This small Italian town in the Sicilian province of Trapani was first settled by the Saracens in the Middle Ages. After the Second World War, on account of the post-war hardships, the area lost a substantial part of its population as many of its inhabitants emigrated to the New World. Subsequently, the town was totally devastated by an earthquake in 1968. The decision was then taken to start over from scratch, and an inventive project was drawn up to “humanise” the area, for which purpose several famous international artists were called in, names such as Pietro Consagra, Alberto Burri, Mario Schifano, Andrea Cascella, Arnaldo Pomodoro, Mimmo Paladino, Franco Angeli and Leonardo Sciascia. The town soon turned into a huge laboratory of experimental art, prompting artists to create works that ennobled the new urban precinct.

The Top 6 Monuments in Gibellina

It should be noted that the reconstruction of Gibellina arose as part of a major cultural challenge which involved both the need to built habitable dwellings and to do so in an artistic milieu. Today, Gibellina is one huge open-air, modern-architecture museum featuring some brilliant works; and, it is now inhabited once more. Here, then, are the six most stunning areas.

Il Cretto di Burri

Gibellina is a town born of a tragedy, and an earthquake at that, the remains of which are still visible beneath the vast work known as Il Cretto, by Alberto Burri. The artist was reluctant to set his work within the confines of yet another urban complex. Instead, he created a gigantic monument dedicated to the earthquake victims which stretches over the streets and alleyways of the old town. It is a massive concrete structure which hugs the ground and is scored by deep cracks. Its artistic value lies in having physically frozen the historical memory of the land. For its sheer size, Il Cretto is one of the largest artworks in the world.

The “Meeting”

In 1976 Pietro Consagra designed a monument-sculpture known as The Meeting. This large-scale sculpture features smooth curves emerging from two parallel projections. It is a clear example of Brutalist architecture, so in vogue in the seventies. In this case he combined transparent sections with opaque ones, while eschewing any balanced compositional harmony. It now stands between the bus station and the area taken up by bars and other leisure facilities.

The Chiesa Madre

in 1970 Ludovico Quaroni was commissioned to design Gibellina’s parish church on a hilltop. The geometry of the church is novel, not only owing to the layout of the building and its relationship to its surroundings but on account of the language in its architectural forms. The various functional areas are distributed in a box with a 50-metre-square base sub-divided into modules and sub-modules, while the symbolical and geometrical centre of the monument is a great smooth cement sphere bearing reference to the sacred.

The Piazza del Municipio and the Civic Tower

The town square is surrounded by a colonnade designed by Vittorio Gregotti and Giuseppe Samonà, the walls of which were decorated with ceramics by Carla Accardi. Edging the perimeter of the square stand some marvellous white metal sculptures of characters from the work, Oedipus Rex, made by Pietro Consagra, with others by Mimmo Rotella, and the so-called Civic Tower designed by Alessandro Mendini. Four times a day, a blend of sounds with reminiscences of everyday life in the old Gibellina can be heard from this tower.

The Square System

This is actually a matrix of closed architectural squares designed by Franco Purini and Laura Thermes. Enclosed within this System are the Piazza Rivolta del 26 giugno 1937, Piazza Fasci dei Lavoratori, Piazza Monti di Gibellina, Piazza Autonomia Siciliana and Piazza Passo Portella delle Ginestre.

The Civic Museum of Contemporary Art

Gibellina’s contemporary art collection was created from contributions by Italy’s leading artists, and others of international acclaim.

The first to chip in were the Sicilians – Pietro Consagra, Carla Accardi and Emilio Isgrò. Ever since its inauguration in 1980, the Gibellina Museum has been endowed with over 1,800 artworks, notably original paintings, illustrations and sculptures. Most are housed inside the building, but some are dotted about the town streets, where they form a complement to the urban architecture. The bulk of the museum’s exhibition space is taken up by the collection, but there is a room dedicated to Mario Schifano, while another open-air area is given over to artistic and architectural mock-ups.

Join us on a trip to this unique spot in the world. Check out our flights here.

Text by ISABELYLUIS Comunicación

Images by Tiberio Frascari, Giulio Nepi, Antonella Profeta

Albrecht Dürer’s “The praying hands” and “Young hare” are some of the most widely reproduced works in art history. But, would this great artist have liked his work to be engraved on chocolate bars or Christmas decorations? Probably not, as his paintings are featured in the most important art museums in the world. If you look close enough, some spots in the city of Nuremberg reveal traces of Albrecht Dürer.

