Brian Eno, after Bowie and U2, puts music in the Baroque Juvarra

Brian Eno is working with a sound track in the tunnel Juvarra Venaria, north of Turin. The installation will be completed by July 7 at the opening of HOP.E., two weeks of workshops and initiatives for young artists.

The Venaria Royal Savoy is one of the largest residences in Piedmont. Probably the largest in size, was designed and built in a few years (1658 – 1679) by architect Amedeo di Castellamonte. A commissionarla was the Duke Carlo Emanuele II, who wanted to make the base for hunting in the heather hills of Turin, the same name in Latin of the palace, Venatio Director, is derived from the art of hunting.

The set of buildings that make up the complex, enormous if you consider the extension (80,000 m²), including the park and the historic village of Venaria, constructed so as to form a sort of collar that directly recalls the Annunciation, symbol of the house of Savoy. The village can be joined many houses and buildings of workers and ordinary citizens who wanted to live near the palace, until it becomes Venaria a separate municipality in the province of Turin.

In 1972 he began the adventure of Brian Peter George St. John le Baptiste de la Salle Eno, which is now divided into over fifty albums as a solo artist or in collaboration with others. Some have marked the history of music, such as Another Green World, Before and After Science, Music For Airports, but as a producer that Eno has revolutionized the world of rock music, working with David Bowie, Devo, Talking Heads, U2. With them has become an intellectual million copies: just turned 64 years old, signing still interesting albums (the last, Drums Between the Bells, came out last year), but most part, takes a position, he theorizes. Brian Eno says, “I am still very interested in the idea of a music that is born alone, once a given set of conditions. The composition has a life of its own, so maybe for a while nothing happens then suddenly everything changes. ”

Now he calls “generative music”, but already in 1975 on the back of Discreet Music wrote of “systems that adjust individually and can create entire songs with little or no human intervention.” The same principle is found in the iPhone app: eTrope Bloom (“It is going to arrivarne another,” announces) produce ambient music is always different, but always equally persuasive, reacting to the touch of fingers on the screen. It’s the end of the ego? “I do not know, I establish the rules, but then I do not know the end result, sometimes surprises even me.” The artist of the future for Eno is also a programmer: “In my app the computer code is as important as the sounds.” But technology is not transparent and the medium affects the message, so the music that comes from a PC will not be the same that you can write with a guitar. Eno, a pioneer of the music machines, began with a reel to reel tape recorders and synthesizers, now uses a Mac

Opera per l’Ara pacis Mimmo Paladino Brian Eno

Brian Eno has already numerous collaborations with artists or art, remember the event designed for site-specific spaces of the Museum of Ara Pacis. In 2008 the exhibition / event “Brian Eno | Mimmo Paladino. Opera for the Ara Pacis, “was the occasion for two undisputed protagonists of contemporary culture, to find themselves working together after almost 10 years since their first joint project of the Round House in London in 1999.

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Maurizio Cattelan and his Idea

Wall Street’s charging-bull statue is the very epitome of financial strength. Outside the stock exchange in Italy’s financial capital is an equally unambiguous symbol: a giant marble middle finger.

The sculpture at the Milan bourse

The 36-foot white sculpture is a hand without fingers except that vulgar one, pointing away from Milan’s stock market.

Maurizio Cattelan, the most famous contemporary italian artist, donated it to the city in 2011.

“Some people have a sense of irony, and some do not,” Mr. Cattelan said in an interview. Among those who enjoy a good chuckle, Mr. Cattelan says, are his patrons, who are some of European capitalism’s biggest figures.

The idea of Cattelan was create a statue that would play on—but transform—Italy’s Fascist hand salute from the 1930s. By cutting off the fingers and mutilating the hand, he says he was criticizing the totalitarianism that ravaged Europe in the last century.

L.O.V.E. is the name, Free (Libertà in italian language) Hate (Odio in italian language) Vendetta Eternity. A great declaration of love for ART.

Milan’s business community was immediately up in arms, but the hand with his finger is still there, impressive and full of meaning.

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Maurizio Cattelan e la sua idea

La statua del Toro in carica, a Wall Street, è il simbolo della solidità finanziaria. Fuori dal palazzo della borsa, nella capitale finanziaria d’Italia, c’è un simbolo altrettanto inequivocabile: un gigante dito medio in marmo.

La scultura alla borsa di Milano

La scultura bianca di 36 piedi è una mano senza dita, escluso il dito medio, in direzione opposta del mercato azionario di Milano.

Maurizio Cattelan, il più famoso artista contemporaneo italiano, la donò alla città nel 2011.

“Alcune persone hanno un senso di ironia, e altri no”, ha detto Cattelan in un’intervista. Tra coloro che godono di una bella risata, dice Cattelan, sono i suoi committenti, che sono alcuni delle più grandi figure del capitalismo europeo.

