focalizemag

SILENCE EFFECT

Editoriale

Parola Organica e Testo Migrante

 Tabula rasa, foglio bianco, e poi, nella trasparenza di uno sfondo bianco plausibile, ti accorgi che “qualcosa” inizia a staccarsi.

Nel silenzio, un occhio puntato, un pennello sporco, una lente focale, un REC lampeggiante, e nell’aria il solo ronzio di un’idea che gira e rigira fino a ridondare persistente, fino a farsi ingombrante e assordante, traboccante e carica per ciò che sta implodendo al suo interno. 

Alla fine, stremata è costretta a esplodere, e come Parola Organica si fa Testo Migrante.

 Così dalla rubrica atelier, già approfondimento del dualismo che la moda intrattiene con l’arte contemporanea, oggi, su questa nuova pagina, una conquista di spazio necessaria per potenziare e formattare un’idea, che proprio come la metafora informatica suggerisce, si propone di impostare una struttura minima di accesso ai contenuti per un accostamento inedito all’interpretazione. 

FocalizeMag è una messa a fuoco critica sullo scenario contemporaneo, un punto di vista indipendente che indaga avvicendamenti e spazi limitrofi di forme estetiche, moda e arte, che zoommate nelle prodezze dei rispettivi addetti ai lavori, tracciano profili accattivanti della nostra modernità. Questo progetto editoriale sulla cultura della moda è allora il dispiegarsi di “racconti visivi” nutriti e caratterizzati dal vigore espressivo di una redazione di “nuovissimi” composta ad hoc. Ora, la rubrica atelier migra su una, anzi su più piattaforme autonome, per organizzare  riflessioni che si scollano dalle viscere progenitrici, in una soluzione “dimostrativa” di poetiche affini al suo linguaggio. Un’entità, la moda, il cui occhio poliedrico è dialogante con le altre, alte e basse, reali e palpitanti, sfere contemporanee del visivo. 

Attraverso un approccio intuitivo ci apprestiamo perciò a rendere visibili delle superfici interne, per manifestare l’anatomia di un pensiero a cui proviamo a concedere aree prima intentate. In questo numero pilota, track 0, individuiamo già un percorso suscettibile di approfondimento in quel dì parallelo e comunicativo ma soprattutto interattivo e affettivo che è il web. 

 Perché, se scrivere è pensare a qualcuno ed esplorare è un viaggio dove non si insinua mai la nostalgia del ritorno, quale sguardo più ingordo di immaginari, se non quello della moda per pro-muovere le emozioni in un processo ad attivazione gratuita di “strati esistenziali” da perimetrare?

 Veronika Aguglia

Editorial

Parola Organica and Testo Migrante

Blank slate, white paper, and later, in the clearness of a white plausible background, you see that ‘something’ starts turning away.

In the silence, a staring eye, a dirty brush, a focal lens, a flashing REC, and in the air the single buzz of an idea turning around and around until redounding constantly, becoming deafening, overflowing and powerful for its inside explosion.

At the end, exhausted it is forced to explode, and as for Parola Organica becomes Testo Migrante. 

So from atelier column, which is already a selection about the dualism fashion and contemporary art, today, on this new page, a necessary space to strengthen and to format an idea, as the new computer metaphor suggests, aims to offer a basic access structure to the contents for a new way of interpretation.

FocalizeMag criticizes the contemporary scenery, it is an independent point of view, which investigates changes and spaces of aesthetic forms, fashion and art, which if focused on the skills of their experts, trace snappy profiles of our modernity.

This publishing project about fashion culture is the development of ‘visual tales’ characterised and fed by the expressive power and enthusiasm of a new, ‘younger’, ad hoc editorial staff.

Now, the column migrates on one, or rather on many independent platforms, to organise considerations that drag away from their old origins, to a ‘demonstrative’ solution of poetics  closed to its language. Fashion is an entity, whose eclectic eye enters in contact with the other, high or low, real or trembling, contemporary sphere of the visual.

So, thank to an intuitive approach, some inner surfaces become visible, showing new possible areas of the thought’s anatomy. In this pilot issue, track 0, we show a special new direction, which could be further analysed according to that parallel and communicative but, above all, interactive and affective means that is the web.

