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the secret maggio2010 29/04/2010 17:38 Page 1 M SP sheep me nt Pr CIA And if I am your gre Bo rc Andrea Simoncini 20DANGELO06 the secret

maggio2010 29/04/2010 17:38 Page 2 2004 EDITION 26 many years IX Staff Aldo Benedetti Andrea Bertoletti Donatella Bondanini Maurizio Bottoni Brem bati Gabriella Grace Church Franco Sara Colnaghi Gianluca Corona Fontana Angela Govi Emanuele Lazzati Alberto Mari Cristina Muccioli Mariacristina Pleva Robert Plant Graphics Soddu Stefano Massimo Petrini Nicoletta Pellegatta Head of Sergio Dangelo Editors Barbara Frigerio George Lodetti John Serafini Cover Andrea Simoncini - entranced IV Prize Winner of Mouth Movement Secret 2010 Editorial The Secret to The Prize Movement of 2004 was organized by Giorgio Bocca Lodetti in collaboration with Sara Fontana Paola Mazzaglia, Alessandra Colnaghi Delfino and Franco with the dual aim of giving visibility to young artists and the histo ric Library mouth. If you can make sense to show the works of artists, defined a young oxymoron, because the mark 50 years of age to which Odysseus 10, had conq uered Troy, across the Mediterranean, had returned home, clean them with a killi ng from those who threatened his wife, son and property, and broken down beyond the Pillars of Hercules, had disappeared in the ocean, leaving to posterity the myth, or rather the archetype of the modern, less understandable and justified T oday the presence of a library, when it seems not to serve just that, while his most formidable competitors are just publishers, those that libraries should be more to heart, publishers desperate for a sales trend from the third world . Sin ce the sales languish, organize their own alternative channels, bypassing the bo oksellers. Then conquer the Internet that allows buyers to arrange their home an d have them delivered. Remains a sense, that of survival, if the library is hist orical, and cultural heritage of the community and deserves to be preserved. In that case the visibility is vital and promote artistic prize, even if one among many, has its own function. Movement follows the award of six years that I organ

ized in 1998 with George, Luciano Caramel and Laura Horn, now no longer among us , the Arts Award Meeting. In both the high adhesion of artists from all over Ita ly, was a James Lodetti great success for the initiatives that saw the light most passion for promoters for financial contributions, while the quality of participants in two events ver y differently, deserves some consideration. The first, no doubt, that the amount of litigants in this case is much thicker than the previous. Arts Meeting was w on by an artist of 29 years, Augustine Arrivabene highly talented, which he had cut, to vote, many lengths of the runner. Now at least ten of the candidates for the prize are included in one gap of a few points, the first last. Overall ther efore the quality has been improving, albeit in a relatively short period of tim e. But the fact can also be read as increase attraction, in the art world, the L ibrary Bocca, Landmark increasingly unavoidable, grew steadily over the years. T his should please not only me that basically I'm one of the most tenacious suppo rters, but to all our friends, partners and the city more generally, if the auth oritative International Herald Tribune recently called the Library Mouth shop ic on Galleria Vittorio Emanuele II, after Vogue a few years ago, had ranked among the best four hundred stores worldwide. The second consideration is that which c omes naturally to me, where present, the figurative genre that has seen decreasi ng interest among collectors since the early sixties, is lukewarm in recovery an d is characterized by brilliant distortions that lead to identify the artistic p ersonality of proponents, even as old-fashioned kind, completely renovated ... ALBERTO Rail ALBERTO deceased JUCULANO Sacred nature ALDO SERGIO ALESSANDRO Bulgarini ALESSANDRA ROVELLA ALESSANDRO Philander ANNA IN BRIEF Stems from the desire to promote the growing young Italian Contemporary Art, the need of the historical library in Milan mouth to spread more widely than its Ne wsletter: The Secret of Mouth. The magazine focuses on partnerships for improvin g their own content through the endorsement and contribution of art galleries, a s well as forge partnerships with front-line organizational structures on the na tional territory.€Join this new publishing initiative and collaborates with The Secret of Mouth, Artists Magazine. ANTONIA CAVALERA Antonio Salvador Secret of Mouth Via Molino delle Armi 5 (inner courtyard) 20123 Milan Monday at 18.30 Tuesday to Friday from 10.00 to 14.00 from 16.00 to 19.00 (See program Thoughts and Words)

