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national award info 2

National Arts Award

VIII EDITION 2010/2011

FORM

Name Name and

Date and place of birth

Nationality and domicile

Home Phone

Fax

Mobile

E-mail

Title:

Year:

Size / Duration (in case of video works / video installations):

Description of work:

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Affiliation:

Teacher contact:

E-mail:

Phone:

academic course attended ( name and course level):

Year of study:

declare that I agree with the rules of the competition notice

Signature:

Stamp of membership and signed by the director

Information about the article. 13 of Legislative Decree no. 196/2003: The above data will be used

exclusively within the institutional activities of the National Arts Award, the holder of

treatment. The person have the rights set out in Article. 7 of Legislative Decree no. 196/2003. The registrant

criminally liable for false statements (Article 76, DPR 28 December 2000, n. 445). The registrant

forfeit any benefits arising on the basis of false declarations

false (art. 75 DPR 28 December 2000, n. 445).

Place and date Signature

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national award info

Protocol: nn 466/segr/afamRoma, November 2, 2010

the Presidents and Directors of Institutions AFAM

LL.SS.

Oggetto: Premio Nazionale delle Arti – edizione 2010/2011: bando di concorso.

Il Ministero dell'Istruzione, dell'Università e della Ricerca nella sua azione di promozione delle

istituzioni AFAM bandisce l'ottava edizione del "Premio Nazionale delle Arti".

Il concorso, che costituisce la più importante attività di comunicazione e di valorizzazione del

sistema artistico nazionale, è riservato agli studenti AFAM regolarmente iscritti.

Per alcune sezioni, è altresì esteso agli studenti di consolidate e autorevoli istituzioni Educational

public and private, national and international, that will be invited to participate.

The notice is divided into several sections and subsections:

1. Visual arts, DIGITAL

and Set Design (painting, sculpture, graphic arts, decoration, stage design, film and television; arteelettronica, interactive artworks, video installations, audio-visual productions in the narration and dicreazione)

1. PERFORMING ARTS

(dance drama)

1. DESIGN

(the product of the interior, the fashion communication)

1. MUSICAL INTERPRETATION

(Opera singing, guitar, harp and mandolin; Composition, Conducting, accordion;

choirs and organ, Jazz, Percussion, Piano, Chamber Music and Ensemble; Musicaelettronica and new technologies; Music for old instruments and voices, pop and rock originals:

groups, soloists and items, String Instruments, Wind Instruments).

Each institution is invited to participate in ensuring wide publicity to the initiative eport to the attention of all teachers in service, ensuring equal opportunities for all glistudenti.

is not permitted in the same section, the participation of past winners of the contest

or presentation of works already started.

In order to enhance the artistic and cultural heritage found throughout the country,

the organization and conduct of all sections and subsections of the Award are handled by

sector institutions, from north to south of the present country, according to the following list:

1. Visual arts, and Scenography DIGITAL

Academy of Fine Arts "Brera" in Milan

1. ARTS ENTERTAINMENT

National Academy of Dramatic Arts in Rome

National Academy of Dance in Rome

1. PRODUCT DESIGN AND COMMUNICATION

Institute for Industrial Arts-ISIA, Florence

1. MUSICAL INTERPRETATION

2. SINGING

Music Conservatory of Turin

1. Guitar, harp and mandolin

Conservatory of Music in Monopoli

1. COMPOSITION

Conservatory of Music in La Spezia

1. CONDUCTING

Conservatoire de l'Aquila

1. ACCORDION

Conservatory of Music in Bari

1. ORGAN AND CHORAL TRAINING

Conservatory of Palermo

1. JAZZ

Conservatory of Cuneo

1. PERCUSSION

Conservatory of Novara

1. PIANO

Conservatory of Brescia

1. CHAMBER MUSIC AND OVERALL

Conservatory of Music in Milan

1. ELECTRONIC MUSIC AND NEW TECHNOLOGIES

Conservatory of Palermo

1. MUSIC FOR OLD INSTRUMENTS AND VOICES

Conservatory of Benevento

1. POP AND ROCK MUSIC ORIGINAL: GROUPS AND SOLO VOICES

Conservatory of Trento

1. STRING INSTRUMENTS

Conservatory of Music in Naples

1. WIND INSTRUMENTS

Conservatory of Matera

The persons entitled to participate in the competition will be selected by the institutions they belong in

as advocates for themselves. For special requirements will be published

insolvency regulations.

