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October 20, 2013 Leave a comment
What’s in a name? A lot, when it’s the name of a vineyard. And when that vineyard is arguably the most historic in Barolo—Cannubi—there’s money, history and local pride at stake.
Italy’s Council of State has ruled that wines made from four vineyards neighboring Cannubi can be labeled Cannubi. The decision effectively enlarges Cannubi from 37 acres of vines to 84. The ruling has angered 11 producers who own parcels in the 37 acres and have been fighting to maintain the previous boundaries. But it’s a victory for one of Barolo’s larger and most historic wineries, Marchesi di Barolo.
“We are very surprised and saddened by the decision of the Council of State,” said Marta Rinaldi, whose family winery Giuseppe Rinaldi owns a parcel. “It is a clear choice in favor of the commercial needs of the company Marchesi di Barolo.”
No one is arguing about the historic value of the name Cannubi. The oldest record of it appearing on a wine label was 1752, before winemakers even began putting Barolo on labels. Located on a southeast-facing ridge just north of the village of Barolo, it captures morning sunshine, and Nebbiolo planted on it ripens even in challenging years. For centuries, Cannubi has been a signifier of quality, which is why wineries often wrote it on their labels even if the fruit came from the other vineyards on the ridge—Muscatel, Valletta, San Lorenzo and Boschis.
In 1995, as the appellation was delineating official vineyard boundaries, the commune of Barolo defined Cannubi as 37 acres on the heart of the ridge. But it also recommended that wines from the four neighbors, which have slightly different exposures and soils, be allowed to include Cannubi—Cannubi-Muscatel, etc. But in 2009, Ernesto Abbona, president of Marchesi di Barolo, challenged this rule, arguing that his winery and others had historically used grapes from the other vineyards in their Cannubi. Marchesi di Barolo had owned a large portion of Cannubi, but in 2008, a split among the owners led the group that held the vineyard to lease it to another winery. When the official vineyard boundaries were finally released in 2010, Cannubi had grown to 84 acres.
Eleven producers appealed, and a regional tribunal agreed with them, overturning the act. But on Oct. 3, Abbona won his appeal to the state council in Rome. “This ruling does justice to the work led by my family, which for decades has grown grapes and made Barolo produced from estate vineyards in Cannubi and was the architect of the promotion of this extraordinary hill,” Abbona told Italian media.
It’s unclear what further action other wineries can take. “All these producers who are upset, I understand,” said Giacomo Conterno, whose winery Poderi Aldo Conterno produces its own single-vineyard wines in nearby Bussia. “They have had generations on this land. To change and suddenly say all these differences no longer exist, there is one Cannubi, maybe it’s easier for marketing. But more than a century ago, they put these different names because people already understood the soil was similar but with plenty of little differences.”
“I think the customers lost,” said Luca Currado, of the Vietti winery and a member of the leadership committee of the regional consorzio, “because there are now Cannubi wines and secondary Cannubi wines, and now the customers will not be able to judge from the labels.”
June 27, 2013 Leave a comment
The boundary between reality and the dream is represented by favolismo Luana Celli, a researcher in atmospheres unknown, magical and improbable, as if they were taken directly from the world of ideas and would return to the surface to make us dream with open eyes.
Its implementation methods are high and show a depth of soul like no other.
The chromatic harmony affiliated technical ability in getting the form, gives the artist a skill and a unique expertise.
In other words, the objective fact transposes into something else, in another place at the boundary between the fairytale and fable, between the dreamlike and ghostly.
Elements that must surely stimulate it to go on, so give us dreams.
(REVIEW OF THE ART CRITIC: DR. ANDREA D. TARICCO)
Art is like a sky where each star has its place.
The stars are many, but when we look at some appear more vivid, more like our mood, our expectations.
Luana Celli creates shapes and creatures, through a dialogue that never stops, between the hand that performs the stretch and his inner strength is enhanced by the fusion of many feelings and emotions to be redesigned, but only apparently conflicting authentic.
The painting of Luana Celli, can not be cataloged, placed in a school of thought and even his style can be compared to that of other artists.
His way of painting is original and does not follow mathematical rules but derives from his interior and the ability to trace, with emotional simplicity, every trait that, if by magic comes alive, takes shape and speak to the viewer to see.
Luana Celli love beauty and impresses on his canvases with the genuine force of the Arts who lives actively, with the mind and the heart.
(CRITICAL REVIEW OF DR. PIERO BRUNI)
Luana Celli lived and worked for years near Rome. He attended the Academy of Fine Arts in Rome and was a student of Maestro Giulio Turcato. He has participated in important exhibitions Italian gaining more success with critics and audiences. Winner of numerous awards, exhibited in the famous historical exhibition “ONE HUNDRED ARTISTS VIA MARGUTTA.”
June 19, 2013 Leave a comment
The work of Elena Rudatis is conspirative. Its packed solid and wondrous.
Carefully layed down on the back side of bed-time stories, her painting oscillates between a bursting/burning essence and a sincere multiform fragrant surface.
Its a an insulated way of painting, from which emerge with power archipelagos of senses and desires. An irregular geography of bodies with strong outlines: black marks that melt the figures into each other, while in some way, erode them by crunching off nibbles of their flesh.
Here we go then; hands and glances spread out on the canvases, fluvial limbs that the spectator can be quenched with, or can moor in, or even drawn in it.
Above all, the pleasure of the vision is coagulated in the rhythm that wraps up the dances of bodies, in the score made of dense, obstinate colours, at times also suffered, opened to the laceration and to the contrast.
Sometimes the images set off, sailing among squinted daydreams, always on the verge of insistently asking to heal the faraway oceans.
Other times the brushes roll down the canvas, mixing ucise dispersed.
In its viscous and magma wise flowing, the expressiveness of the Turinese painter sets up brooks of writing, pruning and inserting syllables and lacerts of poetry in the wefts of the drawing as a literary blossoming that decorate with arabesques the bear contact among the figures.
The title it is therefore, finally, within the picture: a silver moon shiver that waves on the surface. It is at last necessary to come down to the bottom of the pupil where the colour get drunk of oxygen and the pose cannot be other then clumsy, oblique, lateral.
Its a translucent operation mixing up the sensitive totality of the bodies with the immediacy of the narration.
It is at the end necessary to dive down to the bottom of the taste-pore, courting the milky flavour of slightly curled profiles of bodies, the dense energy of lips, glances stretched out into unknown threads.