Caro Bompiani. Lettere con Mercurio Candela. Scandicci: La Nuova Italia, Europe: A Nietzschean Perspective. Per Ignazio Silone. Firenze: Polistampa, Fortini, Franco. Verifica dei poteri. Scritti di critica e di istituzioni Bellini, Davide. Dalla tragedia alla biblioteca. Le poetiche e la letterarie. Pisa: ETS, Suzanne Dingee and Jennifer Pudney. Madison: nazione. Palermo: duepunti edizioni, The University of Wisconsin Press, Grewe, Andrea, a cura di.
Berlin: Erich Schmidt, Benda, Julien. Paris: Gallimard, Bobbio, Norberto. La della resistenza. Il Manifesto corrispondenza Parisot-Savinio Palermo: Sellerio, di Ventotene. Buttier, Rosanna. Savinio giornalista. Itinerario bibliografico. Roma: Italia, Paola. Il pellegrino appassionato. Savinio scrittore Bulzoni, Palermo: Sellerio, Cacciari, Massimo. Milano: Adelphi, Malaparte, Curzio. Per un profilo di Firenze: Vallecchi, Alberto Savinio. Roma: Bulzoni, Edda Ronchi Suckert. Firenze: Ponte delle Camon, Ferdinando, Il mestiere di poeta. Milano: Lerici, Grazie, Monastra, Rosa Maria.
A cura di Fernando Gioviale. Firenze: Olschki, Lecce: Milella, Cirillo, Silvana. Le molte facce di un artista di genio. Montale, Eugenio. Gianfranco Contini. Contini, Gianfranco. Dove va la cultura europea? Relazione sulle Il secondo mestiere. Prose A cura di G. Macerata: Quodlibet, Milano: Mondadori. Dainotto, Roberto. Europe In Theory. Durham: Duke University Nietzsche, Friedrich. Ferruccio Press, Mauro Maggiorani e Paolo Ferrari. La gaia scienza. Ferruccio Masini. Milano, Adelphi, Parisot, Henri, e Alberto Savinio.
La Tordi Castria, Rosita. Savinio, Italo Calvino, Giacomo Debenedetti. Roma: Bulzoni, Piredda, Patrizia. Oxford: Peter Lang, Savinio, Alberto. Alcesti di Samuele e atti unici. A cura di Alessandro Tinterri. A cura di Alessandro Tinterri e Paola Italia. Hermaphrodito e altri romanzi. Narrate, uomini, la vostra storia. Nuova enciclopedia. Archivio Contemporaneo Alessandro Bonsanti. Arte e storia moderna.
Scritti dispersi A cura di Paola Italia. Torre di guardia. A cura di Leonardo Sciascia. Sciascia, Leonardo. Secchieri, Filippo. Studi su Alberto Savinio.
Objects and Tales of Kingship in the Medieval Mediterranean
Firenze: Le Lettere, Sereni, Vittorio. A cura di Dante Isella. Taine, Hyppolite. Testimonianze e documenti Io sono a terra!!! In modo angoscioso!!! Proprio ieri ero a Roma ho fatto istanza a Tosti al Ministero per un sussidio pronto immediato e adeguato!! Ma vedi di chiamarmi alla tua segreteria! Ti prego! Ti abbraccio tuo aff. Salvatore Maraffa Abate was a journalist, a poet, an entrepreneur, a publicist and sometime publisher.
He deliberate moves aimed at professional and personal survival, or were moved from his native Palermo to Messina, Genova, Milan, Rome, they also the result of a true intellectual and political metamorphosis? But, as we know, history has not been generous Paul Corner and other contemporary scholars have already underlined with minor figures and Maraffa is not an exception. His profits from his understated new post-war life.
And yet, In December , Maraffa issued his first notable magazine, Flirt. Flirt was the ideal mirror of the Sicilian osservare che… egli dimenticava gli indifferenti e i disillusi. Similarly, in her recent I redenti. Gli intellettuali che vissero due Flirt was not a political publication. It contained poetry, volte. La rivisitazione delle vicende degli uomini che vissero una to women writers10 and its dynamic Direttore, Maraffa Abate, often duplice esistenza provoca accesi dibattiti. Moreover, we should not forget that it could not ignore the power of the new bourgeoisie.
