BohNoBeh!

Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. It’s a collective under the name BohNoBeh! We decided to ask them a few nosey questions to get you to know them. Enjoy!

Introduce yourself and your work.
‘BohNoBeh!’ is a container of all our ideas.
‘BohNoBeh!’ is the mood accompanying us to the desk for every new project, from the unsteady start, to the temporary disappointments and to the final satisfaction.
‘BohNoBeh!’ is a game.
Our names are Chiara Abastanotti, Erika Lerma, Francesca Bartalucci and Roberta Garzillo.

What is the distinctive trait of your artistic work?
We draw comics and illustrations. We create pins and prints. We love to leave a mark on what we do by seeking personal styles. This is why we prefer to work on anthologies each by herself, cooperating in the editing phase and sometimes collecting them in a series.

How do you get your ideas? What is your source of inspiration?
Our source of inspiration is often the nature surrounding us, some other times it’s what happens to us, and more often the stories told by the places.

Why did you decide to take part in the Ratatà festival?
Ratatà is a place where we hope we can share with other professionals and enthusiasts. We hope to learn and get inspired. We think that it is the right place to see interesting things and to promote our self-production.

Blanca: Martina Tonello&Noemi Vola

Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. It’s a collective under the name MaPerò. We decided to ask them a few nosey questions to get you to know them. Enjoy!

Introduce yourself and your work.
There are things that everyone considers wrong and inappropriate. We funded MaPerò because of this feeling of uprising towards the things you’re not supposed to say or do. For what concerns our name, the union of the two conjunctions “ma” and “però”, which both mean “but”, the Accademia della Crusca specifies: “For clarification we can say that the use of both conjunctions “ma però” together is not to be condemned, despite what grammatical traditions and school education affirm.” Dante Alighieri has also used the words “ma però”, and kids do too.

What is the distinctive trait of your artistic work?
In our work, we try to deal with issues that are important to us. We try to do that is a way that’s simple and fun. What we want to do while drawing is to have fun. We enjoy playing by finding new ways to tell a story. For instance, our first volume is composed of a case containing 32 illustrations of daily life objects transformed into other things – so forks become table vehicles, barbeques become clothes dryers.

How do you get your ideas? What is your source of inspiration?
Our work rises from the need to say what we think without having problems. These ideas don’t come from a desk, but they come when strolling down a street, walking the dog, cycling in Bologna.

We care about grammar accused of being incorrect, about things that are just the way they’ve always been, about umbrellas tired of being above our heads, about clouds that are supposed to be in the sky, about square roots that can’t be planted, about Gianni Rodari, Bruno Munari, Leo Lionni, Fischli e Weiss.

Why did you decide to take part in the Ratatà festival?
We like Ratatà festival because it’s the best festival of self-publishing in Italy, because when it rains outside it brings you a warm pasta, and because it has awesome exhibitions.

Interview: Alessandra Oricchio

Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. Her name is Alessandra Oricchio. We decided to ask her a few nosey questions to get you to know her. Enjoy!
Introduce yourself and your work.

My name is Alessandra Oricchio (aka Gas) and I don’t consider myself to be an illustrator. I’d rather call myself a careful observer. I collect moments of daily life, I listen to stories of strangers and stories of people that I’ve known forever, and I always do it with curiosity and a desire to learn. I let these stories lay down and then I give them back to whoever borrowed them to me or to whoever sees them, in the form of an illustration.

What if the distinctive trait of your artistic work?

The synthetic line is a constant with my works. However, I’m surprised every time people see an illustration and figure out that it’s mine. I wonder how do they manage.

How do you get your ideas? What is your source of inspiration?

I have ideas every time that I cross people and situations. In those moments, I feel like a sponge – I absorb. I think that life is my biggest source of inspiration. My being thankful to life determines my creations.

Why did you decide to take part in the Ratatà festival?

I decided to take part in the Ratatà festival to live and share with other people an experience that will leave a mark.

Interview: Elena Pagliani

Here is one of the many participants of the fourth edition of the Ratatà Festival, which takes place from the 20th to the 23rd of April. Her name is Elena Pagliani. We decided to ask her a few nosey questions to get you to know her. Enjoy!
1. WHO ARE YOU AND HOW DID YOU FIND RATATÀ FESTIVAL?

Hello, my name is Elena Pagliani and I am an illustrator and cartoonist working mainly in Bologna and Modena. I decided to come to Ratatà Festival because it seems lively and varied: there are not just the same old big names, but it ranges from illustration to silk-screen printing and animation, and it brings international artists to Italy, whom I wouldn’t have got to know by myself.
2. HOW DID YOU CREATE YOUR WORK?

I attended the course of Comics and Illustration at the Academy in Bologna and this helped me to create illustrations for professional fields such as that of the publishing industry.

In particular, my latest book Radiations was created as an improvised illustration, which first became a figure, then a sequence and then a 100-page comic book.
3. IF YOU COULD ONLY SAY ONE THING TO MAKE YOUR WORK UNIQUE AND RECOGNIZABLE, WHAT WOULD YOU SAY?

I enjoy outdoing myself and try out new things, both concerning the most recent trends in illustration, and my personal life. Often, it happens that as soon as I finish a long work I start a completely different one, which gives me new impressions, new visual incentives, different techniques, etc.

