Born in the Seventies among the first international art fairs of modern and contemporary art in the world, the event, stage-managed by Silvia Evangelisti, proposes a wide range of works of art from the beginning of the Twentieth century until the most recent trends; 15000 s-m of exhibition, 200 Italian and international galleries, are only a few of the numbers of this new edition.

A unique occasion to discover popular masters like Carlo Carrà, Felice Casorati, Giorgio de Chirico, Gino Severini, together with the conceptual art of Enrico Castellani, Agostino Bonalumi and Vincenzo Agnetti, or the movements of informal art of Giuseppe Capogrossi, Alberto Burri and Emilio Vedova; the Spatialism of Lucio Fontana and the Poor art of Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Giuseppe Penone, Michelangelo Pistoletto and Gilberto Zorio – to whom the Museum of Modern Art of Bologna dedicates an important exhibition until 17th February 2010 – and the representative of the Italian Transvanguard.

Many of the works of art at the fair also offer a wider view on the international stage, with works by Antony Gormley, Wym Delvore, Per Barclay, Tony Ousler, Hans Peter Feldmann, Alfredo Jaar together with the most popular representatives of the English artistic movement like David Ockney, Gilbert&George and Tony Cragg, or the masters of photography like Thomas Russ, Anton Corbijn or Luigi Ghirri. There will also be a collection of works of artists coming from different geographical areas and investigating the state of being contemporary through the use of the most diverse artistic tools like those of the American performer Nick Cave, the installations of the Russian Peter Belvi or the material compositions of the Chinese Zhang Huan.

To the new trends, presented by the emerging Italian and international artists, is dedicated the section Young Galleries, where research galleries with under five years of experience exhibit their works with prices ranging from 500 to 10,000 euros, for collectors just getting close to art or for those who want to discover new talents.

Of course there will also be book launches, meetings and competitions.

For the second consecutive year the International Art Fair Art First dedicates the daily schedule to the theme of collecting: collectors and museum directors will debate on the interaction between private collections and museums and how they enter the Italian and international artistic stage. The goal is to stimulate a dialogue, by inviting also representatives and collectors of the Asia-pacific area due to the synergy with ShContemporary, the first contemporary art fair dedicated to the Asia-Pacific Area organized in Shanghai by the Group BolognaFiere.

The entire city of Bologna will be involved with exhibitions in museums, courts, buildings and streets of the old town. Bologna Art First, an exclusive town itinerary, is at its fifth edition and for the first time it is a project made in collaboration with Julia Draganovic. The project is conceived of as a single big collective town exhibition through a path among images of art and history and it presents from 29th January through the end of February 2010 a series of installations by artists working for the galleries taking part in the exhibition, in order to create a dialogue between contemporary art and unusual locations of the old town and surroundings.

For the third year Arte Fiera OFF will be the frame of several events like exhibitions, concerts, festivals that will take place in Bologna and Emilia Romagna during the Fair.

Saturday 30th January Art White Night turns the old town of Bologna in a big window of contemporary art with the extraordinary opening of museums, galleries, buildings, concerts and exhibitions.

www.artefiera.bolognafiere.it

Italian version

Where does it come from and where does it go to your artistic research?
I have always been labelled as an eclectic artist.
I believe the reasons are to be found in my childhood. As a child, when looking outside the window – I was born in a town at the sea, La Spezia – I used to sea the harbour and the colours of the ships, the containers and the tracks.
Moreover, at the ground floor of the building where I used to live, my parents owned a naval furnishing and antiques shop. I lived 90% of my life from age 0 through 10 in that place. The strong contrast between the splendour of the sea and the dusty reality of the harbour, besides the smell of old furniture and of any kind of object, became part of me. After junior high school, I graduated at the Artistic high School and then at the University with a degree in set and costume design at the Academy of Beaux Arts, thanks to which I was able to strengthen and deepen my ideas.