Openly obsequious to the fascist regime, as its name suggests, Italia But times were changing and soon the economic power of the fascista tried hard a little too hard, at times to balance itself between Florios in Sicily would come to an end. Around , Maraffa left a servile and an extremely patriotic attitude towards the autarchic Palermo and headed north, to Genoa and Milan and, eventually, to Rome.
From time to sort of periodical, a clever mix of cosmopolitism, patriotism, and time, Italia fascista presented its readers with more artistic content, politics. Futurism and its main features modernity, weighted down by an abundance of percentages and other figures, a energy, innovation and, later, fascism seduced the restless Maraffa telling sign of a too obvious deferential attitude towards the regime. If and contributed to his radical transformation into a militant journalist.
It also meant leaving his trademark notion of a literary particular region or city of the empire where fascist enterprises were and cultural magazine. The years immediately following World War I particularly successful. One of his periodicals, started turning its gaze inwards. By the early s, in the last desperate moments of activities around the world. With had already appeared in print, as a pamphlet, the previous fall, but the regards to his choice of pseudonym, Flirt readers would remember founder of Futurism allowed Maraffa to publish it as well, an important that Maraffa had been using this pen name for decades.
Unfortunately gift for a struggling publication like Italia fascista. On 21 July , Maraffa celebratory. Maraffa Abate. Incidentally, this initiative aroused offense in the foreword of one of his collections of poetry, Chiarezze: the spirited reaction of Avanti! Ma questi giornalisti sono davvero inesauribili nello aspirare e Comm. Umberto Bottone. Why would the Ente Stampa and the Ministry not use his commitment for its own purposes? Since the fascist press was In , Maraffa was already a Mussolini supporter and more heavily controlled beginning in year of the foundation of the than once defined himself a Sansepolcrista.
It was not the case. On the contrary, the Min. Cultura Popolare. Overall, between and , Maraffa received A poet since the Flirt years, Maraffa wrote a number of openly philo- more than fifty thousand Lire Ministero della Cultura Popolare n. Among them, Aquile di Roma and La pelle del He was not alone: this behavior was part of a widespread attitude, serpente Not a young age, especially for richieste e quindi su lettere di ringraziamenti di prammatica in someone plagued by professional and personal troubles.
Polizia Politica, Report on Maraffa, Savagnone. They had two daughters, bound to become well-known 6 September doppiatrici: Rita and Deddi Savagnone. As del Maraffa che se ne serve per ricevere contributi finanziari; Philip Morgan noted: essa ha scarsa importanza culturale. It was during this period that many Italian 12 September , the Germans had freed Mussolini and had put intellectuals who were active under the regime started on the thorny him at the head of the short-lived new republic. Like Maraffa, people path that would take them through the end of the war and beyond.
Like who had been professional and financial profiteers during the previous Maraffa, many successful figures quietly sailed through this delicate regime must have taken it as a sign that the old ways could resume. The publishing press was not immune to this memory loss: in the It was not meant to be. Mussolini: Maraffa depicts himself not like an exploiter of fascist politics and Proveniente dai Fasci Rivoluzionari Interventisti di Milano.
It would — Milano P. Curriculum Vitae his letter to Mezzasoma, and the move to Venice meant that his archive was lost. It is hard to say whether Maraffa had actually been at risk. In the post-war years, this proud fascist biography is excised, leaving Some philo-fascist intellectuals were imprisoned and tried. He followed many others on the prescrizione. A small price to pay, all things considered. On the contrary, it resumed vigorously, ardua purezza lirica, non abbiano accanto alle poesie, manifestato propelled by a new-found energy: il loro principio politico e non abbiano come cittadini partecipato alla vicenda sociale.
The period immediately after liberation in saw a mushrooming Per trovare poeti che si dichiarano indifferenti alla vita politica, of small publishing houses, some of which survived for only a … bisogna giungere ai minori poeti del romanticismo e del few months, and an increase in book production, despite residual decadentismo. Ma, appunto, si tratta di poeti minori: di superuomini paper shortages. At the same time some existing publishers sought che, di fatto, non erano ancora divenuti uomini. XIV—XV to take advantage both of the market opportunities and of the chance for cultural renewal opened up by the liberation.