4. WHAT DO YOU EXPECT FROM THIS FESTIVAL? WOULD YOU RECOMMEND IT TO YOUR COLLEAGUES?

Yes, absolutely, I’m sure it will be amazing. I can’t wait to check out the several artists that Ratatà has invited as guests (of course after setting up my Radiations exhibition, which will be pretty invasive ahah)

5. TELL US ABOUT YOUR FUTURE PROJECTS. WHAT WILL YOU DO AFTER THE RATATÀ FESTIVAL?

In the short term, I will participate in another comics festival in Milano, the AFA, and right after that a collective exhibition in Bologna within an illustration and street art festival.

Beyond that, I am focusing on research and studying. I am preparing a series of portraits focusing on freedom of techniques and composition.

6. IS THIS YOUR FIRST TIME AT THE RATATÀ FESTIVAL?

Yes, both as exhibitor and guest of the call for self-publishers.

7. DO YOU HAVE ANY SUGGESTION FOR THOSE WHO WOULD LIKE TO ENTER THE ARTS WORLD?

Speaking from experience, what strikes me about people doing arts nowadays is innovation. By this, I don’t mean contemporaneity or modernity – I’m talking about originality, exploration, blending with the many trends from abroad, without being afraid of not being unique or aesthetically flawless. So, I would suggest bravery and artistic honesty.

PELO magazine

PELO (“hair” in Italian) is a sort of epithelium where young illustrators live like lush hairs: blond, dark, red, curly or sparse. They are all different but unified by a strong electrostatic charge and a desire not to be eradicated.
It’s perfect for whoever has a bad hair day, or let his/her hair down, or is as fine as frog’s hair, or just has too many or too few. PELO Magazine is full of hairs, on the cover, in the index, among the letters and the illustrations, but this doesn’t prevent is from being plainspoken. PELO is a rough pleasure.
PELO Magazine, born in an academic environment with a first issue entirely dedicated to sex, has started to gain more and more visibility thanks to its second issue, published at the Bologna Fruit Exhibition at the beginning of 2017. The basic idea is to create an irreverent fanzine with light, ironic themes. Every issue of this magazine deals with a different theme. Every author is free to experiment, as long as he or she stays true to the theme. The 29 authors and minds behind the projects astonish the readers because, despite the anarchic and rowdy spirit of the publications, they manage to be coherent and offer quality contents “to make your hair stand on end”!

TITLES OF THE WORKS:

  • Daniele Vanzo, Very important paranoia
  • Claudia Plescia, The lonely life of Mr. Symmetry
  • Giovanni Colaneri, A megalove story
  • Davide Bart Salvemini, Conversazione a denti stretti
  • Marco Quadri, Bologna autostrada 10
  • Alessandra Belloni, Il pelo è la mia mania
  • Naida Mazzenga, Cumuli di accumuli
  • Elena Guglielmotti, Ballata rubata
  • Giulia Tassi, Gelatofarianesimo
  • Martoz, Nel mezzo del cammin di nostra vita
  • Emanuele Oliveri, Shave me to the moon
  • Filippo Spinelli, Tutto in ordine
  • Juta, Zanzare
  • Paola Momentè, Fughe e piastrelle blu
  • Massimiliano Di Lauro, Piedi
  • Helga Perez Gomez, L’anatomia Hipster
  • Edoardo Massa, Introfobia
  • Giulia Conoscenti, Un toupet biondo che è la fine del mondo
  • Sofia Figliè, Proprio dietro l’angolo
  • Marco Caputo, Tiè
  • Camilla Pintonato, Otto regole d’oro per risparmiare schei
  • Giulia Piras, Considerazioni sull’ofidiofobia
  • Virgiania Gabrielli, Cianofobia
  • Alice Piaggio, Un pidocchio sotto sfratto
  • Giulia Pastorino, Vai a cacare Gaetano
  • Alice Corrain: Galline in fu…riate
  • Elisabetta D’Onghia, Una cena da paura
  • Marco Brancato, Farei del male a una mosca
  • Fabio Cesaratto, Avvento 1985
  • Francesco Fidani, Molestopoly
  • Lucia Biancalana, Fobiroscopo

Exhibition from the 21st to the 23rd April at the exhibition/market in Mercato delle Erbe. The meeting will be on Saturday 22nd April at Mercato delle Erbe, via Armaroli

CONTACTS

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Interview: Serena Schinaia

I always only use black India ink, ruined brushes, toothbrushes, bamboo nibs, but also branches, stones, and whatever helps me smear the paper.

Serena Schinaia was born in Taranto, but now lives and works in Rome. She studied in Bologna, initially Aesthetic Philosophy and then Illustration and Languages of Comics. Her illustrations have been published in many Italian and international anthologies.
She works as a freelance illustrator in Rome, where she owns a graphic design studio called CO-CO.