350/trecentocinquanta works received this national award for painting. Increase participation enthusiastically along with the prescribed conditions, the writer finds incomprehensible (70 x 70? A square, I must say). The artists, read the ru les and rummaging through the 20x30, 60x60 to 80x120 and pledged to make one of those exact measurements, so that the issue could be the perimeter inches, somet imes sent el'hanno still fresh, the last day available. You could smell the pain t this year in fact, why it happened to me before. It was exciting, seemed to vi sit the studio, the den, the workshop, the 70x70 robbed the homes of artists. It may seem that I dwell too much on the question of the measures, but the amount for a painter is very important part of quality, denotes. The Renaissance, for e xample, is the measure. The contemporary world is the absence of measurement, bu t must still deny it after that. George Lodetti not play dice, he has had his re quest because in this condition. Artists do not have unions, have made and sent their first feature: it is not little, he asked the VIP as all'esordiente to cre ate something new. My attention and admiration goes immediately to Children of M ary, for various reasons. The first is surely that this picture is a 70x70 recta ngle. This interpretation of the measure. Anyone would think a square with those dimensions given. He did, galilenianamente, David also Avogadro, old fox, who h as inscribed in a square round the invisible but measurable. The second reason i s due to roses more graphic paintings, more modular and more dense and more simi lar to the mentioned spiral of Internet addresses that usual vezzeggiante floret . With a dirty finger painting of a child could belittling. Yet they are undenia bly ornamental flowers, Upholstery, specifically roses. To complete the mystery tangible and measurable-Hail Mary's are the third reason-the dialogue between su bject and title. A girl, not particularly beautiful according aestheticization t oday, about to cry, with the bit reverse to hold a grudge and burst into tears, her eyes focused on the whole body feels sadness, perhaps for having been captur ed in a portrait, something that caused her to stand still to pose, not to its w hims sacrosanct, no one knows. The hands are chapped, red not believe, as part o f the nose and cheeks. When children feel shame or anger, you see it from the ha nds, nose, face even before the eyes, which many players savvy gentlemen adults have delegated too, depleting the dialogue, the written word and the messages in two fingers of epidermal greasepaint . That's a real girl, the more true as fal se, sought in the fiction of representation, the halo and thick gold equivalent to the genuflection of the painter, and simultaneously with the viewer. Hello, M ary. Said that Mary loses sacredness of preciousness and uniqueness. So fits the latinorum, contradicted by the archaic snail flower pink rosae rosarum. The Duo mo is dedicated to Mary infant, a girl not yet a saint, unaware of his destiny n ell'atrocità big to survive on his son. A girl like many others, Palestinian poo r and chapped skin, not at all softened by heroic deeds and theological purity. Mary is the innocent unaware of the majesty of the cathedral is its purity. Davi de Casari apparently detaches from figuration to define, in its way, the essence : the profile, track, and the ghostly dream epiphany, the sacredness of existenc e warned of internalized rather than naturalized. The shape-mentioned because of us, if all goes well, it remains as a sign-not a crucifix, but a crucified man, whoever he is and we want to see. A bust emptied and stripped, just cropped by a line with a knot ANGELO CRAZYONE ANNALISA DI MEO ANTONIO DEODATO ATTILIO ROOT WHITE VENTIMIGLIA BRUNA LANZA

giorgio.lodetti @ 2 we are online Augustine Arrivabene 3 the secret maggio2010 29/04/2010 17:38 Page 4 BRUNELLA ROSSI Bruno Ferrari BRUNO VIGOLO CARMEN Panciroli CATHERINE TOSONI CAESAR GARDENS CLARA BARTOLINI CLARA BRIGHT CLAUDIO MARTINI DANILO SANTO approximated instead of eyes,€to draw the symbol for infinity. Figure drowns and emerges at the same time in the languor of pink meat that has diluted the physi cality of the body, which is diluted and watered down his blood. Thus the painte rs created the pink whitening red. Under the skin of the canvas we see a nail, t hen stuck everywhere. To his left foot, all that remains of a foot, nail anatomi cal prey, omitted the incorrect character, of going for a world that is all ther e, wrapped in infinite measure will be 70 times seventy, unrecognizable from afa r desirous of our neighborhood. Danio BEST DOMINIC BONO ELIZABETH TREVISAN LAURA Zuccarello FEDERICO CASATI Alone and without sleep, without even the farewell is entranced, the female body laid on the table, Andrea Simoncini. Clear and accurate aesthetic reinterpretat

