With / Kanssa – Installation & Performance Programme

Dates: 7–14 October 2025
Venue: Yö Galleria, Helsinki

With / Kanssa unfolds at Yö Galleria as a week-long installation and performance programme exploring coexistence among species, environments, and realities. The project brings together artistic practices that invite repositioning and shared presence.

Programme (7–14 October 2025)

Free admission to all events.

Earth Talks

Earth Talks is a series of conversations shared between human participants and, alongside them, a pile of soil — exploring artistic research in contact with the earth.
The discussions take place in physical relation to the ground: in touch, beside, or together with it.

Design and Communication Support — A Practical Experiment

The visual communication for With / Kanssa was developed as an experiment in creating accessible tools for artist-led initiatives directly managed and produced by Heli Keskikallio and Soile Voima.
My support focused on building a clear and coherent information system for print and digital use, helping the artists concentrate on content and curatorial process while maintaining communication consistency across platforms.

This collaboration is also an extension of my project Extra, an ongoing reflection on how communication design can serve artistic self-organization and collective production.

Photography by Soile Voima.
Project hosted at Yö Galleria, Helsinki.

Stories from the Programme

Three glimpses from the Instagram stories shared during the event week — fragments of the installation atmosphere and live moments at Yö Galleria.

Stories from the Programme

Three glimpses from the Instagram stories shared during the event week — fragments of the installation atmosphere and live moments at Yö Galleria.

Follow the artists:
@helikeskikallio ·
@soilevoima ·
@yogalleria

Visual communication support by Giovanni Ambrosio / Black Spring Graphics Studio.

L’article With / Kanssa – Installation & Performance Programme est apparu en premier sur Black Spring Graphics Studio.

K. Revue trans-européenne de philosophie et arts: New Issue

K Revue Cahier spécial 2025

For the third time, I had the pleasure of designing a special issue of K – Revue trans-européenne de philosophie et arts. This is a journal I feel deeply connected to, as it represents an intellectual space of great importance to me — a place where thought, writing, and art intersect with critical intensity.

This new issue, The Greatness of Mahmoud Darwish, is trilingual (Italian, French, English) and includes a dedicated section titled WORKS, focusing on contemporary artistic responses to Gaza and the political catastrophe unfolding in Palestine. The issue features for the first time a full cover image: Monochrome Resistance, based on a photograph by Hashem el Madani (Saida, 1970, revisited 2025), by the artist Akram Zaatari, whom we thank deeply for his generous contribution.

The graphic design is based on a first editorial model created by Patrizio Esposito, who helped launch the initial call for papers. The issue uses the typeface Simoncini-Garamond and adheres to the clarity of a university journal format, while also giving space to a rich diversity of visual contributions.

Below, I share the editorial text written by Luca Salza, signed by the editorial board of the magazine:

It was hard work. Done in urgency, in haste, during the summer, heat, sea… trying to speak of a genocide unfolding on that same sea, under that same sun. How can one even begin to think about it? In the heat of summer… while thousands of people live in tents and die for a yes or a no…
And yet, we committed ourselves, and dedicated this issue to Mahmoud Darwish, believing that Palestinian art and poetry could not only tell us of a long history and geography to defend as something precious, in the face of brutal violence, but could also point to a political path for emancipation — impossible, but stubborn — within the massacre.
Practices of catastrophe. Because the Palestinian question remains a political question. And because even if there is nothing to think inside a massacre, the only thing left for us to do is to think (of) Gaza.

The full issue is available online, for free consultation.  Best viewed with your PDF reader set to "double-page with cover".

L’article THE GREATNESS OF MAHMOUD DARWISH est apparu en premier sur Black Spring Graphics Studio.

Napoli Balla – Extended Mix: A Fragment from the Scene

Event documentation at Cans Beershop, Somma Vesuviana
Photography & visual archive by Black Spring Graphics Studio

On June 27th, 2025, Napoli Balla – Extended Mix was presented at Cans Beershop in Somma Vesuviana. The event featured Gennaro Ascione, in conversation with Andrea Miranda and Giovanni Nocerino, followed by a listening session curated by Genny G.

This post gathers a small fragment from the evening—a visual trace within an ongoing practice of documentation and archiving. As in many projects by Black Spring Graphics Studio, photography here does not illustrate the event but rather records a situated moment: not staged, not performed, but simply acknowledged.

The documentation exists not to explain, but to preserve: to offer future visibility to forms of independent cultural production in and around Naples.

Event Details

• Title: Napoli Balla – Extended Mix
• Date: June 27, 2025
• Venue: Cans Beershop, Borgo Casamale, Somma Vesuviana
• Guests: Gennaro Ascione, Andrea Miranda, Giovanni Nocerino
• DJ set: Genny G
• Hosted by: @cans_beershop, @untitledage

Napoli Balla, Gennaro Ascione, Cans Beershop, Untitled Age Series, visual documentation, event photography Naples, independent cultural events, Black Spring Graphics Studio, Somma Vesuviana events, archiving Naples nightlife, listening session Genny G, Andrea Miranda, Giovanni Nocerino, visual culture Campania

L’article Napoli Balla – Extended Mix: A Fragment from the Scene est apparu en premier sur Black Spring Graphics Studio.

L’article Mudrābox(e): una scatola guerriera, una stratificazione est apparu en premier sur Black Spring Graphics Studio.

Mercoledì 9 aprile 2025, ore 19:30

📍 Hubside, Borgo Casamale – Somma Vesuviana (NA)

🎟 Ingresso libero

Aprile in Pu-téca, terzo appuntamento 

Nel cuore del programma Aprile in Pu-téca: Incroci, fughe, pensieri extradisciplinari, si inserisce l’incontro e discussione aperta Disertare gli impegni e cospirare, dedicata alla figura di Francesco Misiano e alla sua  riflessione sul significato politico e filosofico del rifiuto.

Un rifiuto che parla al presente

L'occasione dell'evento è data dalla presentazione del volume Il disertore (Edizioni Cronopio), curato da Luca Salza, docente di Storia delle idee moderne e contemporanee all’Università di Lille. Il testo propone e commenta il discorso che Francesco Misiano pronunciò alla Camera dei Deputati il 12 luglio 1920, dopo essere stato accusato di diserzione durante la Grande Guerra.

Francesco Misiano, (Ardore, 1884-Mosca, 1936) fu tra i fondatori del Partito Comunista d’Italia. Sindacalista, rivoluzionario, nemico pubblico numero uno per i fascisti, quando la reazione inizia a vincere si rifugia in Russia, dove sarà protagonista dell’organizzazione e della produzione del nuovo, dirompente, cinema sovietico.

Un dialogo tra parola e pensiero visivo

Aprile in Pu-téca, programma a cura di Giovanni Ambrosio e Christian Taranto per Tramandars e Pu-téca, pensato come un percorso culturale condiviso nel Borgo Casamale, tra arti visive, filosofia, performance e pratiche extradisciplinari.

Disertare gli impegni e cospirare è anche un invito collettivo a immaginare nuove forme di esistenza. A non farsi trovare, come suggerisce Patrizio Esposito. Luca Salza, tra le altre cose, ha portato nel mio orizzonte di pensiero la nozione del destituente, del sottrarsi  e dello schivare. Sono anni che parliamo della violenza della rappresentazione,  la mia formazione da adulto, da artista ha subito una decisiva influenza dai suoi carichi di ragionamento (suoi intendo di un mondo vasto, spesso incontratosi in riviste extradisciplinari come La Rosa di nessuno, Outis, K rivista transeuropea di filosfia e arti.) Se è ovvio che il presente di distruzione umana e materiale come pratica del quotidiano, di economia della guerra come nuova domesticità rende ll disertore (Edizioni Cronopio, 2023) una pubblicazione di attualità, Luca Salza è invitato in Aprile in Pu-téca pero’ anche a farci ragionare su come potremmo disertare gli impegni nell’arte. Facendo arte contemporanea (si fa per dire, è una vasta extradisciplinarità) fuori dai centri urbani si finisce facile a intonare chi siamo noi chi siamo noi chi siamo noi?  E a rispondere noi siamo noi. Come suggerisce Patrizio Esposito, dobbiamo cercare di non farci trovare. Da lui attingo la nozione di cospirare.

Aprile in Pu-téca: un programma di fughe e incroci

Comunicazione visiva: un design pensato per l'arte e per la sostenibilità

L'identità visiva dell'evento è stata sviluppata da Black Spring Graphics (BSG Studio) nell'ambito della creazione di un modello grafico modulabile pensato specificamente per associazioni e centri d'arte. Il progetto si propone come discorsivo, economico da stampare, facile da adattare a contesti diversi. La comunicazione utilizza una font sviluppata da un collettivo indipendente, progettata appositamente per ridurre il consumo di inchiostro, nel rispetto di principi di sostenibilità e accessibilità. L'impianto grafico è orientato alla chiarezza dell'informazione, con attenzione alla gerarchia tipografica e all'uso consapevole del colore. In questo caso, il colore ottanio è stato scelto direttamente dall'artista Gianni Valentino come codice cromatico simbolico dell'intero reading.

Instagram e la campagna discorsiva: parole in movimento

Per la comunicazione digitale, è stata realizzata una campagna Instagram che si distingue per il suo approccio discorsivo: le stories non presentano immagini, ma solo testi su fondo ottanio. Questa scelta minimalista rispecchia l'intento di trasformare ogni contenuto social in un luogo di informazione, non solo di promozione. Le stories accompagnano il pubblico nella comprensione dei dettagli dell'evento, costruendo un racconto coerente, sobrio ed elegante.

Il libro

Francesco Misiano, Il disertore A cura di Luca Salza Edizioni Cronopio, pp. 84, € 10,00

Per informazioni, materiali stampa e interviste: Tramandars – tramandars@gmail.com | +39 349 583 8248 Christian Taranto – taranto.christian@gmail.com Giovanni Ambrosio – ga@giovanniambrosio.com

Giovanni Ambrosio

L’article Disertare gli impegni e cospirare: Francesco Misiano, il rifiuto politico e l’arte di non farsi trovare est apparu en premier sur Black Spring Graphics Studio.

