Burri (Art dossier Giunti) by Giuliano Serafini

By Giuliano Serafini

Alberto Burri was once born in Città di Castello, in Umbria in 1915. He earned a clinical measure from the collage of Perugia focusing on tropical drugs. On 12 October 1940, days after Italy entered global struggle II, Burri used to be referred to as up as a medic and despatched to Libya in March 1943. On eight could 1944 after the defeat of the Axis forces, his unit was once captured in Tunisia, he was once interned in Camp Howze prisoner-of-war camp in Gainesville, Texas, the place he started to paint. His first work have been perspectives of the wilderness he may see from the legal camp and nonetheless life's with paints and canvases provided through the YMCA. He basically painted "nostalgic Umbrian landscapes and figures", as Milton Gendel defined in an ArtNews factor released in 1954. He gathered outdated burlap sacks and taken them with him upon his go back to Italy and persisted to take advantage of them instead of canvas. He persisted to exploit burlap, having a provide from the neighborhood miller.


La Pittura
La Materia
Il Teatro, los angeles Scultura, L'ambiente
I Ritorni del Tempo
Quadro Cronologico

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16 Nevertheless, the “machine” is not valued for what it is, but for what it can do and for what it makes the spectator do. ”17 The printing press is a technology, too, but while it has “in time rendered men’s faces illegible,”18 cinema rehabilitates our visual abilities and restores our familiarity with the language of the body. ”19 The emphasis is placed on the way in which the device mobilizes our senses and places us in relation with reality—on the type of experience that it engenders. This experience owes much to the “machine,” but not everything.

First of all, a medium is not only a support or a device. A medium is also a cultural form: It is defined most of all by the way in which it puts us in relation with the world and with others, and therefore by the type of experience that it activates. 10 From its very beginnings, cinema has been based on the fact that it offers us moving images through which we may reconfigure both the reality around us and our own position within it. Cinema has always been a way of seeing and a way of living—a form of sensibility and a form of understanding, as a brief overview of the film theories of the early decades of the twentieth century will clearly demonstrate.

Alfredo battles to put out the fire but is overcome by the flames and drops to the ground. Totò returns to the projection booth and drags the projectionist down the stairs all the way to the piazza, where, in the meantime, the crowd has dispersed. The fire continues to burn unabated, with no one able to put it out. The movie theater is destroyed, and when it is rebuilt, a few years later, it will not be the same. Alfredo, whose face was struck by the flames, loses his sight. Many readers will have recognized this scene—one of the most famous sequences in Cinema Paradiso (Giuseppe Tornatore, Italy, 1988).

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