#: locale=it ## Aktion ### URL LinkBehaviour_D104362C_80C0_A908_41BD_E4240C84AA21.source = https://www.frames8.com/ LinkBehaviour_D03013FA_80C0_6F08_41B1_86A4E7FF1516.source = https://www.frames8.com/ ## Hotspot ### Text HotspotPanoramaOverlayTextImage_A553ADC7_8759_D54C_41C3_4010D3E76641.text = Capella HotspotPanoramaOverlayTextImage_A30D4642_8748_5744_41CA_60F06C201E5A.text = Capella HotspotPanoramaOverlayTextImage_EDD96D31_C0DC_D193_41E4_C1387EE58FB1.text = Piano \ superiore HotspotPanoramaOverlayTextImage_9646CE81_D587_85FF_41C6_91BB7A7FF247.text = Piano \ superiore HotspotPanoramaOverlayTextImage_9193A294_D580_BD05_41D6_2EC7840830A3.text = Piano \ superiore HotspotPanoramaOverlayTextImage_965F13C6_D580_8305_41E4_D424C18574CE.text = Piano \ superiore HotspotPanoramaOverlayTextImage_9643C0F6_D580_7D05_41D1_01CE75E8C2C6.text = Piano \ superiore HotspotPanoramaOverlayTextImage_EBF2DFCA_C0E5_D0F1_41E4_91EBC7DD9456.text = Piano \ superiore 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location


Villa Carpeneto


Storia


Villa Carpeneto, soprannominata Villa Conchiglia per via della sua scala all’interno, è il risultato di due rifacimenti di un originario castello, che si presume appartenuto alla famiglia Vagnone di Trofarello.


Autore del primo rifacimento è Gaspare Graneri, ministro delle finanze della corte sabauda, che impone alla villa la sua struttura attuale, ancora visibile nella facciata che guarda verso Vinovo, cioè verso il giardino con laghetto.
Sul soffitto della facciata antica si può notare il monogramma di Gaspare e lo stemma della famiglia Graneri, una spiga di grano con sopra un castello che simboleggia la rocca di La Roche, una città dell'alta Savoia.


Tra il 1769 e il 1779, probabilmente su disegno di Francesco Dellala di Beinasco, avviene il secondo rifacimento, che concerne esclusivamente la facciata che guarda verso il viale, l'entrata di servizio divenuta, con gli anni, facciata principale e che risente dello spirito neoclassivo dell'epoca.


Successivamente verranno modificati il giardino, piantato originariamente all'italiana e divenuto all'inglese, e la vasca delle ninfee.


E' di questo periodo una regata organizzata dal Marchese Giuseppe Luigi Graneri che si tenne, per divertire la Real Corte, sul torrente Oitana appositamente preparato. In occasione di questo avvenimento, l'incisore Ignazio Sclopis realizzò due vedute che rappresentano la facciata ed il parco della villa.


Alla fine del '700 la proprietà di Villa Carpeneto passa al Conte Giuseppe Maria Gerbaix de Sonnaz, marito di Enrichetta Graneri. I figli, nel 1868, vendono la villa all'avvocato Enrico Marenco che nel 1869 la rivende all'ingegner Vitale Rosazza.


Passata forse in mano ad altri proprietari, la Villa viene smembrata della maggior parte delle terre, finché nel 1939 viene venduta così come è oggi, dal pittore Alfredo Chicco, al Conte Theo Rossi di Montelera che la restaura, con grande impegno di pittori, stuccatori e giardinieri e la abita fino al 1959.


Durante la guerra, a causa di un deposito liquori che vi era stato occultato, Villa Carpeneto subisce un'incursione di partigiani. Dopo la guerra, i proprietari tornano ad abitare nella villa.


Dal 1959 la Villa, proprietà di una anonima società Svizzera, è disabitata.
Recentemente l'immobile è stato acquistato dal comune.


Da alcuni anni è stata dichiarata Monumento Nazionale.
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location


Villa Carpeneto


Storia


Villa Carpeneto, soprannominata Villa Conchiglia per via della sua scala all’interno, è il risultato di due rifacimenti di un originario castello, che si presume appartenuto alla famiglia Vagnone di Trofarello.