What is the origin of your projects?
When I begin a project, I have to think it through so that it can go on smoothly and be consistent with the leitmotif driving the world, that is mathematics. I have always considered the aesthetics of things essential for people’s life. I do not refer to the trivial and futile appearance per se, rather to the real energy of the objects. An object has a shape, given by whom produced that object, be it a great designer or the blind Chance…This object, eventually, is chosen. By whom? Why? Where it located? The same object, related to others, originates endless combinations that deliver, want it or not, emotions and thoughts. Objects re-create, telling a lot of whom chose them. It is as if there was a diffusing power, blending things together.
Like ingredients, mixing to create meals. Whether you talk about human emotionalism, music, design or botany, or any other topic, everything interacts and acts according to the common language of mathematics. This thought has always been the constant element I drew my artistic expression on.

Is this the reason why you express yourself through manifold languages?
My eclecticism actually becomes a single language, with numerous forms of expression. I never get stuck on one single particular discipline. I need to paint, to write, to project objects, clothes, costumes or environments, for the film set, theatre or private houses it doesn’t matter, although each of them has different needs. Obviously, each discipline needs knowledge and experience, but if you love what you do, you can reach the best results without efforts.

Why the title “Equilibria” for the theme of your works of art?
The choice of the name “Equilibrium”, as for paintings and sculptures, was automatic. My works of art are the search for the perfect balance between the spaces, according to Aristotelian and Vitruvian criteria.
Concepts which are deeply embedded into physics, from which the man can not be separated. Those are few of the certainties you can rely on, reflecting in the equilibrium of things which belongs to each life experience.

Why did you choose materials like gold and glass?
My works of art, whatever they are, reflect the search for elegance…the natural, thin, unconscious, not-showed off or garish elegance. What material can better than gold express the concept of elegance? Gold has always been used as symbol of the divine. It is not a colour, it’s more than sculpture, it lives with the observer, it gives back light, stepping out of the painting without the possibility of stopping it. It cannot be tamed.

Other colour that you like?
I paint using deep and intense colours, with a marked preference for the blue of Prussia, which is a night blue stretching towards black. In the past I used to paint using oil painting clothing, searching for transparency in the nuances. Now I almost exclusively paint using oil colours on glass armour-plates, that I crash afterward. The chipping transform into crystals radiating light. And the transparency of the glass allows to reflect into the entire work of art.

Whom or what do you draw on when you create?
On the subject I need to design. Be it a painting, a sculpture or anything else. For instance, if I need to design the direction or the scenes of an opera, I listen to it unrelentingly. I need to become part of it, I need to know it as if the events the protagonists go through were happening to me, blending in the music. Moreover, I try to find out everything about that opera, when it was written and set; I also conduct long iconographic researches, trying, at the same time, to focus on the principles of my “equilibria”.
The same is true for films, as well as other disciplines.

What is you internal perspective on today’s market of contemporary art? How much room is there for emerging artists?
I am very individualist in my job. But the market, especially in Italy, is going through a difficult moment. As for emerging artists, I believe that it has become too easy to define oneself an artist and that, on the other hand, the galleries tend to invest mostly on the safest choice of popular artists. Rather than investing energies on good emerging artists, a good amount of galleries, also important ones, do nothing but hiring rooms, allowing therefore only who has enough financial means to exhibit. This, obviously, is a system that in the long run will destroy the same genuineness of art.

Davide Passoni

Italian version

Preparations are well on the way in Regent’s Park in London for one of the most important Fairs of Contemporary Art in the world, Frieze Art Fair 2009 that, from 15th through 18th October, will give room to over 150 galleries of thirty countries and will present works of art of a thousand artists, both famous and new talents.

Two big novelties, Frame and Frieze film. The former is a section dedicated to thirty young galleries presenting the personal exhibition of one of their artists. The latter is a film commissioned by Frieze Foundation to the Danish Superflex, dealing with the relation between arts and finance.

