Fethi Sassi, Immagine & Poesia, Lidia Chiarelli

“Clouds” poem by Fethi Sassi, image and Italian translation by Lidia Chiarelli

clouds copia



Usually I do not cry in my poems

So that languages don’t hear me

And assume that I’m a crying poet

And so that the whores won’t gossip

And simply I will not write other poems

I won’t be in my chair to observe the clouds

The silently passing by clouds

And I won’t observe the dead

I will always be there however

In my balcony waiting for water




Di solito non piango nelle mie poesie.

Così che le parole non mi sentano

E suppongano che io sia un poeta che piange.

E in modo che le puttane non facciano pettegolezzi.

E semplicemente non scriverò altre poesie

Non starò sulla mia sedia a osservare le nuvole

Il passaggio silenzioso delle nuvole

E non osserverò i morti.

Ma ci sarò sempre, comunque.

Nel mio balcone in attesa dell’acqua


Alejandra Miranda, Arte, Immagine & Poesia

“FIRE’S ITINERARY”, Alejandra Miranda’s exhibition, Art Museum of La Paz (Entre Ríos) Argentina (April-May 2019)


They haven’t gone

Mixed tecnique on canvas, 50 x40 cm, 2019

Alejandra Miranda


In this series of art works I had the need to return to abstraction, to “empty” myself in familiar ways to explore the invisible world of my ancestors. To cross the contours of what surrounds us, to connect with the delicate lines of light in continuous movement that I see since I was small when I unfocused my gaze, and that unite everything that exists.

First, I draw them with a black pencil on the surface, creating a frame from which I incorporate, scrape, dissolve, mix, cover the matter. Gradually the planes, the strokes and the words appear until they reach a significant internal meaning. I combine acrylic and oil with industrial paints. I use achromatics, gold, silver and very austerely, sometimes, primary colors. During the creative process I like to work the matter with intensity until I feel its transmutation.

Although my work is abstract it is intimately linked to the natural world at a level below the molecular, which I approach from intuition. The earth, the feminine, the word, the gesture and the “magic” of making visible what is not yet, are the themes that always accompanied me, and also do it on this return trip that began with this poetry.

Alejandra Miranda (ARGENTINA)


The fire’s itinerary

“To my elders who follow in my flesh darkly”

A line, meandering and powerful

heads down to the deep past

to the time and place

where I ran, I killed and

I devoured to survive.

Where fire was a refuge;

and love, an instinct

and dawn, bewilderment.

Behind the wind I will leave,

and I will shout their names.

They haven’t gone, listen.

They are present

in the breeze that makes us shudder,

in the unexpected crackling of the fire,

in the ever changing clouds,

in the flowing water,

in the gentle strokes of the moon,

in a ray of sunlight,

in my children’s eyes,

in my grandchildren’s smile,

in my hands.

Time’s memory is made of

bones and ashes, of turns

and stars.

A thread of sand flows subtly,

guiding my soul toward the light.

Alejandra Miranda (2018)

Immagine & Poesia

IMMAGINE & POESIA: Exhibitions in the years… (Montecarlo News – 2012)

Beausoleil: una nuova mostra del movimento Immagine & Poesia

Al Cyberespace, 32 boulevard de la République


cyberespace poster

Il movimento Immagine & Poesia, presieduto da Lidia Chiarelli , organizza una nuova mostra a Beausoleil. Dopo il successo ottenuto lo scorso anno con l’inaugurazione di una mostra permanente all’ Hôtel Olympia, prende il via il 5 ottobre la nuova esposizione che si terrà al Cyberespace, 32 boulevard de la République.

Dal titolo ‘Gianpiero Actis et les amis du Mouvement’ vuole essere la dimostrazione di quanto sia valido il principio affermato da Aeronwy Thomas, scrittrice inglese e figlia del poeta Dylan Thomas: – Poesia e arte figurativa portano a momenti di creatività incrociata – Le opere in esposizione sono accompagnate infatti, da poesie che ne sono state la fonte di ispirazione.

Adel Gorgy, Aeronwy Thomas, Gianpiero Actis, Immagine & Poesia, Immagine & poesia, Lidia Chiarelli, Mary Gregory, Uncategorized

“Immagine & Poesia, Then and Now”, essay by Mary Gorgy Gregory



Immagine&Poesia…Then and Now


Mary Gorgy Gregory

Immagine&Poesia is an international art movement founded in Turin, Italy in 2007 by a small group of poets and artists, including Aeronwy Thomas, Lidia Chiarelli, Gianpiero Actis and others, who believe that the power of the written word and the power of visual image, when joined, create a new work which is not only greater than the parts, but altered, enhanced, changed and magnified by the union.  Since their founding, their ideas have spread and the group has grown to include a wide range of artists and writers from around the world—from fledgling painters, photographers, videographers and promising young poets to luminaries like Lawrence Ferlinghetti.