Gundle In the past several years, historians and literary critics tackled and Forgacs the question of Italian intellectuals and their relationship with fascism, but a lot of work still needs to be done on the so-called minor or marginal However, in spite of his efforts, Maraffa did not manage to figures and their participation in the fascist propaganda machine. While the Min. This is a sign that, while not openly ENDNOTES promoting it, the ministry did benefit from these apparently irrelevant characters and from their unauthorized propaganda.
Italiana per i suoi meriti di giornalista. Later, in Rome, In the early s, Sebastiano Munzone published an he published his own works under the Italia Fascista Editrice label. See Cristina anthology of Sicilian poets. Soltanto per la insistenza di alcuni editori ha raccolto Viator dolente la sua opera poetica riunita in tre volumi: Ombre, silenzi, armonie con illustrazioni nuovo Israele errante sempre inquieto di Servolini poesie ; Riflessi, Chiarezze poesie. Corselli dal titolo I nostri Capi. Mangano sent the Duce her article together with a request for a meeting. However, before this little setback, Mangano, like Maraffa, passatista.
Cosa debbo fare? Ti prego di agire fulmineamente Cesare. Ti abbraccio con grande affetto, Tuo aff. The letter is written on Italia fascista reviews in this particular issue. But there are some short reviews of operas and films stationery. Vogliate Esperia, contiene la Poesia dei tecnicismi. Proveniente dal Gruppo Nazionalista Giovanile di Genova. Aderente alla storica continued its irregular publication until By then, Maraffa had almost completely adunata 23 Marzo — Milano P.
ROCK CIRCUIT- Venerdì 15 Giugno - Centro giovanile Ca' Vaina
Polizia — Archivio Centrale dello Stato. MS and TS. Bruno Maraffa in Rome: Mondadori, Claudio Fogu. Durham: Duke University Press, Bloomington, Indiana University Press, Forno, Mario. Soveria Mannelli: Rubbettino, Gaeta, Giuliano. Storia del giornalismo. Milan: Vallardi, Gragnani, Cristina. Flirt rivista di splendore Bernabei, Gilberto. Note to Salvatore Maraffa Abate. Ann H. Popolare, Busta , n. Caesar, Gabriella Romani, and Jennifer Burns. Oxford: Legenda, Buttafuoco, Pietrangelo. Il foglio 12 November : n. Web source. Estudios Italianos, Nov. Candela, Simone. I Florio. Lengua, Ideas, Literatura.
Mariapia Lamberti, Franca Bizzoni. Castronovo, Valerio. Hainsworth, Peter. Rome: Cenacolo, Ciuni, Roberto. Palermo: Il Punto, Contorbia, Franco. Giornalismo italiano. Isnenghi, Mario. Florence: Giunti, Archivio Centrale dello Italy. Oxford: Oxford University Press, Busta , fasc. Problemi di estetica. Mangano, Lori. Letter to Benedetta Cappa. Filippo Di Dino, Chiara. Box 13, n. Fenzi Viziano, Teresa. Rome: Bulzoni, Letter to Nicola De Cesare, 26 September Archivio Passerini, Luisa.
Fascism in Popular Memory. The Cultural Experience Centrale dello Stato. Cambridge: Cambridge University Corrispondenza Ordinaria]. Press, Requirez, Salvatore. Casa Florio. Palermo: Flaccovio, Maraffa Abate, Salvatore Leodalba. Aquile di Roma. Bibliografia del futurismo: Rome: Biblioteca del Vascello, Rome: Italia Fascista Editrice, Salvo, Carmen. Curriculum vitae. Segreteria Particolare del Duce, quaderni del meridione 87—88 : — Corrispondenza Ordinaria. Savini, Marta. Riviste ottocentesche e storia della critica.
Rome: Serio, Ettore. La vita quotidiana a Palermo ai tempi del Gattopardo. Letter to F. Filippo Tommaso Marinetti Milan: Rizzoli, Serri, Mirella. I redenti. Gli intellettuali che vissero due volte. Letter to Fernando Mezzasoma. Archivio Milan: Corbaccio, Centrale dello Stato. Ministero della Cultura Popolare. Busta , Serrati, Giacinto Menotti. Archivio Centrale dello Sturzo, Luigi. I mali della politica italiana: pensieri liberali. Rome: Armando Editore, Taccari, Mario. Caltanissetta: S. Sciascia, La pelle del serpente. Tronfi, Lorenzo. Il Primato di Giuseppe Bottai: cultura e politica Enna: Moderna Edizioni, Palermo: Tip.