📅 Date: Mercoledi, 2 aprile, 2025

📍 Luogo: Pu-téca, Borgo Casamale, Somma Vesuviana

Un evento tra poesia, musica e comunicazione visiva

Mercoledì 2 aprile 2025, alle ore 19:30, l'edicola votiva d'arte contemporanea Pu-téca Tramandars, nel cuore del Borgo Casamale di Somma Vesuviana, ospiterà "Feeling. Visioni da un Reading", un evento unico che unisce narrazione, memoria visiva e poesia sonora. Protagonista della serata è Gianni Valentino, autore del libro "Feeling. Pino Daniele" (Colonnese, 2024), che guiderà il pubblico in un viaggio emozionale e discorsivo attraverso l'opera e l'eredità musicale di uno degli artisti più amati della scena partenopea.

Pino Daniele tra voce, immagine e paesaggio

Feeling. Visioni da un Reading è un reading performativo accompagnato da una proiezione silenziosa di video e fotografie d'archivio che raccontano la biografia creativa di Pino Daniele. Il libro da cui prende origine l'evento si struttura come un jukebox letterario composto da dodici canzoni, una per ogni mese dell'anno: un calendario sonoro che offre un ritratto affettivo, politico e musicale del grande cantautore napoletano. Insieme a Valentino, interverrà anche Luigi Jovino, con un contributo sul legame tra Pino Daniele e Somma Vesuviana.

Aprile in Pu-téca: arte contemporanea e parole che si intrecciano

Questo appuntamento è parte del programma Aprile in Pu-téca, curato da Giovanni Ambrosio e Christian Taranto per Tramandars e Pu-téca, in collaborazione con le realtà attive del Borgo Casamale: Amici del Casamale, Upside e Cans Beer Shop. Un calendario che unisce arti visive, editoria, suono, memoria e comunità, con l'obiettivo di attivare un territorio attraverso pratiche extradisciplinari.

Vini e Vinili Pino Daniele: il rito del dopo reading
A seguire, la serata continuerà nel segno della condivisione con Vini & Vinili, una selezione musicale accompagnata da vini naturali presso Cans Beer Shop, spazio conviviale del borgo già attivo nel circuito culturale casamalese.

Comunicazione visiva: un design pensato per l'arte e per la sostenibilità

L'identità visiva dell'evento è stata sviluppata da Black Spring Graphics (BSG Studio) nell'ambito della creazione di un modello grafico modulabile pensato specificamente per associazioni e centri d'arte. Il progetto si propone come discorsivo, economico da stampare, facile da adattare a contesti diversi. La comunicazione utilizza una font sviluppata da un collettivo indipendente, progettata appositamente per ridurre il consumo di inchiostro, nel rispetto di principi di sostenibilità e accessibilità. L'impianto grafico è orientato alla chiarezza dell'informazione, con attenzione alla gerarchia tipografica e all'uso consapevole del colore. In questo caso, il colore ottanio è stato scelto direttamente dall'artista Gianni Valentino come codice cromatico simbolico dell'intero reading.

Instagram e la campagna discorsiva: parole in movimento

Per la comunicazione digitale, è stata realizzata una campagna Instagram che si distingue per il suo approccio discorsivo: le stories non presentano immagini, ma solo testi su fondo ottanio. Questa scelta minimalista rispecchia l'intento di trasformare ogni contenuto social in un luogo di informazione, non solo di promozione. Le stories accompagnano il pubblico nella comprensione dei dettagli dell'evento, costruendo un racconto coerente, sobrio ed elegante.

Un progetto tra arte, memoria e design

Feeling. Visioni da un Reading è un esempio di come arte contemporanea, comunicazione editoriale e pratiche di comunità possano confluire in un unico evento capace di attivare memoria e desiderio. Concepito come parte di un lavoro più ampio su territorio, linguaggio e visione, il progetto rappresenta un nodo concettuale e laboratoriale nella rete di relazione tra artisti, spazi indipendenti e comunità culturali.

Giovanni Ambrosio

L’article Feeling. Visioni da un Reading – Il racconto visivo e poetico di Gianni Valentino per Pu-téca Tramandars est apparu en premier sur Black Spring Graphics Studio.

📅 Date: Saturday, March 22, 2025

📍 Location: Hubside, Borgo Casamale, Somma Vesuviana

APRILE IN Pu-téca: Crossings, Fugues, and Extradisciplinary Thinking

This event is part of APRILE IN Pu-téca, an exhibitory and performative program curated by Christian Taranto and Giovanni Ambrosio.

Incroci, Fughe, Pensieri Extradisciplinari is a cycle of three encounters that interweave literature, poetry, critical thought, and visual arts. Through readings, installations, and book presentations, the program explores the relationships between words and images, signs and bodies, memory and contemporary narratives.

Turmoil: A Sonic Exploration Beyond Boundaries

The inaugural concert of APRILE IN Pu-téca, titled Turmoil, brings together Joss Turnbull and Mario Gabola, two experimental musicians pushing the limits of sound through unconventional techniques and sonic improvisation. Hosted at Hubside in Borgo Casamale, this event is a deep dive into the intersection of experimental music, sound research, and radical performance.

The Artists

Joss Turnbull (@jossturnbull) - A Berlin-based percussionist specializing in the tombak, a Persian goblet drum. Turnbull transforms this traditional instrument using experimental techniques, fusing minimalism, rhythmic abstraction, and raw sonic textures to create immersive soundscapes.

 Mario Gabola (@vianderecords) - A Naples-based saxophonist and sound researcher known for his extended techniques, DIY electronics, and radical improvisation. Gabola’s work integrates feedback loops, noise elements, and self-built sound systems, creating a deeply visceral auditory experience.

A Collaborative Cultural Event

This concert is part of a larger cultural initiative, supported by Pu-téca, Tramandars, Cans Beer Shop, Untitled Age, Black Spring Graphics Studio, and Amici del Casamale. The initiative seeks to foster experimental artistic expressions and interdisciplinary dialogues through sound, movement, and visual art.

Minimalist Design & Collaborative Aesthetics

The event’s visual identity follows a minimalist design approach, featuring a custom typography by Luigi Corlero (@luigi_corlero_design), ensuring a coherent and accessible aesthetic for all participating cultural actors.

L’article Turmoil: Percussion & Electronics by Joss Turnbull + Extended & Amplified Sax by Mario Gabola est apparu en premier sur Black Spring Graphics Studio.

📍 Embassy & Mission of the Islamic Republic of Afghanistan, Rome

📅 Friday, March 21, 2025 | 5:00 PM – 9:00 PM

An Artistic Dialogue Between Diplomacy and Identity

The Embassy of Afghanistan in Rome and Tramandars present DIPLOMACY, a site-specific installation by Edoardo Aruta, curated by Christian Taranto, with texts by Gianluca Sensale. The event reinterprets the role of art in diplomatic relations, using artistic language to explore the intersection between geopolitical narratives, cultural identity, and symbolic space.

This one-night exhibition, hosted within the diplomatic quarters of the Afghan Embassy, invites visitors to engage in a visual and conceptual reflection on boundaries, political discourse, and representation.

About the Exhibition

DIPLOMACY examines the embassy as a liminal space—a territory that is simultaneously inside and outside the nation it represents. Much like a body, it serves as a point of connection and separation, embodying both territorial presence and symbolic distance.

Edoardo Aruta’s work delves into the historical and ideological role of embassies, considering how they curate national identity through art, culture, and representation. The installation revisits diplomatic artifacts, visual archives, and symbolic gestures, reinterpreting their role in contemporary discourse.

Through mixed-media installations, archival materials, and sculptural elements, DIPLOMACY challenges the way politics, negotiation, and power structures shape narratives within institutional settings.

A Multi-Layered Experience

Alongside the exhibition, visitors will have the opportunity to experience Afghan culture through:

 Exclusive access to the Embassy & Mission of Afghanistan

A curated selection of traditional Afghan cuisine

Discussions on the intersection of art, politics, and diplomacy

With the generous support of H.E. Khaled Ahmad Zekriya, this event aims to foster cross-cultural exchange and dialogue.

Key Contributors

Artist: Edoardo Aruta (Rome, 1981)

Curator: Christian Taranto (Tramandars, Collettivo Zero APS)

Texts by: Gianluca Sensale (Collettivo Zero APS, Art Researcher)

Organized by: Tramandars – Art & Cultural Mediation

 Graphic Design: Black Spring Graphics | Giovanni Ambrosio

Event Details & RSVP

📅 Date: Friday, March 21, 2025🕔 Time: 5:00 PM – 9:00 PM

📍 Location: Embassy & Mission of the Islamic Republic of Afghanistan, Via Nomentana 120, Rome

📩 RSVP Required: afghanistan.roma@gmail.com | tramandars@gmail.com

This event has limited access—please RSVP at least 24 hours in advance.

Why This Event Matters?

 DIPLOMACY isn’t just an exhibition—it’s a critical reflection on how cultural representation, power structures, and visual language intersect in global politics.

Through art, archives, and performative elements, the exhibition invites visitors to question:

Can deterritorialized art challenge geopolitical narratives?

What role does art play in soft power and diplomacy?

 Follow @Tramandars and @Bsgstudio for updates

L’article DIPLOMACY – Edoardo Aruta’s Installation at the Afghan Embassy in Rome est apparu en premier sur Black Spring Graphics Studio.

The contemporary art world is increasingly shifting towards self-managed, independent exhibition spaces. However, many of these spaces lack the resources for structured communication, consistent branding, and professional documentation. How can independent art spaces maintain a strong and coherent identity without relying on expensive proprietary tools?

The Driving Force: Untitled Age and Communication for Independent Spaces.

At Pu-téca and within the curatorial program Untitled Age, this challenge became central: developing an adaptable and accessible communication system for independent art spaces.Our objectives were clear: To create a structured communication and exhibition dissemination model. To build open-source tools that empower artists and spaces to manage their branding and visibility without excessive costs.

A Framework for Social Communication and DocumentationWe designed a modular communication framework that includes:

A flexible press release model that can be adapted for different exhibitions.
A structured social media strategy, making exhibition documentation simple, adaptable, and accessible.
An open-source list of platforms for announcements and outreach, ensuring that exhibitions reach the widest possible audience.