If writing is thinking to someone and exploring is a journey without missing the way back home, why the hungriest imaginative look couldn’t be that of fashion, so that emotions could freely spring from a new process of ‘existential stages’ to be bounded?

Veronika Aguglia

Acquista FocalizeMag qui

SOMMARIO

 

EDITORIALE

SILENT EFFECT

Veronika Aguglia

 

ISLAMIC STYLE

l’inarrestabile moto dell’universo

Ameera Aamer & Patrizia Guerresi Maïmouna

 

BELLEZZA AD ARTE

Intervista e biografia Patrizia Guerresi Maïmouna

a cura di Magda Gigliuto

 

(MAISON) MARTIN MARGIELA

Bianco Silenzio d’identità stilistica

Silvia Scorcella

 

ULTRASCHIARENTE

monocromie inquietanti (Rei Kawakubo / Francis Bacon)

Veronika Aguglia

 

RUBRICHE

 

LUOGHI

INTO A SILENT WORLD

Da Londra i videosilenzi di Tacita Dean

Arianna Rosone

 

UP TO GRADE

EREDITÀ BELGA: QUESTIONE DI DNA CREATIVO

(A.f. Vandevorst; Raf Simons; Olivier Theyskens; Veronique Branquinho)

Silvia Scorcella

 

SCRIPTA MANENT

UN ROMANZO VISIVO CHIAMATO MODA

Monica Aguglia

 

Butoh as the dance of the darkness, Noh theatre as silence

Dark upon the stalls, the silent audience, from the bottom of the stage a dot of light, something moves away and reaches us, but it’s slight. Bodies stir silently, music and light draw them. It’s the theatrical world of Ko Murobushi’s Butoh Dance, the dance of the darkness. Visual result of the innermost dialogue between the hands and feet’s movement.

This is a dance born in post-atomic Japan; Bu, denoting the refined stirring, refers to the upper part of the body, tô means trampling.

In Butoh choreographies the body is enclosed, every part of it wriggles, space changes and enters into relation with the dancer’s body, mere shape with no name, bursting and stirring. Dancers’ bodies are throbbing and a powerful energy passes through them, states Ko Murobushi, Japanese artist who came back to Venice on March 31 2012, after the extraordinary success of the Quick Silverperformance, showed at the 4° Biennial of Contemporary Dance in 2006. This time it’s up to the young dancers of Teatro Piccolo Arsenale di Venezia to experience on their bodies the lessons of the great contemporary dance interpreter and choreographer, successor ov Butoh vision, taught by the early masters Tatsumi Hijikata e Kazuo Ohno…

 English Version by Silvia Scorcella

Musée Galliera de la Mode de la Ville de Paris narrates Comme des Garçons and Cristobal Balenciaga

The great artistic sensibility of Musée Galliera Director Olivier Saillard, together with Fashion Designer Rei Kawakubo’s undeniable, talent enabled the exhibition “Comme des Garçons White Drama”, displaying SS collection 2012 of the Japanese artist.

The items, dominated by soft nuances of cream-white, skillfully arranged within the museum spaces and showed in transparent futuristic bubbles, sublime the whole installation designed by Kawakubo, enriching with meaning the enjoyment of the expositive place and of the clothes.

The other exhibition taking up the entourage of the Parisian museum is consecrated to Spanish fashion designer Cristobal Balenciaga. The  show comprises more than 70 items, among them 40 haute couture dresses and coats designed between 1937 and 1968.

Significant items following XVIII XIX and XX century fashion, and reminding, at the same time, of Balenciaga passion about history.

 English Version by Silvia Scorcella

ORIGINAL LINK

Silent Moving

 

“ … I accidentally raised my eyes on Palazzo Ducale and I saw the moon adorning its long loggias and its odd windows by poetry. It looked as if thousands of heads hidden by the ancient seafaring hood or the war sallet stuck their phantom glances out of that thousands fretworks for the last time.” (Ippolito Nievo, Confessioni di un italiano).

On 9 - 10 and 11 September, Palazzo Ducale in Venice was the scenery of a theatrical play, achieved by the collaboration with Fondazione dei Musei Civici di Venezia, Università IUAV. Directed by Monique Arnaud and Stefano Monti, the performers of the Direction Workshop inquire into the bold meditation about the brand new ways of perception and enjoyment of museum spaces, through a course of sensations experienced as a journey of the memory and of the dream, traces of learning and old stories. Some actors, hidden behind dark masks and costumes, turn into shades moving silently together with the audience, guiding its fruition of the museum spaces, just become place enlivened by the performance. Every hall turns into a stage.

