Wednesday, October 31, 2012

Padua: Palazzo della Ragione – Fabrizio Plessi – Il Flusso della Ragione exhibition.



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Padua: Palazzo della Ragione – Fabrizio Plessi – Il Flusso della Ragione exhibition. In the medieval Palazzo della Ragione in the center of Padua, near Venice is on show Fabrizio Plessi’s impressive video installation exhibition Il Flusso della Ragione, or The Flow of Reason,  until February 24, it  is curated by Annamaria Sandona.
Above: The Palazzo della Ragione completed in 1219 was once the Town Hall. The building, with its great hall on the upper floor, is reputed to have the largest roof unsupported by columns in Europe and the walls are covered with allegorical frescos. The building stands on arches, and the upper storey is surrounded by an open loggia. After the fire of 1420 which destroyed Giotto's original frescos, the new space was re-frescoed by Nicolò Miretto and Stefano da Ferrara, working from 1425 to 1440.

 
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Fabrizio Plessi – Il Flusso della Ragione exhibition.   Fabrizio Plessi’s exhibition, The flow of Reason, creates an exciting dialogue between sign language and that of video, from which the famous Italian contemporary artist forms his expression. This great site-specific video installation is stretched out in the space of one of the most prominent architectural remains of medieval Padua.  It covers the whole structure by two different "streams". They are created by the jumble of hundreds of sheets that record the Genesis project of the works that made Plessi famous; the other by an unbroken sequence of monitors, depicting visual vibration of water, fire, lava, lightening and their incessant flow.

 
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Fabrizio Plessi – Il Flusso della Ragione exhibition. Local dignitaries; Mirella Cisotto Nalon, the curator Annamaria Sandona, the artist Fabrizio Plessi and the cultural attaché Andrea Colasio.

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 Fabrizio Plessi – Il Flusso della Ragione exhibition. The exhibition unfolds as a "flow" of thoughts on paper, to witness changes, dropouts, even occasional sketches, the emergence of a compelling idea, follow the evolution of the initial project. Secret thoughts, not intended for reception by the public,  are now are presented in order to show the main works of the artist.

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Rocco and his mother the glamorous Carla Plessi with her friend Paola and her son Lorenzo Salomoni.


 
      Fabrizio Plessi – Il Flusso della Ragione exhibition. New York, New     Window, 1991.


 
Fabrizio Plessi with the three of the four Euromobil brothers, Antonio,  Gaspare and Giancarlo Lucchetta, sponsors of the exhibition.


 

Fabrizio Plessi – Il Flusso della Ragione exhibition. Video Going, 1985.



Architects Alessandro and Tina Zambusi with their son Mattia.


 
                                              Marco Cattaneo and his daughter Sara.

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Fabrizio Plessi – Il Flusso della Ragione exhibition. Mare Veritcale, 2000, shown at the 51 Venice Biennale.


 
                                                  Poet Nina Nasilli.


 
     Fabrizio Plessi – Il Flusso della Ragione exhibition. 1970 Projects.



 
                                       Jewelry designer Lisa Grassivaro.


 
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Luigia Collibotto and Professor of History of Contemporary Art at the IUAV in Venice, Ernesto L. Francalanci.

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Fabrizio Plessi – Il Flusso della Ragione exhibition. Emergency Spunge, from the Grandi Progetti series, Utopistici-Poetici, 1972.

 
Journalist Patricia Schmeidler.


 
                                Venice’s Il Duca d’Aosta’s Gigliola Ceccato.



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Fabrizio Plessi – Il Flusso della Ragione exhibition The exhibition includes some photocopiers, made by Gruppo Pellegrini,  visitors can print photocopies of the projects on display or they can acquire an image by sending it via email. Through QR-code technology, visitors also have the possibility to display the final work on the web created by the artist.

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IUAV professor, graphic designer and co-founder of Studio Tapiro Enrico Camplani and co-owner of the Gruppo Pellegrini, Sofia Pellegrini, whose machines, above, reproduce Plessi’s sketches for the public to take home.


 
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Fabrizio Plessi – Il Flusso della Ragione exhibition.

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Tuesday, October 30, 2012

Treviso: Casa dei Carraresi - Tibet, Treasures from the Roof of the World.



photograph and copyright manfredi bellati
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Treviso: Casa dei Carraresi - Tibet, Treasures from the Roof of the World. The Tibet, Treasures from the Roof of the World exhibition is on show at the Casa dei Carraresi in Treviso.  More than three hundred pieces of Tibetan artwork and objects are on view until June 2, 2013.  Curated by China scholar Adriano Màdaro, this historic event marks the first time that these objects are exhibited abroad.  The exhibition is divided into five thematic sections it includes geographical maps and documents, masks worn by Tibetan monks, traditional clothing and jewelry, and votive statues and objects carved from human bones.  Visitors have the unique opportunity to admire Tibetan artwork and artifacts spanning historical periods.