During the fourth edition of the Ratatà festival, she will launch “Un pezzetto alla volta dentro un punto nero che finisce col diventare tutto quello che c’è”. We asked her to tell us more about her project:

“Un pezzetto alla volta dentro un punto nero che finisce col diventare tutto quello che c’è” is a project of artistic research. I wanted to experience the relation between my line, painted in black India ink with different tools (rollers, brushes, bamboo nibs or basic small brushes) and paper stripes of many sizes, usually printer or typographical waste. These experiments merge into one large sized paper installation, made of many hand-drawn elements.

Your style is characterised by strong contrasts, a sharp line and the use of black and white. Have you always been faithful to these choices or have you started with different experimentations? How come did you decide to embrace these features and avoid the use of colours?

When I started, I used to draw light thin lines, which were almost pale, and I used to use many colours (Cyclone, 2012). Sometimes, I used to get rid of the outlines, simply filling the colours with crayons. While working on my first comics, I happened to avoid the use of colours and thicken my line, to make it more expressive and vivid (Deriva/Drift, RamHotel, 2014). I think this turning point was quite spontaneous and, over time, it has become my stylistic hallmark, making me recognisable even when the overcolourings and the graphic lines were at their most popular in the world of the self-produced comics in Bologna. But I think that this visual approach is appropriate for the kind of stories I want to illustrate, with little text, no balloons, characters without a name and often even without a face. I like a synthetic narrative and black and white represent the best way to do that. More recently, I have started working on two-toned illustrations (Ceniza/Cenere, Ediciones Valientes, 2016) and grey backgrounds, which allow me to give depth to the pictures (Vicolo cieco, Crisma, 2017). Probably, I am looking for new patternings to tell new fierce stories.

Do you also organise performances?

Yes, I do. Some of the works included in the “Un pezzetto alla volta…” installation are created within a live performance, in which I paint on the spot basing on musical improvisation by Polisonum, a collective of artistic sound research with whom I work. They have a transformed my working table into a real musical instrument. It has sensors and microphones transforming my movements into sound. The result is like a map of sound patterns, sketching places and landscapes made of India ink.

Is there anything inspiring you, or helping you produce your work?

Literature, music, cinema, palm trees in the wind, neon signs in a metropolis, atmospheres.

How important is it for you to add the text to your works? Do you enjoy reading? Which are the books you are fond of the most?

The text is fundamental to me, and I also think that it is the most interesting part of my work. Both when I am writing down the stories and when I am setting up a sequence, I try to create a visual rhythm that accompanies the text without making it a caption. Even in my abstract works, I consider the writing part fundamental. I didn’t choose the title “Un pezzetto alla volta dentro un punto nero che finisce col diventare tutto quello che c’è” by chance: it’s a concept, it helps to understand what it is about and to make sense of the creative process and the idea behind it. I love the less known contemporary Italian authors Genna, Vasta, Schillaci, but also the classics such as Pavese, Parise, Tondelli, and more generally authors who lived controversial lives. I read American literature a lot, Foster Wallace, Franzen, Carver, and also Eastern European authors such as Agotha Kristof, who is probably my favourite.

In Serena’s biography, there’s this sentence: “I love music but I don’t disdain the silence.” We asked her about her relation with music – when is she with music and when does she prefer silence, and what helps her the most in creating her works.

Music accompanies most of my work, both because I listen to it a lot while drawing and because there are albums that help me become absorbed in the atmospheres I need in that particular moment, in order to think of a story or a character. Silence, paradoxically, helps me get the rhythm of a story the general course of a narration.

Are you working on any new project right now? What is it about?

Crisma #2 will be released soon. It is a comics anthology produced by Lab Aquattro (Rome) that includes Vicolo cieco, my latest comics short story. During the last few months, I have worked on an album. I will publish it in June, during an event organised by my studio in Rome, Co-Co, and dedicated to Just Indie Comics, a website that collects the most interesting international self-produced comics. Moreover, soon CBK Comics (C’est Bon Kultur), in Sweden, will release an anthology that also includes one of my stories. I am very happy about it because I would love to broaden out my work and publishing abroad is highly stimulating, cause it allows me to meet different authors than the ones I already know in Italy. At the same time, I wish that “Un pezzetto alla volta…” may continue to expand through new setups in larger and larger spaces. I would like to collect this year’s work in a structured project with expanded installation and sound parts.

The end of the interview concerns Ratatà and her previous experience.

I took part in last year’s Ratatà edition for the first time and I consider it to be one of the most important illustration festivals in Italy, both because of its international dimension and because it gathers the best works in the Italian self-produced industry. I honestly hope that it will become one of the main festivals for producers, self-producers, and for the growing number of enthusiasts.

Interview: Carlos Hebles

1. WHO ARE YOU AND HOW COME DID YOU PICK RATATÀ FESTIVAL?

Hello, everyone! My name is Carlos Hebles and I am a Spanish artist, cartoonist and illustrator.
I have started only recently to exhibit and sell my works in this typology of events, and, since I met a few people who went to Ratatà and told me about it, I decided to participate too. I was very impressed by the high-quality works by the artists of the Ratatà festival, so I decided to try too.

2. HOW DID YOU CREATE YOUR WORK?

To be honest, I have drawn since I was a child (just like everyone, I suppose) but I have never stopped, so I studied at the Academy of Fine Arts in Granada.