And of course a thick series of side initiatives. Frieze Project is back, for which have been commissioned to an international group of artists seven site-specific works of art for the fair. There is again the Cartier Award, events dedicated to the youngest and to music.
Great room is given to the protagonists of contemporary sculpture.

During the fair there will be also several debates with experts of the field to discuss some matters that currently involve the world of contemporary art.

http://www.friezeartfair.com/

Italian version

An international forum made of events, exhibitions, workshops for creative European youngsters who, under the leadership of the patroness Li Edelkoort, the most popular trend forecaster in the world, will share resources and ideas in the sectors of fashion, design and art.

Under the sponsorship of Confindustria Como and of a group of young entrepreneurs has been created a real European “creativity hub”, a “qualified crossroads of experience that can help young people find the right job and that finds in Como and in its extraordinary tradition and vocation its natural place”.

The themes of the year are recycling and ecological sustainability, applied to ComOn Textile, ConOn Design (sponsored by ADI, Association Industrial Design), and the new ComOn Arte.

In this case, “Come On” refers to the young curators of contemporary art not older than thirty-two, to whom is destined the competition for an exhibition project of five installations made by as many young artists, always with eco-friendly and recycled materials.

For such a young and innovative event obviously has been organized a party, the “Jungle Party”, that will take place on 16th October 2009 taken care of and organized by the most promising youngsters of IED and Naba.

www.comon-co.it/

Italian version

The Nineteenth Century in Italy is protagonist of many exhibitions. Until 2nd May it will be possible to visit the Art Gallery Moderna Ricci Oddi of Piacenza “Painting of Tuscany at the Ricci Oddi – Compared Collection”. On exhibition 40 oil paintings, all in little, constituting a  private collection from Lombardy. They are exceptional works of art of the nineteenth Century in Tuscany made by the main protagonists of the Macchiaioli movement. Near the well-known masters, Giovanni Fattori, Silvestro Lega, Telemaco Signorini and Vincenzo Cabianca, stands out the group of the so-called “Italians in Paris”, Giovanni Boldini, Federico Zandomeneghi and Giuseppe De Nittis. It is acknowledged that small size formats, often realized on portable tables, were created when artists worked “en plein air”, while observing and reproducing the true directly on-site, creating a genre very demanded by collectors.

In Rancate, in the Ticino canton, in on the agenda, from 20th Septemeber through 10th January, “From Fattori to Previati: a rediscovered collection – Riccardo Molo, art collector between Switzerland and Italy” at the Art gallery Giovanni Zust. Comes back, after being hidden for 75 years, the art collection of Riccardo Molo, businees man born in Ticino, active between the Nineteenth and Twentieth Century within Ticino, Berlin, Rio de la Plata, in Argentina, and especially in Italy.  Absolutely Italian is the art collection that Riccardo Molo managed to create in his villa of Balerna, throughtout the 1920s: Previati, Mosè Bianchi, Segantini, Delleani, Cabianca, Pasini, Fattori, Delbono, in a project, typical of those years, of collecting the top of every single “regional school”.
Molo’s passion for the Nineteenth century painting was expression of the general rediscover in the 1920s of the Macchiaioli and of the painting of the previous century. Moreover, taking advantage of the entry on the market of a great number of works of art by Gaetano Previati, Molo bought also few important paintings of the pointillist master, among which a preliminary version of Motherhood (1891), masterpiece in the artist’s career.