Ausonia, Marinetti, Filippo Tommaso. Italia fascista Munzone, Sebastiano, ed. Catania: Unica, Morgan, Philip. The fall of Mussolini. Italy, the Italians and the Second World War. March Introduction Scholarly studies have often discussed the huge impact of the film Casablanca WB, , directed by Michael Curtiz and produced by Hal Wallis on American media and popular culture. Many critics have attempted to explain why the film continues to be regarded as one of the most iconic and celebrated Hollywood films of all times.
Italian viewers, on the other hand, will most probably be familiar with these lines in their corresponding Italian translation, given that Casablanca has, since its first distribution in Italy in , received theatrical and television release in its dubbed version. We shall also see that, although not so intuitively, when the film and joined her husband Laszlo, whom she had believed to be dead, was finally ready to be released in early , its edition would be without having the chance to explain to Rick the reasons behind her considerably affected by the legacy of Fascism; this in spite of Italy painful decision.
After a series of political gambles with the French being, at that point, a democracy allied with the US. To illustrate this and German police, Rick i. It was in , in fact, even before Casablanca was produced, escape from the menace of the Nazis in Europe find temporary refuge that Warner Bros abandoned the Italian market as a result of the in unoccupied French Morocco. Let us take a step back to observe what happened to the to wait there until the war ends. Yet there are people in Casablanca distribution of American films in Italy during these critical years.
Will the seemingly cynical and selfish on foreign film distribution. A significant European Resistance, a clandestine movement fighting against the Axis number of foreign films by small US companies such as Monogram, powers. As the story unfolds, a few flashbacks reveal that some years Republic, and Grand National would still circulate in Italian cinemas earlier, in German-occupied Paris, Ilsa and Rick had had a romantic after the withdrawal of the Big Four. Moreover, from the early onwards various laws were enacted.
The political and social unrest in the Italian peninsula caused 4, 5, 9 and both the ban on dubbing foreign films abroad and the by the long years of war, sacrifice, deprivation, foreign occupation, dubbing tax to be paid by film distributors art. Because of their pro-interventionist message against the Axis, least until mid Besides, as far as the Italian case was concerned, at the its establishment in the new Roman headquarters.
Whether under the beginning of the monopoly laws promulgated during Fascism suggestion of the PWB film section or not, Warner Bros seems to have still formally stood in protection of the Italian internal market against been waiting for the Italian political and social waters to settle before American products. Distributors established a Psychological Warfare Branch PWB at the Allied might have also decided to wait for Italian film translators and Headquarters in Rome in the building formerly hosting the Ministry experienced voice-actors to prepare a domesticated dubbed version of Popular Culture MCP.
Consiglio dei Ministri for permission to release Casablanca in the Archival research has documented that, on March , the Italian commercial film circuit. Stone, head of dubbed version was then authorized, obtaining the obligatory nulla the allied military command in Italy, organised a series of important osta on January 10, Importantly for the present discussion, the Admiral insisted regulations on film censorship art.
This decree banned film scenes, facts and subjects: second examination. Otherwise, if the producers or distributors did not agree with the first decision, they could file an appeal and the same film Offensivi del pudore, della morale, del buon costume e della would be reviewed by a second commission. If the second commission pubblica decenza; From the authorization, the the end of the war. A passage from the document reads: customary under the dictatorship both the commissioners working at the film office and those who prepared the Italian versions of foreign Giudizio: Il film raggiunge una efficacia [sic] tensione spettacolare, films, e.
If authorized, the war setting in other words, far from the more crucial battlegrounds film would be distributed in cinemas. In the case of restrictions or of Western Europe. The war was over, Although no document has been found attesting the exact and the fascist regime had been replaced by a democratic political date when the film was translated and re-voiced into Italian, it is very system. However, the personnel of the previous administration were probable that the Italian edition of Casablanca had been prepared largely maintained at the film office.
Changes 3. Although there is no official evidence formed mainly by the popular dubbing directors and actors of the s. Indeed, if the script had been the Italian film industry, and more specifically in the dubbing or post- presented for approval, and a final script re-submitted after being synchronisation sector.