Initially, I wanted to be a fully-fledged painter, but I got tired of that form of art and I found out that the comics and fanzine worlds were the best way to express myself.
3. IF YOU COULD ONLY SAY ONE THING TO MAKE YOUR WORK UNIQUE AND RECOGNIZABLE, WHAT WOULD YOU SAY?

Never erase.
4. WHAT DO YOU EXPECT FROM THIS FESTIVAL? WOULD YOU RECOMMEND IT TO YOUR COLLEAGUES?

I expect to meet a lot of famous artists and a lot of people, have fun, drink something and maybe sell some of my works, thus making this experience just perfect.

Interview: BVG – Jacopo Riccardi

  1. WHO ARE YOU AND HOW COME DID YOU DECIDE TO EXHIBIT AT THE RATATÀ FESTIVAL?

We are a recently founded collective of students from the Academy of Fine Arts in Bologna and from the IED in Milan and our name is BVG. We are Agnese, Alessio, wiktor maciej odron, Davide, Fagiani, Grillo, Pigna e Disordine. We decide to exhibit at Ratatà Festival because some of us visited it last year and we thought that it would be a good starting point to get ourselves known.

 

  1. HOW DID YOUR WORK START?

Some of us were already friends, while others met each other at the Academy. After getting to know each other’s style, we decided to start working together.

 

  1. HOW DO YOU WORK TO YOUR PROJECTS?

We are still at the beginning so we find it quite difficult to answer to this question! We go from comics to illustration, from painting to animation; each of us works very differently form the other.

 

  1. WHAT DO YOU EXPECT FROM RATATÀ? WOULD YOU RECOMMEND IT TO YOUR “COLLEAGUES”?

We expect an opportunity to grow as a group as individuals in this kind of environment. Those amongst us who have already been here as visitors are already aware of the wide range of events in program and the advantaged offered to whoever would like to get inside the self-produced industry, so we would definitely recommend it to our “colleagues” and friends.

Run

When: Friday 21/04/17 at 16.00 (opening exhibition/market)
Where: entrance Mercato delle Erbe

Giacomo Bufarini, whose pseudonym is Run, was born in Ancona in 1979 but has lived and worked in London since 2007. He is mostly self-educated: after completing the artistic high school, he became interested in the underground scenery, initially with graffiti and then with street art.
He approached the mural scene by painting community centres and deserted houses, fascinated by the possibility of expressing himself in a public space and by the freedom offered by the street. The two Italian cities with most of his works are Florence and Bologna, where the artist has painted his first murals. He started to paint graffiti on lorries, trains and walls when he was young and created his first mural in 2003. His inspiration comes from freedom, originality and quality. The name RUN comes from a song from Cypress Hill. For him, choosing a name is like getting a tattoo when you’re young: it doesn’t necessarily have a deep meaning but it remains on your skin forever. Run has become famous very fast in the Italian underground scenery. He and his collaborators gradually attracted the European street art movement, influencing the rebirth of the European art of murals. His artistic path is characterised by a deep research on the line, which led Bufarini to delve into the wood carving techniques, painting and illustration, printing and engraving. His art can be found in many different countries, including Italy, England, Poland, China, Switzerland, Morocco, Senegal, Russia and Albania. His unique style is easily recognisable and it shows a level of attention to detail and an incomparable complexity that is hard to find in contemporary street art. His representations are often emphasised by the symbolic entanglement of bodies, and pattern like, friezes in bright, arresting colours. Giacomo Bufarini (aka RUN) is interested in street art as a language of communication, creating playful characters that speak to diverse audiences on multiple levels. The expansive scale of his works captivates the viewer, affecting a renaissance of muralism that reaches beyond the boundaries of street art. In May 2013, RUN exhibited his works at the Festival of Dulwich. His first solo exhibition (“Parabola Di G”) was held at the Howard Griffin Gallery in London from November 2014 until the beginning of February 2015. “Parabola Di G” is a semi-autobiographical story told through a unique series of highly detailed pen and ink drawings that collectively make up a book. The imagery follows the journey of a semi-fictional character, G, as he falls through levels of reality into a dreamscape. In September 2014, RUN opened his second solo show entitled ‘Man is God’ at Howard Griffin Gallery, Los Angeles. He participated in many Public Art projects, including a 2013 mural painted at the Village Underground wall in Shoreditch, London. Along with the Mexican artist Pablo Delgado, he painted a mural in the London’s neighbourhood of Clapton. In February 2014, RUN teamed up with Sheffield-based artist Phlegm and Christiaan Nagel on a mission to give final moments of vivacious life to yet another to be demolished building in London – the Blithehale Medical Centre in Bethnal Green. His latest projects include THE ARTMOSSPHERE Art Biennale in Moscow and the project MB6 for the Art Biennale in Marrakech, where he was asked to create a 6400 square metres painting in the main square of the city Essaouira. In 2015 he launched his last project in Rome, on his return to Italy: “L’Uomo con la Coda alla galleria Varsi”.
In November 2016 he published his first monographical book “Time Traveller Artist Man (unicorn press UK 2016).

 

Interview to RUN, March 2011 (taken from Street Art London)

What’s the story behind the name RUN?