Building the Ultimate List of Exhibition Announcement Platforms

One of the key aspects of this project was curating a comprehensive list of platforms for exhibition announcements, categorized as follows:
-Free platforms (e.g., e-flux Announcements, ArtRabbit, Contemporary Art Library) that offer visibility without publication costs.
-Paid platforms with premium outreach models.
-Local and national media outlets, with a special focus on art-related publications and regional newspapers (e.g., Il Mattino for Naples, Artribune, and Exibart on a national level).
This open-source list is not just an archive of contacts—it is a shared and ever-expanding tool, accessible to artists, curators, and independent spaces seeking greater visibility.

Towards a Scalable and Accessible Model

Our goal was to establish a replicable communication model that simplifies exhibition dissemination for independent spaces. This method can be adapted and adopted by collectives, artists, and curators, contributing to a broader support network beyond traditional institutional structures. Effective communication and documentation should not be a privilege but an accessible tool for every independent space.

L’article Communication Strategies for Independent Art Spaces: A Commons-Based Approach est apparu en premier sur Black Spring Graphics Studio.

Assisting Marco Ripa at Maison & Objet: A Celebration of Italian Design

As Paris gears up to host Maison & Objet 2025, I find myself immersed in a truly unique experience: supporting the Italian designer Marco Ripa during his debut at this iconic design fair. This opportunity bridges my professional path with a lifelong passion for design history, especially the rich legacy of Italian avant-garde design that redefined global aesthetics from the late 1960s to the 1970s.

 Italian Design Culture

Italian design has always transcended the mere creation of objects; it forges cultural touchstones. From the bold experiments of the 1960s to today’s modular innovations, the Italian approach seamlessly blends craftsmanship, creativity, and elegance. Marco Ripa exemplifies this heritage with his modular Coimbra collection and India table series. His work transforms industrial materials like metal into artful pieces, redefining conventional ideas of form and weight.

A Personal Connection

For me, design—much like performance art—has always been a medium to explore the intersection of craftsmanship and storytelling. While my career often centers on performing arts communication, collaborating with designers like Marco Ripa allows me to engage with an entirely different creative dimension. Design is more than functional; it tells stories about people, places, and possibilities.

Maison & Objet Maison & Objet Official Website

At Hall 7, Stand B90, Marco Ripa will unveil the Coimbrino cushion collection, a collaboration with textile designer Daniela Pinotti, alongside his existing modular and furniture collections. These works continue Italy’s tradition of harmonizing function and beauty—just as avant-garde designers of the 1970s revolutionized the world.

Why This Matters

For me, assisting at Maison & Objet is about more than showcasing Marco Ripa’s work; it’s about weaving design history into contemporary practice. This event offers an opportunity to share the legacy and passion of Italian design with a global audience, while contributing my expertise in communication and visual culture.

#MarcoRipa #DesignCulture #Paris

Marco Ripa’s Official Website

Cover image: The Italian Avant-Garde 1968-1976 

L’article Marco Ripa at Maison & Objet 2025: Italian Design Meets Innovation est apparu en premier sur Black Spring Graphics Studio.

Crafting a Website for RAVIV: Strengths and Weaknesses in Design: a case study

Creating a website for RAVIV posed unique challenges, primarily due to the absence of a well-defined brand identity and a limited design culture from the client. However, the design team successfully implemented several effective elements while navigating these constraints.

Homepage: Strengths and Weaknesses

The homepage of the RAVIV website features an engaging design concept. The use of diagrams to represent different sections is innovative and visually appealing. Additionally, the transparency of the modules and the resulting color blends effectively convey the idea of cooperation among diverse actors. This design choice brilliantly underscores the network's collaborative ethos.

However, the color contrast, particularly between light yellow and light blue, is insufficient for easy readability. This issue stems from low luminosity contrast. To improve readability, increasing text size and weight, capitalizing text, or darkening the blue are recommended. Furthermore, the lengthy section names in the dropdown menu complicate navigation. Simplifying these names would enhance user experience. Consistency in typography—uniformity in how the network's name is written—and adherence to French punctuation rules would also polish the site's professional appearance.

Clickable Elements and User Navigation

The design follows an older convention of underlining words to indicate they are clickable, which hinders readability in long texts. Modern approaches, like highlighting text on hover, could signal clickability without disrupting the reading flow. The dropdown menu would benefit from rearranging items to align with the underlying content, providing a logical flow that enhances navigation. Membership-related items, for instance, should precede the "Why and How to Join?" section.

Color Palette: A Double-Edged Sword

The colour palette presents a stark contrast: the homepage opens with bright, vivid colors, while the rest of the site features muted, desaturated tones. This disjointed scheme can be jarring. Pages in yellow and khaki, lacking neutral backgrounds, feel stifling. Incorporating more neutral tones could alleviate this. The inconsistent use of bullets and poor color contrasts, such as yellow on light khaki, further challenge readability. Introducing a teal shade close to the existing light blue adds confusion and detracts from coherence.

Readability and Consistency

Titles and blocks representing member companies suffer from poor readability due to insufficient contrast with the background. The introduction of coral seems unnecessary, given the existing coherent palette. The traditional yellow and khaki design of the "core business" section feels disconnected from the rest of the site, creating the impression of navigating to a different website. This inconsistency is reinforced by the homepage's drastically different colors. Strong color filters on images often obscure key details, and light yellow and blue text on light pink is hard to read.

Header and Footer: Disruptive Changes

Frequent changes in header and footer colors disrupt readability and coherence. A consistent color scheme throughout would enhance user experience. The use of background grids adds dynamism, and khaki text introduces color while maintaining readability. Consistent use of red ties the design to the unchanged logo, fostering visual harmony.

Blog Section: Navigational Clarity Needed

The blog section's access method is unclear, but the concept of colorful blocks on a white background is visually appealing. However, introducing a new shade of blue is unnecessary. The simple, readable typography complements the colorful design, giving the site a playful appearance. The use of colored blocks enhances this effect, reinforcing the site's engaging and approachable character.

Conclusion

Designing a website for RAVIV without a defined brand identity required creative problem-solving and strategic thinking. While the design successfully implemented several engaging elements, the lack of a consistent brand identity and limited design culture led to several challenges. By focusing on readability, navigation, and a cohesive color palette, the site could be further refined to enhance user experience and visual appeal. This project highlights the importance of a well-defined brand identity and the need for a robust design culture in creating effective web designs.

A case study by Elise Dubois, designer and researcher

L’article How to design a website when the brand identity is not defined est apparu en premier sur Black Spring Graphics Studio.

My Summer Visits to the Design Museum of Helsinki

A place where everybody can seat

Now that autumn is here, I find myself reminiscing about the incredible summer I had. In June I spent my days setting up my office just in front of the Design Museum of Helsinki, where the road is closed and design takes over to offer a public space for people wanting to to seat, work, observe the Hellsinki life... I think it's one of my favourite spots in the city.

Strategies for Moving Freely

Not to mention that the museum exhibitions are just stunning. I am still thinking about (just to mention one of them) the incredible exhibition by Jenny Nordberg: Strategies for Moving Freely. A design thinking approach to life that comes to my mind every single time I turn a lamp on in my office (you have to watch at least one of her videos...).

This exhibition, which is Nordberg’s first solo exhibition in Finland, showcases her unique approach to design. Nordberg is known for her insightful perspective on mass production, over-consumption, and the duty of designers to address these issues. Her works are not only thought-provoking but also carry a humorous and solution-oriented approach to serious themes.

The exhibition features a number of Nordberg’s recent works, each piece reflecting her problem-based and research-driven design process. From material experimentation to the creation of surprising new objects, Nordberg’s work encourages viewers to take responsibility for their choices of objects and materials.

If you ever find yourself in Helsinki, I highly recommend a visit to the Design Museum.

L’article My Summer Visits to the Design Museum of Helsinki est apparu en premier sur Black Spring Graphics Studio.

The Singing of the Sirens, performance at Omapohja Studio Helsinki

I’m excited to share that I am working as a designer and photographer for the upcoming show in Helsinki, The Singing of the Sirens, at Omapohja Studio Helsinki October 2024.

This opportunity allows me to leverage my expertise in design and photography and to push forward the research on archiving and documenting a contemporary dance piece. This project continues the work I began with the Echoes of the Sirens at the Drifts Festival in Helsinki 2023. More updates, behind-the-scenes glimpses, social campaigns, photographs, will be soon published.

Working group:
Choreographer Heli Keskikallio
Dancers Johanna Karlberg, Ella-Noora Koikkalainen and Lotta Suomi
Sound designer Miki Brunou
Space designer Bea Tornberg
Light designer Saana Volanen
Voice consultant Tua Hakanpää
Production Heli Keskikallio
Co-production: Live Art Society (Esitystaiteen seura)
Photo: © Giovanni Ambrosio/Black Spring Graphics Studio, black-spring-graphics.com

Supported by: Kone Foundation and the City of Helsinki
Residencies: Saari Residence, Old Mine Residency

Performances:
Fri 4.10. at 19:00 - Première
Sun 6.10. at 15:00
Tue 8.10. at 19:00
Wed 9.10. at 19:00
Fri 11.10. at 19:00
Sat 12.10. at 15:00

Place: Omapohja-Stage, Itäinen teatterikuja 3 C,Helsinki

Tickets: the Live Art Society’s ticket shop

L’article The Singing of the Sirens at Omapohja Studio Helsinki est apparu en premier sur Black Spring Graphics Studio.

Exploring Design Culture in France: A Journey from Concept to Creation

1. Design en France

A chaque fois que l'on commence à penser à un projet, assis à notre table de travail, avant même de penser à dessiner quoi que ce soit, avec mon ami et collaborateur Antonio, on se demande toujours quel livre pourrait-on ouvrir pour échauffer la pensée. De manière générale, on se demande comment la culture du design - de message, de produit... - est diffusée, pensée, rendue disponible. Nous rêvons d'étagères à portées de main, mais aussi de bibliothèques, mais aussi de fonds numériques, mais aussi d'ateliers, manufactures, lieux où on imprime. Lieux où l'on voit. De la même manière quand je travaille avec Meike et Loretta à notre projet de recherche artistique Science of Singularities, la question du design comme outil de pensée et de disposition de matière revient constamment. Comment faites-vous?

