Revitalizing History with Contemporary Design

The Church of Nostra Signora della Costa has a rich history, dating back to its 14th-century consecration. Over time, the building experienced several modifications, including floor lowering, the removal of marble cladding, and the addition of a plain concrete slab. By the mid-20th century, urban development and neglect had left the church in disrepair.

Caarpa’s renovation project aimed to restore and repurpose the church, introducing a contemporary steel structure known as the cantoria. This choir gallery, positioned near the entrance, is designed to provide a private mezzanine overlooking the main hall while complementing the ornate frescoes and stucco decorations.

Cantoria: A Blend of Old and New

The cantoria was crafted from micro-perforated metal panels, finished in a powder blue to match the church’s walls. The structure includes a spiral staircase that leads to the mezzanine, offering visitors a closer look at the preserved 18th-century frescoes and views from a large trefoil window.

The design of the cantoria contrasts with the church’s classical architecture, yet its two curved capitals subtly nod to classical styles, blending new and old elements seamlessly. Caarpa carefully balanced the client’s request for additional space with the need to preserve the church’s original character, introducing new perspectives while maintaining the building’s historic integrity.

Preserving the Past While Embracing the Future

Caarpa’s work in the presbytery and apse involved restoring the frescoes and stuccoes, cleaning them of patina, while also exposing traces of the church’s 20th-century history. The church’s raw pastel walls and missing plaster have been left visible, intentionally highlighting the building’s struggles over time.

The studio’s restoration efforts include treating the stripped altars with lime putty to reveal their original form and replacing the flooring with slate tiles arranged in linear patterns with borders every three rows.

Founded in Genoa in 2017, Caarpa is known for its innovative approach to blending historical architecture with contemporary design. Other notable projects include modern interventions in a historic provostry in Prague and the conversion of a church in Transylvania into a guesthouse.

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The revised directive, published in April 2022, specifically includes “works of art, collectors’ items, and antiques” among the commercial categories eligible for further VAT reductions. This reduction in VAT not only applies to art imports but also extends to primary and secondary market sales of works of art by artists and galleries within the EU. Member states are required to incorporate these changes into their national laws by January 1, 2025.

Vittorio Sgarbi, an undersecretary in the Italian culture ministry, recently held discussions with Maurizio Leo, the deputy minister for finance and economy, regarding the proposed changes. Sgarbi stated to the Italian newspaper Il Sole 24 Ore that the government intends to adopt the EU directive and lower VAT on the importation of works of art from 10% to 5.5%.

The potential impact of this move is significant. According to the Art Market 2023 report compiled by Art Basel and UBS, France currently commands 7% of the global art market, making it the fourth largest player worldwide and the leading EU country. This is partly due to France’s advantageous 5.5% VAT rate on art. In contrast, Italy does not feature in the top nine countries for market share. Lowering VAT on art imports could position Italy as a strong competitor and potentially attract more collectors and investors.

Experts and industry insiders are optimistic about the benefits this change could bring. Jose Graci, the director of the Turin- and London-based Mazzoleni gallery, believes that both collectors and Italian galleries would benefit from the reduced VAT rate. Italian galleries currently acquire approximately half of their Modern and contemporary works from foreign suppliers. Franco Broccardi, a partner of Milan’s BBS-Lombard tax consultancy and advisor to Federculture, a group of Italian cultural organizations, supports this move, stating that it would help create a genuinely competitive art market in Italy. It would also serve as a signal of the country’s commitment to prioritizing its art market.

While the Ministry of Economy and Finance in Italy has declined to comment on whether they will adopt the changes, there is anticipation that the government will take swift action. Proposals recommending VAT reductions on art were submitted by Franco Broccardi and Federculture to the culture ministry in March, indicating that the government is receptive to the idea.

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The Carabinieri, the police department responsible for safeguarding cultural heritage, collaborated with the special operations group ROS and the “Cacciatori Puglia” airborne squadron. Their joint efforts focused on carrying out numerous searches. These searches specifically targeted individuals suspected of engaging in looting, unauthorized excavations, and the illegal trade of stolen archaeological artifacts. These artifacts possess immense historical, cultural, and commercial significance, making their recovery of utmost importance.

According to the Italian daily newspaper La Gazzetta del Mezzogiorno, the operation was codenamed “Canusium.” This name referred to the ancient name of the municipality where the trafficking group operated from. The investigative efforts and precautionary measures extended across multiple regions. These regions include Puglia, Basilicata, Campania, Lazio, and Abruzzo. The operation spanned nearly a year.

