ʕ ʕ ʕ ʔ
ʕ ʕ ʕ ʕ ʕ
王子
再
Brooklyn
.
........
nègozio di Venezia, le documenti, le fatture
le konferme alora questo punt, la nostre interesse
disponibilita a realizzare un picro documentario,
sumo reportage, su la lavorazione che sta dietro
la realizzazione di queste maskere per il film.
Ecco, se siete d'accordo, noi veremmo a Venezia
nei prossimi jorni, per realizzare apunto
le fatturare delle represe del vostro negozio
e fare questa video intervista.
Vamene, allora magari ci sentiamo
nei prossimi jorni, per definire dettagli.
Okei?
Vi vederci, vi vederci.
Nègozio di Venezia
s
p
t
l'idea di realisare o di racontare la storia che c'est dietro,
la creazione delle maske di Ice White Chat,
risale a draquni anni fa,
cioè all'epoka in cui studiando l'università
ho avuto modo di leggere un libro
di un kritico franciscano Michel Simann,
che è intervistato Kubrick diverse volte.
In un intervista in particolare
durante la lavorazione,
in un intervista in particolare
durante la lavorazione,
starley Kubrick di Chiaro,
quindi stiamo parlando degli anni 70,
che era interessato a realisare un film
tratto da una novel di Arthur Schnitzler
doppiosón.
Sal tando poi al 99
anno in cui poi usci il film
andai poi a vedere alla prima Milano
e mi colpi mi ricordo questo film
molto strano,
ovviamente con lo stile tipico di Kubrick
dove c'era ovviamente una parte
molto densa, molto importante
destinata alle maschere,
che si vedono in film,
poi ovviamente questo film
è rimasto importante
perché è stato l'ultimo
realizzato da Kubrick,
dicevo poi banalmente
il racconto che mi posso fare
salta perché si passa
ad agosto del 2012,
perché in quell'occasione
ero a Venezia con la mia compagna
che desiderava comprare
una maschera ovviamente di Venezia
e a quel punto
jeg decisi
che poteva essere l'occasione
per andare a scovare
il negozio, gli artjani
che avevano comunque contribuito
a farsi che il film Ice White Chat
diventasse appunto
di stile
l'idea delle maschere
di fare maschere
era verso gli anni 80
quando il carnival Veneziano
ha ripreso
un po ad essere popolare
anzi, la gente se le ha ripreso
le manifestazioni si facevano ogni ano
l'idea delle maschere
di fare maschere
di fare maschere
di fare maschere
di fare maschere
di fare maschere
di fare maschere
di fare maschere
di fare maschere
di fare maschere
i tré pÉede
i tré pÉede
i tré
fina
fina
pÉede
shoots i
and so
kom Unbelievable
nester
I'm still
______________
e tatcz
____abad
n 엃
Я считаю, что это тартарук, а не трянанос.
at the beginning it seemed like a museum,
because there were only 10-15 masks and that's it.
All models, etc.
I was a bit lucky because I was doing experiments,
here I modeled things during the winter,
I used new techniques,
but also new colors,
doing 400-500 things,
studying how to glue the arms,
looking at the Byzantine things,
it was a bit too much space,
because at this time
everyone taught me 10 artists,
so here maybe there is a bit of
melange, a bit of attendance.
And nothing,
I went in front of this bottle
and there were the first times,
the first experiments
of this kind of masks
that they used
for the bowl of Tom Cruise.
Here, of course,
there are some important aspects
that fascinated me the most,
because they were
already as a spectator,
as a sculptor
of the Kubrick opera,
there was the fascination
that the mask
that Tom Cruise wears
in the film,
because this mask
had this very Italian face,
because it has a smile
that reminds me
of the smile of
the Mona Lisa of Leonardo da Vinci,
because it seems that the smile,
in reality, is serious,
has feminine lips,
but it seems masculine,
it is worn by a male actor,
so it had this
a bit ambiguous, a bit androgynous face
that everyone wanted to try
to understand,
as always,
the creator of this mask
chose
a model or a model,
because at the time I did not know
if the model was masculine
or feminine.
Many masks were my base
of the bowl, I mean, I took the stamp
to keep
the points, let's say,
crucial, in short, of support
on the bowl, all the rest,
so all the masks such as art, etc.
were models of art
on the points of support of my bowl
near, in short, this mask
then this bowl
that, then, this is already
decorated instead of the bowl,
in fact the base
and this, maybe here you see
better than me, this is an androgynous mask
neutral
and this bowl
was taken
the stamp
from my
my ex-girlfriend of the years, in short,
so it was a model
simplified, removed all
all the characteristics
somatic
specific of the person are
left, mouth and nose,
that is, this part is zygom,
the lower part of the mask,
because the person is a little bit
open
you can see a little
the mouth
and smile
here are the canceled
that is, it was a little
lowered the
zygom spread
clean the eye, it looks
neutral, it looks
perfectly androgynous as
I said before
I see that there are different photos
there
let's say that
we also worked together
and in those years
she also helped me to work
make the masks, these products
and she also made them
in the making of the card
with this specific technique
that this mask was made
let's say that looking at it
you don't understand if the mask is feminine
absolutely
after, who wears it
this is also the price of this mask
who wears it
or a girl, or a girl, the mask
so it has dried
under this profile
anyway, these masks here, which are the most simple
apparently are the most complex
from this
they came out
this, let's say
that it has been decorated
with macramé and craquelette
I think it has been made
towards the
last century
in the 86
86
in the Belgian
and
nothing, this here
as decoration
has been
a bit taken
so, I make a parenthesis
I taught at school, I taught 27 years
at the artistic school
and so
it's a bit of a research
of art
historical research
even if it doesn't seem
to me, it has given me
seems to be going to see
paintings
or
Byzantines and so on
for anything I have done
I have always taken advantage of the historical memory
of things
the theory of the camp, the Gestalt, the Marcoli
let's say
that I was part of my work
at school
what does it mean
it means that
always returning to books
and I exploited
what was historical
so, when you made a product
well, but it wasn't
an invention
from zero A
but it was a
revisitation of things, I'll give you an example
this is now
let's say that I called it
in cascom mascar, this
maybe you can remember
something, just to say
historical, looking at it like this
anyone could say
but this thing, maybe
I've already seen it, I know it
but I don't know what it is
if you want to go see basso e lieve in caici
and when they were
what is it called
representation or what it was
of rites
their
the strage
or the manager
of the rite
there was a crown on the head
of the strage
now, doing this
remember, the connection becomes easy
that's why it's called in cascom
because it remembers
that thing there, seen
so people, when they see it
they don't know how to identify it, but they have already seen it
obviously reworked
modern art and so on
this is another thing
there is no other thing now
for example, the indians of america
all this diadem, all this rain
and so on
look, there is no
but
if I put the rain like this
do you remember this diadem
of
the rain of the indians of america?