ion of Mantegna's Dead Christ, with the frontal view which starts from the feet and ends with a head without relics of earthly victory, no crown of thorns or ha los. The breasts are not flourishing, if no-would become the not faint pallor wi ll turn into nothing more, the softness of the meat which averts the onset of ri gor mortis (the title hesitate to say the word death, referring instead to paral ysis, suspension of meaning), perhaps a stole silk, or cloth to light pink peony ornarle legs, exposing what he called Corot The origin of the world. This woman is even more naked hairless because, without shame that the thick hair of femal e genital French artist set up in defense of a mystery still not "pluck". Simonc ini is not concerned that he may please or not, may solicit guardoneschi instinc ts. The crack of the vulva returned to artificially age child is the revelation of a crack from which we are born, from which the young woman was born, omen of our constitutive fragility of being mortal, in all the exuberance and prosperity that youth can give us. The body is lying on a drape covering light and softens the harshness and cruelty of a dissecting table. The face is tilted, leaning on his left shoulder, eyes shaded, close to the abysmal darkness and compact that we can imagine, the thicker black and dramatic cropping that surrounds it, entra nced by making a source of pure light, an epiphany of 'another side of life, emb odied in it again, lauded a ripe fruit and warm orange tones that takes care not to leave her alone. Slaughter of the innocent in Eugene Moi tells of a younger child of Mary. Falls off a ladder quick, sharp edges. Ruin themselves and alone, caught in a placenta of vibrant colors and pasty. The chalk white skin and dark pink outline, eyes c losed and hands, not knowing, not looking for a foothold. The disquiet quell'ing ombro architectural threshold decontextualized nature amid a saturated bright in difference, which is what serious falls, increases when you load hazard. It is a n unnecessary danger, the child must have dealt with the persistent warnings fro m devoid of conscience, who wants to test, challenge, understand the secret hidd en in a doll, in the belly of an alarm. This child not only plays with the world before which we remain perplexed and safe distance weighted, but played on the world. In its inconstancy the child can do anything, can cry and laugh within se conds. The baby round and plump, eternally roll down without that we can stop hi m, rescue, making us feel our own solitude, our inadequacy in the face of scenar io building, which houses the white rose as a symbol of the tragedy of childhood into the world . For this reason we speak of massacres, dropping the term from its underlying numeric value. A child "one" not only represents them all but the re is also learned in our childhood. Our own world, there is a stranger. Surpris ingly unprepared to face it as scouts, while we give in sometimes very easy game to hurt us. We find and even tried to innocence when one can not speak more ins idious architectures and thresholds turned into dangerous impulses and practices of self-harm, where after choosing which world to belong, we climb the ladder o f an altar, there to be sacrificed representatives, sacrifice the whole of life, in exchange for having nothing more than slipping and falling. We are all child ren appeared and reappeared, but we do not find anyone to expect or understand o urselves. DARIO AGUZZI DAVIDE Coroneo The king is naked, warns Francis Diotallevi homunculus with a turreted nose, rea lly naked, fetish and pay his crown,€Spadina and a little sharp with which galla ntly but full of bravado is to fight for his possessions and powers. There is no thing else around, with some childish floret. The temporal power and the spiritu al are under its domain, in his head with eye gratings and empty sockets. The lo ng horizontal segment to mark the mouth, gives the idea of opening a box, not a head, much less thinking. The journey of reading this work is clear and strong t radition handed down from fabulistica: the body of power, richly decorated effig y from doxa, the common opinion as gullible, is stripped of frills and a pretens

e to act ethically loud that only ' irrepressible spontaneity of a child or be a ble to see acute and disenchanted artist may show in all its real and regal, rid iculous littleness. The way in these times Diotallevi reinterprets the sacraliza tion fake and charlatan man of power is entirely new: the graphic image is desec rated and greasy oil, avoiding the delicious concessions figurative handed irony hands and feet exposed, shows us a realistic dimensional measurement and appear ance of the object of our adoremus (!) mass. Conclude by pointing to my sympathe tic and patient readers, the 70x70 Daria Palotti, borrowed from insects called m y house, I fell asleep. Flies, bees, grasshoppers, dragonflies have woven a more geometric shrine, about a young girl seduced and squatting. With its little hea rt and lips red as crimson, eyes Byzantine bilayer profile, their bare feet to f eel comfortable in his dreams, often accused of being lightweight, probably. And she responds with a deep sleep, where I finally found home. Happens due to anim als not only considered unimportant, but also unpalatable, wars fought with chem ical canisters and platelets intelligent. The insects escape from a world bellig erent, loud, and offered for competitive. The grant to rest secure in the corner of his own that has never had, to smile while sleeping in a little precious tim e of separation, without a cable connection, pin and password. The sacredness of life is made of inaccessibility. The steady hand, the brilliance of timeless ic onography tract Palotti are a valuable ally to give us back through a little smi le with closed eyes, the secret of femininity at all coarse, of which we had for gotten: the hands, the intersection legs, a touch of phard cheeks, silicone impl ants are over a thousand seasoned with botulism and activators of youth. There w ould be no room in the house veritàcostruita transparent-like insects to a range of sound irrational, in a space-time crowds efficiency. Cristina Muccioli And then I ask where is the merit of this pictorial step. DAVIDE ODDENINO Elena Amodei ELENA HALL ELISA Berardinelli ENRICO LAZZINI Erika REIHLE ERNESTO ACHILLI EULALIA ALLEVI FABIO SIGNORELLI FEDERICA NANNI OLCELLI FLORINDA RECCHI FLYCAT FRANCISCO MAN EUGENIO MOI 4 5