Voci deux éléments qui me paraissent - à moi - fondamentaux en France.

Je me suis souvenu que mon obsession pour la collecte de newlsetters m'a toujours réservé une base de connaissances et d'écoutes remarquable et j'ai retrouvé récemment un des derniers messages du Centre national des arts plastiques (Cnap), avec le lien vers le dernier numéro de Graphisme en France. La première cinquantaine de pages sont une géniale tables de matières qui produit l'envie naturelle du lecteur: annoter, souligner, découper, plier, stabiloter... toute une série d'opérations de la pensée à partir de la lecture.

La collection des Graphisme en France est pour moi une référence essentielle. La semaine dernière je suis aussi tombé par hasard sur un live de Benoît Buquet, Art & Design graphique, daté d'une dizaine d'année mais qui me parait aussi un instrument valable.

Et je pensais, s'il est essentiel de s'immerger dans le design comme une discipline d'imagination et discussion, il est est aussi fondamental d'appartenir au design comme opérateur, professionnel, pratiquant ( à touts les niveaux, nuances et degrés possibles et mélanges possible ou impossibles. Et pour cela, pour moi, être membre de l'Alliance France Design est une

L’article Exploring Design Culture in France est apparu en premier sur Black Spring Graphics Studio.

Exploring art of printmaking at Belgium's Frans Masereel Centrum: my 6 Weeks as an Artist-In-Residence

Have you ever heard about the Frans Masereel Centrum?

I do, I have been there, and I have spent among the best six weeks of my life as an artist (yes I know, there's no six week packs in the life of an artist, but there's Twelve Moments In The Life Of The Artist, by David Sedaris, and you should definitely read it). Anyway, I think I have heard about FMC for the first time in my life when I was living in Germany. Informative literature on art, museums, art spaces, kunstahalles was literally everywhere. I think I got a journal in my mail box between the Obi weekly catalogue and the Liedl one. From there on I started to think about the idea that I should have, somehow, put my practice of image making into a direct confrontation with a place dedicate to prints, to printed matter-at-large as it's stated on the website. And I eventually did, having to opportunity to be among a group of resident artists in 2021.

The Frans Masereel Centrum (FMC)

The Frans Masereel Centrum is  located in the quiet countryside of Kasterlee, Belgium and its named after the influential Belgian artist and engraver Frans Masereel, who pioneered the graphic novel format in the early 20th century. The residency provides artists with studio space, specialised equipment, technical assistance. The studios are a live anthology of printmaking, you can engrave but also print in a state of the art digital studio, you can screen print, you can di lithography, you can laser cut. You can basically experiment everything. You can wake up in the morning, enter the studio and basically be nothing else but a printmaker, all the rest is just somehow, somewhere outside. Somewhere else. But probably the best part is that the studio has a pulsating heart which resides into the team working there: Ivan, Nathan and Tom, at the time I have been there. More than extended knowledge, smooth friendly conversations, gentle helping hands. Not to talk about the back office team. I remember that last year an Italian unknown colleague artist reached out to know about the Fmc, I think I said it should be one of the moments in the life of an artist.

Printmaking with artists

The Frans Masereel Centrum residency has had a profound impact on my practice, I had time and tools to start new works or to reshape some matters I had carried with me. But I think my time at the Frans Masereel Centrum artist residency in 2021 was a transformative experience overall because I had the opportunity to get in touch with a group of amazing artists, from different background, with different perspectives. We have shared a fantastic time, long conversations, dinners, projects. Hopefully I carried my camera to help me stock marks of that time during beautiful summer days. I have now put together my casual journal, with fragments, of papers, of prints, of shadows, of people, of lights, of architectures.

L’article The Frans Masereel Centrum artist residency est apparu en premier sur Black Spring Graphics Studio.

Do you expriment with printmaking? Boothuis Brauhaus, nomad by fate, the printship in Ghent.

Do you do printmaking? 

Before the 15th century, printed images were rare and if you want to get vertigo, think about that nowadays they are turning again into rare. Beside art lovers, who owns printed images? Who prints images? I sometimes come across people at airport gates, I look at their home printed boarding passes. Sometimes they even protect them with a plastic holder. I actually really never know whether I should talk to them, ask about their process, or fast run away from them as they probably are over procedural folks. (Honestly I do think they have been previously instructed to always use a tool to draw a prefect straight line under a title in their notebook. And for some reason they always have done that).

I don’t have to inform you in poor lines about the history of printmaking, just a quick reminder:  before the 15th century, most of the images that existed were either carved, painted, or drawn by hand. The earliest forms of printing, such as woodblock printing and movable type, originated in China and other parts of Asia, but they did not reach Europe until much later. We had to wait for Johannes Gutenberg's introduction of the movable type printing press, around 1440. Our common knowledge says the he invented the press from scratch, but it’s not exactly true, as this sweet book I recently bought, Piccolo manuale illustrato per cercatori di font, gently reminds.

But why do I love printmaking?

Who would ever be able to give up electronic matter? It does not run out, it is here but it is elsewhere, it belongs to you and it can belong to many others at the exact same time. Who would ever want to leave an immense library that is your home? You go through it, you ask to it, you translate it, you use it, you fold it, you eradicate it, alway no problem. The more languages you know the more you can accumulate. Marco Polo could have already brought Kublai Khan sacks of photographs, he could now hand him endless invisible archives and they could stay silent for hours longer.

Yet with the same tenacity, one can love deeply the fibre, the yellowed, the uncomfortable, the criss-cross, the fragile, the perishable, the absorbent, the crease and the unreturnable, the paper, the ink, the irreparable mistake, the blackening. Even the tear, the residue and the spurious. To what extent the graphic arts put their hand to a physical depth, it is difficult to explain. an idea is to be found more in the density of blacks, in the dust of papers, in pragmatic gestures, in long and unfathomable observations.

As an artist I am fascinated by the idea that I can belong to the present using tools from other eras. It’s a precise way to be experimental. By the way, have you noticed that an increasing number of young (and less young) photographers are going back to analog photography? Surprising, isn’t it? I can understand the need to be related to a physical matter, but I picture them as people willing to give phone calls from a telephone booth to another telephone booth elsewhere, in the era of smartphones. Who could possibly answer? Although I definitely love the poetic of such an image, I still am persuaded that it does not fit photography. Photography is modern by definition. Photography is state of the art technology. It's in its history.

The Printmaking Journey aboard the Ghent floating studio 

Anyway. I feel perfectly experimental when running the wheel of a press. But also while choosing inks pour a rizo print. There’s a person that really made me understand how printmaking can be an out of the box thinking. That’s Tom, from Boothuis Brauhaus, nomad by fate, the printship. With Tom, out of the box can literally mean out of the box. The brilliant demonstration that once you know the rules, you are at the best point to override them, and to be creative (I know, overrated word).

Tom is  the person running possibly the only floating studio in the world. As he says: Residencies & rentable print making studio on a converted cargo ship, current location : Ghent, Belgium. As an artist, I have spent a beautiful week for a printmaking residency on the ship. I lived and worked aboard this houseboat that had been converted into a floating studio, surrounded by the sights of the historic city's intricate canal system. Ghent is such a beautiful city, the morning light from the cabin is just amazing. The experience gave me rare time and space to focus on my printmaking practice. As I reflect back on my time in Ghent, I'm grateful for the opportunity to hone my printmaking skills. I mostly did rizo printing, trying to do images for my  long term documentary work Ius Soli. (Recently on show at Indian Photo Festival) If you want get inside my printmaking residency on the boat in Ghent, start having a l breakfast in the boat's cozy kitchen area, and give a glance to the pictures. Do not forget to pass by the work of Hoel Yeun Elez, printing his wood carved plates, during nights and days. 

L’article Do you expriment with printmaking? est apparu en premier sur Black Spring Graphics Studio.

K. Revue newsletter design

K. Revue trans-européenne de philosophie et arts  is a biannual electronic publication and  it is the result of collaboration between the CECILLE Laboratory of the University of Lille SHS and the Philosophy Department of the University of Messina. Each issue is monographic and it focuses on a figure, a name or a historical figure who is related to the idea of destituent power. The dossiers are chosen and voted on by the editorial board at annual meetings. All articles (Eessays and readings) selected by the Editorial Board are subject to a double-blind evaluation (anonymity of author and evaluator) by readers outside the journal.K. may also randomly produce special issues, usually - but not always - linked to current events. These special issues are the fruit of the independent work of members of the editorial team. K. is also a collection published by Mimesis entitled Samsa. Écritures pour le destituant.

Each K. Revue issue is announced by an electronic newsletter that I design accordingly to a picture that relates to an article of the issue. Since K. is a philosophy journal but also an art review, there's always at least an essay on films and cinema, therefore the main image can often be a film poster. The publication of the issue on theTramp,Tramp deserter, Tramp revolutionary, Tramp dancer, was announced with a famous picture of Charlot,  while the latest issue, the first in 2024, dedicated to Jean of Arc, has been announce with the poster of 1957 film Saint Joan directed by Otto Priminger. Theatrical release poster has been designed by Saul Bass, who is a master of design and whose career show how much communication design can is a engine of artwork.

L’article K. Revue newsletter design est apparu en premier sur Black Spring Graphics Studio.

Malafemmena - videoclip di Totò Poetry Culture

Gianni Valentino la prima volta l’ho visto sottoterra mentre con le mani buttava ancora più in avanti la voce che forse gli usciva da tutte parti e non solo dalla bocca e non c’era dubbio che fosse un poeta che sforzava il corpo per incarnarne un altro, che poi quest’altro era Raffaele Vivian di cui io, personalmente, sapevo solo che per qualche motivo aveva un posto nel pantheon della letteratura napoletana. Sforzava il corpo e la voce non tanto per fare il poeta che declama la poesia, cantava.

Poi Gianni l’ho rivisto qualche tempo dopo dare voce a Toto’ Poetry Cultura e non c’era dubbio che fosse un poeta che sforzava il corpo per incarnarne un altro, sforzandosi in più di corrispondere alla musica di Lello Tramma. E sebbene lo spazio fosse limitato e sebbene ci fossero tavoli e pubblico seduto a mangiare e a bere (relitto di immaginario cinematografico e musica jazz di un certo tipo) (per me i concerti si dovrebbero fare tutti come fanno i Lightning Bolt) e sebbene tante infinitesimali cose, ne lievitavano tante infinitesimali altre. (Poi c’era questa scena bellissima di suo padre seduto elegante ad ascoltarlo e sono svaniti anche i tavoli, le retoriche e un certo tipo di musica e un certo tipo di cose).

