I offer ALL DEAR VISITORS OF MY BLOG, MOST 'fervent wishes for a Merry Christmas and HAPPY NEW YEAR 2010!
Marcello Crivelli
Monday, December 21, 2009
Thursday, November 26, 2009
Saturday, October 10, 2009
How Much Half Head Of Highlights
press release submission "Writetrip" c / o draft-Aut Aut
progettoAUT / AUT presents: 
progettoAUT / AUT presents:
Friday, November 20, 2009, 18:30, via San Francesco da Paola 41, Torino
presentation of the "Writetrip" Collective Ubique.
The core artistic documentation of the Piedmont will present his latest project, "Writetrip" the writing's right trip, which began last August in the town of Nuoro in collaboration with AllCapsProject. The Work-process on the transfer of a graffiti underground, "detached" from an architectural structure in use, that takes a documentary and social journey to New York where it will be replaced.
The meeting will be time for sharing and documentation to create synergies and support the project.
The evening will be an opportunity to reflect on the dynamics of the exchange between the group and collective work and other artistic centers.
Sunday, September 6, 2009
How To Make Co2 From Baking Soda And Hcl
Inglese version
This work aims to let graffitos travel again. Graffitos were born on New York trains, where disadvanatged people could give themselves a new identity writing their new name ( tag ) to let other people know about them.
After a campaign against graffitos, writers were compelled to do their job on city walls, where the journey stopped. Meanwhile, graffitos overwhelmed every corner of the world, and reached Italy as well.
Sardinia is one of these world's corner, so far from New York and its people, buildings and habits, but where militant writers are carrying on the graffito cause.
What Collettivo Ubique, a group of artists from Turin and outskirts, and ALL CAPS, a group of artists belonging to italian writers' second generation, are trying to do is to put the Writing in a historical context. Recently, art galleries have tried to close graffitos in their spaces: it is maybe to historicize it, maybe to put writers under control under the pretext of money and fame.
What happened in Nuoro
Nuoro [1] is a peculiar town in Sardinia, where its old centre is dying. Thanks to the zone regulations, old houses and architecture are being destroyd to make room for new ferroconcrete buildings looking all the same.
For this reason, we decided to realize a throw up on an old house's wall in the Sèuna area, and to detach it to bring to New York a sample of old building technique that is desappearing [2] , as well.
Detachment [3]
Collettivo Ubique and ALL CAPS detached the throw up in order to the restoration's technique, used to save frescoes from crumbling building.
The piece is already thought of an art work. But there is more. As the Writing is illegal detachment is considered illegal as well. The technique was used by looters to steal frescoes, and now when the action is strictly necessary restorers need special licences to do the job.
What will happen next
The journey to NY provides intermediate stops, where the piece will lie for a while until a new group will ask for it. It will travel by train if possible, aeroplane and/or boat. In every place, people will be asked to sign a petition to bring Artists' and Insitutes' attention to the project, and to support the project by fundraising, receiving in exchange a piece of old Nuoro's plaster.
The trip will come to its end, when some Institution in NY will accept the project and mount the piece there on an external new wall.
[1] In two new essays on the Writing, out next year at latest, there are data on Nuoro graffitos.
[2] Old local plaster is called ludru, that means rubbish , because everyone used materials they could find on the field. This ludru was set in many layers to make surface as more regular as possible, the layers were called pulimentu , that means to polish up (but also to clean up !).
[3] The process of detaching a fresco painting from the wall by removing the pigment and the intonaco. Usually an animal glue is applied to the painted surface and then two layers of cloth (calico and canvas) are applied, left to dry, and later stripped off the wall, pulling the fresco with them. It is taken to a laboratory, where the excess plaster is scraped away and another cloth is attached to its back. Finally, the cloths on the face of the fresco are carefully removed. The fresco is then ready to be mounted orn a new support.
Saturday, August 22, 2009
Brownies And Cookie Cutters
August 20 to 21
During the first two days of exposure, were collected 120 signatures to support the project wrtietrip and donation of € 80.23 were collected for travel graffiti: thank you all!
Friday, August 21, 2009
Make Suction Cup Stick To A Cold Window
packaging and transport ...
For logistical problems, it was necessary to the division into 3 parts of the piece.
The parties were lying in a wooden box packed with bubble wrap and straw.
Blog The Baitbus Free
State of the graffiti after the detachment
The rear of the graffiti is very fragmented because of the trauma The fragments detached during surgery have been painstakingly collected and preserved.
The back of the piece was Consolidated diluted with primal: 1:10.
Tuesday, August 18, 2009
Friday, August 14, 2009
Film Comando Online Arnold
the detachment
second day Thursday, August 13, 2009
Unexpected
At 10 we are operating.
Once in place, however, we find that jute has not adhered well to the canvas below: too hard and too thick texture. We decide to replace it. The day before and the night was very wet and have meant that the glue had not dried on the fabric of the whole.
We obtain a piece of tarlatan to strengthen the throw up. Apply it with animal glue, and then postponed until late afternoon when the glue is dry. The day is sunny and dry. You run the detachment
At 17.30 we evaluate the piece lining: we try to scrape the edge with chisels and bribes, but the glue has even penetrated into the plaster surrounding the consolidated: need a flexible Isolated.
reclaim the hose through the Association Madrice always present, ready to find material at any time and day.
At this point you can draw a boundary line as deep as the plaster.
began work with a chisel to widen the track made with flexible and begin to undermine the edges slightly. There
muniamo sabers (in the jargon of the restorer, a long, flat iron bar, used to penetrate plaster, to consume, to keep the raised part while working with other sword in another point). The work is hard, long and complex, in turn limiamo, scratch, we detach gradually plaster. Who is not saber at the time, notes that the instrument is not breaking the surface outcrops, or feels the plaster to try to understand the state.
