Texts

2015

Unbearable lightness

Alessandra Redaelli

The first time I saw the works of Annalù first-hand, I found myself in an aquatic environment. The suffused lights multiplied on the liquid surface, trembling slightly, and the tiny tiles on the bottom of the pool reflected the dance – a slow, only just perceptible dance – of those soft and fluctuating silhouettes. It was the Meduse [Jellyfish] period.

2014

Annalù

Martina Cavallarin

Some artists use codices moving toward a more poetic temperature; other artists’ paths choose a more surgical climate; yet others live of dissonances, to be measured and calibrated inside a harmony changing its stress from one behavior to the other. The task is being put to test through works exploring different materials, and based on a geometric grid extending from the horizontal to the vertical, by continuous intercessions. Annalù is constantly dedicated to those intercessions…

2014

Turning over a new leaf

Luigi Mauta

It would be worthwhile to read those alphabetical impressions, silent words turning an ancient, close-gated temple into one of the most powerful liberating tools. Between man and book, two solitary universes, a slow gradual rebirth is happening, a new life donated by Annalù to ounces of paper, to ink, to glue. Trembling hands turn the pages: an unexpected wave pours down, so deep one can plunge into it.

2013/2014

Legendary Nature

Carolina Lio

When Robert Smithson created the Spiral Jetty at the Great Salt Lake in Utah, United States, is the 1970 and artists begin to deal with the problem of integrating the environment into their work. Is born the Land Art, that may be defined as an art that works with nature and adjusts itself accordingly to her because it uses only elements already existing in the world. A little as it happens in the Arte Povera, but with a more collaborative form of conceiving the relationship between the work and the environment.

2013

Omnis ars imitatio naturae est

Stefano Gagliardi

The artistic project of Annalù is outside from all the canons of today’s proposal, she adopts a sculptural practice with innovative materials and topical-use. There are, however, still some artists who, with great desire and volition, try different and unexplored way and, through deepening cultural studies, make vital and dynamic the Art; Artists who engage with determination because their creativity can still surprise and amaze: one of these is Annalù.

2011

Le Voyage imaginaire

Ivan Quaroni

To define the relationship between art and nature is a secular task, based on mainly imitative models. But art can observe nature in many ways. The easiest and most immediate is through morphologic transcriptions and optical verisimilitude, like a painting that faithfully copies a landscape or various details of life. Another way, more perspectival, is that in which imitation pertains to manner, more than form, or rather to rules and structures which control its ordering. Alchemy, as a discipline, belongs to this kind of imitatio.

2011

Alchemy is lightness

Daniela Del Moro

In the last text written for Annalù, now three years ago, I closed leaving the artists who like you have the rare gift of “lightness” (Calvinian), the task and the duty to help us “fly an Angel”, or an attempt evolutionary so that art returns to the sense of history, to the healthy education of Beauty, to the sensitive and rediscovery of “silences”.

2010

Images of myth reverie water

Alessandro Riva

In 1988, the journal Nature published an article that caused a sensation. This article, signed by the French immunologist Jacques Benveniste, supported a very eculiar and extremely meaningful theory – which would later give rise to deep divergences, accusations, counter-accusations and denials in the international scientific community. This theory became known as the discovery of “water memory”.

2008

On the winged steps of Hermes

Igor Zanti

The figure of Hermes, from a mythological and philosophical point of view, is very complex and hides many hidden meanings. Traditionally, the simple role of messenger of the gods is attributed to this divinity, generated by the secret and nocturnal embraces of Zeus and the nymph Maia. A more in-depth research reveals, however, that this role of divine herald is only a part of what Hermes has described in the ancient world in general, and in the classical Greek one in particular. Hermes was the protector of the crossroads, where the herm with his effigy and the erect genital organ were placed to protect travelers and travelers, he also watched over the souls…

2008

… An indefinite elsewhere

Daniela Del Moro

Removal and nostalgia are human conditions par excellence. And on this mental mechanism many have been, in the last twenty years or so, the strategies of art, of that art that relieves from life without relieving from living. For example, analyzing the concept of memory, many aesthetic researches have had the thread of memory as the main theme: memory – and I don’t remember (much more personal and intimate) – sometimes exercised to exorcise the profound and tragic loss of itself, but also memory as conservation and preservation of past knowledge and experience.

2007

Portrait of a relaxed artist

Paolo Donini

You blow
in your blade of grass, you don’t have
that this.
Are
under the olive tree of the day, lying,
you do not do any thing
to be nothing.


Yet I flew
but I liked the flight
the planar, that being me too
driven by nothing
who kept me to himself,
because, you see – you say –
the wind sways
everything and believe
to live.

2015

Unbearable lightness

Alessandra Redaelli

The first time I saw the works of Annalù first-hand, I found myself in an aquatic environment. The suffused lights multiplied on the liquid surface, trembling slightly, and the tiny tiles on the bottom of the pool reflected the dance – a slow, only just perceptible dance – of those soft and fluctuating silhouettes. It was the Meduse [Jellyfish] period.

