Un nucleo di dipinti che ben riflette i gusti collezionistici della nobile coppia, da cui traspare la preferenza accordata alla scuola italiana, tedesca e fiamminga dei secoli XVI-XVIII, come dimostrano i lavori legati alla cerchia di Bernardo Strozzi o il Ciclo dei mesi, stagioni ed elementi di Jan van den Hoecke, le allegorie del Gusto e dell’Odorato di Johann Heinrich Schönfeld.

Museo storico del Castello di Miramare, Trieste
8 marzo – 3 giugno 2012
orari: tutti i giorni 9.00 – 19.00
chiusura biglietteria ore 18.30
info: tel 040 224143
www.castello-miramare.it

Klimt, the Secession and authoritative representative artist of extraordinary importance in the history of modern art in 2012 would have celebrated his 150th birthday.
Milan pays homage to the great Austrian master Gustav Klimt with the exhibition “Drawings around the Beethoven Frieze” set up at the Spazio Oberdan until May 6, 2012.
The exhibition opens with the original posters of the Viennese Secession made among others by Koloman Moser and AlfredRoller, Ferdinand Hodler and Leopold Stolba and some numbers of the famous magazine ”Ver Sacrum”.
The exhibition presents eighteen drawings by Klimt from New York: the heart of the exhibition, the paper investigates the role of women and music through the conflict between Eros and Thanatos, recurring themes in the works of Austrian maestro andfounding core of the Beethoven Frieze, famous fresco conceived as a tribute to the German composer, reproduced in 1:1 scale by a team of designers and decorators. The hostile forces, and This Kiss to the world, second and third parts of the majesticallegory created by Klimt, are spectacularly rebuilt in a room that resonate notes of Beethoven’s Ninth Symphony to offer visitorsan experience of total art.

Gustav Klimt. Disegni intorno al Fregio di Beethoven 

Spazio Oberdan
Viale Vittorio Veneto 2, 20124 Milano
4 febbraio – 6 maggio 2012

Orari / hours
martedì e giovedì / Tuesday and Thursday
10.00 – 22.00 / 10 am – 10 pm
mercoledì, venerdì, sabato, domenica: dalle 10.00 alle 19.30
Wednsday, Friday, Saturday and Sunday: 10 am – 7.30 pm
lunedì chiuso / closed on monday
la biglietteria chiude trenta minuti prima dell’orario di chiusura / the ticket office closes 30 mins before closing time

Biglietti / tickets
intero / full price: 8,00 euro
ridotto convenzionati / reduced with agreement: 7,00 euro
ridotto / reduced: 6,00 euro
ridotto scuole / school reduction: 5,00 euro

Catalogo / catalogue: Skira

Info
www.klimtmilano.com, info@klimtmilano.com
Spazio Oberdan, tel. +39 0277406300
www.provincia.milano.it/cultura
Alef – cultural project management
tel/fax +39 02 45496874/3

Produzione e organizzazione
management and organization
Alef – cultural project management
info@alefcultural.com
www.alefcultural.com

Uffici Stampa / press offices
CLP Relazioni Pubbliche
tel. 02.433403 – 02.36571438
fax 02.4813841
www.clponline.it
press@clponline.it; ufficiostampa@clponline.it

Provincia di Milano/Cultura
tel. +39 02774063.58/59
p.merisio@provincia.milano.it; m.piccardi@provincia.milano.it

Addetto stampa Assessore, tel. +39 0277404393
f.provera@provincia.milano.it

www.klimtmilano.com

contemporary art and fashion/design events

Arts as a value-added feature able to go along with fashion and design to boost their potential.
A plus for every private or public subject that find in the artistic dimension a privileged tool to spread their brand identity, enhancing their business. 

Header: “Gary Hill: Selected Works II”, Courtesy Electronic Arts Intermix (EAI), New York

Gary Hill. tra parola e immagine, 14 – 16 ottobre 2010, Verona

settings

A special expertise is able to grant specific help for every kind of setting, by putting in dialogue the place with what is inside.
Starting from the planning, passing through problem solving, until the selction of the best tools (lighting, specific furniture for works of art, video and audio technologies) in order to answer to the needs of an excellent enhance.