Tempo dopo ancora mi sarei trovato insieme a lui, insieme ai suoi quaderni, insieme alle sui voci, insieme alle sue immagini, ai suoi spezzoni, ai suo soggetti, ai suoi immaginari. Seduti affianco.

Abbiamo aperto il nostro laboratorio nel mezzo di un febbraio ghiacciato ma pure solare. Ma pure crepuscolare. Tante infinitesimali cose sono uscite. Tante manovre, manipolazioni, ipotesi, trattative, scambi, incertezze, ritorni, montaggi, altro. 

Altro potrebbe uscire.

Il video di Malafemmena di Totò Poetry Culture è ora disponibile. In anteprima su Repubblica. E sul canale You Tube di Totò Poetry Culture

Totò Poetry Culture is the duo made up of the poet-performer Gianni Valentino and the musician-producer Lello Tramma who revise the poetic production of famous Neapolitan actor Antonio de Curtis (Totò) into a set of electronic music and spoken words. The project was born on the occasion of the seventieth anniversary of Malafemmena, Totò’smost known poem and song.The show, featuring Gianni Valentino (spoken words) and Lello Tramma (live electronics / synth / laptop / guitar with effects) has been lined up at teatro Trianon Viviani in Naples, February 24th 2023. I have coordinated the visual set I have edited and with has entirely been conceived and shot  by Gianni Valentino.

L’article Malafemmena – Totò Poetry Culture est apparu en premier sur Black Spring Graphics Studio.

Let’s start from the beginning. Probably not the city where it all began. But still.

Football and cities: Napoli. Consider this: my good friend M. from A. – city of Africa – first traveled to Naples. Before Rome, before New York, before Calcutta and Shangai. Actually before everything else. It was the first time of his life outside his own country. And it was Naples. Napoli. Napl. Napule. Neapel. So on. An act of devotion to the Curva A  (even though I think it has been for him as disappointing as meeting your idol in person. M. would never tell that, but I can: such a boring a**ehole.)

[caption id="attachment_7453" align="aligncenter" width="1224"] Naples Panorama from Corso Vittorio Emanuele. © Giovanni Ambrosio A travel guide for football lovers.[/caption]

Yeah, sure, no doubt. It’s no longer the veiled and mysterious city of the lost golden age (ask to Neapolitans about their golden age).

There are endless lists of the 300 monuments in Naples you must visit before you die, of the 135 best restaurants in Naples, of the 1500 easiest parking lots in the city center, of the best one billion of bars to taste the real Neapolitan espresso, of the only stadium where Diego Armando Maradona played, of the best guides to buy your guide to Naples and Amalfi coast, of the last 450 names seriously believed to be the masked singer Liberato . But still.

This is a city in which football passion is literally engraved on its walls. You can read Naples as an enormous canvas in which the history of local ultras mouvement is written. And then you can walk and search for churches, historical buildings, artworks of any type. This is a city full of promises. And of monuments to the first, the second and the so desired third Scudetto (at the moment the refractory period seems to be at its best, but let's not write about that).

[caption id="attachment_7452" align="aligncenter" width="1224"] Napoli, Cavone. © Giovanni Ambrosio A travel guide for football lovers.[/caption]

Wake up early in the morning and go to sleep very late if you want to have a serious introduction to Naples.

Do you want to see something away from beaten paths? Start your trip in the morning from the Centro Direzionale and then walk down Via Ferrara until the Stazione Centrale. There’s a stunning market in which new and old Neapolitans share the tiny spaces between fruits and vegetables, ultras graffiti, lingerie and other kind of useful and useless stuff you can always buy in a Naples market. After that, you are free to loose yourself in the historical center. But do it walking down the Rettifilo. You can’t miss it, it drives you from the station to Università Federico II. It’s crowded, loud and full of life. Students from the hinterland love and hate it with the same strength.

[caption id="attachment_7454" align="aligncenter" width="1224"] Naples, Centro Direzionale © Giovanni Ambrosio[/caption]

Then, in case you desire to make a grand écart - as our French friends (aahahha that's a good one) would loooove to say - you should walk straight to Chiaia. Quite easy to find, it's Naples plastic surgery district. Just stand somewhere and you will appreciate how reverse cosmetic thrust makes young girls look like old and old ladies look like still old, but lifted by the eternal youth dream. You should find by yourself a must to visit - for local intellectual middle class members at least - wine bar (sort of, old style, no natural wines): on one side the into fifties males wearing long scarves and cool left wing guys looking like, on the other side blonde elegant professional fortunate wives from the pre-feminist age. The most impressive thing is that there's a tv screen: it's always broadcasting Serie A highlights.

Where to eat: There would be a lot of places absolutely far away from beaten paths. But I do not want to eat in any of those seated near a tourist. So, shop at the market and cook home. Something also you have to experience: a coffee at Bar Mexico, Central Station.

Find it by yourself: you already know it. It’s totally big deal: pizza. Everybody has its favorite contemporary or old fashioned pizzeria, great service, great dough, great tomatoes, great price, great oven, great fire, great guests, great everything, even sometimes great pizza. Ask to local people.

Something really local: there’s a stupid thing you should avoid in Naples: not to drink a coffee after your dinner. Very late in the night, go to the Chalet Ciro in Margellina and try to find your space at the counter. Coffee is actually pretty bad, but the show around is great.

Contemporary art: One of most beautiful galleries you have ever seen in your life should be Thomas Dane Gallery. It hosted a show by Glenn Ligon with a piece that every serious football art lover should see: Siete Ospiti.

Giovanni Ambrosio

L’article Football and cities: Naples est apparu en premier sur Black Spring Graphics Studio.

il Palazzo Mediceo di Ottaviano: la memoria è un laboratorio

Oggi apre al pubblico uno dei lavori più impegnativi realizzati quest'anno. La fatica che sentiamo adesso è nervosa ed elettrica, come il tempo fuori. Ma è anche soffice e soddisfacente. Perché non viene solo dalla nottate passate a leggere, comporre, disegnare, disfare, ricominciare, ipotizzare. Viene dall'impegno collettivo messo nel disegnare chiedendosi costantemente: cosa riceve chi guarda e legge se disponiamo gli elementi in questo modo? E come aderiamo alla materia che trattiamo? Il Palazzo Mediceo è un'argomento sensibile, richiede fatica sostenuta da un senso etico che è l'essenza del design, che si manifesta poi nelle convinzioni estetiche.

Difficile spiegare cosa sia esattamente Il monumento desiderato. È un percorso informativo, anche, ma è un'installazione museale, è una mostra, è un'opera personale, è un'opera di design.

È la visione di un bene architettonico, il Palazzo Mediceo, che ha attraversato mille anni di storia e che ovviamente arriva a noi oggi non semplicemente come un'opera di architettura stratificata, ma come un palinsesto di politiche, vite, storie, passaggi, ritorni, sensazioni, aspettative, fraintendimenti, proiezioni. Un palinsesto che è un bene pubblico, legalmente. E che è un bene comune nel sentire collettivo, qualcosa di tuo, che anche quando non ci sei resta ad aspettarti (Cesare Pavese).

Quello che volevamo noi era sovrapporre l'idea del laboratorio di creazione all'idea della memoria collettiva e individuale (che sono perfettamente laboratori, i ricordi affiorano e diventano materia), allo sforzo di costruzione del mi ricordo, sì noi ci ricordiamo. Era rendere omaggio alla vis desiderandi di quanti raccogliendo tracce e ipotesi si sono spinti e si spingono a immaginare, inventare, proporre. A desiderare un monumento a qualcosa. A volte scavalcando cancelli, passando da dietro. Spingendosi dove non si poteva entrare. A volte studiando le carte.

Ed era anche, quello che volevamo noi, comporre un racconto che richiamasse, nella forma e nei contenuti, concetti di fondazione: l'archivio, il frammento, la lista, l'enumerazione, il laboratorio.

Il monumento desiderato è un’idea dell’Associazione Culturale Vesuvio Adventures, realizzata grazie al supporto ed al contributo del Comune di Ottaviano. Direzione artistica Giovanni Ambrosio.

[gallery type="slideshow" link="none" ids="7443,7442,7441,7440,7439,7438"]

L’article Il monumento desiderato: il Palazzo Mediceo di Ottaviano est apparu en premier sur Black Spring Graphics Studio.

Maestri delle arti grafiche a Napoli: Vittorio Avella, Giovanni Timpani.

Conosci Vittorio Avella? E Giovanni Timpani? Maestri napoletani delle arti grafiche.

(Lo slide è navigable: usa le frecce per scorrere.)

Chi sarebbe mai in grado di rinunciare alla materia elettronica? Non si esaurisce, è qui ma è altrove, ti appartiene e può essere di molti altri nello sesso identico momento. Chi vorrebbe mai uscire da un'immensa biblioteca che è casa tua? La materia elettronica la attraversi, le chiedi, la traduci, la usi, la pieghi, la sradichi, non c'è problema. Quante più lingue sai più ne puoi accumulare. Marco Polo avrebbe già potuto portare a Kublai Khan sacchi di fotografie, gli potrebbe ora consegnare infiniti archivi invisibili e potrebbero stare in silenzio per più ore ancora.

Eppure con la stessa tenacia, si può' amare profondamente la fibra, l'ingiallito, lo scomodo, l'incrocio, Il fragile, il deperibile, l'assorbente, la piega e il non ritorno, la carta, l'inchiostro, l'errore irreparabile, l'annerimento. Pure lo strappo, i residui e lo spurio. Quanto le arti grafiche mettono mano ad una profondità fisica, è difficile da spiegare, un'idea si trova più nella densità dei neri, nelle polveri delle carte, nelle gestualità pragmatiche, nelle osservazioni lunghe e insondabili.