The name of the person in charge of preparing the by the distributors to limit expense of money and effort i. However, recent archival research has requirements, which, as discussed above, were the same as those of revealed that Carlo Silva was credited as the dialogue writer in the Instead of that petty charge Italians in the war, and 3 the representation of Italian characters in you have on him, you can get the film. War crimes b. Below a. The the dialogues in the original version while b.
One example in particular is indicative of a moralistic il deserto non occupato. The government, were substituted with a different geographical indication fact that both the re-edited dubbed version and the subtitles do not that wanted to recall the contemporary Chinese Civil War. In , you in the film, whether used to criticize Nazi-Fascist ideology or to fought in Spain on the Loyalist side. The Fascist captain Tonelli is a background character with 3. Italian characters only few lines of dialogue. The first time the Italian officer appears in the film, he censorship directed at controlling the negative representation of introduces himself with vain pomposity see fig.
It is well known that during the s unwelcome representations of Italians in film were denied permits for distribution in Fascist Italy: the American crime films Little Caesar WB, and Scarface UA, are perhaps among the most popular examples of this preventive censorship. These two characters have short lines of dialogue and must have not been recognised as Italians by either the dubbing personnel or the film commissioners as they do not have an evident Italian connotation or accent in the film.
Their lines were therefore translated according to those in the original script. In the film there are two other characters whose Italianness Fig. While in the original version captain Tonelli switches from speaking 8 Renault scoffs at Tonelli as the latter and the French officer English to Italian, and gives a pompous Fascist salute to the German pass by arguing indistinctly and gesticulating: officer, the Italian script b.
The original passage has been re-inserted in the victory. After this scene, Tonelli is mainly seen fooling around with The second Italian character is the owner of the club The Blue Parrot, Casselle gesticulating and arguing indistinctly anytime they appear on signor Ferrari. Ferrari is renowned in Casablanca for being in charge the scene. The second appearance made by Tonelli see fig. He has a monopoly here on the black market.
Egli ha quasi tutto il monopolio del Mercato Nero qui. Thank you for the coffee segnore. I shall miss it when we leave Casablanca. The seen adulating any women who passes by a Latin Lover stereotype identity shift also respects quantitative synchronism, that is, each were not already undeniable clues of his Italian characterisation, the dubbed utterance has to contain roughly the same number of syllables final mention of the coffee made by Ilsa 11 leaves no doubt about as the original utterance.
The change purposes. The rewriting and visual censorship discussed in this section with Ferak was probably suggested by the fact that the character wears are quite significant because they are not a reflection of the historical for most of the film a Moroccan Fez hat see fig.
Because of this, they were prone to perceive the lo staiter [sic] in divisa fascista. Borrowing with fictional World War II narratives. Having be modified during the post-production phase. Der Trost der Kunst zeigt sich in der Hoffnungslosigkeit. Kunst soll Statthalter einer besseren Praxis sein. When will we finally realize our social responsibility?! The International Artist Gathering supplies space to artists who are engaged in these themes, coming from various backgrounds, realities and generations - showing narrative, conceptual or abstract artworks, always articulating un-comfortable questions.
Thus our exhibition tries to contribute to the reflection of the contemporary problematic, while participation in dealing with them must be taken care of otherwise. With this gathering we provide the opportunity for a general dialogue. Everybody is invited, all inhabitants of Fes as well as people coming from outside, to visit the exhibition in three different spaces in the Medina Fes.
We are looking forward to meet you. Rudolf de Lippe 12th Janurary, We, as artists, rather need to assess our possible reaction facing the fright that strikes our societies. We hear the cries for help like all the others. We see the pictures of horror like all the others. The very question which is particularly ours is: How do they work in us?
How do we feel the strive to express such impressions? Could it be possible immediately? How do they become metaphors, inner images, and these inner images - get they expressed according to the gestures and meanings of our profession? Answers are all but evident. And they will be profoundly different in each case. If our art responds rather in figurative ways and close to the surface of reality our narratives will tend to participate more directly in the situations that we are exposed to.
But we may recognize in these situations the fright that we know to be much more global. The problems are just the same ones as in politics. It is necessary to provide shelter for the refugees. We have to imagine the needs of women and men and children. But what the world needs basically and urgently is that the rules of the economy, of politics and of the concept of the other be completely overthrown: The search for patterns of another order. Art should engage in this dimension.