The final winners will be chosen by special jury appointed by the Minister, whose decision is final

. Do not allow the assignment of a tie for the winner.

communications regarding the competition will be published on the following website of the Ministry:

http://www.miur.it/afam/eventi/

The MIUR, while ensuring the utmost attention and care of work and projects sent by

candidate does not respond in any way any loss or damage them.

The winning works will be acquired by the Ministry for the establishment of a permanent collection of contemporary art

a testament to the quality of teaching and artistic production

held by the institutions of the system of higher education and specialization in art and music.

The rights attached to any display or dissemination of materials produced for the Documentary Award

National Arts - and the winners of the competition gained by the Ministry -

belong to the MIUR and the possible use of these do not involve the payment of any compensation

.

Charges for shipping and return of the works selected for the final exhibition of the award, as well as

travel and subsistence of the winners, shall be borne by the participating institutions.

In short, the timing will be agreed for carrying out the various sections.

The coordinator of the National Arts Award is Dr. Roberto Morese.

THE DIRECTOR GENERAL

Giorgio Bruno Civello

•

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national award passed the important voice

The Cultural Commission of Fine Arts in Macerata
announces participation in the National Prize of Arts and. 2010/11 sect. Visual Arts

Attached:

. Communication
deadlines. Entry Form
. Invitation Competition

The Cultural Commission is available for any clarification
the following email:
paolataddei@alice.it
rossellaghezzi@libero.it

Greetings and good work.

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urgent

by paola Tardeo urgently send to you your right account.

Hello Franko,

I ask the courtesy to see if the emails are just two of your students are not reported because they are sure:

Daniela Giammarini attinia.fly @ libero.it
Stefano Teodori teodori@hotmail.it

if they send me wrong the right ones. Thank you and good job



Paola

02/mar/2011 day, at 13.01, Franko B wrote:

>
> dear Paul, the names for the fish
> are Daniela Giammarino
> Steffano Teodori ,
>
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>
> hello
> franko
>

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Presentation



My name is Beatrice and I attend the third year of painting, I enrolled at the Accademia di Macerata after 5 years of high school social psychology. Despite having made a school that did not have much to do with my artistic interests, I did not regret having made it because I received a general background on many matters that still me getting used to develop work and ideas.

During these five years studying at the same time pursued his passion for drawing and art, was making so many comics and drawings with reference models as the only cartoon that accompanied my growth. However I arrived at the academy made by these models were a bit 'closing my head and tried to free work on creating completely different landscape of the Marches, on industry figures and pylons that populate this landscape. To help me in this initial release was the course of engraving techniques, that I attend a workshop for two years and I'm passionate about a lot. Little by little, my recordings on landscapes, have evolved from a more figurative to a more abstract and simplified representation of the landscape.

My landscapes are gradually becoming a representation of simple and remains, a landscape that is freed of its main characteristics and which lives exclusively of lines and intricate characters.

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for all. Important
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Prof. Franko B (Bosisio) will be present on 5, 6, 7, 8.11 in April

Presentation of project on reflex / Reflections - days to be confirmed,
specific program to confirm

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Text on Hans Hemmert

Version: 1.0 StartHTML: 0000000105 EndHTML: 0000013152 StartFragment: 0000002396 EndFragment: 0000013116

Hans Hemmert è un artista appartenente al gruppo dell’Inges Idee fondato a Berlino nel 1992 e del quale ne sono protagonisti anche Axel Lieber, Thomas A. Schmidt e Georg Zev. Insieme hanno tutti lavorato su progetti per spazi pubblici.

Per capire bene un sito su cui si va ad intervenire, deve essere ben esaminata the quality of its spatial social history.
Public art can move a given context, in order to open his eyes on other aspects of reality, making sure that the site becomes more interesting and richer. The usual course of public life is interrupted for a moment, the viewer has the opportunity to reflect on something that has an unexpected face. The objective of Inges ideas is to promote a new site characterization and the relationship of the viewer with what he perceives.

successful artistic interventions that not only enrich the site in general, but even people.

