{"id":5976,"date":"2020-05-14T12:31:53","date_gmt":"2020-05-14T12:31:53","guid":{"rendered":"https:\/\/www.annalu.it\/texts-2\/"},"modified":"2024-06-05T12:35:59","modified_gmt":"2024-06-05T12:35:59","slug":"texts","status":"publish","type":"page","link":"https:\/\/www.annalu.it\/en\/texts\/","title":{"rendered":"Texts"},"content":{"rendered":"
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Publications<\/h2>\n[\/vc_column_text][\/vc_column][vc_column width=”5\/6″ offset=”vc_col-sm-offset-1″][vc_row_inner gap=”35″][vc_column_inner width=”1\/4″][vc_single_image image=”15473″ img_size=”large”][vc_column_text]\n

Singapore Mag1861 Interview 2024<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:https%3A%2F%2Fwww.mag1861.it%2Fit%2Fnews%2Farticolo%2Fmostra_annalu_singapore-25499855|target:_blank”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”10484″ img_size=”large”][vc_column_text]\n

Arte Realizzata Interview 2021<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:https%3A%2F%2Fwww.arterealizzata.com%2Finterviews%2Feelhel56o51e1yhes9pzwn6l92ehvc|target:_blank”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6779″ img_size=”large”][vc_column_text]\n

EspoArte – Quelle strane alchimie 2017<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:https%3A%2F%2Fwww.espoarte.net%2Farte%2Fannalu-quelle-strane-alchimie%2F|target:_blank”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6785″ img_size=”large”][vc_column_text]\n

ArtVibes – Crisalide della Materia 2016<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.art-vibes.com%2Fart%2Fannalu-annaluigia-boeretto-crisalide-della-materia%2F||target:%20_blank|”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″][vc_column_inner width=”1\/4″][vc_single_image image=”6774″ img_size=”large”][vc_column_text]\n

The Parallel Vision 2016<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:https%3A%2F%2Ftheparallelvision.com%2F2016%2F10%2F10%2Fun-lungo-sogno-fatto-di-vetro-resina-e-inchiostro-ecco-larte-di-annalu%2F||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6772″ img_size=”large”][vc_column_text]\n

Colossal 2016<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:https%3A%2F%2Fwww.thisiscolossal.com%2F2016%2F09%2Fartist-annalu-boerettos-explosive-liquid-sculptures-cast-in-resin-glass%2F||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6770″ img_size=”large”][vc_column_text]\n

Premio Zaha Hadid interview 2016<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:https%3A%2F%2Fartslife.com%2F2016%2F10%2F31%2Fpremio-zaha-hadid-per-annalu-boeretto-intervista%2F||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6768″ img_size=”large”][vc_column_text]\n

Naples FL 2016<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2Farticolo_NaplesFL_Gen2016.pdf||target:%20_blank|”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″][vc_column_inner width=”1\/4″][vc_single_image image=”1367″ img_size=”large”][vc_column_text]\n

Sofa interview 2014<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2Fintervista_sofa_Febbraio2014.pdf||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6760″ img_size=”large”][vc_column_text]\n

Inside Art 2010<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2FRecensione_InsideArt_Annalu.pdf||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6757″ img_size=”large”][vc_column_text]\n

FlashArt 2010<\/h4>\n[\/vc_column_text][vc_btn style=”btn-outline-primary” size=”sm” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2FFlash-Art2010_web.jpg|target:_blank”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6783″ img_size=”large”][vc_column_text]\n

Juliet142 – April\/May 2009<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2FJuliet142aprile-maggio09.jpg||target:%20_blank|”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″][vc_column_inner width=”1\/4″][vc_single_image image=”661″ img_size=”large”][vc_column_text]\n

Gentleman 2009<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2FGentleman27-02-09.jpg||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6743″ img_size=”large”][vc_column_text]\n

Casa99idee Capodopera 2009<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2Fcasa99idee_capodopera2009.jpg||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6739″ img_size=”large”][vc_column_text]\n

Abcveneto interview 2008<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2FAnnalu%CC%80-Intervista-abcveneto.doc.pdf||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6732″ img_size=”large”][vc_column_text]\n

FlashArt270 – June\/July 2008<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2Fflash_art270_giugno-luglio08.jpg||target:%20_blank|”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″][vc_column_inner width=”1\/4″][vc_single_image image=”661″ img_size=”large”][vc_column_text]\n

Nord Est Europa – October 2008<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2Fnor_est_europa_ottobre08.jpg||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”853″ img_size=”large”][vc_column_text]\n

Pagine Bianche 2006-2007<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2Fpagine_bianche2006_2007.jpg||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6726″ img_size=”large”][vc_column_text]\n

Io come Artista<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2FIO_COME_artista.pdf||target:%20_blank|”][\/vc_column_inner][vc_column_inner width=”1\/4″][vc_single_image image=”6797″ img_size=”full”][vc_column_text]\n