Dezember ab 19h Ausstellung November — Landschaft und Landschaften. Sinnfreie Gebilde. Darstellungen ohne Nutzen. Ernst der Tiere. Stille mit Resten. Dieser Titel , der eine Zeile eines Gedichtes von William Blake zitiert, mag dem einen oder anderen esoterisch oder sentimental erscheinen: weit gefehlt! September von h. September um Die Ausstellung ist vom August zu besichtigen. July, Uhr SO JULY - Selfportrait-Shelter painted iron and aluminium yellow, black, rose ca.
Cristiano Tassinari weaves an organic relation among his political vision, life experiences and concept of artistic theory. Shifting from photo-paintings to some more conceptual pieces, simple writings or monochromatic ready-mades, I try to call the praxis of artistic creation into question. His work expanded to engage more fully with the genres of portraiture, sculptures and abstraction. But while appropriating and challenging these art-historical categories, Tassinari also maintained a curiosity and innocence about the creation of objects, undermines the classical notions of sculpture, re-inventing these well known genres with new energy.
The work reveals ambiguous relations and answers, shows the documentation of its self-generation, brings to attention simple daily wares like a reflecting surface, a neon light or sculptures. The apparently different paths bring to the same end, the intention of transferring private emotions to a public area, of spreading the awareness of the universal value of some topics, like death or human frailty. APRIL — Und Sie nehmen uns mit — wenn wir uns anvertrauen, dem Unbekannten.
Hannu Prinz o. Seine Botschaften werden durch derartige mediale Variationen gleichsam potenziert. Aus seinen Werken hat er Figuren und traditionelle Malmittel verbannt. Lediglich die Grenzen des Keilrahmens respektiert er und die Leinwand bleibt seine Grundlage. Photolumineszenz beschreibt das kalte Leuchten von bestimmten Materialien. Die Relaxation in den Grundzustand findet aber trotz Verbot sehr langsam statt, sodass Licht auch nach Abschaltung der Anregungslichtquelle abgegeben wird. Die Wissenschaft setzt sich wie die Kunst weiterhin kreativ mit der Fortentwicklung und neuen Einsatzgebieten lumineszierender Materialien auseinander.
Werkstattgalerie Eisenacher Str. Die Spiele haben gezeigt, dass Berlin seinen Ruf als weltoffene und tolerante Hauptstadt verdient hat. If found return to The first page of grandfather's prayer book , 38x21 cm, oil on canvas, The starting point of Lincevicius explorations was the emerging sense of nostalgia after emigrating from his native region Suvalkija and the realization that the human mind subjectively constructs an identity of fragmentary memories of photographs, odors, documents and events.
In his paintings he questions through a renewed picturesque appropriation and alienation of these objects his own identity to understand his presens better. We invite you to the opening on 21st October at 7 pm to go on your own exploration. Bei der Konzeption und Organisation des Projekts kooperieren u. Die Werkstattgalerie kooperiert mit der Galleria Spazio Testoni www. September 18 Uhr September h, September h Programm: www. Die Kunstbewegung hat sich ebenso dank der Moderne des zwanzigsten Jahrhunderts wie gegen sie artikuliert.
Der Schein einer Flamme in dunklen Hallen. Alles im Augenblick des aufleuchtenden Glanzes konzentriert. Sind Ausdruck ihres Bewusstseins, ohne dass sie ihr Bewusstsein aufzurufen brauchte. Mary Bauermeister ist mit Stockhausen in Japan bei einem Meister gewesen. Dabei kann der Sinn einer Unterscheidung bewusst werden, die in der westlichen Welt selten im Blick ist: Unbedingtheit ist nicht Bedingungslosigkeit.
Wir setzen uns aus. Unvergesslich seine Aufforderung im "perfect kiss from the Louvre". Programm: Am Samstag den 5. Geburtstag von John Cage. Um Oktober bis zum 5. Painted Poems. In the beginning, a remarkable encounter brought the artists together with this country between rock and ice, black lava and blue see, and with these halls, dedicated to these elements.