if you see here the connection
where is it
there are all associations
of things that already exist
so, what to try to do
to put it in modern key
what was the indians of america
before, that is
there was this diadem that came down
and there was this mask
so go to this shop
at canovacio
talk to the person
with whom
he was responsible of the shop
of course, he confirmed
to have worked with Kubrick
he showed me the masks
between the three main masks of the film
who obviously
have given
they have transformed
automatically
in the official icon of the film
because all the film
was played on these masks
the first thing is that
but you have some documents
that can try this involvement
because obviously when the film came out
all the shops in venezia
declared not to have collaborated
with Kubrick
instead, they showed me
these documents
signed even by Jan Arlam
who for the chronicle
for the inciso is the cognate
of this Kubrick
who has practically followed
all the productions of all Kubrick's films
from the mechanical orange period
in poi
Jan Arlam was here
towards the end
of the june of 1997
and he removed the masks
which he chose
in our shop
it was the first time on the 27th of june
1997
on the 4th of june
1997
and then on the 18th of september
1997
this is a manufacture of the end of june
this is
a signature of Jan Arlam
six times here
and then begins the june
here it is
other masks
some masks were
obviously part of our collection
some were
decorated on
the request
during these meetings
Jan Arlam also revealed
the name of the film
that Kubrick was preparing
and
he told me
that it was
a story of Schnitzler
a double dream
and that the title
would have been
Ice Wide Shot
he told me that
in this occasion
he would have visited others
because it was a party
he didn't go
specifically
to explain what kind of party it was
and that
he would have chosen other masks
because otherwise
he would have noticed
the style
of a single shop
if he had chosen everything here
this mask
was chosen
by
Kubrick
but
it wasn't here
I have to specify
another story
during
during
85-86
I was a customer
of a couple of students
Josie who was
Londonese
and Karzan
who was Kurdish
and
they were known
through work
they produced and decorated
ceramics
they sold them
to try to sustain
economically
for the university
there was a bit of friendship
respect, trust
and we went ahead
they decided
to come back
Josie decided
to come back to London
and
they had the idea to open a shop
at Campdentown
they asked me
if I could supply them
obviously we would like
so I made these masks
with a nice day
I changed the phone
and
without doing
strange things
he explained to me the situation
there was a lady
Marit Allen
who made the request
of the masks
who used these masks
for a movie
that she was making
and
so probably
there would have been someone
who came here to see
or to buy these masks
here I met
John Arran
here I had the contact with this person
a nice person
nice in a reserved way
I remember something white
so
habits on white
white cream
hair
maybe they were the most white of mine
I don't know
and a presence of a person
but honestly I can't focus
probably this lady
Marit Allen
and
they came here
they chose the masks
that I showed you before
but also other masks
other masks like this one
this one
for us it's a tragic piano
in short of the somatic characteristics
more or less you can see
the same work technique
this one was
chosen for
Emei Sodorge
the meeting was
around
July 97
I remember
talking about Tom Cruise's mask
the problem came out
that this
the mask
seemed to bother him
it was still small
and the problem came out
that probably
wanted to have a mask
that would fit perfectly
this was a standard
of a certain type
and I was asked
what
if I was available
to go up and do the calculation
to prepare the mask
specifically for Tom Cruise
I said the number
and
John Arlan
called Kubrick
that
at the end
at the end of the discussion
Tom Cruise was born
but I will try to convince him
to use this mask
without doing the mask
specifically for him
that fits perfectly
because in the end
it went pretty well
but clearly
there is a certain type of voice
that is fine
this is how much
the French women
have their children
the rest
for the moment
there are some curious architectures around the streets go straight
some lines that down a line is the flavor of us it is
the center
that concrete
there's a geometry
I don't understand
the walls reverse
the staircase upside down
must be something
that I've heard now
that makes me feel so dizzy
there's a sound
of cracking under my feet
some grave steps
the half floor stick still wet
it's a prison
all between soul
the bansal is off loving
there are some curious architectures around the streets go straight
some lines that down a line is the flavor of us it is
the center
that concrete
there's a geometry
I don't understand
the walls reverse
the staircase upside down
must be something
that I've heard now
that makes me feel so dizzy
there's a sound
of cracking under my feet
some grave steps
the half floor stick still wet
it's a prison
all between soul
the bansal is off loving
there's a sound
of cracking under my feet
some grave steps
the half floor stick still wet
it's a prison
all between soul
the bansal is off loving
there's a sound
of cracking under my feet
some grave steps
the half floor stick still wet
it's a prison
all between soul