Findings and Investigations in Operation Canusium

While Operation Canusium has resulted in the arrest of 21 suspects thus far, investigators have identified a total of 51 individuals involved. These individuals include grave robbers, international traffickers, and intermediaries known as “fences.” The fences played a role in facilitating the illicit sale of archaeological items. These items range from vases, jewelry, and oil lamps to gold coins. The illegal trade occurred within both domestic and international markets.

The recovered artifacts, totaling 3,586 items, comprise a wide range of objects. These include loom weights, bell-shaped kraters, jugs, cups, plates, miniature vases, oil lamps, and coins. These artifacts date as far back as the 4th century BCE.

Prosecutor Francesco Tosto described the discovered items as rare and valuable, estimating the coins to be worth around €50,000–€60,000.

Additionally, Italian police uncovered 60 metal detectors and various tools consistent with clandestine excavations, including long metal spikes and shovels, according to CNN.

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The villa, also known as Villa Ludovisi, was built in 1570 and has been at the center of an inheritance dispute between Princess Rita Jenrette Boncompagni Ludovisi and surviving family members of Prince Nicolo Boncompagni Ludovisi’s first marriage. The villa has been in the Ludovisi family since the 1960s, and Princess Rita became the prince’s third wife in 2009 after his first two wives had died. The prince died in 2018.

Prior to the eviction, Princess Rita had lived at the villa with her two young grandchildren, as well as her housekeeper and the housekeeper’s daughter. The children from Prince Nicolo’s first marriage argued the Casino dell’Aurora belonged to them and hired lawyers to gain control of the property so it could be sold.

The eviction was enforced by police who arrived at the property, and the locksmith changed the locks on the big green front door before the princess had even left. Princess Rita left the villa in a taxi with her four Bichon Frisé dogs, feeling like she was in a surreal movie.

One of the heirs, Prince Bante Boncompagni Ludovisi, was present at the villa to watch Princess Rita leave. He stated that the villa needs renovations, the pipelines of water need to be restored, and the frescoes are in danger. The value of the villa was estimated at 471 million euros ($533 million) when it was put up for auction by court order in December 2021, but it failed to find a bidder due to the 11 million euros ($12.5 million) needed in renovations to bring it up to code. It was relisted with a lower base price five months later.

In conclusion, the eviction of Princess Rita from the Casino dell’Aurora has caused a stir, particularly because the villa is only known for the Caravaggio mural. The property has been the center of an inheritance dispute, which has yet to be resolved. It remains uncertain who will pay for the necessary renovations to bring the villa up to code.

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The 1907 self-portrait is considered one of his most important works because it chronicles his transition from Primitivism to Cubism, two of his most famous artistic styles. In the portrait, Picasso used angular, geometric shapes to depict himself, from his almond-shaped eyes to his elongated triangular nose and the patterning on his jacket. He also employed thicker, darker outlines on his face and clothing to create dramatic contrasts.

Despite his unusual choice of canvas, a stretch of wasteland in Castagnaro, about 80 kilometers west of Venice, Gambarin has managed to recreate the defining elements of the work. This is not the first time Gambarin has used his tractor to create unusual artwork. He has also created portraits of Nelson Mandela, Leonardo Da Vinci, Dante, and various US presidents on the earth.

Gambarin is a multidisciplinary artist who has also created land-art pieces focusing on environmental issues such as Cop26 Glasgow and radioactivity. He used his art to send a message about the worst drought in Italy in 70 years last year. He carved out a huge drop of water with a globe contained within it and the words “save water” flanked it in enormous letters.

Dario Gambarin believes that art is an adventure of the spirit, thought, and creative imagination, and only those who have the courage to face this journey with free will and take the risk of their integrity can explore these multifaceted realities.

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However, at the 14th edition of the fair this year, crowds of visitors from the region and beyond crowded the fairgrounds on all days. “It’s the best edition in a long time!” exclaimed Sunny Rahbar, a longtime Dubai-based dealer.

The fair, which returned to Manarat Al Saadiyat from November 16 to 20, seemed to have become something of a bridge to international collectors for gallerists from nearby countries experiencing socioeconomic and political upheaval. This year’s fair, organized once again by the Department of Culture and Tourism-Abu Dhabi, featured 80 galleries from 28 countries, including 33 new galleries from Colombia, France, Tunisia, Italy, Nigeria, South Korea, Italy, Morocco, Turkey, and the UAE.

