (2021).

In this seventh edition, the tale that deploys month after month is now keeping on with its fourth episode, namely Gates, the poster devised and developed by Lucrezia Testa Iannilli, photographer and performer. 

Her search privileges the human and animal body as an instrument of perception, which becomes the subject of her acting and photographic images. According to her thinking, the non-human condition is most likely the only one that can save the human being. Therefore, also her work reflects – from a different point of view than the one of the previous authors – on the dramatic – but also interesting – consequences of the pandemic, on the human psyche in particular.  Lucrezia Iannilli focuses on the animal as a therapy. “Anxiety and depression, catalyzed by loneliness, fear of the contagion, uneasiness and limits to personal freedom have been diagnosed with increasing extension and have turned for many into post-trauma stress. The animals have somehow acted as a shield for our mental health. If they already had a good connection, it was further reinforced”. 

In the image, the author proposes a “mild” fusion between animals and humans, under the banner of reciprocity and of the continuous exchange of roles. These New Humans – on their turn, actual “doors”, openings towards other dimensions, closely recall the “New Creatures” investigated by Jim Morrison in his second poetry collection, published in 1970: “Lizard woman / with your insect eyes / with our wild surprise. / Warm daughter of silence. (…) Dogs lie sleeping. / The wolf howls. / A creature lives out the war. / A forest. A rustle of cut words, choking river.” (Jim Morrison- The New Creatures). 

Therefore, Lucrezia Testa Iannilli’s vision draws a scenario where, after the end, – after one end – the new beginning presents itself as a fertile transfer of shares and portions of identity, a faithful hybridization of the species and a happy overcoming of the merely human, western and technological perspective, which nowadays is showing all its cracks and criticalities. 

Lucrezia Testa Iannilli (Rome, 1977), photographer and performer, uses inter-disciplinary tools of investigation.  In her research practices, she intervenes with installations and performance cycles in contextualized spaces, using – as an instrument of vision – the human body and the animal one, mainly horses, which are the leitmotiv of many performances and photographic works.  In 2015, did she start collaborating with Gallery FPAC of Francesco Pantaleone, with whom she presented a series of shots at MIART 2015 and 2016 and – in January 2016 she participated to the Fuori Formato in the Open Wall section: a working-pro collection of 22 shots, selected in one year of work and outings together with Italian actress Sabina Guzzanti. In 2016, she started project of Game of Vanth, where she unites men and animals in site-specific performances and installations to give shape to the immaterial vision of the Openings in decontextualizing frameworks. In 2021, she started the New Humans long-term job: an investigation on the preservation of the human being in an unusual, non-human perspective. 

Mariapaola Infuso, ***topia

Flashback, all art is contemporary


 The Flashback Special Project Opera Viva Barriera di Milano, il Manifesto

Mariapaola Infuso 
***topia (2021)

Inauguration Wednesday June 30th, 6.30 p.m. 
Piazza Bottesini, Turin
and live on Facebook (@flashbackfair)

The third  poster of  Opera Viva Barriera di Milano, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair, is inaugurating in piazza Bottesini  in  Turin  on Wednesday, June 30th at 06:30 p.m. and live on  – @flashbackfair with work  **topia by Mariapaola Infuso (2021).

After the laid table of project  senzazioni by Emanuela Barilozzi Caruso and the row in front of  Multicinema Modernissimo in Naples,  photographed by  Erika Nevia Cervo in Utile, this new  – all feminine – direct-drive tale of project  Opera Viva Barriera di Milano continues with its third  episode, namely the poster devised by Mariapaola Infuso.

In this work, the artist imagines the advertising billboard in Piazza Bottesini as a sort of screen where an image is installed, and this image – on its turn – works as a gathering and melting point. ***Topia  fits on the double analog and digital level : at the center of the rectangle, which looks like an abstract work, a veil reflecting the reality of the roundabout overlaps a collage of digital images of the neighborhood . Hence, the subject of the work is a double register of perception of  Barriera di Milano, following   a pathway and a reflection  the author explains as follows“***topia is a space that is connected to all the other spaces, a place that opens to other places, whose  function is to relate the environments and the people. A real place where you are allowed  to reflect in it and give yourself a break, a pause. A window on the neighborhood, which recalls the  observer’s participation to the relationship with the work. ***topia is circumscribed by a mirror that reflects the town, the neighborhood and the observer. A mirror to look at yourself, where you watch reality and observe it with different eyes. A place for  awareness, to reflect and question today’s world and  the contemporary society, which is afflicted by a difficult historical moment. A space outside the usual perimeters of our contemporaneity, outside the houses and outside the museums, on the road, where everything happens under sunlight”.

