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105_3612


from the xxx-frames



50x70 cm
fine art-print
limited edition of 10


other formats or editions on request
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110_4310


from the xxx-frames



50x70 cm
fine art-print
limited edition of 10


other formats or editions on request
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129_4436


from the single-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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131_9443


from the single-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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134_6756


from the series "Traumarbeit"



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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135_2191
135_2470


from the series "Traumarbeit"



35x50 cm
fine art-print
limited edition of 15


other formats or editions on request
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157_34675-34683


diptych



70x200 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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25_1532


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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25_1548


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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26_2992


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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26_3002


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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26_3046


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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31_1735


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


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3_4788


from the single-frames


"Tuscany"



100x150 cm
fine art-print
limited edition of 3 + II AP


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62_39-44


from the informel-frames



100x140 cm, diptych
fine art-print
limited edition of 5


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67_6761
67_6697


from the xxx-frames



35x50 cm
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limited edition of 15


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68_5029
68_5034


from the informel-frames



35x50 cm
fine art-print
limited edition of 15


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6_2844


from the single-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


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7_2802


from the single-frames



70x100 cm
fine art-print
limited edition of 5


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83_1169


from the informel-frames



35x50 cm
fine art-print
limited edition of 15


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83_9284


from the informel-frames



35x50 cm
fine art-print
limited edition of 15


other formats or editions on request
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89_21264


from the series "Traumarbeit"



70x100 cm
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97_9683


from the series "Traumarbeit"



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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encounter


series of six images



images 35x50 cm
limited edition of 15


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___
location


Villa Becker


History


Ludovico San Martino d'Agliè bought the land in 1600 and had the villa built, which was completed in 1603. He died there in 1646 and it was in that year that the building became the property of his nephew Filippo d'Agliè, favourite of the regent Maria Cristina.


The first description of the villa dates back to 1791 and was written by Giovanni Lorenzo Amedeo Grossi, who in his famous book 'Guida alle ville e alle vigne del territorio di Torino e contorni' (Guide to the villas and vineyards of the Turin territory and surroundings) mentioned: 'la villa e la vigna dei San Martino d'Aglié di Garessio [... ]. The access is axial with respect to the palace and on the sides there are two terraces, [...] one of which gives access to the chapel'.


The first transformations took place as early as the 18th century, but it was in the following century that the most important changes were made both to the main body of the building and to the garden, which underwent a more romantic reorganisation. Thereafter, changes were numerous as the building frequently changed hands. In the early 19th century the villa was sold to Casimiro Rivoira, then to Antonio Fornaca, in 1846 to the Prince of Lucinge, and in 1887 the Isnardon couple bought it.


In 1902, the building became the property of Sir Walter Friederich Becker, a diplomat and prominent British businessman. In love with Italy, he first lived in Messina where, as shipowner and co-owner of 'Pierce Becker & Ilardi', he was involved in the transport of goods between Sicily and New Orleans. Later he moved to Genoa and finally to Turin as Consul General of Siam, although he always made long stays in Florence. It was between 1903 and 1911 that the famous architect Pietro Fenoglio worked on the villa.


In 1919 Sir Becker hosted David Herbert Lawrence who was so impressed by the beauty of the villa that he mentioned it in a letter to Lady Cynthia Asquith on 18 November of that year. He did not have such eulogistic words for his host whom he described as a 'parvenu', but curiously enough he was inspired by him and his wife for the characters of Sir Williams and Lady Franks, protagonists of chapters XII and XIII of his novel Aaron's Rod, published in 1922. In these very chapters, he describes Sir Williams' house as if he were alluding to the Becker mansion.


When Sir Becker died in 1927, his wife Delphine married the Florentine Marquis Demetrio Imperiali di Francavilla, thirty years his junior. On Delphine's death, Demetrio inherited all the Becker estate, including the villa. The marquis remarried twice more, the last wife being Dorothy Kate Ramsden. Katie Boyle, the couple's daughter, gave a very vivid and romantic description of the villa in her biography entitled 'What this Katie did', published in London in 1980.


After years of abandonment and vandalism, in February 2022 the villa was subjected to three arsons in the space of a few days, which damaged the attic and caused the ceiling of some rooms to collapse, prompting the Piedmont superintendency to demand that the property be made safe and that measures be taken to combat intrusions, not excluding expropriation in the event of further non-compliance.


(wikipedia: https://it.wikipedia.org/wiki/Villa_Imperiali_Becker)
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___


location


Villa Becker


History


Ludovico San Martino d'Agliè bought the land in 1600 and had the villa built, which was completed in 1603. He died there in 1646 and it was in that year that the building became the property of his nephew Filippo d'Agliè, favourite of the regent Maria Cristina.


The first description of the villa dates back to 1791 and was written by Giovanni Lorenzo Amedeo Grossi, who in his famous book 'Guida alle ville e alle vigne del territorio di Torino e contorni' (Guide to the villas and vineyards of the Turin territory and surroundings) mentioned: 'la villa e la vigna dei San Martino d'Aglié di Garessio [... ]. The access is axial with respect to the palace and on the sides there are two terraces, [...] one of which gives access to the chapel'.


The first transformations took place as early as the 18th century, but it was in the following century that the most important changes were made both to the main body of the building and to the garden, which underwent a more romantic reorganisation. Thereafter, changes were numerous as the building frequently changed hands. In the early 19th century the villa was sold to Casimiro Rivoira, then to Antonio Fornaca, in 1846 to the Prince of Lucinge, and in 1887 the Isnardon couple bought it.