RUN ‘s tag has been inspired by a Cypress Hill song, from the name of the dog of an Italian Mutoides friend (GRUNE), from the sound of these three letters with no meaning added. When you are young and you choose a tag, it doesn’t usually have the deepest meaning ever. It is like if you get a tattoo when you are 16 or 18 then ten year later it is just a mark on you, but it stays on your skin forever.

When and where did you create your first street art? What was it?

I used to graff when I was very little on trains, lorries, walls. Then I started to create paintings out of Hip Hop, using matt emulsion, water-based colour, rolls and brushes. My first big wall was in 2003 while squatting in a building in Italy. The meaning of that painting was: “We are here now and we haven’t got fear of nobody!”

You’ve just finished painting a big, colourful wall at The Foundry. Talk us through the ideas behind this piece.

Wall at Foundry: I had to adapt my design to what was already on the wall before (a recent colourful style by Milo Tchais), so I developed some shapes (hands) which I’m quite confident to make. Then I added some characters. The characters are wearing those hands like fancy dress costumes. It is March and we are in carnival period, isn’t it ?

Most of your work is large-scale. What challenges does this present? Does it mean sticking to mostly legal walls?

Big is better I think, especially in an era when the mass communication from corporate advertisements are so massive everywhere. Tags and wall writing graffiti are almost invisible in a busy visual environment. We should create contrast. If the background is gray, let’s use as much colour as we can! I am not really interested anymore in the adrenaline rush of painting illegally. If a wall is legal, it is more than okay. It’s already revolutionary and political to paint public spaces. I’m still going illegal if I need to though.

We remember some of your profile-style faces in Hackney a few years ago. Your work seems to be more detailed and complex lately. Is this your style evolving naturally or has it been a conscious change?

Once I moved to London, my drawings were constantly changing. This depends on the circumstances. I had to be quick (especially if I painted in the day time on a busy road ), so I had to make simple shapes and no outline, but if I have the time and opportunity, I like to go complex. Sadly (for me) most of the people in London have a “street logo”, so I had to get one (the faces), but I still try to make each painting with something new and different.

You’ve collaborated with artists like OZMO and M-City in the past. Is there a particular London-based artist you’d like to work with in the future? Why?

I am always up to collaborate in a wall but it has to be interaction between the two parts otherwise there’s no fun. And when I meet an artist, I’m not afraid to ask …

You’ve painted all over the world from your native Italy to China to Albania and many more places. What are your best and worst memories as a street artist abroad?

Let’s just say that I paint because I want to travel. There’s no better thing than to see another country and culture and possibly work during the trip. If I can keep my travel wheel spinning that’s enough for me to be happy.

If you could choose any London wall to redecorate, where would you take your paints and what would you create?

There are such a lots of walls in East London that I’d like to paint – blind facade (facade without windows) that are there just for be painted. The anti-graffiti policy in London is totally without sense. Maybe somebody can do something for that. I am doing what I can from my point of view that you “legalise” graffiti and murals in more spots that could only bring better thoughts to the people.

We’ve seen a few similarities between your work the art of BLU. Which other street artists give you inspiration?

I am inspired by freedom, originality and quality. I’ve meet many good artists on my way and I’m lucky to have grown up with many good people around. I know London keeps your mind very busy, but there are many other places and artists to discover around Europe and the rest of the planet.

Why is street art important? What do you hope to accomplish or communicate through creating your art in public spaces?

It is simply a way to communicate, but is free. Nobody is going to tell me what to draw on the street. And I got the proof in my experiences that people are just happy to see that happen. If they are not that means that they’re pissed off on their own.

Run

 

Massimiliano Vitti

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He will launch “Lettere, libri e animali” at Ratatà.
The opening will take place on Thursday, 20th April 2017 at 20.30 at Birreria la Poderosa, via Berardi 13 Macerata MC

MASSIMILIANO VITTI
LETTERE, LIBRI E ANIMALI

Lettere, libri e animali is a three-dimensional reflection of my work. The title suggests the dualism of apparently distant worlds: the one of graphic and typography and the one of illustration and painting. These two realities merge when the narrative becomes wild and carnal.”
BIOGRAPHY
He is a graphic designer and illustrator born in Fabriano on the 15th September 1989. He works on visual communication projects, illustration, typography and independent publishing.
In 2012 he graduated in New Art Technologies at the Academy of Fine Arts in Urbino, and in 2015 he graduated in Communication and Design for Publishing at ISIA Urbino. In 2016 he and Alessio Pompadura founded DUE, a collective that delves into the possibilities offered by typography.
He lives and works in Perugia. He has collaborated with Mauro Bubbico, Housatonic Design Network, Muschi&Licheni e Zup. At the moment, he works at Gusto Ids as a editorial designer.

Cecilia Campironi

Cecilia Campironi is an illustrator from Milan, currently living in Rome. She graduated from the European Institute of Design in 2007 and now draws stories for children. She collaborated with publishers, writers, art directors, graphic designers, architects, programmers, singers, booksellers. Since 2006 she has been part of “Studio Arturo”, with which she organises courses on linocut and stamp etching all over Italy.