La definizione o il rinnovamento di un’immagine coordinata di appeal trattata con creatività e declinata per tutte le tipologie di strumenti – brochures, inviti, leaflet, poster, manifesti, gadget e merchandise – fino alla creazione di web-site dedicati al progetto sono ulteriori azioni che, in un atteggiamento di visione integrata, riescono a garantire un rapporto privilegiato e coerente tra forma e contenuto.

communication design, graphic, adv campaigns, press office

We give voice to our plans with a global approach by focusing on specific communication needs through the selection of diversified strategies and with a mix of creativity and multisectoriality. Starting from mediaplanning, we shape through the line activities able to put together traditional actions such as adv buying, posters, media campaigns to direct marketing or direct calling that go along with press office.

The concept or the renewing of an appealing coordinate image treated with creativity and useful to every kind of tools – brochures, invitations, leaflets, posters, gadgets, merchandise – or the web site design are actions that in a 360 degree view, are able to grant a privileged dialogue between content and external shape.

Header: Henri de Toulouse-Lautrec, Aristide Bruant-Ambassadeurs

Degas, Lautrec, Zandò. Les folies de Montmartre,  17 settembre – 18 dicembre 2011, Pavia

L’ufficio prestiti di Alef si occupa di ogni aspetto di questa attività, seguendo tutte le fasi necessarie all’esposizione, dalle pratiche ministeriali, a quelle di restauro, trasporto e assicurazione fino all’accomodation.

scientific project, loans request and coordinating

An art exhibition is made, first of all, by its content. Alef takes care about exhibition concepting and about curatorial matters through an expertise which is able to suggest original and appealing themes and which is in touch with public or private subjects -both italian and foreign, also following logistic aspects and insurance policies.

Alef’s loan dept cares about every single matter regarding this activity, by following the different levels useful to the exhibition, starting from the institutional papers to restoration documents, transport documents, insurance policy and even accomodation.

Header: Edgar Degas, Femme à la coiffeuse

Degas, Lautrec, Zandò. Les folies de Montmartre, 17 settembre – 18 dicembre 2011, Pavia

exhibition spaces management

Exhibition spaces management cares about the different features of a complex business: from staff recruiting to bookshop arranging and stocking, from the exhibition setting to the space arrangement, even thinking about security and accessibility.

exhibition managing and planning

Alef‘s core business international exhibition management and planning is arranged in every single issue, from the concept to the practice, with ability, professionalism and passion, through a global approach that characterized our activity.

www.uncapolavoroperlitalia.com

Header: Francesco Hayez, Il Bacio, 1861

Il Bacio. Un capolavoro per l’Italia, 2009 – 2012

Nell’aprile del 1983 mentre l’Haggerty Museum of Art era in costruzione, Keith Haring, allora un giovane artista che viveva a New York, fu invitato al Campus della Marquette University a Milwaukee per realizzare un murale sul luogo in cui sorgeva il cantiere del nuovo museo.
La realizzazione del murale assunse in breve tempo il carattere di una performance, con Haring al centro del palcoscenico.
Haring sapeva perfettamente che cosa fare e perché. Voleva entrare in comunicazione con il maggior numero di spettatori possibile attraverso l’arte, e in questo senso il suo lavoro fu davvero mirato. Riteneva che fosse responsabilità dell’artista creare arte per l’apprezzamento della gente. Vedeva lo spettatore non come semplice ricettore dei simboli iniziatici e dei significati che le immagini assumevano per lui, ma voleva che fosse lo spettatore stesso a creare accordi di significato particolari, rapportati al proprio punto di vista. Credeva fermamente che fare arte fosse un’esplorazione personale da condividere con il pubblico, “il prodotto di un individuo”.
Il murale è uno dei tanti che Haring realizzò negli anni ottanta a partire dai graffiti della metropolitana di New York. Si ricordano quelli di Houston Street, New York City, 1982; Avenue D, New York City, 1983; della National Gallery of Victoria, Melbourne, 1984; del Berlin Wall, 1986; del Casino in Knokke, Belgio, 1987; il Together We Can Stop Aids mural, Barrio de Chino, Barcellona, 1989; e Tuttomondo, 1989, commissionato dalla città di Pisa per il muro esterno della chiesa di Sant’Antonio.
L’opera di Milwaukee, oggi esposta a Chieti accanto alle collezioni archeologiche della sede abruzzese, differisce però dagli altri lavori pubblici in quanto, come gli improvvisati murali della metropolitana di New York, esprime l’energia spontanea dell’arte di strada, del graffito. L’iconografia dell’opera per la Marquette University esemplifica l’evoluzione del vocabolario dei suoi pittogrammi, da questo momento divenuti firma di senso e stile. Il suo scopo era l’esecuzione di immagini semplici che celebrassero la vita: bambini, cani, danzatori ispirati alla break dance.
E’ in questo senso che queste semplici ma commoventi immagini ci mostrano Haring al suo meglio.

