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title: contact

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name: PAOLO MENEGHETTI

email: paolofilosofo1979@alice.it

phone: 0039/3496911070

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Good evening! Really, we don't know each other. My name is Paolo Meneghetti, I’m 38 years old and I live in Italy. My town is called Bassano del Grappa (about 70 kilometres in the north of Venice). Principally I'm a professional curator of art expositions, organizing these for private gallerists, since 2009. I'm also an art critic, writing in different on-line magazines. Since 2004, I have the degree in philosophy (attending Padua University). My degree thesis was in contemporary aesthetics. So, I have studied the most important philosophers in the twentieth century (expecially from France: as Deleuze, Bataille, Derrida, Bachelard). Every 15 days, I write aesthetics reviews for glamour photography (with model posing), on DISCORSIVO ONLINE MAGAZINE: http://www.discorsivo.it/autore/paolo-meneghetti/ Today, I wrote an aesthetics review about a shoot of model KARA TOINTON, and photographer JAY BROOKS. I would publish it in my column online for glamour photography (with girl modelling), absolutely in a free way for both of them. Below, you can see the same shoot for which I wrote a positive aesthetics review, through an useful link by Internet: https://pbs.twimg.com/media/CLLHEcYXAAEmZOa.jpg That’s also the “official preview” about my text, in english and italian language: ENGLISH VERSION Philosopher Barthes studied the < Citroen DS >. A car with an aerodynamics < both stretched and “cutting” >, by the lines < broken and in the same time curved >, on the car body. An aesthetics solution that belonged also in the glasses. These had a < crowning >. If we remember a soap bubble, the glasses allowed to < hold > the car body, almost “airing out” this one (so to < “suspend” it in a “flight” of the speed >), really beyond its < mere cut > (leading the natural light inside the cockpit). The car should have carbureted < entirely >, so not only in the motor. The crowning of the glass allowed the cockpit to be configured < like a cell of the body >. We had to perceive that < the entire car body could “circulate” >. Of course, that one could “be aired out” through the transparency of the glass. The < Citroen DS > according to Barthes was perceived in a way more “organic” than mechanical, aesthetically. Kara was framed inside the bathroom. But this one has an interior design in the style of cinematography (essentially by a mirror with the hung posters, and where the shelves line up the bags, or those concentrate at most the lipsticks, the brushes, the creams etc…). Kara poses showing a < sexy “crowning” of the thigh >. In a poster, there is a road of New York: we recognize it by the yellow cabs. The bathroom has a mirror with the spotlights, that we almost perceive in the changing room at < offstage >. Kara wears a scarlet dress, that we < will recognize… “very well” (seducing us) >, as in case of the yellow, for a cab in New York. On the right side, she “would air out” with the arm, and over the “crowning” of the thigh. However, the pair of yellow cabs seems < about to run at us >… More evanescent, will be the “soap bubble” in the spotlights switched on. The dress compresses itself, on the thigh. So, the right arm < would shift into “gear”, and in agree with the “curved piston” of the “motor” >, while (realistically) the woven has the folds. ITALIAN VERSION Il filosofo Barthes studiò la < Citroen DS >. Un’autovettura dall’aerodinamica < sia distesa sia “tagliente” >, per le linee < spezzate e nel contempo curve >, sulla carrozzeria. Una soluzione estetica che rientrava pure nei vetri. Questi avevano la < bombatura >. Ricordando la bolla di sapone, i vetri consentivano di < trattenere > la carrozzeria, quasi “arieggiandola” (così da < “sospenderla” nel “volo” della velocità >), ben oltre il suo < mero taglio > (portando la luce naturale dentro l’abitacolo). L’autovettura avrebbe dovuto carburare < interamente >, cioè non solo nel motore. La bombatura del vetro permetteva all’abitacolo di configurarsi < come una cellula del corpo >. Bisognava percepire che < a “circolare” fosse l’intera carrozzeria >. Ovviamente, questa si poteva “arieggiare” tramite la trasparenza del vetro. La < Citroen DS > per Barthes si percepiva in via più “organica” che meccanica, esteticamente. Kara è stata inquadrata dentro il bagno. Ma questo ha un arredamento di tipo cinematografico (essenzialmente per lo specchio coi < posters > appesi, e dove le mensole mettono le borse in fila, oppure concentrano al massimo i rossetti, le spazzole, le creme ecc…). Kara posa esibendo una < sexy “bombatura” della