In the theory and practice of  Andy Warhol’s pop  art, for instance, the intimate nature of reflection does not only lay in mirroring ourselves, our identity (so that we can know and recognize it), but in reflecting reality within ourselves, so that we can recognize reality itself and its truth: “I’ll be your mirror / Reflect what you are, in case you don’t know /  I’ll be the wind, the rain and the sunset / The light on your door to show that you’re home / When you think the night has seen your mind / That inside you’re twisted and unkind / Let me stand to show that you are blind / Please put down your hands / ‘Cause I see you” (Velvet Underground, I’ll Be Your Mirror, 1967).

 ‘On the road, where everything occurs under the sunlight’: Alessandro Bulgini and Christian Caliandro maintain  that this sentence by  Mariapaola Infuso could almost be a watchword for the whole Opera Viva Barriera di Milano project, which for six editions has actually be based upon the idea of an art that leaves the  conventional institutional exhibition spaces to venture into the urban space and the world’s tissue. 

Born in Turin on September  1995, Mariapaola Infuso has attended the New Technologies of Arts curriculum of studies at Accademia Ligustica in Genoa. Her expressive method is multi-disciplinary and stratified: photograph, installation, video and animation, but also the care for both matter and space are the basis of her artistic research. She analyzes the flexibility of the photographic medium to approach the means from a large variety of possible angles; stripping off and reassembling the image as if it were living matter. The work she pursues is the investigation on the most fragile human sides of  current society.

Erika Nevia Cervo, Utile

Erika Nevia Cervo, Utile “Useful” (May, 2020)

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Erika Nevia Cervo
Utile (Useful, 2020)

Inauguration Thursday, June 3rd, 6.30 p.m. 
Piazza Bottesini, Turin

and live on Facebook (@flashbackfair)

The second poster of Opera Viva Barriera di Milano, il Manifesto, a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini on Thursday, June 3rd at 06:30 p.m. and live on – @flashbackfair: Utile (useful) by Erika Nevia Cervo (2020)

After the laid table of senzazioni by Emanuela Caruso, which came to light at the artist’s home in Palermo in the month of March of this year, the phase we are witnessing – as narrated through the works of the winners of the call for the sixth edition of Opera Viva Barriera di Milano – is now continuing with Utile, the poster by Erika Nevia Cervo. The photograph portraits a situation that was impossible, at least in last year’s May: an orderly, outdistanced row of people in front of the lowered shutter of Multicinema Modernissimo in Naples. 

Friends and acquaintances of the artist made themselves available to the development of some sort of “painting” which reproduced a condition which was unfortunately far from reality, and – therefore – of suspended normality. A network of institutions and associations (composed by artistic collective ABC, by the Nation 2.0 platform – whose headquarters are in Dubai, in the Arab Emirates – by Mincione Edizioni and by Spazio Y from Rome) invited the artist to develop a work on the concept of basic necessities

The result is the project condensed in this image: a criticism to the rhetoric of the “primary needs goods” that characterized this year of pandemic, mainly at its initial stage: a rhetoric linked to criteria of efficiency and productivity which – by its own nature – has largely removed culture, its working realities and places.  

As the artist herself states: “In the very first period of the ‘Covid era’, in full lockdown, I suffered from the basic needs diktat: a stage where the Italian government, forgetting the essential significance of the cultural production, was hurrying to give to the first aid to the industries. Amongst the darting of the police trucks, in a surprisingly deserted Naples, did I gather a small group of people (mainly actors, artists and musicians) who would stand in a row in front of a closed movie theater”.

Erika Nevia Cervo is therefore reflecting on this theme starting not only from her own artistic vision, but also from her own life experience and profession, which is linked to the theater. Thus, the row patiently waiting in front of the multiplex movie theater (with the playbills of Volevo nascondermi and Parasite, i.e. of the last pictures watched before a very long interruption, to portrait a precise historical and collective moment) renders the image of a condition that is still extremely current after exactly one year. 