Per questo sono grato per l'essermi trovato nello stesso spazio di Vittorio Avella e Giovanni Timpani, con le loro biografie diverse, comuni, distanti, prossime, incidono, imprimono, editano, tagliano, dicono, prendono caffè. Altre insondabili cose, che si trovano, per carte, archivi, libri, mostre, altro.

Se non conosci Vittorio Avella, una delle più belle cose fare a Napoli in centro storico è fare un salto al suo studio, dove non solo c'è sempre una frenetica attività di stampa, ma anche improvvisate e lunghe riunioni di artisti napoletani.

L’article Conosci Vittorio Avella? est apparu en premier sur Black Spring Graphics Studio.

The Echoes of the Sirens - performance at Drifts festival 1.10.23 

Honoured to have been part of Sirens working group at Drifts for a photographic and video documentation, followed by a small on the go social campaign, the beginning of a complete design set.

Give a glance to Instagram reels here.

“Throughout their muted history, they have lived in dreams, silenced bodies, silences, silent rebellions.” -Hélène Cixous-

The Echoes of the Sirens ponders the place of feminine in the world, bringing forth feminine voice, body and space. It is a landscape and a terrain of strange bodies echoing femininity. The work is inspired by Siren creatures, which according to philosopher Adriana Cavarero are "the most dangerous vocal creatures that the west has ever imagined".

The performance opens up an ambivalent space with feminine echoes through whispering, singing, laughing, screaming, panting, humming and wavy bodies that form sounding, vibrating, tactile, spatial and transforming sound fields. The work questions the social, cultural and corporeal place that the patriarchal and phallocentric structure has created for the feminine. Listening to the echoes of often silenced feminine histories, we want to imagine possible feminine futures, as a kind of utopia of unregulated femininity.

The Echoes of the Sirens is part of a working process of a performance the Song of the Sirens, that will be performed during 2024 in an yet unspecified place. We want to open up and share our process by spreading it in the open air, as echoes of the phase where we are now.

Working group:
Choreographer Heli Keskikallio
Dancers Johanna Karlberg, Ella-Noora Koikkalainen, Taru Koski and Lotta Suomi
Sound designer Miki Brunou
Space designer Bea Tornberg

The work is supported by Kone Foundation and the City of Helsinki

[gallery size="medium" columns="2" ids="6768,6774,6769,6770"]

L’article The Echoes of the Sirens at Drifts Festival Helsinki est apparu en premier sur Black Spring Graphics Studio.

Cass Hard Life, Hard Man: My Autobiography 

Hard Life, Hard Man: My Autobiography is writer and hoolologist Cass Pennant autobiography, published by Ipg Books.

On the new book edition cover - August 2023 - there's a Cass Pennant portrait shot in my studio in Luxembourg.

The publisher's synopsis:

The autobiography of Cass Pennant is packed with amazing stories of a life lived on the edge of the law. In this thrilling book, he tells of how he saved World Boxing Champion Frank Bruno from a potentially vicious attack; how he was shot three times in the chest and still kept on fighting, and how he was alleged to be the leader of the notorious West Ham 'InterCity Firm'. This is the astonishing account of a boy abandoned by his mother and brought up by adoptive parents (who were white) - a boy who triumphed against all the odds. A bestseller on its publication, Cass is also a major film directed by Jon S. Baird, starring Nonso Anozie in the title role, and Oscar-winner Daniel Kaluuya as Young Cass.

L’article Cass Pennant portrait est apparu en premier sur Black Spring Graphics Studio.

Dhafer Youssef concert on M. Vesuvius crater at Pomigliano Jazz 2023

At the sunset, on the edge of Mount Vesuvio's cratere, people attend the classic event organised by Pomigliano Jazz Festival, the Vesuvio sunset concert. By the end, in a dreamy atmosphere, the audience raise and wave hands to celebrate Tunisian oud player Dhafer Youssef and his special guests Eivind Aarset and Luca Aquino.

The beauty of the performance perfectly highlights the intense vibes coming from the Vesuvian soil, from the sea, from the trees. Climbing up to Mount Vesuvius silent mouth, walking from the gate at 1.000 meters in Ercolano, it's an easy move to stop by and to be captivate by the bay of Naples under a blue light. Ont he way back, the gaze opens first to the Vesuvian coast and it is quickly blocked by the unmistakable line of Sorrento peninsula.

It has been a calm warm day spent with my friends of Vesuvio Adventures who are holding a walk in the frame of Pomogliano Jazz and their program called Rootes, a series of local tours in the area of Parco Nazionale del Vesuvio.

L’article Dhafer Youssef at Pomigliano Jazz 2023 est apparu en premier sur Black Spring Graphics Studio.

Storie Vesuviane communication kit

L’article Storie Vesuviane est apparu en premier sur Black Spring Graphics Studio.

Hanami Walk: camminata tra gli albicocchi in fiore

L’article Hanami Walk: camminata tra gli albicocchi in fiore est apparu en premier sur Black Spring Graphics Studio.

L’article Mudrābox(e) – unboxing poetico est apparu en premier sur Black Spring Graphics Studio.

Cado sempre dalle nuvole - Cantare Pasolini

I am the stage photographer of Cado sempre dalle nuvole - Cantare Pasolini, a project led by Mauro Gioia and directed by Francesco Saponaro, starring Italian actress Claudia Gerini. I have been documenting the piece's creation process from November 2022 until the opening of the show, in January 2023. A set of staged portraits in Rome gave the official poster image. Cado sempre dalle nuvole - Cantare Pasolini is produced by Teatro di Napoli Teatro Nazionale Mercadante. On the stage, as part of the dramaturgy conceived by stage director Francesco Saponaro, a set of photographs from my personal works are printed on huge format blu back papers.

L’article Cado sempre dalle nuvole – Cantare Pasolini est apparu en premier sur Black Spring Graphics Studio.

Photography for performing arts: a definition.

From the beginning - 2014 onward - of my collaboration with live performing arts collective Kulturscio’k, I have been working on specific projects requiring a possible definition of photography for performing arts, possible strategies to be in the physical space a performance, possible meanings of collecting pictures for archives, possible re-writing of stage photography experiences. Therefore Oreste will be back is also an archive relating every single event on stage, from rehearsals to public performances, a collection of 6000 pictures by now. It also is a series of experiments in theatre photography, for instance the book focusing on one single creation residency. Oreste will be back also is a possible way to understand theatre photography as performative act. Eventually, it is a beautiful collaboration with photographer Imma Di Lillo and videographer Maria Mazzella, building up an extended archive of performance constantly changing and constantly in need to be depicted and communicated. Oreste will be back is scheduled at museo Madre Napoli November 2022.

Oreste will be back is a rewriting of the myth of Orestes, the second part of a trilogy directed by Alessia Siniscalchi: the actor Paul Spera lays his flow on beats composed by Phil St. George with installations from my works lus soli and Opus Incertum reminding us of the right to reclaim our forsaken land and free it from murderers. The exile of Orestes is revisited through spontaneous dialogues between Alessia Siniscalchi and Paul Spera, reflecting on the violence of our times through Phil St. George’s music, Benjamin Sillon’s lights and projections, Maria Mazzella’s videography, and Didier Leglise’s sound design.The performance and video instillations are comprised of 5 chapters:  Insiders/outsiders Cursed home Freeing the land from murderers Δixn lus soli 
Featuring as well, 4 original raps composed by Phil St. George and Paul Spera, Full Moon of Revolution Tipping Point It’s a Curse Morte ti ascolto 

L’esilio di Oreste in 5 capitoli 18-19-20 Novembre 2022: Programma: spettacolo Oreste will be back dal 18 al 20 novembre alle ore 20 installazione Ius soli eOpus Incertum negli orari del museo dal 16 al 21 novembre Con Alessia Siniscalchi, Paul Spera, Phil St George, Giovanni Ambrosio, Maria Mazzella, Benjamin Sillon, Alessandra Guazzini Federica Clarizia, Imma di Lillo, Didier Léglise, Paulina Mikol. Una produzione Kulturscio’k live art collective in partenariato con il Museo Madre, l’Istituto Francese di Napoli, Kulturscio’k Italia, Kulturscio’k Francia e Kulturfactory residency.

L’article Photography for performing arts: a definition. est apparu en premier sur Black Spring Graphics Studio.

L’article Disertare la guerra est apparu en premier sur Black Spring Graphics Studio.

Sibyl Sessions. Social oracles on the stage. 

Sibyl Sessions is the  third step of a trilogy on myths directed by Alessia Siniscalchi and by Kulturscio'k Live Art Collective, a contemporary theatre group I have been in dialogue with for already almost ten years. Beside my photography documentation archive building, I also am fully involved into this specific performance as an author. My texts from the Arroz con pollo issue n. 2 : Prophecies and pronouncements - a three chapters series of texts - are screened and played by performers on stage. I wrote prophecies, responses and pronouncements as Instagram Stories. The book comes at the end of a process started on the basis of a collective residency in a theatre in Paris during the first week of March 2021, 

Three nights of multimedia performance at Museo della Moda in Piazzetta Mondragone: Kulturscio’k, the international collective led by Alessia Siniscalchi, is at the forefront; "We search for our identity among Whatsapp, creating stories on Instagram." 

“SibySessions”, the latest work from the Franco-Italo-American collective Kulturscio’k, led by Alessia Siniscalchi, debuts tonight at 20:30 at Museo della Moda di Piazzata Mondragone in Naples. “This is the third piece in a trilogy surrounding mythology”–explains the director–” communicating with ‘Medea’s Visions’ and ‘Oreste will be back’, which have already been presented at Teatro Bellini and in Paris at Nuit Blanche and Menagerie de Verre. We are preparing to stage all three shows together in an Italian or French festival next Summer.” The collective’s work is always multidisciplined–the collective is made up of theatre makers, musicians, and key figures in the neomodern visual arts– and experimental, it grows with laboratory-like research without ever reaching a definite outcome.  “Our idea of performance,” Alessia continues, “lies in the always open and dynamic dimension of theatre shows. This time we are focusing on the ambiguity of these oracles whose responses were always interpreted as cryptic, and we express this through choreography and performance collectively devised with Paul Spera, Giovanni Ambrosio, Paulina Mikol, and Alessandra Guazzini, with original music from Phil St. George, author of “Deus Ecce Deus” written from the Latin text of the Aeneid, which describes the mysterious incantations between Sybil and Aeneas. And finally with the works of Giovanni Ambrosio who projects his great designs on the walls with Benjamin Sillon’s knowledge of technology.” She is waiting to bring “SybilSessions” to her home or perhaps to the Cave of the Sybil in Cuma in September and “Oreste will be back” at Museo Madre this upcoming Autumn. “The work is divided between the past”--concludes the director–” present, and future, with our Sybils on stage, in Whatsapp calls, and in live videos, looking for an identity, creating the best Instagram story.” Social oracles. 