the secret maggio2010 29/04/2010 17:38 Page 6 FRANCIS OF CHRISTMAS FRANCESCO SCOPOLATEMPORE GRACE Pulvirenti LUKE JACOB MARCO SCOGNAMIGLIO Mariane COMPASS MAXIMUM BOLLANI The conviction of a valued friend, writer and art historian, who should be appro ached with reverence for the sacredness of art. Probably meaning that art should belong to the category of the divine, leading as a form of transcendence above our poor rationality, thus requiring a priori reverence and respect. We are rath er of the opinion that the art itself does not exist, but there are works of man which are sometimes considered "art." And this according to personal assessment s of packaging a casual trendy market, pressure from not disinterested experts. Every human being, with its different culture and its wealth of individual sensi tivity, must have the right to express an opinion, even the most bizarre, on the work of his fellows (there are no supermen), with full and proper respect for a ll opinion. It is the basic principle of "one man, one vote". We intend to argue that the recognition that art can not be delegated nor impose, although some cl aim to determine how art only that they considered politically correct, trying t o make with various forms of blackmail, a public-approval Thinking (and market) only. Furthermore, the trial of a man on the work of another man is still a sove rchieria and that it should be reasoned and constructive break free from the sus picion of arrogance.€In this repeated experience of judges in the IV Painting Pr ize - Secret of Mouth Movement in 2010, we relived the perplexity of the judge a nd the discomfort of the censor, aware of having before his eyes in silent trepi dation works in which the authors, at the time for us faceless, they had focused their highest technical and creative skills. But we have not been to invent the ruthlessness of the competition and seeing the world "everything is mounted to fight," we are prepared to function falcidiante breeder. Uniting all'infaticabil e Lodetti enthusiasm of George, who has devoted a whole day to each member of th e jury - separately incorporated to avoid constraints - removing every meeting r eceived the 350 square (70 x 70 cm., The only constraint to participation) and p resenting patiently in the right light to our survey, we compiled the inexorable ranking, summarizing in dry arid a number of evaluation certainly worthy of muc h more articulate arguments. Classifications obtained by summation - expressed b y two juries and the public votes - emerging as a finalist and the winner, with understandable dismay of the excluded, some with embarrassing surprise turned to judges to ask why the "rejection" of certain you run a real marvel unfortunatel y been misunderstood. The overall impression was not the most exciting: lack of imagination and increasingly rare skill have characterized most of the papers pr esented, grim relics of the long fault produced by the illusions and misleading misconception that informal improvisation and fragments can be art as well as in evitable result of aberrations of most academies that a growing number of young artists to be unnecessarily time denouncing. On the other hand emerged with a cl

ear indisputable evidence the authors of mastery, satisfying our appetite for be autiful and well done, in revealing the true talent of young artists and to obta in confirmation of clear statement. These include the opera The Saturn Sisters o f Butte - now considered an out-smart the competition for the maturity of style and originality of themes - including a sublime spell ambiguous charm of meat an d an ill omen of squalor, contamination between throbbing female figures, the 'c ompelling clarity of a face and turbid insert a form of depravity, and the forth coming neglected lie a toothless vanitas blind orbits from which all passion has fled nell'impassibilità time. Elena Monaco, another established artist of absol ute importance, presented one of his wrongs female bodies exacerbated by the con trast of passions, reaching for Sublime sufferings of a premium Françoise Calcagno FULVIO KUMURA FAIONI JACOB FALATO GIORDANO REDAELLI GIORGIA Oldani GIULIO D'AMICO JOSEPH ABBATE CLARA BRIGHT MIRELLA Ramond LION OF THE HOLY LUISA BERGAMINI MANU BRUNELLO MARCO ZONDINI MARIA BUTTI GUIDO CADINI impossible to escape from intolerable human condition, whose title Hiding in the folds of life contains the statement of capitulation, an inability to contain a n invincible destiny. The young Andrea Bovara with extraordinary Face leaves eme rge from a dark oval sidereal lunar brightness of a feminine face, gaze fixed in the distant a memory worth the thrill of the nostrils and the mention bitter tw ist of the lips in a veering just welcomed disenchantment. A magical, endless ar ray of marks, scratches, ulcers, a scratching of pitting, as if every moment of existential sentence or enjoyment had accumulated an indelible mark on his face, it brightens dimly light touches of color and more infinitesimal delicate arabe sques of color invisible - except by very close observation - but very effective in determining the intense refinement of the whole. Children of Mary is the tit le that David gave to his Avogadro round edged gold which inscribes the pain of the world in infant touching character still unaware of the divine and tragic fa te that awaits him. The age is innocent, but the penetrating expression between angry and sad the little Mary suggests the discomfort of a disappointment and a vague decay of roses on the bottom macerante adds a note of sadness. His reddene