What these people and this image are stating is that art and culture are primary, essential goods; they are useful by definition and – as such – they should be available to everybody, at any moment. 

Erika Nevia Cervo deals with the rediscovery and regeneration of the self through sculpture. The artist uses different materials and media depending on the expressive needs. She is a co-founder of studio Cervo, in the historical center of Naples. Graduated at the High School of Arts and Bachelor in Archeology and History of Art at University Federico II in Naples, Erika was selected at the call Reclaim of Cheap festival 2020, poster billposting in via Marchesana in Bologna. She won the Exibartloves Verona 2018 contest and she is the author of photograph publication “psnluci” on issue 102 of Exibart paper edition.

FLASHBACK – Next Edition 2021 – Stay Tuned!

Flashback, all art is contemporary
Turin, 4 – 7 november 2021

We are working at the ninth edition of Flashback, the fair where all art is contemporary.
We are back with a new theme and a new energy: we will update you step by step, so keep following us, there will be lots of news!

Here it is the first one: a different way of participation with a time window to download and send applications between June 15 and September 15.

Flashback, all art is contemporary … stay tuned!

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Emanuela Barilozzi Caruso, senzazioni

Flashback, all art is contemporary


The flashback special project Opera Viva Barriera di Milano, il Manifesto

Emanuela Barilozzi Caruso
senzazioni (2021)

Inaugurating Wednesday 5th May, at 06:30 pm
in Piazza Bottesini, Turin
and live on Facebook (@flashbackfair)

The first poster of Opera Viva Barriera di Milano, il Manifesto a project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback art fair is inaugurating in piazza Bottesini on Wednesday May 5th at 06:30 p.m. and live on – @flashbackfairsenzazioni by Emanuela Barilozzi Caruso (2021).  

The first poster of Opera Viva Barriera di Milano sixth edition – amongst the eight winners of the open call, is by Emanuela Barilozzi Caruso (who had already won the call in 2019). The photograph shows a bird’s eye view of a table dressed and full of dishes, cutlery, glasses, bottles and food remains: on the tablecloth do we recognize writings, drawings and messages.

They are the traces of a complex project titled senzazioni (feelings), which involved the artist – who moved to Palermo last year, right at the beginning of the pandemic – and a group of friends and acquaintances. The work, which was built day after day, is focused on relationship, exchange and experience. This work lives in close dialog with the physical and regulating context it was born in and – in particular – with the social limits due to Covid that came into force this spring. The D.P.C.M. of March 2nd 2021 states: ““Within the Regions the measures established for the orange area apply to, the displacement to only one inhabited private housing facility is allowed once a day – in a timeframe between 5:00 a.m. and 10:00 p.m. – and within the limit of two people in addition to those who are already living together there.”

The table set by Emanuela Barilozzi Caruso by the occasion was not cleared up for eleven days, and it hosted three breakfasts, four lunches and seven dinners for twenty-five guests, divided by two at the time The result is a set of photographs – amongst which the one that has been selected for the poster – that document the moments of dialog and meeting. Of course, a work of such kind transcends the visual evidence, and lives mainly in the dimension of direct experience and of the subsequent recalling. 

As the artist states: “senzazioni is a collective work, made of ideas, laughs, silence, embarrassment, encounters and separations.  We have been together in full safety and we have left dishes, cutlery, glasses, drawings, notes and food remains as a spontaneous trace for those who would come afterwards. It was a precious, intimate opportunity to see the others and deeply recognize them. sensazioni is a group photograph – in time and space – which tells a certainty: at the basis of life and art there lie the human relationships, which can sicken, but also heal us”.

This idea of the human relationship which can treat and heal us is the result of a reflection that has been carried forward throughout last year, and produced by the huge mutation we are all witnessing. Just in a moment where meeting people , the other, is so difficult, this project claims the significance and need of this dialog, of this listening, even though in full compliance with the  rules. This reveals as a precious core the need of the individuals to be themselves once they gather around the table, to give the best of oneself, to transform – spontaneously overcoming any temptation to stand out and any urge to be at the center of attention.