L’idea di Cattelan è stata di creare una statua che avrebbe giocato sulla trasformazione della mano in saluto fascista (dal 1930), con il taglio delle dita. In questo modo la mano viene trasformata in un saluto al nuovo totalitarismo rappresentato in quella piazza dal Palazzo Mezzanotte, sede della Borsa Italiana.

L.O.V.E. è il nome, Free (Libertà in lingua italiana) Hate (Odio in lingua italiana)Eternity Vendetta. Una grande dichiarazione di amore per l’arte.

La comunità degli affari di Milano fu subito in armi, ma la mano con il dito è ancora lì, imponente e piena di significato.

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ART Exhibitions in ITALY

Here is a guide to some of Italy’s art exhibitions:

COMO – Villa Olmo: The Brueghel Dynasty; until July 29.FLORENCE – Uffizi: ‘La Galleria degli arazzi. Epifanie di tessuti preziosi’; 17 prestigious tapestries not seen since 1987; until June 3.

FORLI’ – Musei di San Domenico: Adolfo Wildt, Soul and Forms Between Michelangelo and Klimt; until June 17.

GENOVA – Palazzo Ducale: Van Gogh and Gauguin’s Journey; American and European masterpieces spanning two centuries, with works by Van Gogh (over 40), Gauguin and various American artists such as Edward Hopper, Andrew Wyeth, Mark Rothko, Richard Diebenkorn and Caspar David Friedrich; until April 15.

MANTOVA – Museo Diocesano: Vincenzo Gonzaga (1562-1612), the Splendour of Power; until June 10.

MILANO – Palazzo Reale: Titian and the Birth of Modern Landscape Painting; some 50 works; until May 20.

– Spazio Oberdan: Gustav Klimt; life-sized reproduction of Beethoven’s Frieze, accompanied by notes of Beethoven’s Ninth Symphony, as well as 15 original drawings related to the famous fresco hosted at the Secession Palace in Vienna; until May 6.

RAVENNA – MAR: Misery and Splendour of the Flesh, Caravaggio, Courbet, Giacometti, Bacon; Testori and great European painting: more than 100 works celebrated by art historian and playwright Giovanni Testori (1923-93); until March 31.

REGGIO EMILIA – Palazzo Magnani: Charms of Faraway Lands: Hayez, Fontanesi and Italian Painting in the 19th and 20th Centuries; until April 29.

RIMINI – Castel Sismondo: From Vermeer to Kandinsky, until June 3.

ROMA – Chiostro del Bramante: Joan Miro! Poetry and Light; 80 works, until June 10.

– Complesso Vittoriano: Dali’, An Artist, A Genius; 150 works, till July 1.

– Musei Capitolini: ‘Lux in Arcana’ – The Vatican Secret Archive Reveals Itself; 100 original documents, preserved for 400 years in the popes’ Archive, leave the confines of the Vatican City walls for the first time: conclaves, heresies, popes and emperors, Crusades, excommunications, ciphered letters, manuscripts, codices, ancient parchments; till September 2012.

– Scuderie del Qurinale: Tintoretto, 50 works; until June 10.

– Palazzo delle Esposizioni: The Guggenheim Collection: The American Avant-Garde 1945-1980; 60 works from the Abstract Expressionism of Pollock, Rothko and Gorky to the Pop Art of Rauschenberg, Andy Warhol and Roy Liechtenstein and the Minimalism of Dan Flavin and Richard Serra; until May 6.

– Palazzo Incontro: Henri Cartier-Bresson, 44 photographs; until May 6.

– Palazzo Barberini: ‘Guercino 1591-1666, Masterpieces from Cento (his home town) and Rome’, 36 works; until April 29.

– Borghese Gallery: 65 mostly Roman marble works looted by Napoleon back from Louvre, including Borghese Vase, the Sleeping Hermaphrodite (as restored by a young Bernini), Cranach’s Three Graces and the Centaur Ridden by Love; until April 9.

ROVERETO – MART: Alice In Wonderland; exploration of fantasy author Lewis Carroll’s influence on visual arts; until June 3.

ROVIGO – Palazzo Roverella: Divisionism; until June 24.

VENICE – Museo Correr: Gustav Klimt in the Sign of Hoffmann and the Secession; until July 18.

– Punto della Dogana, Francois Pinault Foundation: ‘Praise of Doubt’, 60 works by 20 contemporary giants including Maurizio Cattelan, Jeff Koons, Jeff Bauman, Adel Abdessemed, Marcel Broodthaers, Dan Flavin, Thomas Schutte and Charles Ray; until December 31.

VERONA – Palazzo della Gran Guardia: Great Veronese 18th-century painting; 150 works including Tiepolo, Bellotto, Rotari, Cignaroli; until April 9.