Special admission € 5 for all visitors from 1 to April 22, 2012

In April of 1983 while the Haggerty Museum of Art was under construction, Keith Haring, a young artist living in New York, was invited to the Marquette University Campus in Milwaukee to create a mural on the construction site where the building for the new museum was to be built. The painting of the mural soon turned into a performance with Haring at center stage. Haring was absolutely clear on what he was doing and the reasons for it. He wished to communicate through art with an audience as wide as possible, and in this sense his work was very focused. Haring argued it was the responsibility of the artist to create art for the appreciation of all the people. This didn’t mean that the viewer simply replicated the initiating symbol or the meaning it had for the artist, as the viewer created meaning according to his or her point of view and interest. He strongly believed that art-making was a personal exploration to be shared with all people. He views art as “the product of the individual”. The mural is one of several that Haring did throughout the eighties beginning with his drawing on expired advertising panels in the New York City subways. Among these, there are murals located on Houston Street, New York City, 1982; on Avenue D, New York City, 1983; at the National Gallery of Victoria, Melbourne, 1984; on Berlin Wall, 1986; at Casino in Knokke, Belgium, 1987; the Together We Can Stop Aids mural, Barrio de Chino, Barcelona, 1989; and Tuttomondo, 1989 a permanent mural commissioned by the City of Pisa on the exterior wall of the Church of Sant’Antonio. The Marquette mural of Milwaukee, on view today in Chieti close to the archaeological collections in the Abruzzo’s museum, differs from his later public works in that it, like the subway murals, expresses the spontaneous energy of actual street graffiti. The iconography for the Marquette University piece exemplified the evolving vocabulary of pictograms that had by now become Haring’s signature means of painting. His aim was to make simple images that celebrate life: babies and dog, dancing figures inspired by the multi-ethnic break dancers. In this respect its simple yet poignant images represent Haring at his best.

Keith Haring: il murale di Milwaukee

Museo Archeologico Nazionale d’Abruzzo
La Civitella – Chieti
30 luglio 2011 – 19 febbraio 2012  Prorogata fino al 22 aprile 2012

Orari / hours
da martedì a venerdì / from tuesday to friday
9.00 – 20.00 / 9 am – 8 pm
sabato e domenica / saturday and sunday
9.00 – 19.00 / 9 a.m. – 7 p.m.
lunedì chiuso / closed on monday
ultimo ingresso ore 19.30 / last entry at 7.30 pm

Biglietti / tickets
Speciale ingresso a € 5 per tutti i visitatori dall’1 al 22 aprile 2012 
Special admission € 5 for all visitors from 1 to April 22, 2012
intero / full price: 7,00 euro
ridotto convenzionati / reduced with agreement: 6,00 euro
ridotto / reduced: 5,00 euro
Catalogo / catalogue: Skira

Info
info@keithharingabruzzo.com
www.keithharingabruzzo.com
+39 02 45496873/4

Produzione e organizzazione
management and organization
Alef – cultural project management
info@alefcultural.com
www.alefcultural.com

Ufficio Stampa / press office
CLP Relazioni Pubbliche
tel. 02.433403 – 02.36571438
fax 02.4813841
www.clponline.it
press@clponline.it; ufficiostampa@clponline.it

www.keithharingabruzzo.com

Header: photo by Curtis L. Carter