English Version by Silvia Scorcella

ORIGINAL LINK

In Punta Di Piedi/ On Tiptoe

What happens when the world of dance meets the spheres of art, fashion and cinema ? …

A column, space of reflection about points of contact and blending, moments of knocking down and limits of borders useful to overcome worlds. From theatres to galleries, from the stage to the big screen, passing through the runways, we want to push ourselves on a journey made of suggestions, stimulations and discoveries. Choreographers, dancers and theatrical companies will lead us on tipoe, on frail bordelines, in constant dialogue with fashion, that confirms itself as an exemplary bridge crossing genres.

“Silence, beautiful voice” states an Alfred Tennyson’s line, and there was deep beauty within the voice evoked in the silence of the steps and the signs devoid of words from an Artist recently dead, whose loss the Word of the Dance is still suffering. The course of Pina Bausch, founder in 1973 of the Tanztheater Wuppertal and today universally regarded as one of the most influential choreographers in the world, crosses the universe of fashion in 1998, when, on the occasion of the 25° anniversary of the Company, the dancers appeared on stage wearing creations that the cheered Japanese Fashion Designer Yohji Yamamoto had designed for that event. Moreover Yamamoto joined them on stage, offering himself in a karate performance. Pina becomes a muse to Yamamoto, to the point that he will consecrate his whole 1990 collection to her, and others will follow.

English Version by Silvia Scorcella

ORIGINAL LINK

VANCOUVER FASHION WEEK

Ignoring the magnetism of the blazoned “Fashion Weeks” and passing over the boundaries of that Golden Prison extending from Milan to London, Paris and New York could prove a revealing impulse. Such as following an understated White Rabbit and finding ourselves in a ‘differently fashion’ dimension: the Vancouver Fashion Week. 

In a curious game of inverse proportions , a presence rich in cultural initiatives corresponds to an absence of media overexposition: Vancouver, according to the following hierarchy, celebrates the emerging local designers, pioneers the up and coming  international designers and showcases the established talents.

No rigorous cliché, but dynamic visions: diversity, multiculturalism, innovation and eco-friendly must parade. A kaleidoscope of inspirations and suggestions where some echo of the main western trends are likely to be found, even if decanted by a unique stylistic authenticity.

Here’s a very proposal of route:  De Ocampo’s refined structures, RG Sanchez ‘ chromatic risks worn by his Mexican señoritas, ethnic and technic combinations made by George Bezhanishvili, the fluid purist aesthetic of Pola Thompson and Pinghe’s meaningful tailoring. A contingent outrageous turn: the Flamboyant extravaganza of Lava Woman.

Ignorare il magnetismo delle blasonate “Fashion Week” e travalicare i confini di quella Prigione Dorata che si estende tra Milano, Londra, Parigi e New York potrebbe dimostrarsi  un impulso rivelatore. Come seguire un Bianconigliounderstated e ritrovarsi in una dimensione ‘diversamente fashion’: la Vancouver Fashion Week.  

[English Version by Silvia Scorcella]

In un curioso gioco di proporzioni inverse, ad un’ assenza di sovraesposizione mediatica corrisponde una ricca presenza di iniziative culturali: Vancouver, nel seguente  ordine gerarchico,  celebra gli emergenti locali, apre la strada ai promettenti internazionali e offre spazi in vetrina ai talenti affermati. 

Nessun rigido cliché, ma visioni dinamiche:  devono sfilare la diversità, il multiculturalismo, l’innovazione e l’eco-friendly. Un caleidoscopio di ispirazioni e proposte in cui è anche possibile rintracciare l’eco delle grandi tendenze occidentali, seppur decantate da una sincerità stilistica singolare. 

Giusto una proposta di percorso: le strutture raffinate della canadese De Ocampo, i rischi cromatici delle señoritas messicane di RG Sanchez, le combinazioni etniche e tecniche di George Bezhanishvili, l’estetica purista fluida di Pola Thompson e la sartorialità eloquente di Pinghe.  Eventuale virata esuberante: la stravaganza flamboyant di Lava Woman. 