's almost 20 when we have removed a third party.
At this point we all work, we must be careful to give fragments, the size of the suspended piece, held together by glue paintings. In turn, lean on, saber, we find solutions as a plank of wood as big as the piece to keep adhering to the surface, then it is too high. Create
scaffolding of luck, an old desk, large enough to hold three or four people. By now also the photographer of the field should help us, and this documentary fixed chamber, because he is with us.
We quote the axis under the plaster already gone, having a slight inclination to be ready to place it horizontally.
seem moments, but hours, and at one point: it off.
is a moment where all excited to keep a confused memory of powder and weight rating, agility to leave the scaffolding in place and promptly hands under the shaft.
The photographer is completely white with dust and mortar, but excited.
The piece is very heavy. In five non- we can lift it without risking their safety. We decide for the nth solution of luck: the cellophane!
the big roll passes back and forth around the ends of the spectrum. Somehow we have raised allowing the passage.
The study is near. Raise the axle loads of the piece and painstakingly, with peaks of despair, we reach the room adibitagli. I am 22.30.
Now it's there. With the cloth on the surface, contrary to the theory that he would like the bandages in contact with the axis. We will provide a turn, but to do that we are waiting for materials to create a valid and solid support.
second day Thursday, August 13, 2009
Unexpected
At 10 we are operating.
Once in place, however, we find that jute has not adhered well to the canvas below: too hard and too thick texture. We decide to replace it. The day before and the night was very wet and have meant that the glue had not dried on the fabric of the whole.
We obtain a piece of tarlatan to strengthen the throw up. Apply it with animal glue, and then postponed until late afternoon when the glue is dry. The day is sunny and dry.
Let us reflect on the difficulty of detachment, whose legislation is particularly severe because in the past used by the jackals of the frescoes that takes possession of abandoned historic buildings. A practical traumatic to the plaster that is irretrievably broken, although the surface is generally much smoother than that with which we are dealing with us. Operate a detachment requires special permits, granted only in cases of irretrievable degradation of the structure that houses the painting and masonry.
Our situation marks the lawlessness, a cut made on illegal work carried out illegally.
At 17.30 we evaluate the piece lining: we try to scrape the edge with chisels and bribes, but the glue has even penetrated into the plaster surrounding the consolidated: need a flexible Isolated.
reclaim the hose through the Association Madrice always present, ready to find material at any time and day.
At this point you can draw a boundary line as deep as the plaster.
began work with a chisel to widen the track made with flexible and begin to undermine the edges slightly. There
muniamo sabers (in the jargon of the restorer, a long, flat iron bar, used to penetrate plaster, to consume, to keep the raised part while working with other sword in another point). The work is hard, long and complex, in turn limiamo, scratch, we detach gradually plaster. Who is not saber at the time, notes that the instrument is not breaking the surface outcrops, or feels the plaster to try to understand the state.
's almost 20 when we have removed a third party.
At this point we all work, we must be careful to give fragments, the size of the suspended piece, held together by glue paintings. In turn, lean on, saber, we find solutions as a plank of wood as big as the piece to keep adhering to the surface, then it is too high. Create
scaffolding of luck, an old desk, large enough to hold three or four people. By now also the photographer of the field should help us, and this documentary fixed chamber, because he is with us.
We quote the axis under the plaster already gone, having a slight inclination to be ready to place it horizontally.
seem moments, but hours, and at one point: it off.
is a moment where all excited to keep a confused memory of powder and weight rating, agility to leave the scaffolding in place and promptly hands under the shaft.
The photographer is completely white with dust and mortar, but excited.
The piece is very heavy. In five non- we can lift it without risking their safety. We decide for the nth solution of luck: the cellophane!
the big roll passes back and forth around the ends of the spectrum. Somehow we have raised allowing the passage.
The study is near. Raise the axle loads of the piece and painstakingly, with peaks of despair, we reach the room adibitagli. I am 22.30.
Now it's there. With the cloth on the surface, contrary to the theory that he would like the bandages in contact with the axis. We will provide a turn, but to do that we are waiting for materials to create a valid and solid support.
Wednesday, August 12, 2009
Cineplex Near Humber College
Dissolve the glue ox prepare and light cloth to apply to the pieces to make the ex-dividend. The brushes against the wall and spend loads of glue. The operation is difficult due to the nature of the wall: crumbly and uneven, in fact ludru .
Half an hour after we prepare the strips of jute soaking it in water and applied to the canvas with great care.
Let the job done. Has to dry, then we can proceed on the ex.
Tomorrow.
Ontario License Plate Colours
first phase of the post mortem examination of the piece and the support
Post-mortem examination PART AND SUPPORT
traditional houses being Ivy.
The thorw up is new, therefore in perfect condition. The size is about 2m x 1.5m.
contrasts with the situation of the wall, as the whole house dating back perhaps to the mid-nineteenth century (dating from the check register), the installation and deployment environments are typical of the barbaric traditional house: two rooms, court and outdoor bathroom.
The plaster, of a thickness of 2 cm
Presents important gaps in size and quantity. The materials used are lime and sand medium-large probability of recovery, which resulted in a very irregular and rough surface of gray. In some areas, the final plaster layer has a second identical material and appearance. Is likely to finish in the affected areas has been given several times to fill hollows bigger. It has also raised several points from the underlying layer of plaster even more crude.
underlying layer of plaster,
initial layer is given by large stones bound with mortar matrix earthy very thin (thickness not to be mean measurements at the time). Sporadic adobe are visible and a fragment of brick that could indicate a recent dating of the small building lower than expected.
Subscribe to:
Posts (Atom)