Autore del primo rifacimento è Gaspare Graneri, ministro delle finanze della corte sabauda, che impone alla villa la sua struttura attuale, ancora visibile nella facciata che guarda verso Vinovo, cioè verso il giardino con laghetto.
Sul soffitto della facciata antica si può notare il monogramma di Gaspare e lo stemma della famiglia Graneri, una spiga di grano con sopra un castello che simboleggia la rocca di La Roche, una città dell'alta Savoia.


Tra il 1769 e il 1779, probabilmente su disegno di Francesco Dellala di Beinasco, avviene il secondo rifacimento, che concerne esclusivamente la facciata che guarda verso il viale, l'entrata di servizio divenuta, con gli anni, facciata principale e che risente dello spirito neoclassivo dell'epoca.


Successivamente verranno modificati il giardino, piantato originariamente all'italiana e divenuto all'inglese, e la vasca delle ninfee.


E' di questo periodo una regata organizzata dal Marchese Giuseppe Luigi Graneri che si tenne, per divertire la Real Corte, sul torrente Oitana appositamente preparato. In occasione di questo avvenimento, l'incisore Ignazio Sclopis realizzò due vedute che rappresentano la facciata ed il parco della villa.


Alla fine del '700 la proprietà di Villa Carpeneto passa al Conte Giuseppe Maria Gerbaix de Sonnaz, marito di Enrichetta Graneri. I figli, nel 1868, vendono la villa all'avvocato Enrico Marenco che nel 1869 la rivende all'ingegner Vitale Rosazza.


Passata forse in mano ad altri proprietari, la Villa viene smembrata della maggior parte delle terre, finché nel 1939 viene venduta così come è oggi, dal pittore Alfredo Chicco, al Conte Theo Rossi di Montelera che la restaura, con grande impegno di pittori, stuccatori e giardinieri e la abita fino al 1959.


Durante la guerra, a causa di un deposito liquori che vi era stato occultato, Villa Carpeneto subisce un'incursione di partigiani. Dopo la guerra, i proprietari tornano ad abitare nella villa.


Dal 1959 la Villa, proprietà di una anonima società Svizzera, è disabitata.
Recentemente l'immobile è statoo acquistato dal comune.


Da alcuni anni è stata dichiarata Monumento Nazionale.
HTMLText_694F373B_470F_CC23_41C2_D25AF2981E28_mobile.html =
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AbandonArtGallery



The AbandonArtGallery has set itself the mission of presenting abandoned places and at the same time showing works by emerging artists.
The interplay of past and present, of abandoned architecture and art, is what makes these virtual exhibitions so fascinating.
The AbandonArtGallery
offers artists and the public the opportunity to experience this extraordinary metamorphosis of art, fauna and urbanity in otherwise inaccessible places.
___


frameS8



The personal project “frameS8” is a photographic artwork the artist developed taking Super 8 films that he has collected over the years as their point of departure.


In the 1935 essay “The Work of Art in the Age of Its Reproducibility” Walter Benjamin wrote that in a film, close-ups and slow motion reveal things that would otherwise only be perceived in the subconscious. By revealing the optical unconscious, the philosopher compares close-ups and slow motion to psychoanalysis, through which we experience the drives and the unconscious.
Martin Bruckmanns’ series “frameS8” consists of just such isolated close-ups and individual frames, like slow motion, revealing the optical unconscious. Thousands of frames are combined to form a film, where the individual images are no longer perceptible as such; the individual motifs and images subordinate themselves to an overarching whole, and the plot dominates the motif. The individual frames impressively show what the viewers could only vaguely see in the film itself. The optical unconscious is first revealed by the process of selection.