Above. Yamantaka, Destroyer of the Lord of Death. In the crowded pantheon of Tibetan Tantric Buddhism one of the most popular divinities, and one particularly venerated by the Yellow Hat Sect (to which the Dalai Lamas and Panchen Lamas belong), is the monstrous Yamantaka.  Known as Dorje Jigie in Tibetan, it is regarded as the angry manifestation of Manjushri, the Bodhisattva of Wisdom, one of the four protectors of Tibet. The name means “Destroyer of Yama” (Lord of Death), and the figure is represented in blue with eight heads, one of which is the monstrous head of a bull; the figure wears a necklace and belt of human skulls.  The terrifying appearance is completed by thirty-four arms carrying sinister objects and by sixteen feet trampling eight Hindu divinities, eight birds and eight mammals.   His appearance does not inspire horror and seen by devoted Tibetans as a familiar, reassuring figure who will not defeat death but diminish their fear of death by dominating it.

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Tibet – Vertical Flags. A detail of vertical Flags, traditional decoration at the entrance of Buddhist temples invoking good fortune. Gift of the fourteenth Dalai Lama to the central government.


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Curator of the exhibition, China scholar Adriano Màdaro. He is photographed beside “Spirit of the Air” flags, which have special protective and beneficial powers. They are decorated with mantras in the Tibetan language and images of Sakyamuni or of the “horse of the wind” (representing the breath of life).   They are flown from the roofs of houses, from piles of “mani” stones, or from the branches of trees.  The flags fluttering in the wind symbolize the recitation of a prayer.  Sewn together into strips sometimes hundred meters long, the tarchong fly from poles on sacred buildings creating an atmosphere both festive and meditative.

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Tibet – Buddha Sakyamuni. Sakyamuni was the original name of the historical Buddha, the prince Siddharta (565-485B.C.) of the Gautama family, which at the time ruled the Indian state of Sakya.   He was the founder of Buddishm.

 
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Tibet – Buddha Amitayus. The Buddha of longevity thanks to the quality of wisdom.  The hands are held in an attitude of meditation and hold a vase containing the nectar of immortality.  The statues of Amitayus are often clothed in the robes of a Bodhisattva with the crown.

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Tibet - Avalokitesvara. Avalokitesvara is the most important of the four protector Bodhisattvas of Tibet and is more usually known by the Tibetan name of Chenresig, the Bodhisattva of Compassion: the Dalai Lamas are believed to be its reincarnation, as was Songtsen Gampo, the first Tibetan king in the seventh century. In Tibet it is undoubtedly the most popular divinity. In China she is believed to be female and is known as Guanyin: the Goddess of Mercy or of Compassion.

 
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Tibet - Padmasambhava - Tsongkhapa – Zaya Pandita. Padmasambhava was a famous seventh century monk, master and magician of Indian origin, known by the Tibetan name of Guru Rinpoche, believed to be the subjugator of the evil spirits with which until his arrival roamed freely in Tibet.  He was the first great Buddhist  “missionary” on the roof of the world, and belonged to the Nyingmapa sect, who wore five-pointed red hats.  He founded the Samye Monastery, the first lamasery in Tibet.
Tsongkhapa (1357-1419) was a famous Buddhist monk, the reformer of the Buddhism that had been spread by Guru Rinpoche, and was the founder of the Gelupgpa (Yellow Hat) sect, which today remains the largest group within Tibetan Lamaism.   He is also known by the name of Je Rinpoche and was the founder and the first abbot of the Ganden Monastery.   He is undoubtedly the most honored historical figure in Tibetan Buddhism.
Zaya Pandita (1599-1662) was a famous monk of Oirat Mongol origin.  He was much appreciated by the fifth Dalai Lama as a preacher in Mongolia and the author of famous sacred texts.

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Tibet – Mandkesvarva. Mandkesvarva, known universally as the “Happy Buddha” and as Yab-Yum in Tibetan (literally father-mother), represents the male divinity in sexual union with his consort.  Sexual symbolism is a central teaching in Tibetan Tantric Buddhism.  The use of erotic practices is seen as leading to Enlightenment through the symbolic union between the woman (representing wisdom) and the man (representing method).  Their function is to make visible the union of the female and male energies present in every living being and to bring them together to reach perfect harmony.   Yab-Yum is also an allusion to the primordial union of wisdom and compassion, the latter represented by the active male form, while the passive female figure represents the former.  The apparently terrifying statues of Mandkesvara are very well known to the Buddhist faithful of Tibet, and miniature versions also exist which are commonly placed on family altars.

