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| monday 09 march 2009 |
| interview with stella cervasio for i volti di napoli di la repubblica |
| l'arte di fare libri |
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His biography coincides with a long piece of history of art in Naples, but you have to insist to make him tell it. 'Gruff' as he is, he prefers to let the facts speak for themselves. From a professional point of view, for many years Guido Savarese seemed to hide behind his books. Once he overcomes his shyness, which he calls 'antinarcissism', he reveals the fine speaker that he is. 'We were told by a lot of people to read when we were young. I tried, with the enthusiasm and ingenuity of the young, to really do it.' As editor, he knows there are books that people believe they have read. And that not all books are read cover to cover. That his city does not hold the record for books read. And that whoever reads on the bus, even without being at school, is regarded as an 'egghead'.
Not to mention those who actually make books. And to make them well, as he has for years.
Guido Savarese embroiders his words when he speaks, and when he begins speaking of the current situation in naples, you find yourself in a city that you didn't know existed, like in a story by Calvino. You discover people who have done marvelous things, books, and art. As editor for twenty-five years with Electa, a brand from Milan to which the name of a city in the South was added, without even a hyphen: Electa Napoli. He still goes to his office in Posillipo every day, his publishing house still deals with art, but now it is called arte'm. He is a David against quite a few Goliaths who print catalogues, among other things, who swim aggressively in the so-called business of exhibitions. But he has a pretty large stone in his slingshot: the new enterprise has a human capital, and consolidated relationships that are of rare quality, and they are associated with the number one italian editor of art books, Rizzoli Skira. That is to say, he has a pact of steel with the competition, without having to give up autonomy. Different uniform, identical heart.
One of the first products, as a surprise, was the catalogue for the San Carlo exhibit: a massive book overflowing with photographs that was printed in a flash in just a few days. Many people wondered where that new, yet familiar apostrophe came from, and the passion for making books 'in the heart of the South and the Mediterranean". Guido Savarese's passion. One only had to open the book to see that nothing had changed, just the publisher's mark. Not even the place to have lunch with friends has changed, at the vecchia osteria at the Torretta "where nonna Anna, a force of nature, makes the best pasta and chick-peas in Naples."
You cannot start from scratch when you have a past like his. "I truly believe in the integration of competences. We were born for this. What has always been missing in the overflowing culture of the city is what Electa Napoli tried to create: a gathering place and a permanent point of reference for training and development. An enterprise that is 'south of globalization', without emphasis, able to choose talented energies, to discipline and specialize in network suppliers. arte'm, even after receiving, after the separation from Electa Napoli, many offers from important national enterprises, aims not at recreating more relationships of subordination". No matter how you turn it, the idea remains the same: put together people who do different jobs with a common denominator, passion and competence. Severe but tolerant, Guido Savarese is reserved, but avoids using manicheisms. All virtues that are hardly neapolitan. And yet there are many who have the same job in Naples.
When did young Guido decide to dedicate himself to books? "Maybe never. Mine was a political generation. I went from Sannazaro, to Mamiani in Rome, to Umberto High School. It was already '68, but during the breaks between classes boys and girls were forced to use different hallways." He already began to show sympathy for Trotzky. At the university, he studied Contemporary History and history of Economic doctrine with Pasquale Villani, graduating with a thesis on Claudio Napoleoni, a Catholic Marxist economist. The first important meeting for the future was made in the family. His brother in-law, Paolo De Feo, is a telephone and telecommunications entrepreneur who know how to be a patron, with generosity and discretion. "At that time, he helped the Fausto Fiorentino Publishing, a historic company that lived on the rights to the best seller, A livella di Totò. I started to spend time there as well. I had always been curious about the techniques used in making books, printing fascinated me, as did the scent of paper. Later, the unbridled energy of Gerardo Marotta brought us to sustain the philisophical cause, making us eager to create 'Prismi'. It was around the time of the earthquake of 1980, and the Institute for Philosophical Studies had moved to Calascione. We had the opportunity to associate with some of the greatest Italian Philosophers: Firpo, Pareyson, Verra, and Gregory. Going to lunch was like going to the theatre; Giorgio Spini was always happy with bread and water, while Gregory and Firpo loved, on the contrary, good food. We published in all the languages, with an infallible proof-reader, Franco Pugliese Carratelli, brother of the great Giovanni, who could speak at least five languages: he died when when the linotype was just being replaced by photocomposition. After a few years of eager practice, we began to ask ourselves if our work should be limited to patronage or could be turned into a sustainable activity from the entrepreneurial point of view."
