HISTORY 19 - 1719 The time losses

To Perrovicomaria the steed, a quadruped of unquestionable virtue, which brought the city to safety against the useless time squandering of '17, part of the citizenry eternally grateful placed here.

MDCCXIX

Al destriero Perrovicomaria, quadrupede di indiscutibili virtù, che portò la città a salvamento dalle inutili perdite di tempo del ’17, parte della cittadinanza semper in temporis grata posit.

MDCCXIX

“Sir James Tiltanslant was the most unfortunate victim of the events I’m here not allowed to disclose if not in the least detailed fashion to you, so may history bear me testimony, I swear to be true.

Due to his excessively unbecoming addiction to speed he met his creator well before his time in a melodramatic accident which occurred whilst involved in some experiments with steam and bronze pipes he was attempting to carry out, to the dismay of his family and friends whom, alas to no avail, urged him repeatedly to come to his senses and become a lawyer instead. The power of steam was the means he thought of to fulfill his ambition to exceed the speed of birds to such an extent as doomed impossible by men of all sciences. The day came when, in front of a conspicuous community of professionals in the fields of mathematics, ballistics and physics, he set himself into an experiment so disturbing in terms of foolishness and utter lack of sensibility to all that’s scientific, to be ridiculous, if not for the seriousness of Sir James in his determination to pursue it.

The machine he had thus devised was a monstruosity in sheer terms of size and appearance. My description can’t pay in the least the due respect to the device for the lack of words to fully represent it, but let’s just say that…. (the recovered text ends here)”

From the self-penned memoirs by Lord Gibberoy Southerlund, 1734

Chi col tempo corre audace

e disdegna il buon ristoro

che la calma e la sua pace

ad altri son tesoro

giunge prima di quel gregge

a’ sua meta di costoro,

ma il dettaglio sfugge

ei non nota il canarino

ambasciator del suo destino.

Ode al passeggio di Pierpiero Metaberto 1723

Acrylic and oil on jute

Size: 58x41cm

One more painting included in the series "Milano in Bilico (Milan on the wobble)".

HISTORY 16 - 1934 The great doze

In lasting memory of the unexpected doze that led to the sudden stoppage of every productive activity of the city that was promptly awaken and propelled to its natural fascist ardour by the famous arian rooster Fritzwald Bohmbieler during a visit of courtesy, the thankful citizenry and party officials laid.

MCMXXXIV

A perenne memoria dell’inatteso coccolone che portò al subitaneo blocco di ogni attività produttiva della città, prontamente ridestata e propulsa al suo naturale fervore fascista dal celebre galletto ariano Fritzwaldo Bohmbieler in visita di cortesia, la cittadinanza e i gerarchi riconoscenti posero.

MCMXXXIV

Acrylic on cardboard

Size: 24x16cm


Another work included in the series "Milano in Bilico (Milan on the wobble)".

DIMORFISMI OCCASIONALI - OCCASIONAL DIMORPHISMS 12 - DIME

„Up to me, long hair has finally come back: its elegance from another era, its suspiciously retro modernity makes it ideal for the new. The woman who wears

it wisely, I find her transgressive to the grade of the most extreme conformism.“

Biagia X

„Per quanto mi riguarda, il capello lungo ha fatto finalmente ritorno: la sua eleganza di un’altra epoca, la sua modernità in sospetto di retrò lo rende ideale per il nuovo. La donna che sapientemente lo sfoggia, la trovo trasgressiva fino al conformismo più estremo.“

Gian Biagia Perruchetti in arte Biagia X

This is the last painting in the 12-piece series "Occasional Dimorphisms" no longer on display at Anadema - C.so Lodi, 1 - Milan because today it's the vernissage of Stefano Misesti and Beni Chu's exhibition "UNA LINEA TRA ESTREMO ORIENTE E MEDITERRANEO (A LINE BETWEEN THE FAR EAST AND THE MEDITERRANEAN"

30x80cm (12X32")

acrylic and oil on canvas

DIMORFISMI OCCASIONALI - OCCASIONAL DIMORPHISMS 11 - TREND

„He’s the ‘manifesto’ man: a radical appearance, that’s hiding an ascetic inspiration, essential, in practice equivalent to a secular Franciscan. Just one quirk: discreet glasses that never disclose his eyes. He’s an urban explorer of the future that’s already present, in short, the New Man.“