The air is the material of the work of Hans Hemmert. He fills the air balloon and sets them in the environment so that they develop the artistic qualities. Hans Hemmert conceives his work as a sculptor - not in the traditional way, but in the sense of interaction with space. He admits to having always been interested in the empty space in the sculptures of Henry Moore and modeling spatial British artist Rachel Whiteread are not entirely unrelated to his work. Hemmert distinguishes three ways of relating to space. The first creates large yellow balls are considered the real sculptures. These balls are compressed between the elements architecture already present, so that they deform, and their volume, it suffers a sculptural structure desired and addressed. Architecture and sculpture look like in mutual dependence and the volumes in the contest space is redefined in innovative ways. Hans Hemmert Another way to interact with the space is descend into a ball in a place of his daily life, such as living room, study or the machine. In this work of art, all objects that are within the architectural space, but outside its shell latex of the ball, stand out clearly from the inside: in the car for example that stands out are the opening of the roof Slide, the dashboard, the side attachments for safety belts and buttons closure of branches. The rubber ball play outer space as a relief to 360 degrees. It creates a kind of shell yellow latex substance that unifies objects, walls, ceiling, and floors consequently none of these architectural features can be more clearly identified and separated from each other. The new space is created that is organic, almost living with uterine inside. Hemmert documenting its presence in these environments, "inflated" with large backlit photos that make a good impression of the atmosphere hermetic and almost barren of these interiors. The journey of the artist in this place of silence and isolation in the picture evokes an aura of elevation and a sense of particularity ed'indefinibilità. A third course of action in space is practiced by Hans Hemmert through short "performance", documented by video and photographs. Pressed into a small yellow ball-shaped egg (with a little air available), the artist makes gestures of everyday life, such as bringing a case of beer, sit on a chair, climb a ladder or get a scooter. These activities are photographed and documented not only the particular relationship between objects tangible and intangible, but the full form of the ball, but also the link between the plasticity of sculpture and space. The relationship between sculptures and space is evident even more so when the artist dancing disco in one of these yellow balls. All these "skill games" played by the bags have as its theme the dialogue with the surface, the thin and vulnerable membrane between the individual and the world around them. The observer also eager to participate in the internal vision of "sculpture-balls", it is excluded. The actual area and photos of the interior spaces are all we see. The boundary between inside and outside is, in the opinion of the artist, the item most of our visible world. Only he has the chance to look behind the surface smooth and shiny, even if the privilege of the artist to get into is hard-won. It can be only a short time inside the ball, since the breathable air inside decreases rapidly - so naturally he puts in an existential situation-limit. His stay in the ball is offset by the loss of contact with the outside world. External objects are shaped through the thin latex membrane, but do not allow a contact or use. Consequently, the artist, despite being in his balloon and within of his studio, can not work, because they can not manipulate objects and can comfortably sit in his car "pallonizzata", but can not drive it - it can move into small balls and also hold individual objects, but only with outside help . The strange mystical atmosphere, which exudes the inside of the ball great, turns into a ridiculous situation, faced with the Human attempts to go to small ball in the tricycle or even drink a beer. The inability to deal with what is happening in the world is amplified when the artist, "dressed" with small ball slips in the space of a larger ball, and wrapped in a double cocoon, remains invisible and also blind. Thomas explains Wulffen about this phenomenon: "You can consider this picture as an example of how to say" live in their own cocoon, a disease that affects humans post-modern face of a world outside more and more uncontrollable. We will withdraw within the four walls of the home, in their own cocoon, and there is no interest in the world. "It is the elegance of blimps or the" lightness "of their appearance to bring out the creations in this way (almost always) yellow : latex balloons are not forms of Hans Hemmert airlines, are heavy, are filled with thoughts that evaporates into the air immediately if you wish concrete. They are filled with physical concepts, waiting, sketches and questions outside of looks. They are imitation and "pretend": "We're only human." But in reality they know exactly: "We're just us, the parasites". The conditions of loneliness, celibacy, masturbation and fetishism on the one hand, the aesthetics of pop - consumer and design make these the other shapers of the aliens who stubbornly oscillate between "body" and "soul." And 'as if they were constantly sucked into your own cartoon, became the subject of a meta-world of cartoons, assumes the form of Barbapapa, like amoebae, polymorphs. Comics that said: "I". The balloons, which are phallic-shaped or melon, or adapted to the shape of the environment, reproduce states of aggregation of bodies: Henri Bergson writes: "I put all these figures at the center of an image, I call my body: its activity is manifested as a virtual reflection of surrounding objects on myself. "Similarly, one can imagine in the abstract thoughts that come out from inside the ball. Hans Hemmert is an artist "without words." The parasites are his descriptions of moods that speak silently of unrealizable desires. They originate from the world, in which the laws of gravity (And not only those) are reversed. So his subjects, his achievements or his photographic designs are closely related to the genre of comics. Impotence of his assists crowded balls and roll them over the abyss. I wanted to address the subject of this artist because I was very intrigued to see in a museum recording the performances in which dancing Hemmert performs in a yellow ball. I thought about doing the work of my thesis on the concept of "limit" and the work of this artist I think it's close to the theme I want to make. Human life is expressed in continuous, perpetual confrontation between the power of desire and the compulsion of the limit. Desire is the engine of human existence, the energy that drives the extension of man himself and his simple experiential spaces. And 'what makes us move, look, fight. In all this I see a 'by analogy with the performances of Hemmert, in which he tries to relate to outer space but is limited by a ground (given by the material in latex yellow) which makes it difficult simple relationship with the world.