For fans of modern art, there is an event going back over the passion of a great collector and patron of arts, Francesco Martani. Here are “Classic splendours. Timeless passions at the Matilde’s court” at the Cloister of San Benedetto at San Benedetto Po from 19th September to 10th January. They have been selected works of art coming from the Italian collection of the Fondazione Ca’ La Ghironda of Zola Predosa, of the time going from the Renaissance of Bologna through three centuries of the Italian painting recalling the painting beyond the Alps.
This collection of paintings from the Sixteenth, Seventeenth and Eighteenth Century, expresses the plurality of themes across many areas of  Italy and abroad and the high quality of the selected works: Annibale Carracci, Guido Reni, il Guercino, Francesco Francia, Luca Giordano da Napoli, Giovan Battista Garulli called the Baciccio, Jan van Kessel, Anton Van Dyck are few of the artists on exhibition. The themes are various: the sacred and the profane, the still natures by Jean-Baptiste Monnoyer, the gender scenes by Todeschini, the portraits by Bernardo Strozzi and the landscapes by Peruzzini.

The Sixteenth and Seventeenth Century come back, seen from a different point of view, in the historico-scientific iconographic exhibition “Galileo, Venice and the Moon”, from 27th September through 18th October at the San Servolo Island passing from 19th October through 16th November at Palazzo Zorzi in Venice to end up from December until January in Asiago. Here is again Galileo protagonist of an important exhibition. The exhibition is one of the top moments of one of the most important assizes of this International Year of Astronomy and it goes through, physically, an itinerary that from Adriatic of Venice goes up ideally to Cima Ekar on the Asiago Plateau, that is from Galilean observations of the Moon to one of the biggest Italian telescopes of the modern astronomic research. The exhibition aimes to show, through pictures of the XVI and XVII Centuries and recent pictures, the places (few of which disappeared) visited by Galileo in Venice during those eighteen years when he was teaching at the University of Padova. Are on exhibition the drawings of the moon that Galileo made when he first discovered that the Moon is not smooth and perfect as believed for almost two thousands years. There are also the numerous maps of the Moon that throughout the Seventeenth, Eighteenth and Nineteenth Century went through the path of evolution of the Moon cartography strictly related to the improvement of the telescope optics.

To another great genius is dedicated “Leonardo’s laboratory. The codes, the machines and the drawings” at the Castello Visconteo of Vigevano from 13th September through 5th April. Thanks to advanced technologies the public will get to know the most important codes of the Great genius and unpublished physical and digital reconstructions of extraordinary instruments like the Flying Car, the mechanic Lion, besides coming in touch with drawings and paintings presented with the HyperView technology. For the first time the visitors will be able to virtually show off, thanks to the Virtual Codex technology, the Atlantic Code, the Code of Flight and the Manuscript B by Leonardo da Vinci. Will follow, in October, “Court Splendours. Sforzas, Renaissance, the City” that will analyze the bonds between the city of Vigevano, the Sforza principality, the character of Leonardo da Vinci and the artistic testimonies all over the Lomellina area.

Obviously there are as well exhibitions dedicated to the art of today, in more and less common exhibition venues. The Courthouse of Milan becomes an unusual space for contemporary art with Justice and its symbols, exhibition combining about thirty works of art by Basil Beattie, Mitsuo Miyahara and Aldo Rota, who worked using as source of inspiration the theme of justice, dialoguing with the big masterpieces located in the structure and the big materiality of the building designed by Marcello Piacentini.

Always in Milan, the Japanese Koji Yamamoto is the object of Another Nature, from 18th September through 31st October at the Lorenzelli Arte.

The monumental works of Xavier Veilhan will be protagonists, instead, in Paris, at the Versailles Royal Palace, until 13th December. “Veilhan Versailles” presents eight creations, in bronze, sheet metal and glass fibre in the gardens and on the stairs of the palace. Besides a six-horses carriage, the statue of a naked woman, statues of contemporary architects, a giant Yuri Gagarin lying near his helmet reminds the man’s greatest adventure. Who is in the French capital can admire also the exhibition of the Louvre “Titian, Tintoretto, Veronese – Rivals in Renaissance”, with works of the three Masters of the Venecian Renaissance art.