The Artist in His Workshop

Albrecht Dürer was born on 21 May 1471 in Nuremberg and died on 6 April 1528. He is buried in Nuremberg’s Johannisfriedhof. His father, Albrecht Dürer the Elder, moved to this city from Hungary in 1455 and married the daughter of a goldsmith. Of his 19 children, only 3 males survived, all without issue.

His first self-portrait was painted in 1484 while training in his father’s goldsmithery. It is still preserved today. Since Albrecht Dürer intended to become a painter after training as a goldsmith, his father sent him to the workshop of the painter, Michael Wolgemut, between 1486 and 1490. There he learned painting, wood carving and metal engraving.

His training took him to Basel in 1492 and to Strasbourg in 1494, among other places, where he made a living by selling books. In 1494, Albrecht Dürer received a dowry of 200 florins after marrying Agnes Frey, the daughter of a Nuremberg goldsmith. This led Albrecht to open his first painting workshop. Thanks to his mother-in-law’s relatives, he was able to come into contact with the city's upper class.

A Medieval and Renaissance Man

Living in the early Renaissance led Albrecht Dürer to strive for perfection through the technological advances of the time. He was a multifaceted genius who, in addition to painting, also explored other genres such as drawing or art theory. Noteworthy are his studies of proportion, geometry and design. Here is a review of  his legacy in the city of Nuremberg.

First, some of his works are exhibited at the German National Museum (Germanisches Nationalmuseum), one of the world’s most important research centres for Albrecht Dürer. This museum also features exhibits of German culture from pre-history to the 20th century, the most notable of its kind in the country. Their permanent exhibition includes works by German painters and sculptors, as well as sections on archaeology, weapons and armour, musical and scientific instruments, and even toys. This museum also features Dürer’s “Hercules kills the Stymphalian Birds”. However, if you would like to discover the painter in his everyday and creative life, nothing better than visiting his own house. Dürer lived and worked in the Albrecht-Dürer-Haus from 1509 until his death in 1528. After a multimedia performance you can follow the audio guide tour of this 4-storey house, narrated by “Agnes”, Dürer’s wife. The highlights of this visit are the interactive demonstrations of his recreated workshop, a print store on the 3rd floor, and a gallery with his originals and reproductions in the attic.

Some 150 metres down the street, a monument dedicated to the artist – the ­ Albrecht Dürer Monument­ –stands in the Albrecht-Dürer-Platz. Interestingly, the Felsengänge lies beneath this monument. This is a 14th-century  underground labyrinth with four levels that used to house a brewery and a wine cellar. It was used as an air-raid shelter during World War II. You can visit this maze by going to the beer store on Burgstrasse 19.

Dürer’s Everyday Life Revisited

A good way of getting to know Dürer’s life in Nuremberg is by visiting the Stadtmuseum Fembohaus. This museum, which gives a comprehensive overview of the city’s history, features the restored rooms of a 16th-century merchant’s house. For taverns and eateries, look no further than Goldenes Posthorn. After going through its heavy copper door, you will find yourself in a gastronomic paradise that has been feeding Nuremberg citizens since 1498. Here you will find great local sausages, as well as many other country dishes – hard to find in other places – in addition to vegetarian options. Another tavern from those times is Marientorzwinger. This is Nuremberg’s last zwinger – a tavern built within the walls of old military quarters. This is a picturesque establishment offering wholesome Franconian produce, in addition to simple vegetable dishes. You can choose between their unpretentious dining room and the luxurious terrace. To drink, nothing better than a Tucher beer from Fürth.

To stay the night, we recommend the Dürer-Hotel, a four-star establishment located in the historic centre, right next to the Imperial Castle. Its bedrooms and lounges are uniquely decorated, perfectly combining tradition and modernity – after Albrecht Dürer’s perfectionist spirit. Oh, and, their cuisine is spectacular, with breakfasts that include confectionery, cold meats and local cheeses. Their products are high quality and organically produced in the region.

Dürer is synonymous with Nuremberg. Come and discover the city of this emblematic Renaissance artist. Remember, you can visit any time of the year. However, if you do so in spring or summer, the weather will likely be better, and you’ll be able to enjoy the old city’s splendid terrace cafés. Check out our flights here.