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Dopo quattro anni di liceo scientifico ho deciso che non faceva per me e mi sono iscritto al liceo artistico dove ho ricevuto le mie basi di disegno, pittura e scultura. Dopodiché mi sono iscritto all’accademia di belle arti di Firenze dove ho superato un primo periodo di incertezze, difficoltà e incomprensioni per poi tentare, sotto consiglio del mio professore di pittura,di dare vita ad un progetto che potesse fondere il mio interesse per gli elementi naturali con la fotografia . Questo lavoro è nato come un collage di materiali naturali (semi,rami, foglie, sabbia ecc.) per poi evolversi in modellini tridimensionali di paesaggi in miniatura, che prendevano spunto dai monumenti e dalle sculture paleolitiche, che in seguito venivano fotografati su sfondo neutro così da apparire come reali. Le sculture e i monumenti assumevano invece dimensioni gigantesche, proprio come i monumenti monolitici a cui erano ispirate, creando un contrasto con l’originale di solito di dimensioni molto esigue. Sinceramente alla fine di questo percorso non mi sono sentito particolarmente realizzato perché per seguirlo avevo dovuto abbandonare quasi del tutto il mio interesse per la grafica e il disegno; comunque la frequentazione dell’accademia di Firenze e lo sviluppo progettuale che ha accompagnato questo lavoro sono state tappe fondamentali per l’organizzazione of my work and my personal development. Parallel to the above mentioned project I have tried every way to continue to refine my technique and my knowledge of the illustration. The illustration has always been my main interest and the first two years of specialization in the course of Macerata COBASLID Academy I was able to devote myself to it with more dedication. In these two years I have rediscovered my love for graphics, drawing, although I have not had great external reference points. I worked mostly for personal satisfaction and for retraining the hand. For the most part the work of these two years is made up of sketches and loose papers, almost nothing has a line of continuity well also indicate whether you can outline the common arguments almost always related to satire, the caricature and the comic. Obviously at the end of the two years since it was almost continuous operation, the style was "perfected" and become fresher and more personal. If at first the line was very uncertain and suffered many years of failed attempts of copies and, little by little I managed to unlock and find a personal way to express that he could go to the extremely concise more elaborate. With the start of the second two-year specialization in Sculpture and the arrival of Professor. Franko B, I received new impetus that led me to improve even more Technical and finally find even more personal topics and ideas and be able to translate my style now. I managed to create my own character, build a more complex history, to make my ideas in creating three-dimensional characters in clay sculpture inspired by my designs. I could compare well with the animation producing two short hand-drawn, a much complex, but that gave me great satisfaction. Another important change was the opportunity to discover the potential of the tablet, which applied to my work creates endless solutions for every type of project, although obviously lacking natural material typical of that part of the design itself. I'm also trying to bring forward a draft illustration inspired by novels or short stories, so you can take advantage of my drawings in the field of publishing.

After years of study and trial and error, I think I now understand the idea with which I started many years ago, namely that of becoming an illustrator / cartoonist / graphic is still the right one. I tried to take different paths, but in the end I have always reported on this road. Do not think I can, at least for now, to abandon his passion for the insane humor, cartoon fantasy illustration, it is like to have my roots in them, and over the years have shaped what I am now. My aim now is to try to continue along this road with great effort I managed to create, as it arises in a context that can be described as classic, I hope to be able to make personal and somewhat original.