Immagine&Poesia shares in a great heritage that includes many important movements.  The manifesto of Surrealism was written by the poet/critic Andre Breton, and came to full voice in the imagery of Dali, de Chirico and Magritte.  Dante Rosetti, the poet/painter, founded the Pre-Raphaelites, who found not only inspiration, but a higher truth in the poetry of Keats.  Paul Klee wrote poetry; e. e. cummings painted.  For which was Blake better known?  Perhaps the greatest expression of the marriage is in the sister arts of poetry and painting that flowered in the Zen Buddhist art of China and Japan, including Zenga and the calligraphic works of the Edo period monks.


All art is inspired and informed by other art.  It is difficult, indeed, to imagine a serious trend in art that has not found its echo in literature, or a meaningful direction in literature without a parallel path in the visual arts.  How can art not reflect its own time and place, its unique world view, and be relevant?  Or, as Yeats says, “How can we tell the dancer from the dance?”


It may be that in the beginning was the word, but art has never been far behind.  Mankind’s first words were pictures—pictographs of men and animals, sun and moon.  Lascaux’s cave paintings and aboriginal rock art tell us of a world where men dwelled among demons to be conquered and gods to be appeased, and life depended upon the success of the hunt.  The walls of Egyptian temples employed pictures and hieroglyphs to tell of battles and kings, but their artistry and grace tell a greater story, one of a culture of elegance and refinement never before seen on earth.  Renaissance cathedrals and chapels were decorated with scenes from the Gospels and the stories of beloved saints, and the architecture and art took the place of the written word for an illiterate congregation listening to prayers in a language they did not speak.


Throughout history, art and literature, especially poetry and song, its most itinerant form, have been the means for mankind to make his story known.  No chronology of rulers or map of borders can tell of human joy and sorrow, longing and fulfillment, for these are the domain of poetry and art.


Immagine&Poesia has renewed the tradition of bringing together artists and poets to create new collaborations and in these collaborations reside new ideas, new vitality, and new ways of seeing.  And being, as all relevant art is, a product of its own time, Immagine&Poesia uses new technologies to reach its audience.  Through the use of digital imagery and global, always-on communications, artists from small towns in Asia can collaborate with poets in Europe.  A painter from South America can join her image to the work of a poet from Wales, and not only will the work be changed by the experience, but both poet and artist will be, too.  Like synaptic neurons firing together to form a thought, or tributaries flowing together to form a great river, the collaborations of artists and poets support, as Immagine&Poesia states in its manifesto, “activity, imagination, originality and research.”  And through publishing these collaborations, Immagine&Poesia brings to art a new, 21st century, illuminated manuscript, a modern day Zenga to contemplate.

New York, 2010








Hadaa Sendoo, Immagine & Poesia, Lidia Chiarelli, Uncategorized

“A red moon and my father” poem by Hadaa Sendoo, Mongolia- Translation into Italian and image by Lidia Chiarelli

a red moon and my father -


A red moon and my father

One night
my father’s face
flickered in the dark

In his hand
a fire-red cigarette end
like a red moon, slow-moving

Una luna rossa e mio padre

Una notte

il viso  di mio padre

baluginò nell’oscurità


Nella sua mano

il mozzicone rosso fuoco di una sigaretta

come una luna rossa, che si muoveva lentamente




Нэгэн шөнийн харанхуйд

Настай аавын минь царай

Надад гялсхийн үзэгдлээ


Аавын минь гар дахь

Асаалттай тамхины цог

Алгуурхан нүүх улаан сар мэт



Immagine & Poesia, Lidia Chiarelli, Neal Whitman

“Incantation to Lady January”, poem by Neal Whitman, USA

lady january 2019-

Incantation to Lady January

for Lidia Chiarelli


Lady of Love,

blow the wind softly

and bestow your kiss

to warm us this winter


Luminous Lady,

open the veil slowly

and gift us your vision

to see the spring to come


Luscious Lady,

scatter the snow

and drop the berries

to ripen this summer


Lively Lady,

melt the snow

and saturate seeds

to sleep deeply in autumn




Neal Whitman, USA