Courtesy of Stefano de Stefano, Corriere della Sera.

L’article Sibyl Sessions. Social oracles on the stage.  est apparu en premier sur Black Spring Graphics Studio.

Sient'M. Tu me sens?. Do you feel me?

L’article Sient’m lyrics video est apparu en premier sur Black Spring Graphics Studio.

Maria De Medeiros blond look portraits

I am proudly shooting official press portraits for the show Ossessione Napoletana starring Portuguese actress and director Maria De Medeiros. Ossessione napoletana is a music show directed by  Mauro Gioia in which I screen images from my personal work, design lights and operate a live video screening.

L’article Maria De Medeiros portraits est apparu en premier sur Black Spring Graphics Studio.

Mauro Gioia's Conferenze Cantate

In his series of Conferenze Cantate lined up at Auditorium Parco della Musica in Rome and at Teatro Trianon Viviani in Naples, written by Giuditta Borelli, Mauro Gioia himself, Antonio Pascale and Anita Pesce, Mauro Gioia tells about peculiar stories inside history of Neapolitan song, starting from his personal collection and archive of vintage vinyls. This archives gives me the opportunity to work in stage photography as a contemporary documentary point of view on the city of Naples. In the incoming show, Alpha singers in Neapolitan song, since main topics are relationship with love, relationships between men and women, gender violence, gender domination, I chose to work on a series of videos interviews based on Pier Paolo Pasolini Comizi d'amore.

L’article Mauro Gioia’s Conferenze Cantate est apparu en premier sur Black Spring Graphics Studio.

L’article How do I archive a performance which is not mine? est apparu en premier sur Black Spring Graphics Studio.

Romeo Castellucci portraits

I had the pleasure to meet Italian theatre master Romeo Castellucci at Mc93 in Bobigny, France, while his piece Bros was on stage. With the editors of K. Revue trans-européenne de philosophie et arts. during a meeting for an interview published in numéro 8 - 1/2022 : Medea and the laceration of Care / Medea: la lacerazione della cura.  Some phone made portraits in a winter cutting light.

L’article Romeo Castellucci portraits est apparu en premier sur Black Spring Graphics Studio.

Mauro Gioia Portraits 2022 for Conferenze Cantate.

New portraits of actor, performer and singer Mauro Gioia for his new series of  Conferenze Cantate, shows based on a documentary storytelling and songtelling of history of Neapolitan song. Lined up at Auditorium Parco della Musica in Rome and at Teatro Trianon Viviani in Naples. Written by Giuditta Borelli, Mauro Gioia, Antonio Pascale and Anita Pesce. Piano by Giuseppe Burgarella and visual by Giovanni Ambrosio

[caption id="attachment_5483" align="aligncenter" width="1307"] An article by Gianni Valentino featuring a portrait by Giovanni Ambrosio.[/caption]

L’article Mauro Gioia Portraits 2022 est apparu en premier sur Black Spring Graphics Studio.

Pianist Giuseppe Burgarella Portrait

Italian #pianist Giuseppe Burgarella, musical director in Mauro Gioia's Conferenze Cantate.
Burgarella poses at @teatrotrianonTrianon Viviani - teatro della Canzone napoletana straight after the performance Caruso, la prima pop stare della storia, January 2022.

L’article Pianist Giuseppe Burgarella Portrait est apparu en premier sur Black Spring Graphics Studio.

Kae Tempest: Silver Lion Biennale Teatro 2021

Poet and musician Kae Tempest is awarded the Silver Lion at Venice Biennale 2021. The room is quite empty because of post covid restrictions and ceremony quite fast. Directors Ricci/Forte pronounce their speech and straight after Kae Tempest thanks and receive the silver lion.

L’article Kae Tempest Biennale Teatro 2021 est apparu en premier sur Black Spring Graphics Studio.

Oreste will be back on show at Museo della Moda di Napoli 

Oreste will be back is a contemporary interpretation of the Orestes myth, directed by Alessia Siniscalchi. Actor Paul Spera brings his flow and his pen to the beats composed by Phil St. George. Installations by Giovanni Ambrosio, Opus Incertum and Ius soli, inspire us to reclaim the land and free it from assassins. Spontaneous dialogues between Alessia Siniscalchi and Paul Spera, weaved together with poetic texts by Paulina Mikol, revisit the exile of Orestes through the violence of our times.Live music by Phil St. George, lights and projections by Benjamin Sillon, videos by Maria Mazzella and sound design by Didier Leglise provide a tailor-made setting for this unique performance in 5 chapters.

4/5 giugno/june/juin  2021  From 14:00: installation From19.30: performance 

Artistic direction/live performance/text Alessia Siniscalchi, installations from Opus Incertum and Ius soli Giovanni Ambrosio, live music Phil St. George, live performance/rap/text Paul Spera, light design Benjamin Sillon, text Paulina Mikol, sound design Didier Leglise, videos Maria Mazzella, stage photography Giovanni Ambrosio, Imma Di Lillo, Roberto Di Mola.

L’article Oreste will be back at Museo della Moda di Napoli  est apparu en premier sur Black Spring Graphics Studio.

Football and cities: Safi, Morocco.

When a friend of ours tells about drastic changes in cities he likes, we already all know that he isn’t really talking about those cities: he refers to his lost golden age of his legendary jugend. No doubt. Because we all know that the form of city changes faster than the human heart (Baudelaire dixit) and that the grand bazar universel grows and grows and grows. Unchanging cities are just museums where no one is using anodized aluminum frames for his windows on the front of a sixteen century building. The Atlantic city of Safi in Morocco is certainly a changing city and in twenty years from now we will all be regretting that time without all those ground floor shops. The silo towers in the old harbor dominating the city landscape will be kept as industrial heritage. That’s what our friend from Safi Shark said. Because if you maybe don’t know about the Portuguese domination,  you probably know that Safi is the city of one of major Ultras groups in Morocco. Une ville, un club, un groupe. And like any other real football city, Safi has football speaking walls.

[caption id="attachment_7767" align="alignnone" width="1224"] An Ultras Shark graffiti in the city center. © Giovanni Ambrosio, Safi, Morocco. © Giovanni Ambrosio A travel guide for football lovers.[/caption]

Unless you are a surfer, you normally don’t plan to give a whirl to Safi during your Morocco trip.

Which is a pity, because Safi has the rare beauty of non officially beautiful cities. Once you quit the larges avenues filled with uncountable standard rounds about in which when you turn right you could exit the same identical place in Tangier or Tétouan or Marrakech, you can head towards the sea and search for the undesigned, authentic city (although authentic isn’t exactly one my favorite words, I can easily picture a certain type of people saying oh qu’est-ce qu’ils sont authentiques ces Marocains!, and I definitely don’t want to be one of them.)

[caption id="attachment_7768" align="alignnone" width="1224"] A view of Safi from the seaside. Ultras Shark members’ shadows on the floor. © Giovanni Ambrosio, Safi, Morocco. © Giovanni Ambrosio A travel guide for football lovers.[/caption]

Walk throughout the old Medina however you want, get lost, get scared, buy some fruits, yield to the invitation of some shopkeepers and try to buy old fashioned unofficial global brands shoes.

If you are good enough to find it by yourself, have a lunch in a local restaurant owned by a family. You can go any time, you’ll always have a tajine. The service is nicely unprofessional but really caring and while eating you can join all the people hanging around deeply captivated by a Turkish soap opera on the flat tv screen. You could stay there during hours. But you can’t, you have to go forward until you exit on the big  Sidi Boudhab place. On your back you have the huge walls of the ancient bulwarks and in front of you another white smaller wall. Behind it the hidden railway reveals itself when a tremendously beautiful clatter of a freight train passing by fills the soundscape and perfectly matches with the soft golden light. It’s stunning. You definitely are elsewhere and yet you haven’t seen the ocean.

[caption id="attachment_7766" align="alignnone" width="1224"] Chicken tajine. © Giovanni Ambrosio, Safi, Morocco. © Giovanni Ambrosio A travel guide for football lovers.[/caption]

You can feel it, but you will get your eyes on it once you have moved a little bit on the left side. After a short climb, the avenue Allal Ben Abdellah runs alongside a breathtaking lungomare. Eventually there’s no other option but to wait for the sunset and the falling soft darkness. The landscape under the low sun light punctuated by people staring at the ocean will definitely make your day.

[caption id="attachment_7769" align="alignnone" width="1224"] Lungomare Safi. © Giovanni Ambrosio, Safi, Morocco. © Giovanni Ambrosio A travel guide for football lovers.[/caption]

Find it by yourself : there is a beautiful beach in Safi, behind the harbor, really easy to find by the way. There are so many reasons why should give a walk over there. I will mention one for photography lovers: while taking picture, you will observe how much your gaze has been influenced by Luigi Ghirri. How predictable…

[caption id="attachment_7765" align="alignnone" width="1224"] A football pitch on the beach. © Giovanni Ambrosio, Safi, Morocco. © Giovanni Ambrosio A travel guide for football lovers.[/caption]

Something really local: go for a lunch on a small hill which is less then ten minutes driving from the beach. There are at least four or five fried fish restaurants in a row and you can park just in front of them. The parking lot is truly important, because it’s your first contact with the restaurant. The voiturier will be playing a key rule in your car parking strategy but not only: he will also guide you towards his favorite restaurant. If you are familiar with places where an army of waiters, promoters, chefs de rangs, cooks, unidentified wives, casual passers by and another bunch of noisy people try to drag you into their restaurant at your left, while en exactly opposite army try to do exactly the same on your right side, you may be led to think that all this is happening because you are clearly not an insider. But you are wrong. This hell’s antechamber is made also for local people. And it truly is a moment of pure joy. Once you are seated, you are exhausted. You eat because you are starving by intense fatigue. Eyes on you from people in the other restaurant will add the guilt flavor to your meal. You clearly should have chosen the other one, they have no customers, they’ll die in absolute poorness and it will be all your fault. By the way, the fish is fresh and tastes delicious. The frying isn’t probably based on the ultimate techniques, but still. Ah, you can also eat with your hands. If you order a sparkling water they will bring it, for sure. Half an hour later. Because they buy it at the shop five minutes walking from there. But the good news is that you can take the bottle out at the end.