Emanuela Barilozzi Caruso (1983) was born, lives and works in Rome. Photographer and performer, she exhibited in significant events and attended several residences: Indian Pavilion at the Biennial of Prague, 2011; Biennial of Venice, 2013; Macro, 2014; Salon, 2015; BoCS Art, 2017.‎  She started her career as a professional actress and now she is a visual artist, who currently live in Palermo. Graduated at the Academy of Fine Arts of Brera in Milan, her work is characterized by the use of photography, drawing and performance; a work that suites the situations where she has to act. Emanuela’s interest focuses on the relational processes she witnesses first-handily in an always wide diversified time, whose results are disclosed through works on paper, photograph prints and performances.

Art never gives up. At the start of the VII edition of Opera Viva il Manifesto

Flashback, all art is contemporary
The Flashback special project, Opera Viva Barriera di Milano, il Manifesto


The 8 women artists who won the Opera Viva call and the first poster:

“senzazioni” by Emanuela Barilozzi Caruso (2021)

Wednesday May 5th at 6:30 p.m. 

Piazza Bottesini, Turin

Contemporary art has not stopped, in spite of the color changes and the several lockdowns. The artists have continued reflecting on the current situation as well as on the world to come. The reference to the pandemic in progress could not help surfacing also in the response of the eight women artists who won the call launched by Flashback, all art is contemporary for Flashback è Opera Viva, aimed at developing a large-sized poster, which will be posted every month, starting from May 5th2021, in piazza Bottesini, cimasa 50530 – the very heart of neighborhood “Barriera di Milano” in Turin. 

“In this seventh edition of Opera Viva Barriera di Milano, il Manifesto – underlines Christian Caliandro, curator of the project and member of the selection jury – all the eight winning posters have been developed by women artists: the result was not expected, but I am glad about it because I believe it reflects this significant historical moment. The winning images narrate – each with its own approach and style – well the complex phase we are witnessing, without ever being moralistic. Political consciousness, attention to nature and to the environment, resistance, centrality of the relationships, fatigue and repetition but – mainly – hope and the conquest of a new awareness are the themes the public will be able to read in the posters”.  

By this project – devised by artist Alessandro Bulgini in 2015 – the municipal space, which is conventionally reserved to advertising billboards, will host the work of an artist and accompany the people throughout the year, becoming part of their days and thus underlying the “everyday” function of art within a context and in an urban community. Throughout the years, 34 national and international artists have been involved in this large project of outdoor art patronage.  

The first of the nine posters, which will follow one another in piazza Bottesini in the forthcoming months, will be inaugurated – also live on Facebook on channel @flashbackfair – on Wednesday May 5th at 6:30 p.m. The work that is opening this year’s urban art cycle is strong and meaningful for the time we have witnessed and are witnessing: “senzazioni” (feelings) by Emanuela Barilozzi Caruso.


The artists who won the seventh, 2001 edition, besides its creator Alessandro Bulgini, are: Ilaria Abbiento, Emanuela Barilozzi Caruso, Federica Belli, Maria Paola Infuso, Erika Nevia Cervo, Federica Peyrolo, Lucrezia Testa Iannilli and Tatiana Villani. 

Members of the selection jury:  Alessandro Bulgini, visual artist and creator of the project, Turin; Christian Caliandro, curator and art historian, Bari; Iginio De Luca, artist, Rome; Fulvio Gianaria, chairman of OGR, Turin; Ginevra Pucci and Stefania Poddighe, Flashback’s directors, Turin; Diego Sileo, curator of PAC Padiglione d’Arte Contemporanea, Milan.

Opera Viva, il Manifesto…Open Call

Expiry date March 22nd 2021

The terms are open – up to March 22nd – to participate to the fourth edition of the call for visual artists

a project by Alessandro Bulgini
curated by Christian Caliandro

>> download the call

The Call dedicated to the artists who want to put themselves at stake confronting the territory of neighborhood. Barriera di Milano in Turin is opening for the fourth consecutive year.

Since 2015, many have occupied the 6 x 3 space for public billposting in piazza Bottesini in Turin. Both very young and well-known Italian and foreign artists have dealt with the territory, taking the challenge of creating a work that could enter the lives of the neighborhood’s inhabitants with force and respect, accompanying their routine day after day 

This year, 8 artists (9 in total) – like the whole project – “Flashback, all art is contemporary “, are called to participate, with no limits of age or nationality, time or space. The jury charged to select the projects shall be composed, like in the previous years, by artists, curators, art critics and museum directors. 

