WELCOME TO MY BLOG.

I've always had an interest in gardens and in the natural world. I soon realized that these were more than just flowers to me, but people, places, pictures, history, thoughts...
Starting from a detail seen during one of my visits, unexpected worlds come out, sometimes turned to the past, others to the future.

Travel in a Garden invites you to discover them.

Tuesday, December 25, 2012

Concerto di Natale, Basilica di San Marco, Milan, Italy.


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There are things that happen just at Christmas time. A chorus of children, in long blue robes, singing traditional carols in a cold church in a December evening is one of them.
A small orchestra of violins, with an oboe and a trumpet, accompanied the little voices and the talented soloists in the sacred music composed by Antonio Vivaldi in the eighteenth century, and in famous Italian and English Christmas songs. Following the hands of the young director, touching voices and notes filled the naves of the San Marco Basilica in Milan, ascending the pillars of the thirteenth century up to a vaulted ceiling accustomed to silent prayers. Sparkles of gold radiated from the altar. Details of frescos and marbles appeared in the dim light. Candles burnt in front of chapels adorned with sober flower decorations. In the last chapel on the right, the ancient story of the Nativity was told by the elegant and fragile figures of a paper crib of the eighteenth century. Francesco Londonio, Italian portrait painter and engraver, interpreted this tradition creating two scenes with these life-size characters painted on paper glued on wooden structures. In the background, the newborn Babe laid in the manger, his little arms wide open, surrounded by Mary, Joseph, and humble characters kneeled in prayer. They looked at the Babe with marvel and hope, a musician with a trumpet, peasants and shepherds in their poor dresses with a sheep or a basket of fruit, a pilgrim without shoes next to a man with an horse. In the foreground, the three Magi paid homage to the Child. The three Oriental kings came in procession in their rich mantles, ermine capes, golden crowns and turban to offer gold, incense and myrrh to the little Child. On the right, a group of children took care of their exotic dromedaries. But, there was no time to linger on the minute, exquisite details of the composition; music captured all the attention. The Gloria in Excelsis Deo was soon finished, people hurried home after greetings and embraces, the head full of notes, the hearts full of joy.   






Notes:
Concerto di Natale, (Christmas Concert)
20th December 2012, Milan
Piccoli Cantori di San Marco
Le Voci del Mesma
Orchestra Ars Liberalis

Program:
Neve, Gloria, Adeste fideles, LAUDAMUS TE, Domine Deus , In una greppia, Propter magnam gloriam, La danza dei pastori, Domine Fili Unigenite, CUM SANCTO SPIRITU, What child is this? God Rest You Merry, Gloria in Excelsis Deo, Hark!The Herald Angels Sing

Sunday, December 16, 2012

Raccolto in preghiera, Aldo Mondino, Milan.



I would like to have a room, an empty room.

In a chilly day of winter, I would carefully sweep the floor and make room for a large carpet. I would heap thick layers of grains creating geometric patterns with dark brown and green minute lentils, orange corn and white small grains of rice. It would be a prayer carpet, an homage to Raccolto in preghiera (In prayer), the floor installation created by Aldo Mondino (1938-2005) in 1986.

In 1993, the Italian artist presented this work at the International Art Exhibition held in Venice, Venice Biennale. The carpet measured around 3x5 metres and was made with 50 kilos of grains, such as rice, peas, chickpeas and lentils. The first idea, however, dates back to the eighties, and to the oriental atmospheres absorbed during one of his trips to Morocco. Northern African countries fascinated Mondino. Morocco, Egypt, Palestine, Turkey, but also Spain, reconciled him with his Jewish origins and offered, to this curious and open-minded artist, endless inspiration and freedom. Imagination and reality mingled creating a unique atmosphere; in his words, it was “like being immersed in a picture.”1 Walking around, his ironic, playful and short-sighted eye captured, often by chance, objects, colours and characters later elaborated in original and impeccable compositions. The series entitled Carpets, for example, was conceived during a walk in the Soko Chico, the small market place in Tangier. Here, a panel of building material confused with a carpet with fringes inspired to Mondino the idea of painting carpets on this wood-cement surface. Experimenting with different materials and techniques was not unusual for this artist, who worked with lamps, candies, sugar and chocolate, but part of his need to find newer and freer languages.

The starting point for Raccolto in preghiera was connected to Tangier too, and to his meeting with the Moroccan writer Mohamed Choukri. Mondino developed the mosaic of grains sold in the souk in geometric shapes on the floor: rectangles, triangles and long parallel rows that seem to return the stylized shape of a mihrab. The prayer niche, the Door of Paradise that in mosques points towards the Mecca showing the direction of the prayer, transforms the funny design of grains into a prayer carpet. Essential object in the Muslims’ daily rites, it offers a pristine surface for the moment of devotion and guides the worshipper with the symbols and messages hidden in its patterns.  Mondino, however, did not ascribe symbolic meanings to his works. He was more interested in other aspects, such as the suggestions created by the connections between words and objects. In this work, they evoke the prayer, an intense and silent moment, for Mondino, similar to painting. He interpreted this solemn and fleeting instant creating a temporary work that recalls other countries and cultures, but with an amused eye, as none is supposed to kneel and pray on this carpet made of grains.

I would look at my carpet, an ephemeral carpet that another sweep will turn into a pile of grains.





1 Incontro con Aldo Mondino. L’arte come luogo di preghiera e di interazione per un altrove, a cura di Luciano Marucci, Hortus, semestrale di poesia e arte, Arti visive, Stamperia dell’Arancio, Grottammare, 22/1998. Pg. 277.

Further reading:
Incontro con Aldo Mondino. L’arte come luogo di preghiera e di interazione per un altrove, a cura di Luciano Marucci, Hortus, semestrale di poesia e arte, Arti visive, Stamperia dell’Arancio, Grottammare, 22/1998.

Links:
Aldo Mondino Fundation
http://www.aldomondino.it/news

Photos:
Travelinagarden, except for 
Tappeto, 1985, olio su eraclite, 143 × 200 cm from Aldo Mondino Archive 
http://www.aldomondino.it/opere/dettaglio/90