2014

Annalù

Martina Cavallarin

Some artists use codices moving toward a more poetic temperature; other artists’ paths choose a more surgical climate; yet others live of dissonances, to be measured and calibrated inside a harmony changing its stress from one behavior to the other. The task is being put to test through works exploring different materials, and based on a geometric grid extending from the horizontal to the vertical, by continuous intercessions. Annalù is constantly dedicated to those intercessions…

2014

Turning over a new leaf

Luigi Mauta

It would be worthwhile to read those alphabetical impressions, silent words turning an ancient, close-gated temple into one of the most powerful liberating tools. Between man and book, two solitary universes, a slow gradual rebirth is happening, a new life donated by Annalù to ounces of paper, to ink, to glue. Trembling hands turn the pages: an unexpected wave pours down, so deep one can plunge into it.

2013/2014

Legendary Nature

Carolina Lio

When Robert Smithson created the Spiral Jetty at the Great Salt Lake in Utah, United States, is the 1970 and artists begin to deal with the problem of integrating the environment into their work. Is born the Land Art, that may be defined as an art that works with nature and adjusts itself accordingly to her because it uses only elements already existing in the world. A little as it happens in the Arte Povera, but with a more collaborative form of conceiving the relationship between the work and the environment.

2013

Omnis ars imitatio naturae est

Stefano Gagliardi

The artistic project of Annalù is outside from all the canons of today’s proposal, she adopts a sculptural practice with innovative materials and topical-use. There are, however, still some artists who, with great desire and volition, try different and unexplored way and, through deepening cultural studies, make vital and dynamic the Art; Artists who engage with determination because their creativity can still surprise and amaze: one of these is Annalù.

2011

Le Voyage imaginaire

Ivan Quaroni

To define the relationship between art and nature is a secular task, based on mainly imitative models. But art can observe nature in many ways. The easiest and most immediate is through morphologic transcriptions and optical verisimilitude, like a painting that faithfully copies a landscape or various details of life. Another way, more perspectival, is that in which imitation pertains to manner, more than form, or rather to rules and structures which control its ordering. Alchemy, as a discipline, belongs to this kind of imitatio.

2011

Alchemy is lightness

Daniela Del Moro

In the last text written for Annalù, now three years ago, I closed leaving the artists who like you have the rare gift of “lightness” (Calvinian), the task and the duty to help us “fly an Angel”, or an attempt evolutionary so that art returns to the sense of history, to the healthy education of Beauty, to the sensitive and rediscovery of “silences”.

2010

Images of myth reverie water

Alessandro Riva

In 1988, the journal Nature published an article that caused a sensation. This article, signed by the French immunologist Jacques Benveniste, supported a very eculiar and extremely meaningful theory – which would later give rise to deep divergences, accusations, counter-accusations and denials in the international scientific community. This theory became known as the discovery of “water memory”.

2008

On the winged steps of Hermes

Igor Zanti

The figure of Hermes, from a mythological and philosophical point of view, is very complex and hides many hidden meanings. Traditionally, the simple role of messenger of the gods is attributed to this divinity, generated by the secret and nocturnal embraces of Zeus and the nymph Maia. A more in-depth research reveals, however, that this role of divine herald is only a part of what Hermes has described in the ancient world in general, and in the classical Greek one in particular. Hermes was the protector of the crossroads, where the herm with his effigy and the erect genital organ were placed to protect travelers and travelers, he also watched over the souls…

2008

… An indefinite elsewhere

Daniela Del Moro

Removal and nostalgia are human conditions par excellence. And on this mental mechanism many have been, in the last twenty years or so, the strategies of art, of that art that relieves from life without relieving from living. For example, analyzing the concept of memory, many aesthetic researches have had the thread of memory as the main theme: memory – and I don’t remember (much more personal and intimate) – sometimes exercised to exorcise the profound and tragic loss of itself, but also memory as conservation and preservation of past knowledge and experience.

2007

Portrait of a relaxed artist

Paolo Donini

You blow
in your blade of grass, you don’t have
that this.
Are
under the olive tree of the day, lying,
you do not do any thing
to be nothing.


Yet I flew
but I liked the flight
the planar, that being me too
driven by nothing
who kept me to himself,
because, you see – you say –
the wind sways
everything and believe
to live.

Publications

Premio Arte Laguna interview 2019

EspoArte – Quelle strane alchimie 2017

ArtVibes – Crisalide della Materia 2016

The Parallel Vision 2016

Colossal 2016

Premio Zaha Hadid interview 2016

Naples FL 2016

Sofa interview 2014

Inside Art 2010

FlashArt 2010

Juliet142 – April/May 2009

Gentleman 2009

Casa99idee Capodopera 2009

Abcveneto interview 2008

FlashArt270 – June/July 2008

Nord Est Europa – October 2008

Pagine Bianche 2006-2007

Artetemperature interview

Io come Artista

Annalù/Flavia lanza interview