In 1902, the building became the property of Sir Walter Friederich Becker, a diplomat and prominent British businessman. In love with Italy, he first lived in Messina where, as shipowner and co-owner of 'Pierce Becker & Ilardi', he was involved in the transport of goods between Sicily and New Orleans. Later he moved to Genoa and finally to Turin as Consul General of Siam, although he always made long stays in Florence. It was between 1903 and 1911 that the famous architect Pietro Fenoglio worked on the villa.


In 1919 Sir Becker hosted David Herbert Lawrence who was so impressed by the beauty of the villa that he mentioned it in a letter to Lady Cynthia Asquith on 18 November of that year. He did not have such eulogistic words for his host whom he described as a 'parvenu', but curiously enough he was inspired by him and his wife for the characters of Sir Williams and Lady Franks, protagonists of chapters XII and XIII of his novel Aaron's Rod, published in 1922. In these very chapters, he describes Sir Williams' house as if he were alluding to the Becker mansion.


When Sir Becker died in 1927, his wife Delphine married the Florentine Marquis Demetrio Imperiali di Francavilla, thirty years his junior. On Delphine's death, Demetrio inherited all the Becker estate, including the villa. The marquis remarried twice more, the last wife being Dorothy Kate Ramsden. Katie Boyle, the couple's daughter, gave a very vivid and romantic description of the villa in her biography entitled 'What this Katie did', published in London in 1980.


After years of abandonment and vandalism, in February 2022 the villa was subjected to three arsons in the space of a few days, which damaged the attic and caused the ceiling of some rooms to collapse, prompting the Piedmont superintendency to demand that the property be made safe and that measures be taken to combat intrusions, not excluding expropriation in the event of further non-compliance.


(wikipedia: https://it.wikipedia.org/wiki/Villa_Imperiali_Becker)
HTMLText_694F373B_470F_CC23_41C2_D25AF2981E28_mobile.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


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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___
Artwork List :
HTMLText_6296CE4B_42B2_061B_41C7_9F9657567166.html =
___
Artwork List :
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{{viewer.Viewer Work List.photo.title}}
HTMLText_0B23C7B3_26F7_1111_41B8_1150977D8988.html =
105_3612


from the xxx-frames



50x70 cm
fine art-print
limited edition of 10


other formats or editions on request
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110_4310


from the xxx-frames



50x70 cm
fine art-print
limited edition of 10


other formats or editions on request
HTMLText_08141604_26F7_F2F7_41BA_B6FAD03E552A.html =
129_4436


from the single-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
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131_9443


from the single-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_324D8B39_28C6_023D_419A_D64CA44442EF.html =
134_6756


from the series "Traumarbeit"



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_323F53F8_28C2_023B_41B8_7389ECE22923.html =
135_2191
135_2470


from the series "Traumarbeit"



35x50 cm
fine art-print
limited edition of 15


other formats or editions on request
HTMLText_32FFE2C3_28C6_024D_4184_7CEC3A4FCFAC.html =
157_34675-34683


diptych



70x200 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_0807FA83_26F5_33F1_41BE_A8862F3A9AAF.html =
25_1532


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_099C160B_26F5_12F0_41A7_F38061AAE395.html =
25_1548


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_0849D75C_26F5_7117_41A9_BF6672C28084.html =
26_2992


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_09C078E3_26F5_1F31_41A7_5E241E8DA707.html =
26_3002


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_08A24E36_22B3_43EF_41BA_BDB4EC08B112.html =
26_3046


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_08E85C4B_26F5_1771_4195_784FD54BCAFD.html =
31_1735


from the xxx-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_32B04541_28C6_064D_41C2_31D08EBB01B9.html =
3_4788


from the single-frames


"Tuscany"



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_32F54FD1_28C6_024D_41C4_449EC413F00D.html =
62_39-44


from the informel-frames



100x140 cm, diptych
fine art-print
limited edition of 5


other formats or editions on request
HTMLText_08A0F7DB_26F5_3111_41C3_52A105247820.html =
67_6761
67_6697


from the xxx-frames



35x50 cm
fine art-print
limited edition of 15


other formats or editions on request
HTMLText_32973669_28C6_025D_41C0_5ED1E3DA0517.html =
68_5029
68_5034


from the informel-frames



35x50 cm
fine art-print
limited edition of 15


other formats or editions on request
HTMLText_32A22D61_28C6_064D_41B9_86DCAC6FC8C6.html =
6_2844


from the single-frames



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_33E1A35F_28C2_0275_41B3_420076F8C31C.html =
7_2802


from the single-frames



70x100 cm
fine art-print
limited edition of 5


other formats or editions on request
HTMLText_32808D9A_28C6_06FF_41A8_35E88440C58B.html =
83_1169


from the informel-frames



35x50 cm
fine art-print
limited edition of 15


other formats or editions on request
HTMLText_32BD86B9_28C6_023D_41B7_1644EB3C6A52.html =
83_9284


from the informel-frames



35x50 cm
fine art-print
limited edition of 15


other formats or editions on request
HTMLText_34083601_28C2_05CD_41A5_2A3A8D7BE0A8.html =
89_21264


from the series "Traumarbeit"



70x100 cm
fine art-print
limited edition of 5


other formats or editions on request
HTMLText_3256D3D1_28C6_024D_4187_B7E06D4D05CE.html =
97_9683


from the series "Traumarbeit"



100x150 cm
fine art-print
limited edition of 3 + II AP


other formats or editions on request
HTMLText_09F63C6C_26F7_1737_41C3_49EF1C9223E0.html =
encounter


series of six images



images 35x50 cm
limited edition of 15


other formats or editions on request
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