 

photograph and copyright manfredi bellati

Tibet - Mandala. The Mandala is an important object of contemplation in Tibetan Buddhism with a great many functions and meanings, the first of which is “container” (la) of “essence” (manda); it is made of five elements: a central body and four doors at the sides.  In mandalas with a pyramid shape the central part represents the sacred Mount Meru (the axis of the world) of ancient Asian cosmology.   The mandala can have many forms and is not necessarily an object; it may simply be a figure drawn on the ground in colored sands, which are later blown away in a kind of ritual destruction of the ephemeral.  It is also believed to be a symbol of the mind and body of Buddha, and is normally made up of a circular base surmounted by square or other geometrical forms.  Standing in concentration before the mandala, the initiate begins his “journey” from the edge and moves towards the center of the object (or figure) in such a way as to eventually identify himself with the imagined deity in the center.

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Tibet – Chorten.  The chorten is the most characteristic construction in Tibetan religious architecture.  Originating in India, where it is known as a stupa, it was the first funerary monument dedicated to the mortal remains of the Buddha, which were divided up into relics after the cremation of the body.   Over time, the stupa came to be used to contain the ashes of the holiest monks and other followers of Buddha, becoming a powerful symbol of the Buddhist faith.  In the early stages of the spread of Buddhism, before the use of statues or images of Sakyamuni, the stupa was the symbol of the new religion.   The five levels which make up a stupa reflects the four natural elements plus eternal space:  The square base represents the earth, the cupola is water, the spire is fire, the moon and the sun at the top of the chorten are air and space, while the highest point represents “Enlightenment”.  The chorten thus represents the path, which leads to Buddha, and its form is believed to be an evocation of his body.   Chortens are used in all the monasteries of Tibet, while the most important are in the Potala Palace and contain the mummified bodies of the Dalai Lamas.


 
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Tibet – Ceremonial Objects. The Seven “Protections” of Buddhism.  Ritual objects which were placed on altars, there were also known as the “seven jewels”. Respectively, they represent Military command, Horse, White elephant, Queen, Jewel, Wheel and Government.  They served to protect Tibet from the influence of demons and evil spirit.


 photograph and copyright manfredi bellati


Tibet – Tangka.  The Glory of  Sakyamuni.  The Tangka is a religious painting, generally on cotton canvas but very occasionally on silk, framed in finely-worked silk brocade.  Its function is to describe and make visible to the faithful the sacred world of Buddhism.  Subjects range from images of Buddha and other divinities, to scenes from the lives of holy monks and Dalai Lamas, and the representation of the rites that take place in monasteries.  The paints are made of vegetable pigments or minerals made into paste using vegetable oils.   The last things to be painted are the eyes of the figures, which are applied during a special ceremony known as “opening of the eyes”.  When it is finished, the Tangka is consecrated by a Lama during a long ritual.   It is then covered with a veil and hung in the place for which it was intended (a monastery, temple or family dwelling); it becomes an object of special attention, the veil only being lifted on particular occasions when the Tangka is made visible as an act of devotion.

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Tibet – Prayer Beads. Traditional prayer beads made of black wood used by monks and ordinary people.

 
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Tibet – Dungkhar Shell.  A Dungkhar shell made in silver gilt, semi-precious stones and silk. XVIII Century.

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Tibet – Gabula.  A ritual Tantric object made from the skull of a holy monk, finished in gilded silver with a lid and stand.  Used during magic rites and as a chalice for making offerings to Buddha.

 
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Tibet – Vajra (Dorje). Vajra or Dorje is a powerful magic symbol in Tibet Tantric Buddhism.  Vajra in Sanskrit, or dorje in Tibetan is the lightening bolt, which strikes the enemies of the Buddhist faith.  It is always seen together with a bell as the two complement each other, the former vajra representing the phallus of Shiva, the later (ghanta) representing the vagina (yani), signifying strength and wisdom.   The association of the two objects indicates the birth of the world, the origin of humanity: the lightening bolt (dorje) fertilizes the bell (yoni), which represents the mother earth, the source of life.

 photograph and copyright manfredi bellati


                                                    
Tibet – Ritual Trumpets. Instruments used in open-air religious ceremonies, in temple courtyards or on the hillsides outside monasteries.  These enormous wind instruments (known as dungcheng in Tibetan) emit a deep, haunting wail, which fills the valleys with a powerful echoing sound perfectly matching the solemn chanting of the monks.

 photograph and copyright manfredi bellati
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Tibet – Rug.  Tibetan carpet with typical Chinese motifs (dragons and phoenixes) and a lotus flower in the center, symbol of the Buddhist faith.  Wool and cotton, first half of the twentieth century.