Giovanni Ambrosio

L’article Football and cities: Safi est apparu en premier sur Black Spring Graphics Studio.

Diario di viaggio 2020: Scuola italiana di Parigi.

The diario di viaggio, literally travel journal, is an annual magazine/journal and yearbook published by Scuola Italiana di Parigi I have signed during ten years. It features class photos and the story of (almost) all activities in the school. The 2020 issu is  special edition made for a special year marked by lockdown and prematurely closed school.Pupils and teachers collect contents, texts and pictures during the whole year and then we build up the magazine mixing all given elements. The 2020 edition is in its online version by now. 

L’article Diario di viaggio 2020 est apparu en premier sur Black Spring Graphics Studio.

Mauro Gioia's the shape of an archive at TedxNapoli

The shape of an archive is a collection of photos and video for the conference of Mauro Gioia: Conferenza Cantata/78 giri: un'ossessione napoletana

Mauro Gioia's The shape of an archive at TedxNapoli. Mauro Gioia has been invited by | TEDxNapoli to talk about his passion for Neapolitan music and bout his archive of discs. He shows pictures from Giovanni Ambrosio's work, The shape of an archive.

Come ho raccolto, archiviato e ricostruito la storia di migliaia di antichi dischi per ridare voce ai fantasmi della canzoni napoletane. Mauro Gioia, napoletano, ha legato le sue creazioni e la sua carriera al recupero della memoria canora della sua città e alla rivisitazione evocativa della sua tradizione teatrale legata al varietà. Ai fantasisti del cabaret e dell’avanguardia novecentesca. Chi era Alekandr Vertinskji?  Una bella giornata napoletana, nel quale divide la scena con lo scrittore Antonio Pascale. Rendez-vous chez Nino Rota è il suo primo disco nel quale riporta alla luce il canzoniere del compositore milanese duettando con alcune celebri cantanti (nel cast Ute Lemper, Catherine Ringer, Sharleen Spiteri, Maria de Medeiros, Adriana Calcanhotto, Martirio e Susana Rinaldi). Le opere di Mauro Gioia – sempre sospese tra cultura popolare e “divertissement” intellettuale – hanno esplorato i rapporti tra canzone “di scena” e teatro, introducendo un “recitarcantando”, tra glamour ed esotismo, suggestioni cinematografiche e citazioni pittoriche. 

L’article Mauro Gioia’s The shape of an archive at Tedx Napoli est apparu en premier sur Black Spring Graphics Studio.

Medea’s Visions at Teatro Bellini di Napoli

As the Bellini theatre in Naples hosts the Kulturscio'k pièce Medea's visions, I will interviene as an author with the installation/sculpture How to archive a performance which is not mine, a work built up as an essay on stage photographe and archive. How do I archive a performance which is not mine. How do they perform an archive is an archive/installation/sculpture/performance with pictures coming from the documentation of Medea’s Visions, a performance by Alessia Siniscalchi and Kulturscio’k live art collective. The archive is engraved in blocks of printed papers/photographs bound with a plastic ribbon coming from an on-line low cost printer. The ribbon is fragile and can be easily broken. Blocks have different sizes and weights.

Many years ago I imagined a contemporary interpretation of the Medea myth. I didn't have a child at the time, so I let that idea die and began to create immersive shows on the theme of relationship. Today that I have an eight-year-old, it is time to return to Medea." To create an atypical encounter between Medea and Eve, this was the idea behind the project, which becomes a dialogue between the works of the great artist Valerio Berruti, Paulina Mikol's text, Giovanni Ambrosio's photographs, Cristina Barzi and Phil St. George's music, Piero Viven's videos, Benjamin Sillon's lighting, and Ania Martchenko's staged materials.

Alessia Siniscalchi

14,15 january / janvier / gennaio 2020 one show at 9 p.m. / à 21 h/ ore 21 Teatro Bellini via Conte di Ruvo 14  80135, Napoli. Director Alessia Siniscalchi, Art work/painting Valerio Berruti, Live and original music Phil St. George, Live photography and stage photography Giovanni Ambrosio.

L’article Medea’s Visions at Teatro Bellini est apparu en premier sur Black Spring Graphics Studio.

Medea’s Visions in Paris Nuit Blanche 2019 

Medea's Visions is a piece by Kulturscio'k Live Art Collective for which I have built up an experimental photographic archive over years. In the words of Alessia Siniscalchi: Imagine an adaptation of Medea linked to Eve and Jason to Adam. Imagine 17 different moments from the myth in non-stop cycles. Imagine a mix of art, writing, performance, song, live music and a creative journey through it all.

Medea's Visions is an atypical dialogue between Eve and Medea, a performance installation that will take over the Ménagerie de Verre for the Paris Nuit Blanche 2019 and later at the Teatro Bellini in Naples. it includes works by Italian artist Valerio Berruti, my photographs, writing by Paulina Mikol.

Medea's Visions is a piece by Kulturscio'k Live Art Collective, Director Alessia Siniscalchi, Art work/painting Valerio Berruti, Live and original music Phil St. George, Live photography and stage photography Giovanni Ambrosio

L’article Medea’s Visions in Paris Nuit Blanche 2019  est apparu en premier sur Black Spring Graphics Studio.

Madame Pink at Rond Point theatre Paris.

Madame Pink is  play by Alfredo Arias for which I have been in charge of stage Photography. Madame Pink will be on stage atRond Point Paris until march 31th 2019 with the following line up.

Livret : Alfredo Arias, René de Ceccatty
Musique : Mark Plati, Mauro Gioia
Mise en scène : Alfredo Arias
Avec : Gaia Aprea, Flo, Mauro Gioia, Gianluca Musiu, Paolo Serra
Musiciens : Giuseppe Burgarella, Johan Dalgaard, Maxime Garoute, Mark Plati
Dialogues : Stefano Tummolini
Paroles des chansons : Alfredo Arias, Mauro Gioia
Décor : Agostino Iacurci
Costumes : Marco De Vincenzo
Lumières : Cesare Accetta
Son : Thierry Legeai
Masque : Erhard Stiefel
Assistanat à la mise en scène : Olivier Brillet, Lucia Rocco

L’article Madame Pink at Rond Point theatre Paris est apparu en premier sur Black Spring Graphics Studio.

Fondo Gioia, The shape of an archive on Venerdì di Repubblica.

Pictures from my work Era d'oro: the shape of an archive published by Venerdi di Repubblica.

There's a special beauty in commissioned works in which you are involved with your personal background. It's no more about meeting client's needs. It's about discussing, about discovering, about sharing practices and experiences. The point is inventing our common needs, understanding the project of somebody else.  Which is in fact, my best definition of our Black Spring Graphics Studio works. That's why I'm specially proud to have been invited by Mauro Gioia to give a shape to his vinyl records archive. A work between creation and performing arts photography.

You can read an interesting introduction to our work in the paper published by Venerdì di Repubblica, which is a very well known weekly magazine by Repubblica. They also published our short film Passione.

[caption id="attachment_3689" align="aligncenter" width="1600"] Conferenza Cantata, A show by Mauro Gioia, written by Antonio Pascale. Photography & Video Giovanni Ambrosio[/caption]

Mauro Goia says: Naples is the city of the moment. Vesuvio forces the city to live with the ghost of Mother Nature awakening, which generates a way to express itself willing to touch the absolute. And this is strongly related to my personal on going work on Vesuvio's Red Zone, Ius Soli. Thats's why you should notice, in the picture showing a copy of Venerdi, the presence of a Vesuvian apple. It's called Annurca, the queen of apples. Not to mention that the he published a cd with a stunning Neapolitan songs play lists : an interesting journey in classic Neapolitan music, through songs full of #windows, #eyes, #sleep and #awaknesss.

Giovanni Ambrosio

L’article Fondo Gioia Venerdì di Repubblica est apparu en premier sur Black Spring Graphics Studio.

Munari, the orange design manifesto.

Il delicato contenuto edibile dell’arancia è protetto da un involucro resistente all’esterno e morbido all’interno che consente di trasportarla in una borsa. L’involucro, completamente compostabile, si apre facilmente, senza bisogno di strumenti e di istruzioni, il che rende l’arancia ideale per il consumo on the go. L’operazione di aprire l’involucro diffonde un buon profumo e può essere effettuata anche in ambienti chiusi e affollati senza suscitare malumore. Il contenuto succoso è suddiviso in porzioni bite-size, ciascuna racchiusa in una membrana asciutta che consente di portarla alla bocca senza bagnarsi le dita. Le porzioni, a forma di spicchio, sono organizzate in una configurazione circolare molto compatta che minimizza gli ingombri e sono attaccate l’una all’altra con un adesivo blando, tipo post-it, che consente di separarle senza rompere la membrana. Queste caratteristiche facilitano la condivisione e fanno dell’arancia un possibile fattore di socializzazione.

Bruno Munari,Good Design, 1963

Read an interesting article on Doppio Zero on line journal.

Photograph: © Giovanni Ambrosio

L’article Munari, orange, design: like a Manifesto est apparu en premier sur Black Spring Graphics Studio.

Ultras, les autres protagonistes du football

In 2015 the beginning of Ultras Youth. A long term research project with Sébastien Louis on football fans and Ultras Culture. The curator Florent Molle first invited us to work for Nous sommes Foot and now we have our international documentary collection of photos videos objects ultras-photos.com. I am very proud to be a partner of Sébastien Louis. His work on radical supporters in football has been published in 2018: Ultras, les autres protagonistes du football. I designed the cover and a postcard to promote the book.

Giovanni Ambrosio

L’article Ultras and more est apparu en premier sur Black Spring Graphics Studio.