Luca Baioni is an Italian visual artist who uses a modus operandi characterized by different elements such as fragments of the world, cameras, digital, analogical and paper post-production, useful for the representation of an idea.
“I do not think of images as reproductions of reality, as “altered” as it may be. I create new pieces of reality, which then interact with reality itself”.
This is what Luca says in his artist statement and, in fact, the artist deconstructs reality to repropose it with a new look. His project Demonironautica is a work divided into three parts, conceived as a journey (nautica) sometimes disturbing (demon), disturbing, which reminds us very much of the look of David Lynch.
pt I.L’Europa e il corpo dentro la pioggia pt.III: “Omaggio”
– Text by Nicola Patruno
The first and the third parts are visual paths, interspersed with the second, which is, instead, a forest of sounds. The adventure in Demonironautica is paradoxical, antinomic, for the way out can be reached only through utter and deep immersion in oneself.
At first, nothing is “returned”, nothing finds confirmation in our previous experience. We find ourselves unusually virgin in the presence of the demons, surrounded by ghosts, by the the phantasms which people the sequences and find uninterrupted echoes, hints and reverberations in the music track.
The series must be run through over and over to find out that we will never find them there. Once we enter the forest, every backward path is precluded and we can but move in a random way around the images, which thus manifest themselves as infinite energy cores.
We are hit by the waves which they produce and the only way out, the last resort, is to abandon ourselves to our deepest personal dimensions, the most disquieting and unrecognisable during our vigilant wakefulness.
pt II. Bruto Esilio segnata malattia e dell’alcolismo
For this second part, the artist proposes a sound translation of his journey:
pt III. L’usurpatore
The themes present in the work are those of animality, of the female and male humanities which are often reduced to a feral state. In front of us stand a dissection of what is human, displayed by means of delicate stylistic elements like superimposition, replacements, déplacement, of virtual and material découpage. Next to the immoderate greed and violence of human beings, (like, for instance, in the first image of L’usurpatore) different bodies stand, displayed in the first sequence: more peaceful, unsure, bewildered.
Next to the childlike individualities placed in a well-defined landscape (L’usurpatore), we find, in the L’Europa e il corpo dentro la pioggia pt.III: “Omaggio” sequence, darkened, borderless, blurry territories and environments.
Visit the artist’s website, which you will find here.
More in detail, it is a suspended playground that offers visitors the opportunity to lie immediately under the beautiful and iconic dome in the center of the building. Yes, it’s not exactly the ideal place for people with vertigo, but it’s a great opportunity to take original photos in one of the most famous art nouveau places.
The installation is part of the Funorama initiative and also includes entertainment features such as old arcade games, a VR experience and foosball. This experience will be available at the Galeries Lafayette Paris Haussmann until 9 June 2019.
I know you still have your handkerchiefs in hand and that you too are thinking that after all these hugs and these collective moments from the next episode we should say goodbye to some of our favorite heroes, but for now we start to look more closely at the second episode, entitled “A Knight of the Seven Kingdoms“, of the eighth season of Game of Thrones.
First of all you have to note that it’s the first time that we are in front of an episode entirely set in one place, in Winterfell, which gives us a sense of protection, of home. But let’s proceed…
After seven seasons, we have now learned that the opening credits are of fundamental importance. In this second episode, we notice only two small differences compared to the first one. First of all, Last Hearth, the castle of the House of Umber in which, in the last episode, we found Tormund and Beric, we see it surrounded by ice-colored tiles, a sign that the White Walkers have arrived there.
Then, moving towards Winterfell, we see the stronghold of Stark ready for battle, with trenches surrounding the entire castle.
Jaime and Brienne
The real protagonists of this episode are Jaime Lannister and Brienne of Tarth, and there are three fundamental scenes that we must analyze more thoroughly.
The first is the initial one with which the episode opens, Jaime is ahead of Daenerys, Jon, Sansa and all others and is called to explain his decision to abandon Cersei and join the cause of Winterfell. The character is perhaps one of the few who has had a drastic change since the beginning of the series. Do you remember this when he first came to Stark’s Castle?! Now we see a deeply repentant Jaime and his only response to the mother of the dragons, “Because this goes beyond loyalty. This is about survival.” recalls Brienne’s words to Dragonpit, “Oh fuck loyalty. This goes beyond houses and honor and oaths”.
Despite this, Daenerys still doesn’t seem convinced, but luckily Brienne is the one who takes sides with the King’s exterminator and manages to persuade Sansa.
Jaime’s repentance reaches such a point that he humbly asks Bran for forgiveness, another character who is completely distant from the little boy of the first season.