d hands to emphasize the paleness of the body, vague plot uncertainty are the wi nning touch to give the connotation of a concrete framework, original deterrence . Chaos white authentic poet Lorenzo Perrone, white sculpture of broken wide ope n book from which the words have disappeared,€mere physicality that has lost all meaning of memory to regain virginal condescension, is yet another metaphor for this whimsical artist inexhaustible inventiveness that time will impress with i ts sardonic vein and allusive. David Dalla Venezia with its cabalistic N.617 giv es a pictorial example of effectiveness and mastery of color, held here on Franc iscan brown tone with virtuoso rough texture of the sweater, giving the characte r portrait explosive vigor and prominence in the successful three-dimensional pe rspective game. Emanuele Dascanio, winner of last edition's ability to invent un usual views of still lifes, shows the unusual subject of how complicated a nice female body on his back, hit by sciabolanti light beams, but with perhaps too sc rupulous control true, the perilously nearly photographic representation. Photog raphy itself, however, which would be appropriate to devote a separate section i s not comparable with the medium of painting, from Andrea Simoncini titrated ent ranced. The image of a highly prospective and prosperous hairless female nude ly ing on silk sheets with a transparent pink cloth on the legs is to take your fia to.Vengono to mind the "Scurto Christ" by Mantegna, the "body of Christ" Carracc i, the "Dead Christ" by Button, analogies with the striking photos of Serrano. E yes wide open expanse of attractive model would suggest a woman alive, and then inviting the nudity seems sinful carnality. But a wound on his right forearm, th e white meat and the apparent fixity abandoned might instead suggest that it is a corpse and in this case the hot, provocative nudity brain would turn into grue some, pious, repulsive connotation of death. Formidable enigmatic image, perfect composition of formal simplicity of accurate color in sharp contrast with the b rightness of dark impenetrability of the fund, where you feel the threshold of p aradise is right on the edge of the door of hell. Gabriele Buratti interesting w ith his donkey unemployed before the Pirelli skyscraper, Silvio Tomasoni with in cisive and dramatic portrait, Ester Negretti with its vivid, intelligible and fi nally, the face of Africa, Sebastian Sutera bandage denying that in a world that , Guido Cadini quartered with his ox, Matthias Montemezzani with the stark naked Ionica, the nice pictures of Daria Palotti, Cristina Gandini and Donatella Ribe zzo, in addition to several other authors whom you speak also widely cultivated and brilliant Cristina Muccioli el ' George Lodetti passionate. Finally, dedicat ed to the excluded any case thank you, a consideration of Degas: "Painting is ea sy when you do not know how to do it, but very difficult when you do." John Sera fini LINO Portalupi MANUELA FURLAN MARIA RICCOBENE Massimiliano ROBINO CHRISTMAS PASCALE 6 7 final page 04/27/2010 11:11 Page 1

IV Award f the n to l the s t the DAVIDE Avogadro STEFANO BOLCA ANDREA Bouvier Gabriele Buratti SATURN BUTT DAVIDE CASAR GIORGIO SNIPER EMANUELE DASCANIO FRANCESCO Diotallevi ELENA MONACO Lorenzo Perrone Andrea Simoncini REMO SUPRANI SILVIO Tomasoni FRANCIS HORN Movement in King S and g t and d i c a B or C final page 04/27/2010

11:11 Page 2 special jury mention quality ADRIAN ALTAMIRA Sergio Dangelo SIMONE Gilardi JEANNETTE Rütsche SPERYA PHILIPPE DAVERIO Riccardo Bergonzi Giacomo Poretti ARTURO SCHWARZ SEBASTIAN SUTERA DONATELLA Ribezzo the secret maggio2010 29/04/2010 17:38 Page 10 Nicasio PIZZOLATO PAOLA CARLINI A special edition Leonardo da Vinci PAOLA JOINTS PAOLA Scafuri EASTER Carucci PATRIZIA DAMON PILAR DOMINQUEZ RENATO SORRENTINO RICCARDO Dametto RICCARDO NEGRI "Painting can be taught only to those who by nature are endowed ......" RICCARDO PUCCI SARA AROSIO

