There seem to be few things as polarizing as contemporary art, especially contemporary art inserted into unlikely places. Case in point: the new Tenuta Castelbuono winery building near Bevagna. This massive work, called “Il Carapace”, by contemporary Italian artist Arnaldo Pomodoro, was completed after six years of work in 2012 and straddles the fence between sculpture and architecture.
I’m going to immediately stick my neck out to say that I like “Il Carapace”. Or, to be even more polemic, I love it. Saturated with symbolism, this copper dome-shaped structure is modelled on a giant tortoise shell—representing “stability and longevity”—and the low, rounded shape blends seamlessly into the surrounding landscape of rolling vineyard-covered hills, an echo of the “union of earth and sky”.
Being from Chicago, I am no newcomer to Pomodoro; a number of his works are displayed in the city, including the campuses of both the University of Chicago and Northwestern University. I am also no newcomer to livable sculpture…from Frank Lloyd Wright’s Robie House to Gehry’s Pritzker Pavilion, Chicago has a proud tradition of revolutionary buildings which blur the line between art and architecture. But contemporary architecture in a modern city is expected; contemporary architecture juxtaposed against the backdrop of this region so steeped in the Middle Ages that one would hardly blink an eye if Saint Francis himself were to come around the corner is riskier.
It was a risk well-taken, as Il Carapace has been met with much praise. Commissioned by the Lunelli family–which primarily produces spumante in Trento under the Ferrari label—to mark their foray into Umbria’s Sagrantino country, the winery building has been getting more press than the wines produced there. It’s easy to see why, as the tasting room inside Il Carapace’s dome is spectacularly distracting, with its soaring rib-like arches and plate-glass walls framing the dreamy vineyards outside, as is the cantina, with its spiral shape and disconsonant sky-blue walls, giving you a moment of vertigo as you try to remember if you’re above or below ground.
Photo courtesy of Umbriabeecoming
Both times I visited Il Carapace were for special events; lit up in the evening by flickering torches and soft lights and animated by live music and the clinking of hundreds of glasses, Pomodoro’s work becomes both more dramatic and more intimate—though hard to photograph.
Tenuta Castelbuono offers tours and tastings; for more information, visit their website. Pomodoro was so successful in blending his “living sculpture” into the scenery that it’s not easy to spot the winery from afar. Keep watch for the red, dart-shaped structure that stands at the entrance, towering above the hills like the shaft of an immense arrow shot into the earth, both a complement and an antithesis to the harmony of Il Carapace itself.
Assisi– with its iconic Basilica of Saint Francis, picturesque twisting stone alleyways, and breathtaking views over the surrounding olive grove-covered hills–is not known for its nightlife. The atmosphere of this beautiful and stately hilltown is staid and spiritual, lending itself more to contemplative walks and quiet cappuccinos than bacchanal excess and nocturnal partying.
That is, except for those three days (and nights) a year when Assisi really lets her hair down. For the past 50 plus years, Saint Francis’ hometown sheds its normal air of peace and brotherly love to spend the first Thursday, Friday, and Saturday of May locked in intense competition as the Parte de Sopra and the Parte de Sotto put on elaborate processions, scenes of medieval life, and concerts with period music as they compete for the Palio, judged by a panel of three experts, one specialized in history, one in theater and the arts, and one in music.
Virtually everyone who lives in Assisi – and many locals who have since moved away but make a yearly pilgrimage during the days leading up to Calendimaggio – participates in this community-run festival, from building sets and sewing costumes, to acting in the Medieval scenes, to singing in the choir, to going around town each evening to light the many torches illuminating the streets (yes, there is a special group of guys who are specialized in the torches). In a town in which only about 1,000 people currently live in the historic center, almost 2,000 routinely participate in some way in the festival, which brings the town together in both solidarity and rivalry like no other event.
The festival—currently shortlisted for UNESCO World Heritage recognition—is seen best from the bleacher seats in the main piazza (tickets available in the tourist information office); Thursday, Friday, and Saturday afternoons are filled with processions (Thursday is marked by the keys to the city being ceremoniously handed over by the Mayor to the Master of Ceremonies for the three days of festivities; Friday the two Parti compete in crossbow and Medieval games; Saturday afternoon is the theatrical procession. Perhaps the most spectacular of the three days of festivities is Saturday night when fire and pyrotechnics play a large part of the show.). On Thursday and Friday nights the scenes of Medieval life which each Parte organize in their respective areas of the town are open only to the judges, but can be seen by the public projected on screens in the main piazza.
These are magical days when flags and banners hang from each window, a taverna (temporary restaurant) is bustling to serve hungry festival-goers under the Piazza del Comune, costumed theatrical processions, crossbow tournaments, feats of physical strength, Medieval choirs with historic instrumental accompaniment, and dancing go far into the night…indeed, on Saturday the rowdiness flows to dawn, when the verdict from the three judges is announced and the winning Parte literally dances in the streets (And piazzas. And fountains.).
These photos of past editions of Calendimaggio are courtesy of Via di Francesco.
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