Philipja Van Loche

„E’ l’uomo manifesto, un’apparenza radicale, ma che nasconde un afflato ascetico, essenziale, in pratica equivalente a un francescanesimo laico. Un unico vezzo: occhiali di discreti che mai disvelano lo sguardo. È un esploratore urbano del futuro già presente, insomma l’Uomo Nuovo.“

Filippa Lo Cicero in arte Philipja Van Loche

Also this painting is included in the so far 12-piece series "Occasional Dimorphisms" still on display at Anadema - C.so Lodi, 1 - Milan

30x80cm (12X32")

acrylic and oil on canvas

DIMORFISMI OCCASIONALI - OCCASIONAL DIMORPHISMS 10 - KHEI!

„Oh yeah, if on one side sparrows are disappearing from our cities, on the other hand one feels the unquenchable thirst of return to Mother Nature, you know? That’s why these hairstyles are becoming like, you know, bushes or cozy nests, something our grandmas already were familiar with and I have rediscovered now. As a matter of fact, the hairstyle can be worn year-long or seasonal, migrations you know?...It saves on shampoo, too“

Calup Bronson

„Eh sì, se da un lato spariscono i passeri nelle città, dall’altra parte si sente sempre più l’esigenza di unirsi a Madre natura, no? Ecco quindi che le chiome divengono cespugli o nidi accoglienti, cosa che le nostre nonne già sapevano e che qui ho riscoperto. Poi il taglio può essere permanente o stagionale, sa le migrazioni...“

Calup Bronson

The tenth painting included in the so far 12-piece series "Occasional Dimorphisms" still on display at Anadema - C.so Lodi, 1 - Milan

30x80cm (12X32")

acrylic and oil on canvas

The FAMOUS EGG vs. CHICKEN LITIGATION

Open to debate, arguably the most important case in this court's history, has led to overamplified speculation by the media. The questions have finally come been answered to the satisfaction of many and dismay of the rest. It seems the end of the matter has been set even though it's up to the Supreme Court to pronounce the costitutionality of the pronouncement.

60x100cm (24X40")

acrylic and oil on canvas

A painting included in the series "SVA SPONTE" ("ON HIS OWN WILL"), previously on display at Spazio Arte Tolomeo - Via Ampère, 27 - Milan

DIMORFISMI OCCASIONALI - OCCASIONAL DIMORPHISMS 9 - HIP

„The key word is and must always be practicability. My woman? Look, my woman is emancipated and knows what she wants. Gone are the days of romance and sex objects. She now wants to enjoy her freedom and to be able to show it in a way that her grandmother and mother were not allowed to. And the hairdo, in my opinion, is synonymous with freedom, I think that’s clear.“

Vivette

„La parola d’ordine è e dev’essere sempre la praticità. La mia donna? Guardi, la mia donna è emancipata e sa quello che vuole. Sono finiti i tempi del romanticismo e della donna oggetto. La donna ora vuol godere della sua libertà e di poterla manifestare come a sua nonna e a sua madre non era permesso. E il capello, per me, è sinonimo di libertà, mi sembra evidente.“

Vivette

One more painting included in the series "Occasional Dimorphisms" now on display at Anadema - C.so Lodi, 1 - Milan

DIMORFISMI OCCASIONALI - OCCASIONAL DIMORPHISMS 8 - OOPS

„I have always been a staunch supporter of improvisation. The best haircut can not be decided beforehand, absolutely! Planning is the new blasphemy. One starts and expects the inspiration that comes from the error, like that time I slid the razor, you know what a mess, and the boys clean up all that blood? But then again, the haircut became a cover for Vogue. I don’t know if you see what I’m saying...“

Renzo Giano

„Da sempre sono un convinto sostenitore dell’improvvisazione. Il taglio migliore non può essere deciso a priori, assolutamente! La pianificazione è la nuova bestemmia. Si parte e si aspetta l’ispirazione che nasce dall’errore, come quella volta che mi e’ partito il rasoio, sai che lavoro, i ragazzi, pulire tutto quel sangue? Però dopo, quel taglio ha fatto la copertina di Vogue. Non so se mi capisce...“

Renzo Giano

30x80cm (12X32")

acrylic and oil on canvas

 

Another painting included in the series "Occasional Dimorphisms" now on display at Anadema - C.so Lodi, 1 - Milan