ELIZABETH TREVISAN TONINO MATTU Marija Sarac A special edition of this fourth prize of Painting Movement in Secret of Mouth. One issue I would call mature, either by imposing a participation of over three hundred and fifty artists, you finally a quality that has made it difficult to s elect thirty-one works, because you are officially fifteen finalists. An issue w here even the novice art, given the opportunity to express an opinion on favorit e painting, find difficulty in choosing. Also an issue where the writer would ha ve large uncertainties in identifying a single work to be awarded. Unlike the ea rlier edition that finally found the features to exit from the places of the eve nt and gather support of external stakeholders;€there have been many voiceovers, who expressed a positive opinion on the selection, as has happened recently at MiArt where more than one dealer and expert made reference to the authors! So a big thank you to all participants. Now if I were to take stock of who might win, first write the final result declared by the Jury of Assessment Quality and des erves a separate chapter, is not attributable to a painting but at least five, e ven though each of the finalists there would be a good reason to be rewarded. St arting with The King is naked Francesco Diotallevi, acrylic on canvas work is th e simplest of all and free of special pictorial, but precisely these characteris tics combined with a fun and funny as the character, ironically came from a revi ew of the typical comic fifties and sixties, painted on a background of Pop, a b right green with daisies flying, is less frivolous than it seems, is imprinted i n the mind of the observer force game! A simple so common, that leaves its mark, like Marilyn by Andy Warhol. The Saturn Sisters of Butte, who as author is amon g the most mature and successful participants. In its composition exudes a littl e pictorial skill comparable with colleagues, you can not judge a work by any st ylistic point of view, because of the wisdom and the use of technology to which the author has come to perfection, the only parameter and represented an aesthet ic choice, and then the image, but again who knows the work of Butte can not mis s a favorite subject of almost obsessive cleaning effect and more satanic, thoug h not totally lacking form and see skull, here go far in the background. While s aying Sublimations desirable painting / by Riccardo Bergonzi, that the impact co uld be confused with an already seen some of the authors of the New Realism or i f one of the most represented: Arman, but would be a superficial reading and ina ppropriate too simplistic. Richard can also start from a concept Nouveau but rei nterprets it by putting his own, combining the casting resin, where among other things does not leave the object, but only a trace, and creating a fund on the s ame painting with traditional techniques. Not bad right?! In Infazia Mary David Avogandro you get lost and you moved with the subject, this little girl surround ed by so much light, the artist has created a gold leaf frame, appears as a smal l contemporary Madonna sad and inconsolable. A punch to the stomach that is popu lation survived the skills of painting techniques that David has managed to crea te a pictorial oxymoron! I could go on with other authors no less interesting, w ho participated in this edition, Remo Suprani that fascinates us with a surreal sunrise on the banks of a river great and impalpable. Valentina by Emanuele Dasc anio, winner of the previous edition, which has competed in achieving not just a figure, though not completely successful is certainly premiabile the effort and desire to get involved, Bravo! ROSANNA FIORINO ROSARIA STEVENAZZI SILVIA DE Sutta STEFANO SIMONE

VITTORIO ZUCCHELLI WILLIAM G. Vezzoli VALENTINA GALLETTI VINCENZO TODARO The portrait, I and one of Silvio Tomasoni that with extraordinary technical cap abilities, gives us a graphite sculpture by appearance and texture, its main abi lity. O release, contemporary technique for the female subject of the Dead Chris t of Mantegna by Andrea Simoncini, charming and fascinating composition! Or the wreck drifting Alberto Storari interesting use of various materials for dramatic composition! Or the visual poetry that manages to convey with a rational and as eptic nothing idyllic computer, Jeannette Rütsche! What about Face, that struck me the moment I saw you, I speak of the face painting by Andrea Bovara, young se lf-taught beginner! If this is the beginning is not bad!. Influenced by the grea t architect Renzo Vespignani reinterprets the ability with clever use of colors, painting a face emerging from darkness, incarnate in particular refers to an in formal abstract painting of sublime beauty. Last but not least, but for special and indecision continues to proclaim my least favorite is the Crucifixion by Dav id Casari. What can I say! One thing above all: the least popular, least conside red, the least watched, the less flashy, the less decorated, the less pictorial, the least ironic, the least colorful, the less suitable for a painting prize, t he less but the more works, the truest, purest,€not for a moment but forever, th e work does not tire, which I appreciated only pausing, observing, reasoning! Ye s, the artwork in its crude simplicity, in its full substance. Bravo David for t wo months I have had, watched, observed, scrutinized, thought about this for two months work and I could not even click! But the question is, is huge, it's real ly hard, your work leaves me fills me with dismay and questions! It is the work that extends its presence, calling you and if you look enchanting! I could go on but the list is too long I close by thanking everyone for making possible the r ealization of this edition, the great personalities who have participated over t he years as members of the juries, and therefore have believed in him who writes , in support with their presence the realization Prince Body of a competition, I remember: Valerio Adami, Adriano Altamira, Sergio Angeletti, Aldo Benedetti, Ro ssana Bossaglia, Grace Church, Sergio Dangelo, Sarah Fountain, Cristina Muccioli , Alessandro Papetti, Giacomo Poretti, Alexander Quasimodo, Giovanni Serafini, L uca Tommasi, Tommaso Trini, Maria Cristina Vicamini and the most diligent, tirel ess, nimble supporter - participating as a key figure since the first edition an d my tireless encouragement of two years to two years in continuing to move forw ard - Philippe Daverio. Last sincere thanks, from a historical and artistic poin t of view, it is up to Arturo Schwarz, who was introduced to me by my common Ser gio Dangelo. It was for me an immense joy to be able to involve a character that represents the full history of one of the fundamental movements of the contempo rary art world: Surrealism; carry the text written by the Minister for Arts and Culture Italian, in the preface catalog of Dada and Surrealism Rediscovered, the Victorian event in Rome: "The exhibition is curated by a simple scholar, as the most illustrious, but a true hero of that time and those movements. ..." thank you very much Arturo Schwarz will remain an indelible memory in my soul as long as you wanted for artists of this special edition! George Lodetti ROSITA MEZZELA TONINO CIMINO ERNESTO ACHILLI VITO TRIOLO