Annal\u00f9\/Flavia lanza interview<\/h4>\n[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” align=”center” link=”url:http%3A%2F%2Fwww.annalu.it%2Fwp-content%2Fuploads%2F2020%2F07%2FIntervista-Annalu%CC%80_Flavia-lanza.pdf||target:%20_blank|”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row content_placement=”middle” css=”.vc_custom_1592216731667{padding-top: 5rem !important;background-color: #f5f5f5 !important;}”][vc_column][vc_column_text]\n

Texts<\/h2>\n[\/vc_column_text][\/vc_column][vc_column width=”5\/6″ offset=”vc_col-sm-offset-1 vc_hidden-sm vc_hidden-xs”][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_text_separator title=”2024″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ css=”” accent_color=”#b89d4f”][vc_column_text css=””]\n

Blooming<\/h2>\n[\/vc_column_text][vc_column_text css=””]\n

Jazz Chong<\/h4>\n[\/vc_column_text][vc_column_text css=””]We are thrilled to welcome you to a momentous occasion \u2013 the first solo exhibition of the incredibly talented Italian artist, Annalu, in our gallery. The exhibition, aptly titled \u201cBlooming,\u201d promises to be a captivating journey into the unique and dimensional world of this remarkable artist.[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” css=”” add_icon=”true” link=”url:https%3A%2F%2Fwww.annalu.it%2Fen%2Fblooming-critica%2F|title:ANNAL%C3%99″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”15785″ img_size=”full” style=”xtd-shadow–normal-normal” css=””][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″][vc_column_inner width=”1\/2″][vc_single_image image=”14289″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2022″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Alchemica<\/h2>\n[\/vc_column_text][vc_column_text]\n

Angelo Crespi<\/h4>\n[\/vc_column_text][vc_column_text]First of all there’s the question of the circle, or rather the disc which is the form with which Annal\u00f9 often expresses herself. A question still little analysed in previous critiques and which is worth expressing, at least regarding her outlines, since it is unusual for an artist to prefer a disc to a square, so much so that in Italian by definition we call canvases of different shapes “quadri” (“quadro” is also the word for square), maintaining the archetype of the painted-picture-window.[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:https%3A%2F%2Fwww.annalu.it%2Fen%2Falchemica-2%2F|title:Unbearable%20lightness”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_text_separator title=”2022″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Onirica<\/h2>\n[\/vc_column_text][vc_column_text]\n

Alessandra Redaelli<\/h4>\n[\/vc_column_text][vc_column_text]When faced with Annal\u00f9\u2019s works, one first experiences a sensation of synaesthesia. What one perceives as matter captures the gaze very much like pouring rain \u2013 a soft sound that is also absolute and inevitable. A breaking of waves in front of the tsunami rising at the centre of her Dreamcatchers, or an intense rustle, like a murmuring of fairies, as we fix our gaze on the restless foliage of her windswept trees. This rustle intensifies the moment we realize that those leaves are wings, and that in an instant everything is going to take flight.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:https%3A%2F%2Fwww.annalu.it%2Fen%2Fonirica%2F|title:ANNAL%C3%99″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12222″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″][vc_column_inner width=”1\/2″][vc_single_image image=”652″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2015″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Unbearable lightness<\/h2>\n[\/vc_column_text][vc_column_text]\n

Alessandra Redaelli<\/h4>\n[\/vc_column_text][vc_column_text]The first time I saw the works of Annal\u00f9 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 \u2013 a slow, only just perceptible dance \u2013 of those soft and fluctuating silhouettes. It was the <\/span>Meduse <\/span><\/i>[Jellyfish]<\/span> period.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Funbearable-lightness%2F|title:Unbearable%20lightness||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_text_separator title=”2014″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Annal\u00f9<\/h2>\n[\/vc_column_text][vc_column_text]\n

Martina Cavallarin<\/h4>\n[\/vc_column_text][vc_column_text]Some artists use codices moving toward a more poetic temperature; other artists\u2019 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. Annal\u00f9 is constantly dedicated to those intercessions…<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fannalu%2F|title:ANNAL%C3%99||”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”649″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”651″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2014″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Turning over a new leaf<\/h2>\n[\/vc_column_text][vc_column_text]\n

Luigi Mauta<\/h4>\n[\/vc_column_text][vc_column_text]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 Annal\u00f9 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<\/span>.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fturning-over-a-new-leaf%2F|title:Turning%20over%20a%20new%20leaf||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_text_separator title=”2013\/2014″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Legendary Nature<\/h2>\n[\/vc_column_text][vc_column_text]\n