Turkish galleries increased their presence in response to the challenging market conditions in their home country. In October 2022, the Turkish lira’s inflation rate reached 83 percent, a 24-year high. Dirimart, an Istanbul-based 20-year-old gallery, said they haven’t had to adjust their prices due to inflation but admit that some Turkish collectors are hesitant to buy. “The UAE is a good place to develop right now,” director Levent Ozmen said.

A work by prominent Turkish artist Fahrelnissa Zeid was sold by the gallery to an Abu Dhabi-based collector for more than $100,000.

Prices ranged from $3,000 in the Emerge section to $5 million to $8 million at Galeria La Cometa for a museum-quality painting by Cuban master Wilfredo Lam. Andrés Córdoba of the gallery said they returned for a second year after selling a work by Fernando Botero for just over $1 million last year.

“At this fair, people take their time; it is not a fair where people are buying with their ears and trying to get the next thing that will make them money,” echoed fair director Dyala Nusseibeh.

Abu Dhabi is now a transformed city, brimming with world-class museums such as the Louvre Abu Dhabi, which celebrated its fifth-anniversary last week, and newcomers such as the Guggenheim Abu Dhabi, Zayed National Museum, teamLab Phenomena Abu Dhabi, and the interfaith Abrahamic Family House.

The presence of institutions, art galleries, and fairs, as well as regular exposure to such pivotal works of art at new museums, has inspired younger residents to appreciate and collect art.

“They grew up with the museums, art fairs, and galleries and are now eager to buy,” Nusseibeh said, stressing how the boutique fair is ultimately for the benefit of the “community and the wider public.” And the royal family supports such aims. “They are very supportive of galleries,” Nusseibeh added. “For them, it matters that they have come and invested in Abu Dhabi.” 

For a fair that started in 2009 with a handful of blue-chip galleries like Gagosian and David Zwirner eager to sell to Abu Dhabi’s Nahyan royal family, Abu Dhabi Art has evolved into a distinctly regional event, focusing on artists and galleries from the Gulf and broader Middle East.

However, over the last two years, the fair has included a more diverse mix of galleries and artists, with this year’s fair being incredibly multicultural, with an increased showcase of art from North and Sub-Saharan Africa, Turkey, and Iran.

“It’s very important to raise awareness about what is happening through art—art is a reflection of society on a deeper level,” says Hormoz Hematian, founder of Dastan’s Basement, “Ossouli is a pioneer in bringing Persian miniature painting into contemporary art. We felt the fair was a way to bring attention to her work.” While the gallery’s branch in Mahshahr, southern Iran, remains open, there is a strong emphasis on international platforms for his artists, whether through its space in London’s Cromwell Place or programming at his upcoming downtown Los Angeles gallery, which will open in April 2023. And what is his take on Abu Dhabi Art? He claims that the fair is becoming “high-level” this year.

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The 12-day cultural extravaganza honors the diversity of the world’s cultures by welcoming a stellar lineup of eminent writers, thinkers, publishers, artists, and creators from 95 nations.

Visitors can experience a rich cultural itinerary that has been outlined by the Italian Cultural Institute of Abu Dhabi, which is a division of Italy’s Ministry of Foreign Affairs and International Cooperation (MAECI). It also features performances of Italian theatre, crafts, dance, music, and culinary experiences in addition to books.

The Italian Ambassador to the UAE, Lorenzo Fanara stated, “Introducing Italy’s participation as the Guest of Honor at the Sharjah International Book Fair marks the official start of my term as the Italian Ambassador to the United Arab Emirates. The strong bond between our two nations, built on respect and communication, is centered on culture. Italy is a cultural superpower.”

The Italian Cultural Institute of Abu Dhabi’s director, Ida Zilio-Grandi, said: “We have a wonderful opportunity to promote Italian culture in all of its manifestations by participating as the Guest of Honor at the Sharjah International Book Fair. But first, let’s reiterate how closely Italy and Sharjah are connected by their shared love of literature.

“Literature allows us to live diverse lives and widen and enrich our existential experiences, not just to “communicate.” It gives us fresh resources to handle the difficulties of everyday life. A spiritual extension of ourselves and an indispensable tool for experiencing life in the world, literature.