Text by ISABELYLUIS Comunicación

Images by ISABELYLUIS Comunicación, Tourismus Nuernberg

John Waters shot to fame by directing outlandish, low-budget movies such as Pink Flamingos (1972) which glorify violence, sexual perversion and bad taste. He uses provocation as a weapon targeting the good-mannered hypocrisy, iron-fisted morals and religious values of the American way of life. However, few realise that the American dandy with a pencil moustache has also designed large-format collages and photomontages. He has chosen 40 of these pieces – including storyboards from his movies – for the exhibition, How Much Can You Take?, which runs until 1 November at the acclaimed Kunsthaus Zürich, coinciding with the murals by Joan Miró on display there until the end of January.

Paradoxically, the multifaceted filmmaker has other traits in common with Zürich, such as class, a sense of order and extreme cleanliness. Deep down, Waters also has a tenderness and fetishism that suggests he would delight in the bric-a-brac on sale in downtown Teddy’s Souvenir Shop, offering the music boxes, Swiss army knives, cowbells and cuckoo clocks so typical of Switzerland’s bucolic image. That same cliché embodied by Heidi, the children’s character created by the writer, Johanna Spyri who, like the poet, Gottfried Keller, is buried in the leafy park of Sihlfeld Cemetery, the first in Europe to incorporate a crematory. Waters would surely relish a visit there, both for his fascination for the macabre and his professed love of literature, which of late he is more engaged in than cinema. Hence, we might also recommend he visit Fluntern Cemetery, site of the beautiful tomb of James Joyce, who in Zürich gave himself over to a licentious alcoholism while writing much of Ulysses, a diatribe against Church and State. Another writer who also passed away in this city was the German author of The Magic Mountain, immortalised in the Thomas Mann Archives, a small museum housed in the ETH Zürich. This State university has also been graced by no fewer than twenty Nobel prizewinners, notably the scientist Albert Einstein, as much a rebel against conventional mores as Waters. Located in the same university is the spectacular Law Faculty Library, designed by the architect, Santiago Calatrava. However, the maker of morbid films would probably prefer to read in the old abbey housing the Zentralbibliothek Zürich, the city’s main library.

The filmmaker’s more iconoclastic side would relish the recollection that Zürich was the cradle of Dadaism, the anarchic “anti-art” so critical of middle-class society in World War I. That was when the artistic couple, Emmy Hennings and Hugo Ball, founded the celebrated Cabaret Voltaire in Niederdorf’s Old Town. Together with Tristan Tzara, the locale broke with all established canons. The building gradually became derelict until it was occupied in 2001 by a group of artivists and used to stage neo-Dadaist-style performances before vast crowds of Zurichers. After their eviction, the City Council overturned its original plan to demolish the building, which was then refurbished as an alternative cultural centre. Also located in the Old Town is the unusual Musée Visionnaire, where visitors choose what they want to see – and are encouraged to critique it – from a catalogue of Art Brut, a movement also known as Outsider Art – the work of amateurs, the mentally disabled and any creator alien to institutions and the boundaries set by official culture. In short, characters who would not be out of place among the Dreamlanders, counter-culture misfits and such regular collaborators of Waters as Mink Stole or Divine.

The young Waters who was so enthralled by gruesome accidents and bloodthirsty tales would also take a fancy to the Moulangenmuseum, a museum featuring wax representations of body parts twisted by disfiguring diseases, including exhibits in the University Hospital’s medical teaching collection dating from 1917. And, lured by the repulsive, he might also look up the dark oeuvre, biomechanical aesthetic and highly charged erotic sense of another illustrious native of Zürich who designed the visual effects for the movie, Alien – the recently deceased H.R. Giger. Although fans of the illustrator and sculptor have to choose between a visit to his comprehensive museum in the walled town of Gruyères (nearly two hours south of Zürich), and the stunning Giger Bar in his native Chur (about an hour’s drive from Zürich), situated, strangely enough, in the same land that inspired the pastoral Heidi.

To wind up this walk on the dark side, nothing better than supper at Blindekuh Zurich, the world’s first restaurant where diners eat in the pitch black. Fortunately, Waters is not the chef, so you needn’t worry about being served what Divine ate in Pink Flamingos. I assume you get my drift but, just to make sure, before you take the plunge you should go to a quality chocolaterie like Sprüngli.

In any event, remember that the Waters exhibition only lasts for a few more weeks, so get your tickets here!