At the Ratatà festival, she will launch her recently released book “Che figura!” on the 20th April 2017 at Quodlibet, in via Mozzi 23.
“Che figura!” is an amusing collection of figures of speech described and illustrated as flash and bones characters. It’s a book for children and grown-ups, presenting complex concepts in a natural way. Cecilia chooses to explain figures of speech in a completely original way, using amusing examples and portraying them as bizarre funny characters, so that they will certainly impress more than a dry definition in the vocabulary.
From well-known to less popular figures of speech, the collection designed and created by Cecilia Campironi manages to teach notions and bits of knowledge in a playful and clever way.
The aim of the book is to teach with a smile and making the study lighter, for a better comprehension of basic but difficult notions.
It is an original catalogue of figures of speech, containing many well-thought our ideas, logical connections, textual solutions and funny illustrations that are easy to read. The pencil drawings of the characters immediately show the concept to highlight. So, a HYPERBOLE becomes a lady with a really long neck, an ALLITERATION is an orchestra conductor, a TAUTOLOGY is a knight in a mighty armour who, by the look of it, says magnificent things, but, in reality, only says banalities. So let’s learn with her by having fun!

 

Cecilia Campironi

Juan Bernabeu

Saturday, 22nd April

At Museo della Carrozza, via Don Minzoni 24 – Macerata (MC)
Opening at 13.00 in collaboration with Ars in Fabula

Juan Bernabeu’s passion for pictures and arts began when he was very young. Always holding a pencil in his hand, he started to experiment and create. For this reason, he decided to study at the Academy of Design in Valencia. This interest of his grows stronger as to gain a Postgraduate Certificate in Illustration for Publishing at the Academy of Fine Arts in Macerata, offered by the cultural association “FabbricadelleFavole”, thanks to which he ventures into the publishing world. He is attracted to simple, direct illustrations, which strike you for their solid narrative ability. He has lived in Berlin for many years, working as an illustrator.

 

Lele Marcojanni

Lele Marcojanni is a collective project founded by Elena Mattioli and Flavio Perazzini, and later joined by Roberto Mezzano. It is carried out mostly through design, video, graphics and writing. For this reason, it’s language-conscious. According to Lele, languages are a means rather than an end in itself, and they are useful to find the right formula to convey their ideas.

On Thursday the 20th of April at the Bottega del Libro, in Corso della Repubblica 7/9, Ratatà will display the exhibition “Le città hanno gli occhi” a visual art installation about the relation between Bologna and the comics. Lele Marcojanni presents an overview of the flow that, over the years, has made Bologna a reference point for Italian and international artists. We will display eleven stories, based on real-life and imaginary moments as well as interactions happening in the city. It will be a path made of projections of videos and comics, creating a unique audio-visual story.
“Le città hanno gli occhi” is not just a simple historiographic novel: it rewrites the narration of human stories, both personal and professional, creating an account of all the creative moments that merged in Bologna. It’s a spatial map of the dynamics between the visual narratives and Bologna, which sometimes welcomes and sublimates these creative energies, but sometimes marginalises them.

 

Lele Marcojanni

ZOO Animalia

When: Thursday 20-04-2017, 16.00

Where: vetrine ex Upim, Galleria del Commercio

Le Vanvere will curate an illustration exhibit focused on the theme “Zoo” – intended generically as the animal kingdom. Zoo-Animalia is an unusual exhibition, set up in spaces traditionally destined to bill postings or electoral posters. It is an exhibition directly addressing to whoever passes by on foot, by car or by bike: the exhibition takes place in the city itself.
“Zoo” is also the root of many words of the animal world. The subject of this exhibition is the free interpretation of this very word, whether you want to interpret it literally or more broadly, connected to the world we live in, where each of us lives in a state of endless exposition to the public.
“LeVanvere – Storie e illustrazioni a km0” was created by an extraordinary alignment of stars, i.e. four illustrators from Tuscany: Camilla, Celina, Giulia e Lisa. Four different minds and styles, four ways to conceive illustrations, four people who decided to talk about illustration, graphics, cooking, street art and all the colourful things hiding among the Tuscany hills and waiting for someone who finds this new beauty at our fingertips.
Four illustrators who run into each other by chance, with a project that was created by chance, but not randomly.
The aim is to promote and give value to our job with stories, exhibits, sketches, art projects and whatever comes to mind!
Underpinning all this there’s a will to create a snapshot, as wide as possible, of the illustration overview and create a meeting point for professionals and amateurs.

Komikaze (Hr), Ivana Armanini

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ven 21 Aprile 

Komikaze (Hr), Ivana Armanini  exhibition at Galleria del Commercio Macerata (MC)

 

Ivana Armanini is author from Zagreb, Croatia. Exhibition presents works from her own book “Katalog” (2016) and some recent comics.

KATALOG is collection of short comix drawn through 15 years and a part of exhibition tour inside the Komikaze/ Femicomix programme (Pula/ Croatia – Macerata -Virovitica/ Croatia – Novi Sad/ Serbia).