Italy has a long and illustrious history of art, culture, and gastronomy, and it is home to some of the most well-known painters and sculptors in history, including Leonardo da Vinci, Michelangelo, and Raphael. The Colosseum, the Leaning Tower of Pisa, and the canals of Venice are just a few of the famous sites that can be found in this gem of the Mediterranean.

The nation holds the record for the most UNESCO World History Sites and is renowned for its intangible cultural heritage, healthful culinary traditions, and world-famous intangible cultural heritage.

The event schedule at the Italian Pavilion at SIBF includes workshops for children on topics such as books, music, theatre, live performances, animation, puppetry, and mask making; dance performances on topics ranging from classical ballet to modern abstract routines; roaming performances that reflect the Italian tradition of street theater; discussions with Italian authors on the newest books; culinary experiences with Italian chefs; and musical performances on topics ranging from Chopin’s preludes to violin and piano.

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When Erick moved from Peru to Italy in 1999, everything changed for him. His focus completely fell on academics and art took a back seat until he realized how much he was missing out on and retrieved the first sketches he drew with his father. He realized that producing art helped him feel better and now art is part of his daily life.

Becoming more aware of his surroundings, he is constantly struck by new ideas. For instance, when he walks down the street or watches a movie, he observes keenly how he can replicate it into his art giving it his personal touch.

“When I draw, I feel good and relaxed, and I disconnect from many things. At first, I always have an idea running through my head, not just about the subject to be drawn, but also about how I should do it and what tools to use; all of this creates an expectation, and I’m not quiet until I start to make the first lines on paper; many times, I don’t like the artwork, but I learn to finish it anyway” says Erick.

Erick’s journey is still long, but he is on the right track. He particularly likes portraits with strong contrast and sharp expressions, as well as moving scenes such as dancers and sports. Many excellent artists have honed their abilities in this sector, and he has learned to appreciate various sorts of art as well as learn about other artists that are similar to him. He is still improving and developing his technique by seeking out new sources of inspiration, honing his approach via practice, and exploring new kinds of art.

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Some of the world’s most stylish guys converge on the seasonal men’s fashion fair to view the latest trends in the business. It is, however, basically a trade show where various designer labels, both new and established, gather to show off their current collections to buyers, visitors, and the press.

The latest Fall-Winter styles were unveiled on the first day. Ecoalf, Paul and Shark, Ten C, Filson, Connolly, Marc O’Polo, Christopher Raeburn, Camper, Premiata, Holden, Aldo Maria Camillo, and Save The Duck were among the labels and guests who attended this edition. During the show, which ran until January 13, more than 600 new Fall-Winter collections were on display.

According to an Instagram post on Pitti Uomo’s account, this year’s event will “be placing you on the latest labels to watch, highlighting the greatest street style, and giving you an inside look at crucial pieces that will be driving next fall.”

The first day of the event was devoted to color, and the season’s color was Mandarin Orange, which was extensively visible on the streets. In fact, it was highlighted as a key color in Ten c’s Fall/Winter 2022 collection.

Overall, it appeared that comfortable apparel was the trend, which evolved as a result of the pandemic’s lifestyle modifications, and its effect shows no signs of lessening. Camper, a Spanish footwear manufacturer, was also present at the event, presenting its mules on the opening day of the fair.

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Ahmed Bin Rakkad Al Ameri, Chairman of SBA, said: “We look forward to welcoming some of Italy’s greatest writers and artists at SIBF 2022. Through the selection of Italy, we seek to further the cross-cultural dialogue between the two countries … to build bridges of cultural understanding between peoples across the world and promote common values through knowledge, art and literature.

“The strong cultural relations between the UAE and Italy date back to the time when the Silk Road connected the East with the West and played a key role in facilitating trade as well as intellectual and cultural exchange. At that time, the UAE was a thriving trade centre for Italian merchants.”

Nicola Lener, Ambassador of Italy to the UAE, said the title is a “great opportunity to share our culture with the Arab world”.

“SIBF has emerged as the world’s largest book fair this year after attracting the highest number of publishing professionals from around the world who used the SIBF platform to pursue a variety of business interests. We are keen to participate in SIBF every year and look forward to bringing Italian literature closer to the Arab audience and explore ways to enhance communication between the Italian bookmakers and publishers with their counterparts in the Arab world.”

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