Text by Carlos G. Vela para ISABELYLUIS Comunicación

Images by David Shankbone, Roland zh, Juerg Peter Hug, Absinthe, Edsel Little

Dreaming of a holiday that mixes fun, culture and relaxation? Marseille, in the south of France, is for you. Its benign climate, situation and special light have been inspiration for celebrated artists, including Braque, Cézanne, Derain and Marquet. Founded by the Greeks, it is one of the oldest cities in Europe and the second oldest in France. (It is also the second most populated French city). Its rich history and great number of monuments, beauty spots and museums have put Marseille on the international tourism map.

Marseille is the third largest port in Europe (after Rotterdam and Antwerp). This constant flow of ships and passengers from across the world has lent it a cultural mix that is palpable in its people, neighbourhoods and architecture, making an all-together cosmopolitan city.

Five days is about the right amount of time to spend here. The best bet is to divide your itinerary into different areas. Public transport is very good; you can get around in the metro, by bus and by ferry. The best way to do this is with a Citty Pass; it's cheap and will also get you into museums and out to the islands.

Booking a well-situated hotel is key to navigating your way around this marvellous city. The Beauvau Marsella Viejo Puerto is perfect. It has stellar service and is located a few steps from the Vieux Port metro station – a major hub. You'll find masses of stalls selling oysters and whatever else you can think lining the streets that lead down to the port – at really great prices.

In the same area there are dozens of restaurants where you can eat exquisite fresh fish or a superb bouillabaisse. Here are two that are recommended:

Une Table au Sud: This restaurant has fantastic views over the port and offers modern, creative, mouth-watering cuisine. Standout dishes include a chestnut and sea urchin soup.

Le Miramar: They say it’s the best restaurant in the city to try bouillabaisse. Take that onboard and find out for yourself.

An easy stroll through the port leads you to the Fort Saint-Jean. Constructed during the reign of Louis XIV, it is also the location of the MuCEM; the first major museum dedicated to Mediterranean civilisations. Its wide focus spans anthropology, history, archaeology, art history and contemporary art. The museum is housed over three sites in different parts of Fort Saint- Jean, connected via a pleasant walkway through a Mediterranean garden.

Another pathway, starting from the Royal Gate, takes you to the neighbourhood of La Panier and the Saint-Laurent church. Despite its shady past, this neighbourhood is today a mix of traditional streets and squares with new design boutiques, restaurants and museums – all in all lending it a decidedly bohemian air. A must see.

Cours Julien is another interesting neighbourhood. A garden has taken over the centre of its main square that also hosts fashion boutiques, theatres and terrace cafes. Rues Bussy l'Indien, Pastoret and Vian stand out for their alternative vibe, with various clubs, cafes and more shops. Take note of the street art!

Marseilles geographical situation makes it a perfect base for outings in a boat. From Vieux Port you can take one of the urban ferries. One excursion you shouldn't let slip by is to Chateau d'If, where you can still see the hole that one of one of the prisoners dug in the cell wall. He was the inspiration for 'The Count of Montecristo', the classic novel by Alexander Dumas.

From here you can continue on to visit the Frioul Islands where you can spend the afternoon visiting various inlets, beaches and sandy creeks – the perfect way to end the day. It's a place of freedom and total relaxation.

Two must-sees are the Basilque Notre-Dame de la Garde and the Chateau Longchamp. The first is the city's architectonic emblem. Situated up on the hill, it affords marvellous 360º views, watching over sailors, fishermen and all the people of Marseille. Its Roman-Byzantine style is a perfect example of the large-scale buildings Napoleon III imposed in Marseille. To get there, take the bus from Vieux Port. The palace, dating from 1869, commemorates the canalization of the Durance River to Marseille. It also houses the Museum of Fine Arts and the Natural History Museum as well as a botanical garden. Ad hoc street markets are all over the city, selling fruit, fish, and clothing and brick a brac. Dive in and rub shoulders with the locals – you are bound to find something unique to take back home!

Don't leave without discovering the famous Marsella soap. It history goes back to the 16th century. Find out more in one of the company's seven factories.

The city's tourist office is situated very close to Vieux Port. Pick up a City Pass here as well as plenty more info on what to do in Marseille.

So, what are you waiting for? Reserve a Vueling flight to this magnificent city here!

Text: Tensi Sánchez de www.actitudesmgz.com
Photography: Fernando Sanz