The second important scene is when, outside the walls, Jaime and Brienne talk, and everyone has their own sword in their hands. Let us remember that the two swords were forged by melting Ice, Ned Stark’s Valyrian steel sword, which was taken from him after being arrested at King’s Landing.
The two swords, wanted by Tywin Lannister were given as a gift to Jaime, who in turn gave it to Brienne, and the other to King Joffrey who, after his death, was taken by the exterminator of King.
So, with Jaime and Brienne together with Winterfell, it is as if Ice had returned home.
The third and, perhaps most important, is the one from which the title of the episode takes its name, that is, the nomination as Knight of Brienne by Jaime.
This scene refers to another book by George R.R. Martin “Tales of Dunk and Egg” in which the protagonist is Ser Duncan l’Alto, enclosed in a volume with three other novels entitled, precisely A Knight of the Seven Kingdoms. The same writer has confirmed that Ser Duncan is an ancestor of Brienne who, with this ceremony that has managed to give us goosebumps, has finally become a knight to all intents and purposes.
Arya and Gendry
Then comes one of the most anticipated moments and that has divided the audience more.
The story between the little Stark and Gendry has finally a climax. It’s this love scene that divided the fans, between those who couldn’t wait and those who still think that Arya’s character didn’t need a man, who shouldn’t give in to feelings like that.
This relationship makes us immediately think of one of the scenes on which the whole series is based, that of the pilot episode in which Ned and Robert, in the crypt, speak and the King reminds his friend Stark that he has a son and a daughter to join. At the time the reference was clear to Joffrey and Sansa, today we all think they could be Gendry and Arya.
As in the first episode, also in this one the references continue.
The first one is about Tyrion, which offers exactly the same sentence said in the first season “I always pictured myself dying in my bed, at the age of 80 with a belly full of wine and girl’s mouth around my cock”. To underline the fact that it’s a phrase already heard, we see Jaime ending it in his place.
Another obvious reference is the little girl who shows up in front of Ser Davos and Gilly asking for food and who seems to be ready for the battle. The little girl has a scar that covers half her face and can’t help but remind us of Princess Shireen Baratheon.
It is no coincidence that in this scene there are just Ser Davos and Gilly. It was Stannis’ daughter who taught them how to read.
One of the most touching moments is when Podrick, in front of the fire in the company of Jaime, Tyrion, Ser Davos, Tormund and Brienne, sings the notes of a song that seems to arrive in all the rooms of Winterfell.
The song, renamed Jenny of Oldstone, is not the first time it appears in the series and we put here the full lyrics of Podrick’s version:
“High in the halls of the kings who are gone The ones she had lost and the ones she had found And the ones who had loved her the most The ones who’d been gone for so very long She couldn’t remember their names “They spun her around on the damp old stones Spun away all her sorrow and pain And she never wanted to leave Never wanted to leave (x5)”
During the closing credits, Jenny Of Oldstone returns in the version sung by Florence and the Machine.
For the rest, the episode is a collection of collective moments, as if we were preparing to give the final farewell to the characters. After discussing the plans of war each prepares in its own way, with loved ones at your side.
The episode ends with the arrival of the Army of the Dead in Winterfell, which interrupts Jon and Daenerys just as he reveals his true identity.
The world’s largest wisteria tunnel is located inside the Kawachi Fuji Gardens in Kitakyushu, Japan and has conquered the web. These are more than 150 plants of Wisteria, the scientific name of the wisteria, which give sensations, peace and harmony to all those who find themselves walking nearby.
The different color shades are given by the great variety of species of wisteria present in the gardens: they are more than 20 types of flowers, all different from each other.
Among the most interesting curiosities about this flower, we find the one concerning the Buddhist religion: the wisteria represents both prayer and meditation, and the transience of life. We also remember that the color purple was associated by Kandinsky to the spiritual dimension.
Japan is full of these wonderful flowers, which have recently also had a boom on Instagram and, more generally, on the web.
Rorschach is the name of the new work signed by the Australian artist CJ Hendry, which has been compared by many, both for the atmosphere and for the type of installation to “a psychiatric ward that imitates the Wonderland”.
In fact, huge inflatable walls are very reminiscent of games in amusement parks, while the etymology of the name Rorschach is found in the psychological test that analyzes patients through their perception of ink stains and analyzes the salient traits of the personality.
The work has been exhibited at a 279 square metre warehouse in Dumbo, a district of New York City: the particular setting suggests the imaginary interior of a psychiatric hospital. The warehouse space has been set up with soft white floors and walls, reminiscent of the padded walls of hospital rooms in asylums.
Inside the inflatable labyrinth, visitors find themselves in front of Hendry‘s revisitation of the Rorschach, confronted with a series of hyper-real colors drawings also called “squish paintings”.