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Updated: Jul 23

The educational workshops begin with the School of Decoration of the Academy of Fine Arts in Naples

What does it mean to involve young creative minds and develop a dialogue with the local area? Art forms have demonstrated over time that they are able to bring contemporary discourses to the general public, becoming a means of expression and comparison.

The Made in Cloister project is from the outset focused on creating a link between the world of contemporary art and the city of Naples. Through the creation of exhibitions designed for the fascinating cloister of Santa Caterina a Formiello, the Foundation generates dialogue between international artists, craft traditions and the community.

The Neapolitan city has long been a point of reference for many craft traditions, largely replaced starting from the nineteenth century by the intelligence and speed of industrial production. To this day, many shops still preserve the knowledge handed down from generation to generation, which risks being forgotten in the near future.

The workshops with the artist Ara Starck, the glass craftsman Paolo Gambardella and the students of the School of Decoration of the Academy of Fine Arts in Naples want to bring the new generations closer to the techniques of working with stained glass, a material that will become protagonist of the Parisian artist's exhibition, opening in October 2023.

The workshops and the exhibition are in collaboration with the Cologni Foundation, an organization for the promotion and enhancement of Italian craftsmanship.

But how was cathedral glass born and how has it been used over the centuries?

Imagine entering a cathedral illuminated by high windows crossed by light that enhances its brilliant colors. The history of decorating and manufacturing stained glass is very ancient, dating back even to the ancient Romans.

They were born with a narrative function, to tell episodes from the Bible and spread the Christian message. But their greatest diffusion is found in Gothic architecture, as evidenced by the French cathedrals of Chartre, La chapelle and Notre Dame.

It's funny to think that despite the centuries have passed, the manufacturing technique has remained unchanged over time. Is simple. It begins by drawing a sketch to study the image and its coloring. It continues with the creation of a cardboard in definitive dimensions, useful for cutting the corresponding glass pieces, then assembled in the final composition. What can be difficult is the definition of the details, the nuances of a face, the drapery. Here painting comes in handy. The brush gives shape to faces and clothes, dipped in a mixture called grisaille which is fixed on the surface by cooking.

What will young artists, curators and cultural operators think of this experience? We ask him in small interviews soon published on our blog.

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...and also Fondazione Made in Cloister

We are honored to have been included among the 200 from the art world invited to meet the Pope in perhaps the most identifying place in the relationship between art and church: the Sistine Chapel.

The meeting stems from Pope Francesco' desire to celebrate the work and life of artists, highlighting the contribution of art to the construction of a sense of shared humanity and the promotion of common values.

Guests together with Made in Cloister personalities from all places of art: from music and performance such as Laurie Anderson, from visual art such as Mimmo Paladino, Anselm Kiefer and Jason Martin, from literature, activism and journalism with Roberto Saviano and Michela Murgia.

A reflection on the function of art as a revealer of beauty, creator of harmony as a form of integration and coexistence in the chaotic nature of differences. A force that distinguishes itself from the idea of equality as homogenization and leveling, and that is capable of generating unity that welcomes the multiple contradictions and facets of the human soul.

The artists become the bearers of these values through their open, profound and critical gaze, preserving the imaginative and borderless vision of the child and at the same time pungent and far-sighted of the seer.

“Your art wants to act as a critical conscience of society, removing the veil from the obvious. You want to show what makes you think, which makes you alert, which reveals reality even in its contradictions […]

[…] We human beings yearn for a new world that we will not fully see with our own eyes, yet we desire it, we seek it, we dream it.”

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By Carole A. Feuerman

Curated by Demetrio Paparoni

Saturday 13 May opened the exhibition Crossing the sea , the project by Carole A. Feuerman curated by Demetrio Paparoni and promoted by the Made in Cloister Foundation and Bel Air Fine Art.

Drops of water run down the skin warmed by the sun. The feeling of harmony and balance is the starting point of the work of the artist Carole A. Feuerman (Hartford, 1945) who will be the protagonist of the new transformation project of the Made in Cloister Foundation.

One of the definitions of Made in Cloister project is a place to give life to new forms of beauty through art, an idea of beauty that is present in all things, even the apparently most disorienting ones.

Carole was one of the first hyper-realist sculptors, a concept that appeared in art in the 70s in which brushes and canvases give way to resin to create a copy of reality that is even more faithful than reality itself. But Feuerman with her swimmers is not an all-round hyper-realist, a good part of her artistic research lies in capturing a sensation of enchantment and purity. Furthermore, the drops that reflect light on the resin bodies represent something from the future that is about to happen shortly, creating a suspended, waiting atmosphere.

Artist of reality and observer of emotions, through her sculptures she evokes sensations that gradually evolve. Starting from happy memories and emotions linked to the sea up to rediscovering, under the apparent beauty and tranquility, a profound meaning of heroism, triumph and liberation.In 1981, the artist was struck by scenes of men and women facing the sea from Cuba to reach Key West on life rafts. These shocking images led her to tell another story linked to the sea, in which melancholy is no longer implied by the swimmers' masks, but is clearly expressed as in one of her most iconic sculptures EN 2 0278: an inner tube with which protrude the hands of a woman, while from the void the hand of a man clings to them in search of help.We are waiting for you on Saturday 13 May from 11.00 to 23.00 with a whole day in the cloister among the hyper-realistic works of Feuerman.The Cloister Bar will be open all day to have a brunch or stop for an aperitif.Entrance 5 euros


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