{ "id": 3686, "date": "2025-10-17T07:28:55", "date_gmt": "2025-10-17T07:28:55", "guid": { "rendered": "https:\/\/artecontinua.org\/?page_id=3686" }, "modified": "2025-12-19T10:33:12", "modified_gmt": "2025-12-19T10:33:12", "slug": "nel-paesaggio", "status": "publish", "type": "page", "link": "https:\/\/artecontinua.org\/en\/nel-paesaggio\/", "title": { "rendered": "In the Landscape" }, "content": { "rendered": "
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A Connoisseur's Guide to Delicious Discoveries for the Art Traveller<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u201cToday it can be stated with certainty that Italy possesses an agri-food heritage so vast as to be unique in the world, in which, between apparently similar products, lie enormous organoleptic differences. And Tuscany is one of the most generous lands.<\/p>

The varied climate, differing history and tradition that characterise not only individual regions, but also specific territories within them, are strongly perceptible in what we define as \u201cgastronomic treasures\u201d \u2013 products obtained through human input, stemming from knowledge passed down through generations and original techniques that cannot be replicated by other technical means. Some stages of their production, such as cutting, curing, salting or seasoning, and trimming, whose ritualistic nature draws from the ancient rural civilisation, assimilate these treasures to artistic gestures. These are products worthy of being \u201csaved\u201d from the possible risk of extinction, just as is done for art restoration or recovery, for cinematic works as well as theatrical ones.<\/p>

Article 9 of the Constitution states: \u201cThe Republic promotes the development of culture and scientific and technical research. It protects the landscape and the historical and artistic heritage of the Nation\u201d, so why not use the funds used to advertise places, museums and landscapes, to prevent this heritage from being lost forever? The success of food and wine tourism demonstrates that if the gastronomic heritage is known, it can attract people to its places of production. Employment would receive undoubted benefits, the palate even more so.

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Montalcino, Volterra, Casole d\u2019Elsa, Colle di Val d\u2019Elsa, Poggibonsi and San Gimignano, six unique places where every human activity becomes a tangible example of art. It is art in so many words <\/i>that envelops you as you wander through the narrow medieval streets of San Gimignano, is akin to the skillful handiwork of cheesemakers and pork butchers who to this day create following rules and procedures lost in the mists of time. An ancient art is what draws these artisans, in their recreation of distant gestures only partially modified by modernity, to the scribes of the Middle Ages. The guide therefore proposes an ideal journey through the cultural treasures of this extraordinary territory.\u201d<\/p>

Davide Paolini, Guide to Gluttonous Deposits, Art for Art III, 1998<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\u201cThe path between Art, Architecture and Landscape, conceived in 1994 and first realise in 1996, has always seen catalogues being accompanied, serving as hyphen<\/i>, the \u201cArte all'Arte traveller's guide\u201d. Travel is always discussed, to rethink tourism as something done with the heart, with the head and with all the senses, to describe what lies in between, what connects and what separates these completely humanised landscapes that are cities, from those others, where human presence is more mimetic and less intrusive.<\/p>

The guides that accompanied the catalogues of works are all geared towards different perspectives on the spaces in which the cities are immersed, and also on the type of landscape that these constitute within the greater whole. This is true whether it concerns a route of past art and architecture, in and between the cities, towards those places left behind by tourism, as exemplified by the first guide for the Arte all'Arte traveller, curated by Michelina Simona Eremita. It is also true if it explores aspects of the modernisation of the countryside, as in the 1997 edition by artist Amedeo Martegani. Through a photographic reportage on unpaved roads, this edition highlighted how the Tuscan countryside, from his viewpoint and ours, is less bucolic and more full of modern curiosities.<\/p>

With Davide Paolini's \"Guida ai Giacimenti Golosi\" (Guide to Gluttonous Deposits) produced in 1998, and confirmed for 1999, the landscape becomes a visual culture of the care and cultivation of the land, as well as of taste and the variability of the eye and flavour.<\/p>

The deposits discovered in this Arte all'Arte guide are the scents and flavours at risk of extinction due to a lack of attention and superficial assessment. Giving them the respect they deserve, alongside an international art exhibition, is an attempt to prevent them from disappearing, so as not to later find ourselves speaking of them nostalgically, thereby leaving new space for standardisation and a lack of specificity, even in an area as decisive for life and culture as this. This has already happened and could happen more if we give up parts of ourselves as healthy and vital as sight and taste.\u201d<\/p>

Mario Cristiani, Art Guide to Art IV edition, 1999<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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