Silvia Scorcella

ORIGINAL LINK

8

 FOTO TRATTE DA Vanfashionweek  

VANCOUVER FASHION WEEK

Ignorare il magnetismo delle blasonate “Fashion Week” e travalicare i confini di quella Prigione Dorata che si estende tra Milano, Londra, Parigi e New York potrebbe dimostrarsi  un impulso rivelatore. Come seguire un Bianconigliounderstated e ritrovarsi in una dimensione ‘diversamente fashion’: la Vancouver Fashion Week.  

In un curioso gioco di proporzioni inverse, ad un’ assenza di sovraesposizione mediatica corrisponde una ricca presenza di  iniziative culturali: Vancouver, nel seguente  ordine gerarchico,  celebra gli emergenti locali, apre la strada ai promettenti internazionali e offre spazi in vetrina ai talenti affermati. 

Nessun rigido cliché, ma visioni dinamiche:  devono sfilare la diversità, il multiculturalismo, l’innovazione e l’eco-friendly. Un caleidoscopio di ispirazioni e proposte in cui è anche possibile rintracciare l’eco delle grandi tendenze occidentali, seppur decantate da una sincerità stilistica singolare. 

Giusto una proposta di percorso: le strutture raffinate della canadese De Ocampo, i rischi cromatici delle señoritas messicane di RG Sanchez, le combinazioni etniche e tecniche di George Bezhanishvili, l’estetica purista fluida di Pola Thompson e la sartorialità eloquente di Pinghe.  Eventuale virata esuberante: la stravaganza flamboyant di Lava Woman. 

Silvia Scorcella

Ignoring the magnetism of the blazoned “Fashion Weeks” and passing over the boundaries of that Golden Prison extending from Milan to London, Paris and New York could prove a revealing impulse. Such as following an understated White Rabbit and finding ourselves in a ‘differently fashion’ dimension: the Vancouver Fashion Week. 

In a curious game of inverse proportions , a presence rich in cultural initiatives corresponds to an absence of media overexposition: Vancouver, according to the following hierarchy, celebrates the emerging local designers, pioneers the up and coming  international designers and showcases the established talents.

No rigorous cliché, but dynamic visions: diversity, multiculturalism, innovation and eco-friendly must parade. A kaleidoscope of inspirations and suggestions where some echo of the main western trends are likely to be found, even if decanted by a unique stylistic authenticity.

Here’s a very proposal of route:  De Ocampo’s refined structures, RG Sanchez ‘ chromatic risks worn by his Mexican señoritas, ethnic and technic combinations made by George Bezhanishvili, the fluid purist aesthetic of Pola Thompson and Pinghe’s meaningful tailoring. A contingent outrageous turn: the Flamboyant extravaganza of Lava Woman.

Vanfashionweek.com

In Punta Di Piedi/ On Tiptoe

External image

Illustrazione di Isabella Terruso

Rubrica Danza E Moda

Cosa accade quando l’universo della danza incontra le sfere dell’arte, della moda e del cinema?…

Una rubrica, spazio di riflessione su punti di contatto e di fusione, momenti di abbattimento e limiti di frontiere utili a sorpassare mondi. Dai teatri alle gallerie, dal palcoscenico al grande schermo, attraversando le passerelle, vogliamo spingerci in un viaggio fatto di suggestioni, stimoli e scoperte.

Coreografi, danzatori e compagnie teatrali ci guideranno In punta di piedi o di altro, su esili linee di confine, in dialogo costante con la moda, che si conferma esemplare ponte di attraversamento di generi.

« Silence, beautiful voice » recitava un verso di Alfred Tennyson, e bellissima era la voce evocata nel silenzio dei passi e dei gesti privi di parole di un’artista da poco scomparsa e di cui il mondo della danza sente ancor viva la perdita. Il percorso di Pina Bausch, fondatrice nel 1973 del Tanztheater Wuppertal e oggi universalmente considerata tra le più influenti coreografe mondiali, incrocia l’universo della moda nel 1998, quando, in occasione del 25° anniversario della compagnia, i danzatori si presentano in scena indossando le creazioni realizzate per l’occasione dall’acclamato stilista giapponese Yohji Yamamoto, il quale per altro li raggiunge sul palco esibendosi in una performance di karate. Inutile dirlo, uno spettacolo quanto mai unico. Pina  diviene per Yamamoto una musa, al punto che un’intera sua collezione nel 1990 le sarà ispirata e dedicata e altre ne seguiranno.