It collects more than fifty works of eleven artists, Italian and Israeli, witnessing the artistic tendencies of the generations born between the Sixties and Eighties, “CAMPOLUNGO. The sensitive horizon of the Contemporary time”. The exhibition, planned from 15th September through 10th October, at the Complesso Vittoriano of Rome, hosts works by Valerio Berruti, Enrico T. De Paris, Shay Frisch, Federico Guida, Riccardo Gusmaroli, Min Jung Kim, Francesco Lauretta, Domingo Milella, Barbara Nahmad, Sharon Pazner and Alex Pinna.
The title refers exactly to the technical expression “campo lungo”, used for a certain type of film shot. This exhibition, originated form an idea of Vittoria Coen and by the art dealer Ermanno Tedeschi, expresses the distance on which focus the attention of the selected artists. The “campo lungo” allows to see exhibited pencil and brush, oil and acrylic, straight and curved lines not proudly adverse anymore, paper, canvas, metals, materials challenging time in paintings, installations, sculpture, pictures and videos.

Obviously there are exhibitions for fashion fans. The sculpture-clothes by Roberto Capucci can be discovered from 17th September through 13th December at the Castello Odescalchi of Bracciano with “Sovereign Elegance”. Beyond sixty the creations of the tailor, in a continuous dialogue between fashion and other forms of art like the Renaissance painting, music and theatre.

Dialogue that characterizes “The Art of Fashion” from 19th September through 10th January 2010 at the museum Boijmans van Beuningen of Rotterdam.
During the exhibition time, will be commissioned special projects to artists and designers like Viktor & Rolf, Hussein Chalayan, Walter van Beirendonck, Anna Nicole Ziesche and Naomi Filmer. Moreover, the exhibition will host also works of other artists like Dai Rees, Jana Bartak, Martin Margiela.

The most beautiful creations Cartier will be protagonists in Pekin, at the Palace Museum, until 22nd November. Over 350 jewels dating back to the years between the foundation of the firm and 1970 emphasize the Chinese influence on the stylistic choices of the brand.

Tuscany Painting at the Ricci Oddi – Compared Collections
Gallery Ricci Oddi
via San Siro, 13 – Piacenza
13th September 2009 – 2nd May 2010

http://www.riccioddi.it/

From Fattori to Previati: a rediscovered collection – Riccardo Molo, art collector between Switzerland and Italiy
Pinacoteca Cantonale Giovanni Zust
Rancate (Mendrisio), Svizzera
20th September 2009- 10th January 2010
www.ti.ch/zuest
Classical Splendours. Timeless Passions atMatilde’s court
Former monastery canteen
Piazza Matilde di Canossa, San Benedetto Po (MN)
19th September 2009- 10th January 2010

http://www.classicisplendori.it/

Galileo, Venice and the Moon
Venice, Manica Lunga of the San Servolo Island, 27th September- 18th October
Venezia, Palazzo Zorzi, UNESCO Venezia, 19th October – 16th November
Asiago, Municipal Exhibition venue, December 2009 – January 2010

http://web.oapd.inaf.it/venice2009/index.php

Leonardo’s Laboratory. The codes, the machines and the drawings
Castello Visconteo (Piazza Ducale)- Vigevano
13th September 2009 – 5th April 2010
Court Splendours. Sforzas, the Renaissance, the City
Scuderie del Castello Visconteo (Piazza Ducale) – Vigevano
3th October 2009 – 31th January 2010

http://www.castellodivigevano.it/

Justice and its symbols
Courthouse
Largo Marco Biagi – Milano
24th September- 30th October 2009

http://www.b-artcontemporary.org/

Koji Yamamoto – Another Nature
Lorenzelli Arte
Corso Buenos Aires, 2 Milano
18th September until 31st October

http://www.lorenzelliarte.com/

Campolungo. L’orizzonte sensibile del Contemporaneo
Complesso del Vittoriano, Via San Pietro in Carcere (Fori Imperiali), Roma
16th September- 10th October 2009
Sovereign Elegance
Castello Odescalchi
Piazza Mazzini 14, Bracciano, Roma

http://www.odescalchi.it/

http://www.chateauversailles.fr/homepage

http://www.louvre.fr/llv/commun/home.jsp?bmLocale=en

http://www.boijmans.nl/en/

http://www.dpm.org.cn/English/

Italian version

An art summer for the guests of the prestigious structure of the Costa Smeralda that, after the shots dedicated to Marilyn Monroe, since 26th July will be able to enjoy the 30 pictures chosen among the collection of the young artists from Cagliari.