Web: http://ivanaarmanini.net

Ivana graduated at the Academy of Fine Arts in Zagreb. Founds and manages Komikaze (2002.-), a network for production, promotion and distribution of authorial comics with a focus on independent scene where she has been publishing and exhibiting on over 250 events, workshops and festivals (HR, I, SR, IT, FR, DE, SE, HU, AT, SAD, BiH, Po, Pt, E). Web: http://komikaze.hr

Participated and collaborated on many projects: Solidarna, Le monde Diplomatique, Zombi Proleter, comiXconnection, Kroatien Kreativ 2013, Croatie la voici 2013, Love/Hate Crack catalog, Ekostrip, Short Programme No1, comic book Adventures of Gloria Scott , comic group Wild Eye, …

She was a jury member for the comic section on Ligatura festival (2011.)/ Poland, Festival of the first (2008.) and BJCEM (2009., 2007.)/ Cro. 

About “Katalog”: ISBN: 978-953-56133-2-9 / Bilingual comic book (Eng – Cro)/ 132 pages/ Format: 21×30 / BW & Color/ Kunstdruck 130gm + 160gm cover with flaps/ 500 copies

Shop: https://www.etsy.com/listing/482856030/katalog-comic-book

Komikaze/ Femicomix program is supported by Ministry of culture Republic Croatia and City of Zagreb

Ratatàtronic

saturday april,22 2017 – opening h.19.00 – Csa Sisma – Via Alfieri Macerata (MC)

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Exhibition – Jam – Playarea

If Pac-Man had affected us as kids, we’d all be running around in dark rooms, munching pills and listening to repetitive electronic music.
(Marcus Brigstocke)

 

Interactive Exhibition with creations by:

34bigthings
Blotto667
Dan Kenny
Fernando Córdoba
Florian Veltman
Froach Club
Giochi Penosi
Ian Maclarty
Jake Trower
Justin Smith
Leonardo Zaccone
Madviking Studio
Patrik Hübner
Plaguelabs
Playdead
Tom van den Boogaart
Valerio Carradori
Victorian Clambake
Videogames on Acid
Vincent Morisset

..and many more

 

  

Interview: Paulina Tkacz

We already know her, but we were so curious that we felt the need to ask her some more question. We are talking about Paulina Tkacz. Her work will be exhibited at BAR FIRENZE from Thursday 20th April to Sunday 23rd April.

 

Let’s talk about you! Who are you? What do you do? What are your interests?

I am from Poland and I am a graphic artist professionally bounded to the Ecomuseo Villa Ficana in Macerata in which I work on the visual communication of the museum. My passion is travelling and getting to know other cultures. For almost three years I’ve been living in Italy and I found a great pleasure in discovering the wealth of Italian culture. Before that I’ve lived in Germany for more than a year. Both of those experiences shaped my view on many aspects of life.

When you decided to be an illustrator?

There wasn’t actually a moment of decision. The way in which I express myself in this moment of my life stems from a collection of events and a previous experiences.

Let’s talk about your art. What are the themes that fascinate you? 

Since a long time the underwater world is the theme which interests me the most. I draw fish and the sea creatures which are not a true representation of nature.

What technique do you prefer above all? 

I use inkers to draw a fantastic aquatic world. The academic course of applied graphic and especially drypoint had a great influence in choosing this kind of technique. I don’t practice anymore applied graphic but the echo of this experience is still present.

Is there a meaning behind those sea creatures? 

The drawings are not created to illustrate any particular story or a book. I do create them just for my pleasure as a kind of meditation and a moment of reflection. What I illustrate through them is my mood and my emotions.

However it is not the same regarding my posters. The graphic design requires a different attitude. A design has to be an answer for a particular need/problem and it has to has to provide a solution.
During my studies at Academy of Fine Arts in Łódź (Poland) I was trying to find a meeting point for those two different fields. This topic is still fascinating me.

This year you’re gonna be one of the exhibitors of the Ratatà Festival. Are you happy to take parte in this event?

It was always inspiring to watch every year many interesting works presented on RATATÀ. I am really happy to be able to take part of the Festival this year.

Give us some spoilers (but not too much) about your exhibition! What are you gonna show us?

I am going to show a collection of posters: created for different purposes. Those are designs created to provide a visual communication of text combined with illustration. These are my alternative propositions for the language of advertisement. The important values for me in my design are colour and composition.
The other part of exhibition is made up of my illustrations of the fantastic sea creatures created with the usage of black ink on paper. It is a kind of preview of a not realistic word, sometimes funny but sometimes also worrifing.

 

 

PAULINA TKACZ THROUGH THE WEB

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Crisma Preview

this year at Ratatà you will find the preview of Crisma 2

Crisma is an annual collection of stories and comics.

Self-produced in Rome by the “Lab.Aquattro” collective with the support of CSA La Torre.
Its A4 format recalls a small ream made of chrisms.

The volume gathers the works of twelve firms, selected by the the “Lab.Aquattro” collective basing on their qualities and the variety of style interpretations. Those who contributed are: Baldari / Bart Salvemini / Di Lauro / Canottiere / Lanzieri / Lopez Lam / Martoz
Ricca / Tuono Pettinato / Schinaia / Verdet / Vinciarelli.
The colour cover was created by Martin Lopez Lam.
«Rione Borotalco» is this second volume’s theme.
11 short stories illustrating metamorphosing neighbourhoods, transforming towns and cities, flattened and hidden realities and identities, people and places covered by a layer of talcum that makes them scented and good looking.
11 stories, different in style and content, where the authors freely interpret the combination Rione + Borotalco, connected by the illustrations by Massimiliano Di Lauro.
You’ll have the chance to see in preview Crisma #2 at the Ratatà Festival in Macerata (from the 20th to the 23rd of April) and at the Napoli Comicon (from the 28th April to the 1st May).
The official launch is planned for the 13th/14th May at CSA La Torre (Via Bertero, 13, Rome) during a two-days event.