coscia >. In un < poster >, c’è una strada di New York: lo capiamo dai < taxi gialli >. Il bagno ha lo specchio coi faretti, quasi percepibili nel camerino al < dietro le quinte >. Kara indossa un abito scarlatto, che noi < riconosceremo… “molto bene” (seducendoci) >, come nel caso del giallo, per un < taxi newyorkese >. Sul fianco destro, lei “arieggerebbe” col braccio, e sopra la “bombatura” della coscia. Peraltro, la coppia di < taxi gialli > pare a < venirci addosso >… Più evanescente, sarà la “bolla di sapone” nei faretti accesi. L’abito si comprime, sulla coscia. Così, il braccio destro < ingranerebbe la “marcia”, ed in accordo col “pistone bombato” del “motore” >, mentre (realisticamente) il tessuto ha le pieghe. So, could KARA TOINTON and JAY BROOKS authorize me to publish their shoot, in my column of aesthetics in glamour modelling, for DISCORSIVO ONLINE MAGAZINE? I would publish my text for them in the updating of Wednesday 30 November 2017. I will do this service for them absolutely in a free way. All my publications in DISCORSIVO ONLINE MAGAZINE are always created in a free way. Under the publication of my aesthetics review, and under the same image downloaded (about your shoot), I can also add: a) at least “4-5 lines” about their personal biography b) the link to their personal internet site I will find some informations about them - I think - using Google. So, please answer rapidly to me, thanks. PAOLO MENEGHETTI (< Critic of contemporary aesthetics >, born in 1979) e-mail address: paolofilosofo1979@alice.it mobile phone: +39 3496911070 home address: Via “Vial” n°19, 36061 Bassano del Grappa (ITALY) I recently became a professional man for the international hub called AppealPower: https://appealpower.com/tag/paolo-meneghetti/ Also is published on-line the useful translation in english language about my long aesthetics review for KATHRYN FINK's installations (after she exposed in U.S.A.): http://www.lobodilattice.com/post/toppa-del-video-fra-rintocchi-dellartefatto This useful translation is published at the end of a first (italian) version, so in the same page! There, I have mentioned the psychoanalysis of John Carl Flugel. Also, is published on-line the useful translation in english language about my long aesthetics review for CAROLINE WALKER's paintings (after she exposed in Italy): http://www.lobodilattice.com/post/specchio-delle-mie-brume-chi-pi-belante-del-reale This useful translation is published at the end of a first (italian) version, so in the same page! There, I have mentioned phenomenology of childhood, taken by philosopher Gaston Bachelard. Text contains 16500 strokes. Also, is published on-line the useful translation in english language about my long aesthetics review for the installations of REBECCA AGNES and HANNES EGGER (after they exposed in Russia): http://www.lobodilattice.com/post/lo-sguardo-ondoso-attorno-al-monumento This useful translation is published at the end of a first (italian) version, so in the same page! There, I have mentioned phenomenology of the folds, taken by philosopher Gilles Deleuze. From August 2011, I'm also a journalist of contemporary art exposition for Lobodilattice Contemporary Art Magazine On-line, that's very important in Italy. I send you the link to read my reviews (in italian language): http://www.lobodilattice.com/users/paolo-meneghetti/track That's the most important art exposition in which I worked as curator: 1) June 2009: my conference of aesthetics called "The metaphor of Sun that moves round Earth", telling philosophy of Jacques Derrida, for Nikola Uzunovski art work, in National Pavilion of Macedonia Republic - 53° Biennal Art Exposition in Venice (Italy) 2) September 2009: my conference of aesthetics called "The interactive freedom in technical time", telling philosophy of Martin Heidegger, for 5° National Day of Contemporary Art, in Kunst Foundation - Merano (Italy) 3) November 2009: curator for Personal exposition of Giorgio Celiberti's paintings, in Sesto Senso Art Gallery - Roma (Italy) 4) July 2010: curator for "Personal exposition of Alice Olimpia Attanasio's paintings and installations", in San Lorenzo Art Gallery - Milano (Italy) 5) May 2011: review in catalogue for "Personal exposition of Antonio Tamburro's paintings", in San Domenico Church - Urban Center of Municipality - Ravenna (Italy) 6) March 2012: curator for Personal exposition of Maddalena Vantaggi’s installation, in Umanitaria Cultural Foundation – Milano (Italy) 7) December 2103: review in catalogue for Collective exposition “P.A.C.I. First Edition”, in Public Auditorium – Isernia (Italy) 8) October 2014: curator for Double exposition “The waving look around a monument --- Italian artists Rebecca Agnes and Hannes Egger”, in Krasnoyarsk Museum Center – Krasnoyarsk (Russia)