MICHELA VINICIO NADIA Mologna Judith usually 10 11 the secret maggio2010 29/04/2010 17:38 Page 12 Anna Laura Cantone Julian Costa David Dalla Venezia R. R. Calonega FAID all the arts contribute the greatest of all art: that of living Bertolt Brecht SELE UNCLE BORN Cristina Gandini UGO Levite MATTIA MONTEMEZZANI DARIA PALOTTI ESTER Negretti All the drawings published in this article are taken from the TV series in flash animation pee poo and rosemary, conceived and directed by Enzo d'Alo, written w ith Vincenzo Cerami, characters and environments Anna Laura Cantone. Produced by Comet Film, Rai Fiction and PTD. On Rai Tre on Sunday morning at 8:30 am Ugo Romano ALBERTO Storaro Valerio Saltarelli Why are not there comic abstract or informal? For the same reason why there are pictures, billboards, television ads, movies, election posters, cartoons that ca n be effectively represented if not good, traditional, everlasting figurative ex pression. Communication, even the most banal, is made of images because the imme diacy of the above languages, transcends the ages, the nature of a universal und erstanding. Nobody would give a dime to a campaign that would be made of any pro motional message scribbled, sbrodolature, blur of color, such as scribbles we ho rribly crowded museums and art galleries wrongly considered deposits. In every f ield of human relations will require skill, competence, professionalism, competi tion, industry production services, from sporting events to any other human mani festation. Only in art last to die, now centuries-old buffaloes, the abstract an

d the sad turlupinatura duped improvisation. And nothing so blatantly lie to the spurious grounds of abstract art as the profession of illustrator as well know Anna Laura Cantone (Alexandria, 1977) that has the difficult task of providing o utlines and vague connotations plausible to readers' imaginations, transforming stories of words consistent image. Anna Laura Cantone fragility of Wren and silv ery voice from dreamy fairy were capable of miracles as trifles, some ten years amazes us with its fruitfulness as an illustrator, but also the author of painti ngs and sculptures which gives life to his singular imaginary world aimed at chi ldren but adults are more aware capture.€The County as a child turns extrovert a nd imaginative and original creator of bizarre characters - next to the "thought s" felt the urge to fill the page with drawings that depicted them - so parents, once prone to meeting its skills, enter the Art Institute of Acqui Terme and la ter at the European Institute of Design because it demonstrates a firm predilect ion for painting. Still a teenager visiting the Children's Book Fair itself as a n illustrator in Turin, Bologna, for every occasion by presenting his portfolio and in '99 at the Frankfurt Book Fair meets Giorgio Bocca Lodetti the Library th at will display for the first time in 2000, its original work with immediate fee dback of sales and audience and the unexpected arrival in Pine Strabioli Rai 3 w here the presents under the heading "good start". Even Charles Lovati discovers his curious characters in Galleria Vittorio Emanuele and exits with an eye-catch ing article in the Corriere della Sera called "The girl that turns dreams into r eality." 13 12 the secret maggio2010 29/04/2010 17:39 Page 14 14 In the same year Anna Laura, still a student at IED, click the story "The Empero r's New Clothes" by Andersen and introduced his first book to be published in En glish by a Taiwanese publisher. His teacher does not allow however to bring this work as a thesis and Anna Laura decides to bring the pictures of five new stori es including "A tangled history" invented by her and "Little Red Riding Hood", f ollowing disputes between two houses publishers. Anna Laura decided to recklessl y go, despite his uncertain English, even to New York by Simon & Schuster but if not get the immediate attention overdue. But the following year, the stand of B ologna's famous American publisher, art director acknowledges his "voice of cart oon and proposes a test of color illustration of a testo.Trasgredendo the inform ation received, deemed essential for American tastes, Anna Laura makes her own: the results are brilliant and thankfully the fruits several contracts with the p ublisher. A few years later, being still in New York to autograph his most famou s books in the library for children "Books of Wonder", the Madison County knows Allan, author of several books she illustrated with the individual who will deci de to publish a new series of limited circulation, but that let you know an inte resting slice of American life. Followed by other exhibitions including the Nuag es Gallery in Via S. Andrea. It is the beginning of an unstoppable crescendo of young illustrator who gained various international markets, without interrupting the production of sculptures and paintings in their own, authentic artistic dep th, which will continue to submit personal exposures. Now the author has taken w ing, has over one hundred publications in which at least thirty different langua ges, careful to choose wisely one publisher in each country. Among the many pict ure books Zoo animals without Gianni Rodari elegantly bound Prout and the editio