The term for the shipment of the materials is established by Monday, March 22nd 2021.

The Project 
Opera Viva Barriera di Milano, il Manifesto, is an urban art project that adds meaning to the concept of public art thanks to the use of the pre-existent in conceiving the artwork – in the specific case a 6x3m municipality space for public billposting (cimasa 50530)   in Piazza Bottesini in Turin (Barriera di Milano, a multi-ethnic neighborhood) – interpreted by national and international artists throughout the year.

The project develops around a precise idea of the relationship between art and public space, and of the function of a work within an urban context and community.

Through this operation, Flashback connects different areas of the city of Turin and different time zones (the ancient, the modern and the contemporary in its beginning), believing that art must leave the institutional spaces, go down to the road, stretch towards reality, constantly move through it, happily integrate into the dimension  of everyday’s existence,

“Il Manifesto”
A 6x3m poster in the roundabout of Piazza Bottesini pulses in the heart of Barriera di Milano, i.e. one of the most interesting neighborhoods of Turin, rich in history, identity and future, thanks to artists of different background and style,  who though share an original innovative approach to the artistic practice.

The life streaming
For each new poster, a life streaming shall involve the protagonist artist, the creator, the curator and those who are responsible for the project. All of them shall be enabled to participate and intervene. The meeting is aimed at analyzing in depth the meaning of the poster, the poetry of the artist and the motivations that have made him/her deal with the territory.

The exhibition
During the five days of event Flashback, all art is contemporary, in Turin the first week of November, the images of the posters – as well as all the collected fragments of life -shall be gathered to tell the window, open on the world and for the world.

The talk
An appointment of discussion on the meaning of “public art” is developed every year in the Art Lounge of the fair that – in 2021 – reaches its ninth edition: an analysis of the function of the artwork as agent-reagent within a community, starting from Turin’s experience.

The labs
A pedagogic project, born with the will of extending and narrating the reflections on the theme of the use of art as cultural experience of awareness and citizenship, which involves the primary and grammar schools of the neighborhood. The students shall be the protagonists of a four-appointment experience that starts from the narration and from the visit to the posters which will be developed.  

>> For further information: operaviva@flashback.to.it

Opera Viva Barriera di Milano, il Manifesto 2021
Open call for visual artists
Expiry date March 22nd 2021

All art is contemporary…Last Episode

The last week of Flashback, all art is contemporary, Ludens, in its Extended Edition version.

This is the last episode of our weekly appointments, which have allowed us examining in depth – in an unprecedented version, the works presented by Flashback’s galleries. 

This last week of the on-line fair ends by a tale on the history of mankind through myths and legends, whilst the galleries are waiting for you off-line to visit their exhibitions. 

This is the link to visit the on-line fair, where you will find the list of the exhibitors and all the works we have presented you throughout these four months in our weekly episodes, news and all our social channels. On the other hand, this is the link to the visit section, where you can discover the whole program in the galleries’ seats.

As you know, Flashback decided to keep on supporting its galleries from November 3rd up to March 7th 2021 through what has been defined a Extended Edition, which developed on the territory and on the web in a network of exchange and support under the banner of statement “we are not alone and neither are you” 

“Myths and legends”

“A myth is the metaphor of a mystery that goes beyond human understanding. It is a story that helps us understand, by analogy, some mysterious aspects of ourselves”
(Christopher Vogler)

The pathway through the ancient stories starts with Narciso alla fonte, la ninfa Eco e Amore, oil on panel of the first half of 17th Century by Giovanni Andrea De Ferrari. Narcissus mirrors himself at the stream, with Eco and Eros behind him.  Eco, condemned by Hera to repeat all that she hears to b said, falls in love with Narcissus, but she is not reciprocated, and she will die of sorrow because of that. Narcissus is punished by Nemesis because of his insensitivity: having gone to thee stream to refresh, he looks at his reflected image and falls in love with it, forgetting to eat and drink for days. This will be his end. 

The myth of the Ratto delle Sabine (Rape of the Sabine Women) is told us by Enrico Paulucci, in an oil on canvas of 1934. The style of the work reminds us post-impressionism. The painting portrays the moment where the Romans, which are represented naked, kidnap the Sabine women. The desperate women try to flee; yet, some of them are already overpowered and resigned. All around and at the horizon there is a barren landscape of warm colors.  