CYANOTYPE WORKSHOP

Saturday 22nd April 2017 from 9 to 13 and from 14 to 18, Antichi Forni
After a 5-year experience in cyanotype printing, PICA introduces its first workshop open to the public. Participants will be able to know the process going from the original drawing to the final printing. Brief theoretical introductions will be given, followed by preparatory demonstrations for practices, so that those who registered will have the opportunity to print his/her own digital negative and cyanotype.
Pica is the outcome of a collaboration between Carlos Lalvay Estrada, author of the drawings, and Pietro Repetto, technician of old photographic printing techniques.
The project consists in the reproduction of Carlos’s line drawings, conveying the fine details and the “etched” signs through the cyanotype technique, which is the most used photographic processing for the reproduction of technical drawings. This results in a sharp printing with precise details, similar to etching but in the Prussian blue colour. The drawings and the processing enhance each other, recovering and re-instating a processing that, up to know, was considered as a mere technical reproduction process.
Pica was created in the winter 2012-2013 when they tried the first sun printing experiments with rudimentary printing presses. During the following months, they have improved the photographic process in order to adapt it to graphic subjects.
In January 2017, PICA moves to a new laboratory in Genova, the Laboratorino, with their equipment and experience.
Requirements: computer with Photoshop or other photo editing programme, average knowledge of these softwares and a drawing to print.
Cost: 120 euro
Number of participants: from 3 to 8
Age: over 18
For info and registration: send an email to ratatafestival@gmail.com by Tuesday 12/04/2017 writing in the object WORKSHOP DI CIANOTIPIA

VIDEO: Cianotipia

Amadeo Gonzales

From 21 to 23/04/17 his exhibition will be at Mercato delle Erbe.

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AMADEO GONZALES (LIMA_ PERÚ)

Born in Lima, Perú in 1977. Self-educated illustrator, screenwriter and musician. In 2001 he and his brother Renso founded (and still direct) the publication “Carboncito”, a project focused on contemporary illustrations and short novels. He also published monographical zines such as “Tránsito intestinal”, “Actitú records”, “Bandas inexistentes records” and “Nervenzusammenbruch”.

In his works, he uses many different techniques: freehand drawing, vector drawing, Indian ink, watercolour, silkscreen.

He took part in many individual and collective exhibitions in Perú, Argentina, Colombia, Chile, Mexico, Costa Rica and the United States.

He also participated in several fairs focusing on illustration and independent publishing in South America: FILBO Feria internacional del libro, Bogotá; Trimarchi a Mar del plata; FID festival internacional de diseño, Costa Rica; Festival Comicópolis 2015, Buenos Aires; Festival Furioso de Dibujo a Rosario (Arg).

At present, he is the Cultural Manager (and co-founder) of Espacio Los Unicos in Lima, where he teaches creative drawing and screenwriting to children and teenagers.

 

www.amadeogonzales.com

Paulina Tkacz

Paulina Tkacz is a graphic designer who lives in the Marche region. She studied at the Academy of Fine Arts in Łódź (Poland), where she majored in posters and packaging design.
Her works were exhibited at the International Biennal of Posters by the students of Novi Sad (Serbia) 2014, at the Łódź Design Festival (Poland) 2014, International Biennal of Posters in Wilanów (Poland) 2014, The Packaging Innovation Fair in Warsaw (Poland) 2013, 15, Posters Fair in Wilanòw (Poland) 2011.
Her main works are:
• RARA- sunscreen
• Comics and games Festival in Łódź
• Pastorałka- theatre play set during Christmas
• Jazz in Blue quartet
• Wiosna Młodych- La Primavera dei Giovani- painting exhibition
• OFF CINEMA- documentary films festival
• Tempo dei Gitani, film by Emir Kusturica
• Characters- psychology magazine

Paula Tkacz’s work will be exhibited at BAR FIRENZE, Pescheria Vecchia 4, from Thursday 20th April to Sunday 23rd April.
Her graphic works were created between 2009 and 2014 and include academic exercises and commercial creations for the promotion of psychology magazines, films by Emir Kusturica, film festivals, theatre plays, comics and games festivals, jazz concerts, painting exhibitions, sunscreens. Each subject is carefully studied to find the right visual language and prove its individuality, in order to combine the informative function with the artistic expression and thus create a game of art and design. Her work is mostly influenced by the Russian constructivist studies, quite popular among the poster designers of the town of Łódź, where she was educated.
Another reference point for the artist is represented by the posters created by the Polish School of Posters, a prestigious school that is more than just an informative medium, but also the individual creation of artworks requested by the public and the collectors.
Her work aims at presenting an emotional involvement with the subjects thanks to humour and metaphors.

Paulina Tkacz