Carolina Lio<\/h4>\n[\/vc_column_text][vc_column_text]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.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Flegendary-nature%2F|title:Legendary%20Nature||”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”655″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”656″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2013″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Omnis ars imitatio naturae est<\/h2>\n[\/vc_column_text][vc_column_text]\n

Stefano Gagliardi<\/h4>\n[\/vc_column_text][vc_column_text]The artistic project of Annal\u00f9 is outside from all the canons of today\u2019s 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 Annal\u00f9.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fomnis-ars-imitatio-naturae-est%2F|title:OMNIS%20ARS%20IMITATIO%20NATURAE%20EST||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_text_separator title=”2011″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Le Voyage imaginaire<\/h2>\n[\/vc_column_text][vc_column_text]\n

Ivan Quaroni<\/h4>\n[\/vc_column_text][vc_column_text]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 <\/span>of imitatio.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fle-voyage-imaginaire%2F|title:LE%20VOYAGE%20IMAGINAIRE||”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”657″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”659″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2011″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Alchemy is lightness<\/span><\/h2>\n[\/vc_column_text][vc_column_text]\n

Daniela Del Moro<\/h4>\n[\/vc_column_text][vc_column_text]In the last text written for Annal\u00f9, now three years ago, I closed leaving the artists who like you have the rare gift of \u201clightness\u201d (Calvinian), the task and the duty to help us \u201cfly an Angel\u201d, 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 \u201csilences\u201d.[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Falchemy-is-lightness%2F|title:Alchemy%20is%20lightness||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_text_separator title=”2010″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Images of myth reverie water<\/h2>\n[\/vc_column_text][vc_column_text]\n

Alessandro Riva<\/h4>\n[\/vc_column_text][vc_column_text]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”.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fimages-of-myth-reverie-water%2F|title:Images%20of%20myth%20reverie%20water||”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”660″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”661″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2008″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

On the winged steps of Hermes<\/span><\/h2>\n[\/vc_column_text][vc_column_text]\n

Igor Zanti<\/h4>\n[\/vc_column_text][vc_column_text]The figure of Hermes, from a mythological and philosophical point of view, is very complex and hides many hidden meanings. <\/span>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. <\/span>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. <\/span>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…<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fon-the-winged-steps-of-hermes%2F|title:On%20the%20winged%20steps%20of%20Hermes||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_text_separator title=”2008″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

\u2026 An indefinite elsewhere<\/h2>\n[\/vc_column_text][vc_column_text]\n

Daniela Del Moro<\/h4>\n[\/vc_column_text][vc_column_text]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. <\/span>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.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fan-indefinite-elsewhere%2F|title:An%20indefinite%20elsewhere||”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”664″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”663″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2007″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Portrait of a relaxed artist<\/h2>\n[\/vc_column_text][vc_column_text]\n

Paolo Donini<\/h4>\n[\/vc_column_text][vc_column_text]You blow<\/span>
\n<\/span>in your blade of grass, you don’t have<\/span>
\n<\/span>that this.<\/span>
\n<\/span>Are<\/span>
\n<\/span>under the olive tree of the day, lying,<\/span>
\n<\/span>you do not do any thing<\/span>
\n<\/span>to be nothing.<\/span><\/p>\n


\n<\/span>Yet I flew<\/span>
\n<\/span>but I liked the flight<\/span>
\n<\/span>the planar, that being me too<\/span>
\n<\/span>driven by nothing<\/span>
\n<\/span>who kept me to himself,<\/span>
\n<\/span>because, you see – you say –<\/span>
\n<\/span>the wind sways<\/span>
\n<\/span>everything and believe<\/span>
\n<\/span>to live.<\/span><\/em>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fritratto-di-unartista-distesa%2F|title:RITRATTO%20DI%20UN%E2%80%99ARTISTA%20DISTESA||”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_row_inner gap=”35″][vc_column_inner width=”1\/2″][vc_single_image image=”652″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2015″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Unbearable lightness<\/h2>\n[\/vc_column_text][vc_column_text]\n

Alessandra Redaelli<\/h4>\n[\/vc_column_text][vc_column_text]The first time I saw the works of Annal\u00f9 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 \u2013 a slow, only just perceptible dance \u2013 of those soft and fluctuating silhouettes. It was the <\/span>Meduse <\/span><\/i>[Jellyfish]<\/span> period.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Funbearable-lightness%2F|title:Unbearable%20lightness||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”649″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2014″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Annal\u00f9<\/h2>\n[\/vc_column_text][vc_column_text]\n

Martina Cavallarin<\/h4>\n[\/vc_column_text][vc_column_text]Some artists use codices moving toward a more poetic temperature; other artists\u2019 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. Annal\u00f9 is constantly dedicated to those intercessions…<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fannalu%2F|title:ANNAL%C3%99||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”651″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2014″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Turning over a new leaf<\/h2>\n[\/vc_column_text][vc_column_text]\n