In search of the unconsciously visible,
Martin Bruckmanns viewed countless films. In our digital present, this Super 8 material has an unmistakable charm. This is primarily due to the flattering appearance of the films, where everything appears softer and warmer than in a high-resolution video format.
The unmistakable look of the images remains. The discrete charm of Super 8 lies not just in the slightly unfocused and thus friendly images, but also in the melancholy inscribed in them. Martin Bruckmanns found this past age and the melancholy that inheres in it in his photographs, in their colors and haptic structures. From the endless series, he chooses a single frame, moving the scene beyond the moment into the view of the beholder, thus making the optical unconscious emotionally visible. In this way, he adds a microscopic trace of life to the fugacity of film.


Martin Bruckmanns’ analytic gaze on the hidden details in film, the choice of his powerful and yet sensitive motifs, and their subtle fusion, offers the viewer sufficient room for interpretation and reminiscences.



Artist


Martin Bruckmanns, 1969, has been taking photographs since the age of eight, when his parents bought him his first camera, a Kodak Instamatic. From that moment on he never puts down the camera, starts as a self-taught photographer and later also experiments in his own darkroom.
After high-school he went to Italy to further his studies at the IED in Turin where he graduated 1996 in Visual Communication.
He started to work for some advertising studios first as assistant later as a freelancer for more than two decades. Currently he focuses more on artistic and fine-art photography.
His works have been shown in international exhibitions and can be found in private collections in Germany, Italy and France.


www.frames8.com


HTMLText_694F373B_470F_CC23_41C2_D25AF2981E28.html =
___


AbandonArtGallery



The AbandonArtGallery has set itself the mission of presenting abandoned places and at the same time showing works by emerging artists.
The interplay of past and present, of abandoned architecture and art, is what makes these virtual exhibitions so fascinating.
The AbandonArtGallery offers artists and the public the opportunity to experience this extraordinary metamorphosis of art, fauna and urbanity in otherwise inaccessible places.


frameS8


The personal project “frameS8” is a photographic artwork the artist developed taking Super 8 films that he has collected over the years as their point of departure.


In the 1935 essay “The Work of Art in the Age of Its Reproducibility” Walter Benjamin wrote that in a film, close-ups and slow motion reveal things that would otherwise only be perceived in the subconscious. By revealing the optical unconscious, the philosopher compares close-ups and slow motion to psychoanalysis, through which we experience the drives and the unconscious.
Martin Bruckmanns’ series “frameS8” consists of just such isolated close-ups and individual frames, like slow motion, revealing the optical unconscious. Thousands of frames are combined to form a film, where the individual images are no longer perceptible as such; the individual motifs and images subordinate themselves to an overarching whole, and the plot dominates the motif. The individual frames impressively show what the viewers could only vaguely see in the film itself. The optical unconscious is first revealed by the process of selection.


In search of the unconsciously visible, Martin Bruckmanns viewed countless films. In our digital present, this Super 8 material has an unmistakable charm. This is primarily due to the flattering appearance of the films, where everything appears softer and warmer than in a high-resolution video format.
The unmistakable look of the images remains. The discrete charm of Super 8 lies not just in the slightly unfocused and thus friendly images, but also in the melancholy inscribed in them. Martin Bruckmanns found this past age and the melancholy that inheres in it in his photographs, in their colors and haptic structures. From the endless series, he chooses a single frame, moving the scene beyond the moment into the view of the beholder, thus making the optical unconscious emotionally visible. In this way, he adds a microscopic trace of life to the fugacity of film.


Martin Bruckmanns’ analytic gaze on the hidden details in film, the choice of his powerful and yet sensitive motifs, and their subtle fusion, offers the viewer sufficient room for interpretation and reminiscences.


Artist


Martin Bruckmanns, 1969, has been taking photographs since the age of eight, when his parents bought him his first camera, a Kodak Instamatic. From that moment on he never puts down the camera, starts as a self-taught photographer and later also experiments in his own darkroom.
After high-school he went to Italy to further his studies at the IED in Turin where he graduated 1996 in Visual Communication.
He started to work for some advertising studios first as assistant later as a freelancer for more than two decades. Currently he focuses more on artistic and fine-art photography.
His works have been shown in international exhibitions and can be found in private collections in Germany, Italy and France.


www.frames8.com


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