It was then that Guido Savarese met the superintendent, father, and master, in the best sense of the word, of art, Raffaello Causa. "The exhibit entitled Eighteenth Century Civilization, with a catalogue printed by Ferruccio Marchi's Centro Di, in Florence. Art in Naples was edited discontinuously.The dominant rule was to go into debt with the bank, at that time, the Banco di Napoli. At the end of the year, whoever had the most debts gave out Christmas gifts...Then there were the exhibits, at the beginning managed parsimoniously. 'Prismi' made Causa a proposal: why not give us a try with "Seventeenth Century Civilization", which was being produced by the government office? We had never done illustrated books. He resisted, understandably perplexed. He gave in, when confronted with such stubbornness, to the letters sent by an aspiring editor with solid entrepreneurs backing him. We printed a calendar of Mimmo Jodice's photographs, and when Massimo Vitta Zelman from Electa (the current president of Rcs libri and the majority stock-holder at Skira) went to Causa with a proposal, Causa said that he had promised the catalogue to 'Prismi'. We worked on Seventeenth Century Civilization day and night, after his death, with Nicola Spinosa, the true creator of a new season in Neapolitan art. With Zelman, in a large Roman hotel, Electa Napoli was born: "We are looking for motivated people like you" he said. A good reason to get together again."
The entire packge of exhibition intitiatives was a great success; Fantoni Grafica di Venezia printed perfectly well, but Savarese insisted onengaging a local quality typographer, in order to help it grow.The mission was to be the spark for a new widespread initiative in the South, with good sense and moderation. Wouldn't it have been easier to do everything in Milan? "That was the same tune I always heard as a young man. But who said it was true? A story like ours would never have been possible in another place; here, the symbiosis with the territory is more essential than in any other latitude."
Isn't the South a handicap for the publishing industry? "The headwind changes quickly when you get to work. I still believe it is important to put together the right energies, follow what is possible with curiosity and humility, moment by moment. arte'm was created because it hopes to become a useful instrument for people who have something to express, to the many problems of a city of art that knows very little about itself, to the younger generations looking for sustainable prospects."
The metamorphosis of editors. Franco Maria Ricci printed memorable art books and made his mark. When he was no longer the owner, for awhile he was a transitional manager.
Did Savarese, by changing insignia, choose freedom? Silence. The story is over. When dealing with important words, Guido turns shy again."Man himself is a piece of fate from head to toe - he repeats with Nietzsche - another law, another need, for all that was and all that will be." |
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| preview |
| ravello festival duemiladieci |
| saturday 12 june 2010 |
| il ravello festival 2010 offre l’opportunità inusuale di riflettere sulla follia quotidiana – quella vitale e quella distruttiva – attraverso la lente, spesso ustoria, della musica e della letteratura, della scienza e dell’arte. attraverso queste discipline, offerte in giusta misura e nel luogo giusto, il festival vuole aiutarci a diagnosticare tempestivamente, contestualizzare lucidamente, valorizzare coraggiosamente quel pizzico di follia senza il quale, come ci ammonisce garcia lorca, sarebbe imprudente vivere. |
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| on exhibition |
| domenico spinosa all'accademia di belle arti di napoli |
| da friday 07 may 2010 |
| a monday 05 july 2010 |
| dopo guido tatafiore, a cura di aurora spinosa, "l'accademia di belle arti di napoli arricchisce i suoi momenti d'incontro con... un altro illustre esponente della pittura napoletana e italiana, domenico spinosa" [sergio sciarelli] |
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| arte'm news |
| arte'm & partner |
| tuesday 15 june 2010 |
| arte'm's partnership policy continues, aimed at collaborating on projects with an international scope... |
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| catalogue |
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| il gioco dei se |
edited by associazione kolibrì napoli
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“la mente è una sola. la sua creatività va coltivata in tutte le direzioni”.
[gianni rodari] |
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