Luigi Mauta<\/h4>\n[\/vc_column_text][vc_column_text]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 Annal\u00f9 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<\/span>.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fturning-over-a-new-leaf%2F|title:Turning%20over%20a%20new%20leaf||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”655″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2013\/2014″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Legendary Nature<\/h2>\n[\/vc_column_text][vc_column_text]\n

Carolina Lio<\/h4>\n[\/vc_column_text][vc_column_text]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.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Flegendary-nature-2%2F|title:Legendary%20Nature||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”656″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2013″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Omnis ars imitatio naturae est<\/h2>\n[\/vc_column_text][vc_column_text]\n

Stefano Gagliardi<\/h4>\n[\/vc_column_text][vc_column_text]The artistic project of Annal\u00f9 is outside from all the canons of today\u2019s 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 Annal\u00f9.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fomnis-ars-imitatio-naturae-est%2F|title:OMNIS%20ARS%20IMITATIO%20NATURAE%20EST||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”657″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2011″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Le Voyage imaginaire<\/h2>\n[\/vc_column_text][vc_column_text]\n

Ivan Quaroni<\/h4>\n[\/vc_column_text][vc_column_text]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 <\/span>of imitatio.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fle-voyage-imaginaire%2F|title:LE%20VOYAGE%20IMAGINAIRE||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”659″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2011″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Alchemy is lightness<\/span><\/h2>\n[\/vc_column_text][vc_column_text]\n

Daniela Del Moro<\/h4>\n[\/vc_column_text][vc_column_text]In the last text written for Annal\u00f9, now three years ago, I closed leaving the artists who like you have the rare gift of \u201clightness\u201d (Calvinian), the task and the duty to help us \u201cfly an Angel\u201d, 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 \u201csilences\u201d.[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Falchemy-is-lightness%2F|title:Alchemy%20is%20lightness||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”660″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2010″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Images of myth reverie water<\/h2>\n[\/vc_column_text][vc_column_text]\n

Alessandro Riva<\/h4>\n[\/vc_column_text][vc_column_text]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”.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fimages-of-myth-reverie-water%2F|title:Images%20of%20myth%20reverie%20water||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”661″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2008″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

On the winged steps of Hermes<\/span><\/h2>\n[\/vc_column_text][vc_column_text]\n

Igor Zanti<\/h4>\n[\/vc_column_text][vc_column_text]The figure of Hermes, from a mythological and philosophical point of view, is very complex and hides many hidden meanings. <\/span>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. <\/span>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. <\/span>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…<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fon-the-winged-steps-of-hermes%2F|title:On%20the%20winged%20steps%20of%20Hermes||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461603315{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”664″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2008″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

\u2026 An indefinite elsewhere<\/h2>\n[\/vc_column_text][vc_column_text]\n

Daniela Del Moro<\/h4>\n[\/vc_column_text][vc_column_text]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. <\/span>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.<\/span>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fan-indefinite-elsewhere%2F|title:An%20indefinite%20elsewhere||”][\/vc_column_inner][\/vc_row_inner][vc_row_inner gap=”35″ css=”.vc_custom_1589461103364{padding-top: 15% !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”663″ img_size=”full” style=”xtd-shadow–normal-normal”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_text_separator title=”2007″ title_align=”separator_align_left” align=”align_left” color=”custom” el_width=”50″ accent_color=”#b89d4f”][vc_column_text]\n

Portrait of a relaxed artist<\/h2>\n[\/vc_column_text][vc_column_text]\n

Paolo Donini<\/h4>\n[\/vc_column_text][vc_column_text]You blow<\/span>
\n<\/span>in your blade of grass, you don’t have<\/span>
\n<\/span>that this.<\/span>
\n<\/span>Are<\/span>
\n<\/span>under the olive tree of the day, lying,<\/span>
\n<\/span>you do not do any thing<\/span>
\n<\/span>to be nothing.<\/span><\/p>\n


\n<\/span>Yet I flew<\/span>
\n<\/span>but I liked the flight<\/span>
\n<\/span>the planar, that being me too<\/span>
\n<\/span>driven by nothing<\/span>
\n<\/span>who kept me to himself,<\/span>
\n<\/span>because, you see – you say –<\/span>
\n<\/span>the wind sways<\/span>
\n<\/span>everything and believe<\/span>
\n<\/span>to live.<\/span><\/em>[\/vc_column_text][vc_btn title=”Learn more” style=”btn-outline-primary” size=”lg” align=”left” i_align=”right” i_icon_fontawesome=”fas fa-long-arrow-alt-right” add_icon=”true” link=”url:http%3A%2F%2Fwww.annalu.it%2Fen%2Fritratto-di-unartista-distesa%2F|title:RITRATTO%20DI%20UN%E2%80%99ARTISTA%20DISTESA||”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

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