We continue with Earthly Paradise (Il paradiso terrestre) by Herri Met De Bles II, oil on panel of 1540 approx. The Garden of Eden is the original primitive area of happiness and purity. Adam and Eve, the first humans on Earth, are called to enjoy the beauty of this locus amoenus, where the flora and the fauna are luxuriant. In this work, which directly recalls Bosch by his influence, we find a forest populated by fantastic animals and monsters. 

Salvo illustrates us the myth of Ippolito e Fedra (Hippolytus and Phaedra), by the work of 1977, oil on panel: a moment of tension, underlined by the bright colors and by the expectation of something terrible which is to happen at any moment. Phaedra, wife of Theseus, falls in love with her stepson Hippolytus and – having been rejected – takes her revenge telling her husband she has been raped. Theseus punishes his son calling Poseidon: the god sends a rogue wave that frightens the horsed of Hippolytus chariot, and Hippolytus is overturned. The painting represents Theseus calling Poseidon and Hippolytus on horseback, with the waves that already appear at the horizon. 

We conclude our journey with work Salomè by Vittorio Zecchin, oil on panel of about 1919. The two feminine visages that are represented emanate some mystic eroticism and show a Byzantine-like style that recalls us painter Gustav Klimt. The legend of Salomè narrates that she had John the Baptist beheaded since the latter had accused her mother, Herodias, of leaving her father and escaping with her uncle. The charm of this legend lies in the fact that – in the various representations by artist throughout the centuries – the mother and the daughter were often exchanged: is the figure who holds John’s head Salomè or Herodias? The mystery of this duplicity has never been solved.

In the image, on the top Left /hand: Giovanni Andrea De Ferrari, Narciso alla fonte, la ninfa Eco e Amore (Narcissus at the stream nymph Eco and Eros) first half of the 17th Century, oil on panel, cm 148 x 180, courtesy of: Arcuti Fine Art, Rome; Turin (I). Followed by: Salvo, Ippolito e Fedra (Hippolytus and Phaedra), 1977, oil on panel, cm 42 x 27, courtesy of: Claudio Poleschi Arte Contemporanea, Dogana (RSM).
Below, on the LH side: : Enrico Paulucci, Ratto delle Sabine (The Rape of the Sabine Women) 1934, oil on canvas, cm 65 x 100, courtesy ofGalleria d’Arte Roccatre, Turin (I). Followed by: Vittorio Zecchin, Salomè, about 1919, oil on panel, cm 45 x 35, courtesy of: Galleria d’Arte Cesaro, Padua (I). Followed by: Herri Met De Bles II, Earthly Paradise (Il paradiso terrestre), 1540 approx., oil on panel cm 25 x 20, courtesy of: Caretto&Occhinegro, Turin (I).

Flashback 2020, Extended Edition…Expo

800 / 900 Artstudio
, Livorno, Lucca (I)…Aleandri Arte Moderna, Rome (I)…Paolo Antonacci, Rome (I)…Antonacci Lapiccirella Fine Art, Rome (I)…Arcuti Fine Art, Roma, Turin (I)…Galleria Arte Cesaro, Padua (I)…Galleria Umberto Benappi, Turin (I)…Biasutti & Biasutti, Turin (I)…Bottegantica, Milan, Bologna (I)…Callisto Fine Arts, London (UK)…Galleria Luigi Caretto, Turin (I), Madrid (E)…Caretto & Occhinegro, Turin(I)…Mirco Cattai Fine Art & Antique Rugs, Milan (I)…Cecchetto e Prior Alto Antiquariato, Asolo TV, Castelfranco Veneto TV (I)…Glenda Cinquegrana Art Consulting, Milan (I)…Copetti Antiquari, Udine (I)…Galleria Del Ponte, Turin (I)…Galleria dello Scudo, Verona (I)…Alessandra Di Castro Antichità, Rome (I)…Flavio Gianassi – FG Fine Art, London (UK)…Galleria Giamblanco, Turin (I)…Gilistra Japanese Art, Turin (I)…Il Castello, Milan (I)…ML Fine Art – Matteo Lampertico, Milan (I), London UK)…Longari Arte Milan, Milan (I)…Mazzoleni, London (UK), Turin (I)…MB Arte Libri, Milan (I)…Il Mercante delle Venezie, Vicenza (I)…Lorenzo e Paola Monticone Gioielli d’epoca, Turin (I)…Maurizio Nobile, Bologna (I), Paris (F)…Piacenti, London (UK)…Claudio Poleschi Arte Contemporanea, Dogana (RSM)…Flavio Pozzallo, Oulx TO (I)…Galleria d’Arte Roccatre, Turin (I)…Galleria Russo, Rome (I)…Schreiber Collezioni, Turin (I)…Secol-Art di Masoero, Turin (I)…Studio d’Arte Campaiola, Roma (I)…Galleria Carlo Virgilio & C., Rome (I), London (UK)…White Lands, Turin (I).