Di Veronica Sammarini

Illustration by Isabella Terruso

What happens when the world of dance meets the spheres of art, fashion and cinema ? …

A column, space of reflection about points of contact and blending, moments of knocking down and limits of borders useful to overcome worlds. From theatres to galleries, from the stage to the big screen, passing through the runways, we want to push ourselves on a journey made of suggestions, stimulations and discoveries. Choreographers, dancers and theatrical companies will lead us on tipoe, on frail bordelines, in constant dialogue with fashion, that confirms itself as an exemplary bridge crossing genres.

“Silence, beautiful voice” states an Alfred Tennyson’s line, and there was deep beauty within the voice evoked in the silence of the steps and the signs devoid of words from an Artist recently dead, whose loss the Word of the Dance is still suffering. The course of Pina Bausch, founder in 1973 of the Tanztheater Wuppertal and today universally regarded as one of the most influential choreographers in the world, crosses the universe of fashion in 1998, when, on the occasion of the 25° anniversary of the Company, the dancers appeared on stage wearing creations that the cheered Japanese Fashion Designer Yohji Yamamoto had designed for that event. Moreover Yamamoto joined them on stage, offering himself in a karate performance. Pina becomes a muse to Yamamoto, to the point that he will consecrate his whole 1990 collection to her, and others will follow.

Transalation by Silvia Scorcella

4

Neverending Alexander Mcqueen

Di Veronika Aguglia

Prossemica come prossimità all’altro e spazio di distanze possibili all’interno di una comunicazione sia verbale che visiva.

SPAZIO-FRUIZIONE. Spazio dedicato, nel senso di riferito al soggetto che guarda, (e solo per il momento ci accontentiamo del senso della vista), qualcosa.

SPAZIO-PERCEZIONE. Spazio post-stimolazione sensoria della vista. Il frangente subito dopo ma non ancora, in cui il cervello sta per elaborare lo stimolo. In questo spazio, ibrido, tra senso puro e intelletto, penso che sarebbe bello sostare.

Entrambe le sollecitudini mi servono per introdurre il lavoro di Alexander McQueen (69-2010), stilista britannico di indiscussa eccellenza scomparso lo scorso anno, a  cui di recente il Costume Istitute at the Metropolitan Museum of Art di N.Y.C, dedica una retrospettiva Savage Beauty davvero degna di nota e  stupore. 

Lo  spazio di McQueen è romantico e definisce una fruizione estetica dalle mille sfaccettature. In pratica un nuovo spazio da cui osservare, accessoriato di meraviglia e mistero. Lo stilista sostiene e conferma quella nevrosi tipica della moda che attrae e respinge se stessa attraverso corpi appendici di una bellezza che seduce e strugge. (…)

 

Neverending Alexander Mcqueen

 

by Veronika Aguglia

Proxemics. as proximity to other persons and as space of possible distances in a verbal and visual communication.

SPACE-FRUITION. Space dedicated, related to the subject that look (for the moment, at the sense of life) at something.

SPACE-PERCEPTION. Sensational post-stimulation of sight. The moment where the brain is going to elaborate the stimulus. In this space, hybrid, between pure sense and intellect, I think it should be wonderful to stay in.

I need both definitions to introduce the work of Alexander McQueen (1969-2010), the excellent British stylist disappeared last year, to whom recently the Costume Institute at the Metropolitan Museum of Art of N.Y.C dedicates a wonderful exhibition: Savage Beauty.

McQueen space is romantic and defines a multifaceted aesthetic fruition. A new space to be visited rich in wonder and mystery. The stylist asserts and confirms that typical fashion neurosis, which attracts and rejects itself by appendix bodies of a seductive and destructive beauty. (…)

 

4

In attesa della versione integrale numero 00 di FocalizeMag, una preview con qualche accenno pop up ai nostri contenuti su di Con-fine international art magazine n. 25.

 Buone Visioni e a  prestissimo


  Looking Forward to leaf through the unabridged version of FocalizeMag #00, here’s a preview with some pop up hints to our contents, inside Con-fine international art magazine #25.


Enjoy and stay tuned …