The number 1 of the reborn FMR is coming with the spring equinox

Coming up, with the spring equinox, the number 1 of the reborn FMR “the most beautiful magazine in the world”

Streaming presentation hosted by the Amici di Brera Association in the spaces of the Pinacoteca di Brera on March 28, 2022 – 6.30 pm

Speakers

  • James Bradburne General Director of the Brera Art Gallery
  • Carlo Orsi President of the Friends of Brera Association
  • Vittorio Sgarbi Author FMR
  • Stefano Salis Author FMR
  • Laura Casalis FMR editorial and artistic director
  • Edoardo Pepino Head of FMR

You can follow the live stream here: https://bit.ly/36qdLnx

With the intention of offering an always original look, moving in space and time without borders of art, architecture, design, the historic periodical is reborn: after the Preview presentation in autumn and after Issue Zero in December 2021, which as in the past has fascinated its readers with the pleasure of texts and the seductive power of images, now comes Number 1, the first of the four “seasonal gifts” that, on a quarterly basis, FMR will make every year per year to its subscribers.

Among the authors, famous names on the Italian and international cultural scene: Orhan Pamuk, Nobel Prize for literature in 2006, the Colombian writer Héctor Abad Faciolince and the writer Dacia Maraini. And again, long-time collaborators of FMR, such as Giovanni Mariotti, with a magical pen, and the art historian Giorgio Antei. And then again scholars such as Massimo Duranti, Simone Facchinetti, Cristina Nuzzi, Monica De Vincenti, Simone Guerriero.

Behind the scenes, the new editorial staff led by Laura Casalis as editorial and artistic director and by the director Edoardo Pepino, and a pétit comité of directors, made up of Giorgio Antei, Massimo Listri, Giovanni Mariotti, Gabriele Reina and Stefano Salis.

Laura Casalis, at the end of her editorial, keeps faith with what has always been Franco Maria Ricci’s dream and goal with the FMR magazine, that is to tell and show art in a new and curious way, and in thanking the authors of Issue 1 writes:

If I mention only one – the Colombian writer Héctor Abad Faciolince – it is because naming him allows me to close this editorial with the title of one of his bestsellers: The oblivion that we will be. It is the destiny of us ephemeral beings, but creators of beauty, each for what he is capable of

Also in the editorial appears the image of a Turkish woman with a cigarette between her lips: not only a tribute to Pamuk, but also a nod to the file rouge that can be intercepted in the contents of Number 1, which offers various “portraits” of women, real and figurative.

Number 1 opens with the columns Hors d’oeuvre, to intrigue and entice the reader.
In Discoveries and Innamoramenti, Dacia Maraini tells of the dazzling encounter with a canvas by Antonietta Raphaël, wife of Mario Mafai, and of the questioning relationships that certain paintings, such as those of the Lithuanian painter, are capable of establishing. In the column Conjectures, you continue the dialogue of Héctor Abad Faciolince with the portrait of Cornelis van der Geest, to which the writer dedicated a few verses of him on their first eye contact half a century earlier. And again the speech by Massimo Duranti, who in Almanac introduces the current of Futurist Aeropainting, to whom an exhibition curated by him will be dedicated from 9 April to 3 July 2022 at the Labirinto della Masone. Finally, for the Auctions column, Simone Facchinetti exposes the risk that female art is running, often subjected to fleeting and fleeting evaluations, which do not spare even a great artist like Artemisia Gentileschi.

Four articles in Number 1.

At the opening, after an introduction by Stefano Salis, Orhan Pamuk talks about his magnificent project in What remains of a love, which is a perfect fusion of art and poetics: the Museum of Innocence, inaugurated four years after the release of the homonymous novel, a long history of a collection of objects that are transformed into literature; the text is accompanied by the photographs of Massimo Listri. Followed by Giovanni Mariotti and Cristina Nuzzi in Lumen Cinereum and Un tenant of Strandgade 30, both dedicated to the figure of Vilhelm Hammershøi, a Danish painter celebrated in life but rediscovered only several years after his death, who, free from contemporary artistic currents, pursued always his own personal language capable of expressing the restless and silent world that pervaded him. And again, in Venetian Stravaganze, Monica De Vincenti and Simone Guerriero give credit to the work of Francesco Pianta, a Venetian sculptor, a fervent example of the bizarre, both rough and refined, of the art of Baroque wood, which measured himself with carving decorations the Scuola Grande di San Rocco; as a corollary, the photographs by Piero Codato and Massimo Venchierutti. Finally, in the article The Extreme Delight, Giorgio Antei, through letters and testimonies of those who knew him personally, traces, among gifts and curiosities, the portrait of the man who really was Johann Joachim Winckelmann, the great founder archaeologist of modern art criticism and theorist of Neoclassicism.

FMR is published in two editions, Italian and English, four times a year. It is a unique case of a magazine-book that was created to be collected and kept in the elegant cases reserved for subscribers.

Fans and supporters of the magazine can subscribe to the subscription in any month, it is valid for the entire current year and includes the four issues scheduled for release in 2022. It also allows you to automatically become a member of the Franco Maria Ricci Club, whose card – a sort of “privilege card” – allows him, for the duration of his subscription, to enjoy special discounts on the Franco Maria Ricci editions and free admission to the Masone Labirinto.

The FMR magazine is printed in Italy by the types of Grafiche Milani, one of the historic printers of Milan, already the creator of many of the famous editions of Franco Maria Ricci.

Thanks to Fratelli Berlucchi for their precious collaboration.

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Emanuela Zini
My professional life has been marked by several big changes that made me grow as a person and as a leader, develop new skills and mental flexibility, which in turn allows me to face challenges from a different, unique perspective. To me, writing represent a way to communicate with myself and with others. Telling stories and engaging my readers are the challenges that I am currently facing within a wider editorial project.

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