All art is contemporary…Episode #13

“The animals”

Fauna between symbols and meanings in the work of Flashback’s eight edition.

“Man does not know more than the other animals; he knows less. 
They know what they need to know. We don’t.” 
Fernando Pessoa
Let us start our weekly incursion into Flashback’s works by detecting what the world of domestic, wild and imaginary fauna is telling us. The first one is an ancient intriguing Ningxia carpet on a yellow background, coming from the 19th Century’s China, 198 x 132 cm, which represents – in its complex plot – the dogs of Fo, hounds of the Chinese tradition that are also called watchdogs. 

Let us then focus our attention on Enzo Cucchi, born in 1949. The work is drawing Senza titolo of 2020 (pastels and charcoal on white card, assembled in an irregular shape), which belongs to I Predicatori “The Preachers” series. The subject is the muzzle of a horse that transforms and branches out through the black of the charcoal. By the “The Preachers” series, the artist give birth to some sort of fantastic bestiary, where the irrational, the vision and the dream reign. 

The incursion continues with Scena pastorale by Dirck Van Den Berghen, oil on canvas of 1675. A composition of animals in the foreground: three bovines, two ewes and a lamb; the sun which emits a soft light through the clouds; a hut within which we spot the figure of a man, all elements which – as a whole – perfectly render the serenity of the rural life.

Carol Rama, a painter from Turin, adds a further tessera to the tale by her work S.T. of 1990 (marker and enamel on cardboard), which represents a man with an orange-colored toad beside him; on it, another green toad with red, black and yellow dots. Fantastic totemic animals the artist used to draw beside naked subjects; animals that multiply, evolve and represent transformation.

We continue with the Horse of China Shaanxi province, Tang Dynasty (618-907 A.D.), in gray terracotta with polychromy on white engobe. This work expresses the dynamism of such animal: the neck in torsion, the head facing upward, the tensed ears, the open mouth and the lifted right paw highlight its restlessness and realism.

Finally, the precious Earrings in yellow gold, black onyx and diamonds of 1970 approx.: golden rings that thicken and turn into snake heads crowned by diamonds resting on the volcanic stone black background. By their shapes, these jewels recall a snake biting its tail, i.e. the ouroboros, the symbol of the eternal return, of all that ends to restart in an infinite cycle.

In the image, on the top Left /hand: Dirck Van Den Berghen, Scena pastorale (Pastoral scene), 1675, oil on canvas, cm 26.7 x 33, courtesy of Galleria Luigi CarettoTurin (I), Madrid (E). Enzo Cucchi, Senza titolo (Untitled), belonging to the series “I Predicatori” (The Preachers), 2020, pastels and charcoal on white cards assembled in irregular shape, cm 170 x 110, courtesy of: Aleandri Arte ModernaRome (I). Followed by: Ningxia Carpet, China 19th Century, cm 198 x 132, courtesy of: Mirco Cattai Fine Art & Antique RugsMilan (I).
Below, on the LH side: Carol Rama, S.T., 1990, marker and enamel on cardboard, cm 34 x 24, courtesy of: Galleria Del PonteTurin (I). Followed by: Earrings, Italy about 1970, in gold, black onyx and diamonds, courtesy of: Lorenzo e Paola Monticone Gioielli d‘Epoca, Turin (I). Followed by: A painted pottery horse with raised neck, China Shaanxi province, Tang Dynasty 618-907 A.D., gray terracotta with polycrhomy on white engobe, cm 49 x 54.5, courtesy of: Schreiber Collezioni, Turin (I).