Tibet – Travel Headwear and Ceremonial Crown. Typical headwear used on journeys until mid twentieth-century by a high-ranking Lama. The ceremonial crown was worn by a high-ranking Lama, mad up of five silvery plates finely engraved with the five Buddhas of the Tibetan tradition.


                                        photograph and copyright manfredi bellati
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Tibet – Clothes and Jewelry.  Most Tibetans, men, women and children wear the traditional chuba, a loose tunic in wool or sheepskin with the hair on the inside, crossed over the chest and held in place by a woolen belt, with bands of wool wrapped around the calve.  On their feet they will wear boots or felt shoes with thick soles and upturned points.  The clothes are similar for the men and women, and pieces of leopard skin are often worn around the shoulder as decoration.  Headwear is also made of animal skin or felt, decorated with fur or colored wool, with a tall, cylindrical form and long earmuffs lined in soft lambskin.  The men weave lengths of thick, red wool into their hair, which is often worn down to the shoulders, while the women decorate their long flowing locks with colorful, often exaggeratedly large ornaments of silver, turquoise and coral.   The women often tie their hair in plaits, into which are worked semi-precious stones.  Heavy, garnish necklaces are worn around the neck, bracelets around the wrist, and both men and women wear earrings of all shapes and sizes.  The nomad shepherds wear simpler clothes, but always carry an elaborately worked silver reliquary around their neck, the gau, containing a figure of Buddha, usually in terracotta, and strips of cloth on which are written prayers, above all the classic mantra Om Mani Padme Hum, the magic ritual formula repeatedly chanted by all, meaning “Hail Oh Jewel in the Lotus Flower, the greeting addressed to Buddha.   Tied to the belt is an iron and leather tinderbox with a pocket for flint, the indispensible tool for lighting a fire, and at the side a dagger in a precious silver scabbard decorated with semi-precious stones.
Above. Robe of Khampa nobleman, cotton, wool, leopard fur and marten.

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Tibet – Ceremonial Robe. Ceremonial robe of a high-ranking official of the Tibetan local government of the past (Kashag).


 
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Tibet – Ceremonial Necklace. The Lhasa ceremonial necklace, first half of the twentieth century, in pearls turquoise and coral, a gift of the XIV Dalai Lama to the Central Government.

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Tibet – Ceremonial Headwear. Women’s headwear used for non religious ceremonies, coral, turquoise and amber.

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Tibet – Cham and Lhamo masks.  Masks appear to have been used from the very earliest days of the spread of Buddhism in Tibet.  They covered the face of a medium during a trance and signified that the deity in question had taken possession of the wearer, whose personality was cancelled out. Masks used in ritual are known as Cham.  During rituals, monks and lamas dance for several days in masks and costumes; the gestures and movements of the dance, and the expressions of the masks are believed to drive away evil spirits, and the ceremony transforms itself into a kind of collective exorcism.   The Lhamo masks are quite different; they have no religious significance and are used in traditional Tibetan Theatre. The various masks represent stock characters from Tibetan literature and everyday life: the good, the bad, sovereigns, demons, honest people etc.  Lhamo Theater dates back to the fourteenth century and is rich in personalities and history; at the beginning of each performance a purification rite takes place on the stage and the narrator gives a brief summary of the plot, presenting the principle masks of the show that will follow.
Above. Cham masks.

 
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Tibet – Lhamo Mask.  Used in non-religious Tibethan Theater, the mask represents the traditional character of local literature, figures representing good and evil, demons and saints, subjects and sovereigns.

                                                      photograph and copyright by manfredi bellati -->

Tibet – Masks.  A mask made from tortoise shell and used in ritual dances in honor of Yamantaka, the “Destroyer of the Lord of Death”.

                                                      photograph and copyright by manfredi bellati
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Tibet – Lhamo Mask.  Used in non-religious Tibethan Theater.

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Tibet – Election Urn. The Election Urn from which was extracted the tablet of ivory bearing the name of the young “reincarnated” boy who was to be proclaimed Dalai Lama.  The ceremony was instituted in the eighteenth century by the Qianlong emperor for the official confirmation of the newly elected figure in the presence of legal experts sent from the capital.  (This reproduction was produced in the 1950s.  (The eighteenth century original is preserved in Lhasa).


 
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Tibet – Seal of the Eighth Dalai Lama and Golden Books.  The seal of was a gift from the Qianlong emperor (1735-1795) to the eight Dalai Lama, Jampal Gyatso. The Seal is engraved with the four languages of the empire: Chinese, Tibetan, Mongol and Manchu.  Golden tablets on which are engraved in Chinese, Tibetan, Mongol and Manchu the roles given by the Daoguang emperor (1821-1850) to the Dalai Lama and the Panchen Lama, the two highest religious authorities in Tibet.


 
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Santu Lama (Jinpa-la), president of the Tibetan Community in Italy.

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