“The rooms of dreams” (2007), “Vanitas” (2008), “Doppelganger Stories” (2009) are only few of the titles of the works that have already deserved the publication on the last issue of “Il Giornale dell’Arte” – where it has been signaled as on of the emerging promises of art – and of the last issue of “Arte”, where Luca Beatrice – curator of the Italy Pavilion at the Biennale of Venice – points it out among the 30 most important young artists of Sardinia.

“Among the exhibitions of famous artists as Antonio Secci and Angelo Liberati, on the stage that hosted also the photo exhibition of the legendary Lawrence Schiller with “Marilyn twelve”, we thought it would be fair to leave room also to a young emerging artists, less popular but with great talent as Francesca Randi”, said the architect Dino Marrosu, Artistic Director of the exhibition.

The Colonna Pevero Arte is going to be the precious venue to give expression to Randi’s world, made of a mix of perspective backstage and a surreal combination of colours and objects rich of mystery, reconstructed in an especially theatrical and classic setting.

A way to introduce her works, curated by Erica Olmetto, in which are combined current topics like female and male identity, childhood and adolescence, the off theatre as an escape from conventional roles and the existential loneliness.

Colonna Pevero Hotel
Costa Smeralda, Golfo del Pevero
07020 Porto Cervo (OT), Italy
Phone +39 0789 907009
Fax +39 0789 9206
www.colonnapeverohotel.com
Vernice: Wednesday 26th July, 7pm
For further information on the artist: www.myspace.com/francescarandi

Italian version

Extremely versatile guitarist, goes breezily from the romantic repertoire to the baroque one, to the historical XVIII century up to the contemporary and vanguard music. His repertoire includes a great variety of solo pieces, as well as almost all of the repertoire of the chamber music and 42 concerts for guitar and orchestra.

Collector of ancient instruments of high quality workmanship, that he regularly plays, Edoardo Catemario owns precious guitars among which stand out instruments of great masters of the Spanish school built between 1890 and 1940: Garcia, Simplicio, José Ramirez I, Pascual Viudes, Ibañez, Nuñez, Galan and in the interview he explained the reasons of his extraordinary passion.

How did you come to choose the guitar as your instrument?
I don’t know why I decided to play guitar. Perhaps for the fragility of this sound, that needs to be built with precision and where the mistake allowance is very low. After all, it’s an instrument with a 1,3mm string and not to catch a string means to make only a 1,3mm mistake. This is why all the guitar students need to begin from a medium-high level and they need to be great virtuosos. The guitar is an instrument based on virtuosity and only from a very solid technical basis can derive samples of beauty. In fact, when you play an instrument something must click at the physical and auditory level and this is what happened to me with the guitar, all the rest followed.

How can one become a musician?
I was born in a family where my father could play 16 different instruments, all very badly by the way. Thus, when I began to try to play guitar he stopped me and told me: “We already have enough amateur in the family, if you want to play one of these instruments then you have to learn it”. This is how my story began. A story throughout which I studied piano with perhaps the greatest musicians of the time in Naples, very old and who allowed me to build up a very solid and technical background and to have very stable basis, essential condition to be able today to play with the music and to choose what I actually want to do.