n of Mammoths in France that sells incredibly more than thirty thousand copies a nd is still required. In 2004, in Taipei County is Italy with Roberto Innocenti and Giuliano Ferri for Illustration Italian with meetings and interviews in vari ous universities. Fantasy that is expressed through images, Anna Laura laughs of ten within himself, even at a funeral the priest imagining an improvised karaoke , or watching how they dress unaware eccentric, as they walk, how to express the ir tics, becoming irresistible in specks personal world of the characters in his drawings. Finally in 2006 comes the opportunity to be able to see its beautiful animated characters. Internet was discovered by Enzo d'Alo, director of interna tional reputation (among his most famous films: The seagull and the cat, delicio us masterpiece that has reached record collections), who calls himself the secre tary, without announcing who it is, suggesting a general partnership. A week aft er the director went to visit with Maricla Affatato, tireless collaborator and w ife, and realizing his explosive and fresh creativity, decided to entrust the ex ecution of the characters and environments in a series of 52 episodes of animati on for RAI Fiction . The commitment is exciting beyond excellent opportunity to work with the director of Alo (which involves the project pee, poo and rosemary) . In this series as important as participating authors Vincenzo Cerami author of screenplays, Giancarlo Giannini narrator,€with music by Daniele Di Gregorio his torical collaborator Paolo Conte (Italy-Luxembourg co-production). On Air with w ide acclaim on Rai3 public, the series was sold in several countries, including Holland, the country has always been very attentive to children, reaching an ave rage 80% share of the target to which it is addressed! Anna Laura, revealing an intimate candor in the wonder of fairy tale that makes the silly to the company of humans, with language and writing deliberately "childish" regressed to the pe riod of innocence, liberal fantasies, ideas primeval and pristine, it was felt a kind of incredulous and happy Geppetto in a woman find that his designs had tak en voice, will, emotions, movement, words had "come to life! Alo of emotion rene wed when called by a recording studio in Canada to make them listen live actors who gave voice to the characters. Anna Laura now teaches at I.E.D. drawing illus trations of children's books, follows the thesis projects of III year ago the ma ster Japanese students, organize workshops and Sarmede Macerata (TV). He also pe rformed various logos including the bar of Chocolat Mariella Burani and that for the Turner Library of Lugano. In recent years dozen s exposures are made by the State, the Palazzo Crepadonna of Belluno to the Imag e Gallery of Rimini, the Gallery of Ancient Kilns of Macerata Tower Avogadro Lum ezzane well as in various public spaces in Italy and abroad, collecting several awards including the Premio Andersen and several selections to the Book Fair Bol ogna Children, the Biennale of Bratislava, NY American Society of Illustration, Tiberius Fair 2004 in Taipei in Taiwan. But his most authentic masterpiece was c reated in 2007 and is called Greta extraordinary creature born from the union wi th George Lodetti determined at least her in his exciting work bookseller arts and cultural promoter, who years before they became husband and with his compelling character knows how to support and encourage in inevitable t imes of difficulty and uncertainty. "Laughing with the eyes" was the title of a funny show by Anna Laura a few years ago that is a bit 'a life of its slogan "be cause - he says - with my positive vision of the world (a little' less of people , indeed, very disappointing), work well when they are happy and therefore able to focus on the reasons for the smile. Inspiration can come from that inner peac e. I do not watch the news, I keep away as possible from the tragic reality that to maintain that inner peace is a precondition of creativity. Are in fact hyper sensitive observer and sometimes are attacked by a thousand fears. I believe str ongly in my ability. When a publisher asks me to do something that excites me or wants to give me too many descriptive elements, I can not complete the work. Gr eta and then take the port to the park. I pledge to provide confidence in teachi ng my students avoid them sinking their faults, to limit the possibilities, urgi ng them to give their best, never make them feel incapable of. "Chasing Anna Lau ra irony. In Frankfurt the pigeons seemed to walk with more decision, articulati

ng the goose step. If they told her that a boy was a thread asking: who is? A sp ider? Irony derived affinity with his father who taught her to grasp the ironic side of life with which Anna Laura loves to smile in the world, remembering past Sunday at home with puppets shaping bread dough or when returning from school h e retired in the back the store, always referring to the last homework, fun to d iscover the strangest materials in drawers and small objects with which to inven t its strange sculptures. "The beauty is not determined by material that uses th e ideas but you know draw," he says. The poetic and funny characters who can inv ent Anna Laura, adding inserts of cloth and a thousand other things minimum, are ironic fantasies materialize on defense, his and ours, from the squalor of the day, a sort of festive exorcism, those indispensable " a walk in the clouds for a breath of fresh air in his vision of innocent affection and tenderness for the endless human tragicomedy. Because after all we ask is for poets to save life. John Serafini 15 the secret maggio2010 29/04/2010 17:39 Page 16

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