So, what kind of music?
Baroque, contemporary or of the Renaissance is not a big deal, my career in fact led me to teach chamber music as well as to play guitar because it doesn’t make a big difference. Actually, the guitar lends itself to an aesthetic project that makes an absolutely natural sense in my mind and I don’t do but consciously taking already existing ideas and communicating them to others. The power of music is exactly that of opening doors that we usually keep shut to protect ourselves from suffering and this is why, sometimes, people are touched by a classical concert: suddenly the evocative power is so strong to bring them in contact with the deepest layers of themselves. Music is not the meaning, it is the evocative, the self.

What is the audience that gave you greater satisfaction?
I was lucky, I had extraordinary demonstrations of affection in very different situations. The audience at the Musikverein of Vienna standing and applauding. The emotion that you feel in front of such a selective audience is incredible, so that the sixth time they called me back to the stage I had tears in my eyes. Incredible also the experience I had few months ago at the Sidney Myer Music Bowl of Melbourne, where I played in front of 13,500 people, a stadium-like support, the first time in my life. At the same time I will never forget when I played in Chile. It was 1991 and to fight was still worth it, thus we created the “rainbow music train”, with which I ended up in a place that, in my imagination, was close to hell: a mine. Well, the miners, who could not pay me, gave me a mural where it was represented an angel dressed up in the Italian flag, playing the guitar and each string ended on a village of the Andes. Perhaps it is because the guitar speaks to the heart of people that I had a fortunate career.

What is the opera that you prefer?
The one that I still need to learn.

..and the artist?
There are really many, I like everything, both what I can and what I cannot play. Among those that I can interpret the favourite is Bach, the last chance of humankind to hear and understand in the same way with the same percentage. In Bach reason and feeling go together and this is an asset of the late Baroque that was never reproduced. Besides Bach I like the great Viennese classics, over all Schubert, and then there is the Italian opera, Puccini, or the contemporary South-American like Piazzolla.
So, I basically like everything and this is demonstrated by the fact that I have played very different genres: from the ultra-contemporary to the minimalist up to the most classical of the repertoires. What I don’t like, I don’t interpret.

What is the historical instrument that you like the most? And, thinking of your collection, to which are you more bound and which are you more proud to own?
I am a sound collector. I choose my instruments for the sound, not for the brand, and this is a huge difference. So, I would like to stress that mine is not a collection of instruments. All that becomes part of my collection won’t be sold because it means they are works of art that I like. Of course, there is a guitar to which I am very bound, we are tied together since 1988 and with it I won the most important awards. Today a great part of musicians is re-discovering the magic of the vintage instruments, but twenty years ago, when I started, a colleague much more famous then I was back then told me: “Why do you waste your money to buy an old instrument?”. He couldn’t see the quality of the sound object. An old instrument, instead, has a range of qualities that a modern one doesn’t simply because it hasn’t been played enough and therefore it has many structural faults.

Francesca Zottola

Italian version

Through this initiative, AtCasa.it meant to challenge not only professionals but all the creative youngsters as well as fans of design willing to get in the game of experiencing new solutions matching technology and style.

Until 4th June 2009 it will be possible to sent off the projects through the website http://atcasa.corriere.it. From 5th until 19th June a jury made of experts in the field, from the editorial unit of AtCasa.it and from BlackBerry will select the best projects, that will be then published on the website of AtCasa.it. Eventually, it will be the audience to choose the winners, giving their preference online or via BlackBerry from 20th June until 3rd September.

The architectural work, or the single designer, chosen by the audience, will be provided with the smartphone BlackBerry. Among the professionals, the author of the most voted project will receive a BlackBerry Bold while the best creation among the “fans” of design will be awarded of a BlackBerry Storm. Up for grabs there are rewards also for the second place of both categories, who will receive a BlackBerry Curve 8900. Eventually, also who will take part in the voting will have the possibility of being rewarded with a smartphone: BlackBerry, in fact, will give an award to two voters, drawn from all those who expressed their preference online or via BlackBerry the BlackBerry Pearl Flip 8220.

Italian version