In the studios in Berlin and Hamburg, the gestures of these elements have determined particular experiences. Together with the diverse histories of the two artistic works they have evolved to express themselves, forming new forms in response. It is evident that the extraordinarily huge proportions of these halls to which the works become an answer, have an important influence on the imagination and the technique, until the experiences can generate the artistic gestures apt to express the encounter. This very long track, owing to a new force of its impulses and to far reaching sways of the pencil, reveals albeit its affinity with the elan that was special for the earlier works of Rudolf Lippe inspired by the uprising of flocks of birds in the air.
When the thirty meters of its length rise from the ground toward the ceiling at the angle between the two glass facades, may be you imagine the presence of radiation mounting from Iceland's encounter of the two continental masses into the atmosphere. The nine atmospheres in ultra marine, which have arisen under the hands of Ingeborg Holstein extended themselves, at the angle of two lava walls three meters high and over twenty meters of width. The powerful scantiness of the landscape, its rudeness, and also its clarity guide these paintings, that refuse the idea of any details.
The ample breath of Iceland's elements and in the experiences reflecting them demands an unconditional profession of the unequalled width of this sky. Harpa concert hall and conference center Austurbakka 2, Reykjavik, Island-1st Floor Exhibition from August 20th to September 04th Opening: August 19th at 5 pm in the presense of the artists.
Timothy Hennessy wurde in San Francisco im Jahre geboren. Die Arbeiten von Hennessy absorbieren die formalistischen Elemente seiner Zeitgenossen, aber letztlich entfernt er sich von ihnen durch seine aufwendigen Wiederholungen der orientalischer und mittelalterlichen Muster. Das Konzept einer Malerei, die skulptural im Raum steht und so die Beziehung zwischen sich selbst und den umgebenden Raum erforscht, ist eine der zentralen Fragen der Werke von Timothy Hennessy. Malerei, die nicht darstellt und nicht konstruiert, bewegt sich bei der Entstehung jedes einzelnen Bildes in diesen Fragen.
Das Ein-und das Ausatmen, das Sich-erheben, das sich niederlassen. Ein harmonischer Dialog von Erde und Wasser, wie er uns auf dieser Reise ebenfalls erhebend begleiten wird. Die Ausstellung ist auf der MS Europa vom Motifs within are urban panoramas, abstract compositions, also cars, portions of automobiles, motorbikes and sexy women - the most traditional accompaniment to any car depiction. Colourful abstractionism meets futuristic Manga-art, Europe meets Asia. All of the pictures were created for the Berlin exhibition and the large scale urban panoramas and abstract motifs are in the middle of that new show.
Koop remarks that new locations always inspire him, and during a trip to Berlin a year ago he was taken to the Werkstattgalerie by Harry Liivrand, the Estonian Cultural Attache and art historian. This experience imbued his experience of Berlin with new depth and he began new pictures combining History and Future.
The Lines weave through each other and become the art itself. The result? Sometimes a car, sometimes a cityscape or even a portrait. Koop gathers ideas while observing the rhythm and architecture of a location. He takes pleasure walking through the early morning city, and noticing perspectives sharpen. These strolls prompt him to consider composition, time and how light creates and changes forms. Koop deliberately seeks out the most important Lines for a picture.
Thanks to his passion for harmony and for geometric shapes, Koop spends a significant amount of time discovering how best to arrange these Lines. The aim is only to cover those areas which should be then filled with paint, white sections should remain empty. Just as in daily life, he cannot backtrack or correct once beginning. Every mistake leaves a story on the canvas. His works are constructed without a central perspective and develop through the juxtaposition of symbolic elements an idiosyncratic language of form, which are reminiscent of cave paintings or paintings of the pre-Renaissance.
For each element a only once used stamp is created and pushed onto the paper, so the timelessness of his imagery is also reflected in the very slow creative process of his works. We cordially invite you to the Vernissage on Monday May 18th at 19h The exhibition runs until May 27rd. Kodak Professional C-Print, 43 x 59,5cm num. Jonathan Meese Voodoo Tanz Zeichnung, 29 x 23,5cm, signiert und datiert Wir laden zur Vernissage am Dienstag, den April — Mai h, Sa 2.
Se rejouir des richesses inconues BO Center Unipol Bologna www. Eckhart Gillen, Sabine Brunckhorst und Prof. Eleonora Frattarolo begleitet. Die Erfahrung von Spannung und Wechselbeziehungen wird aus ihnen frei. Materie wird immer auf ihre Entstehungsgeschichten befragt und in die Dimensionen ihrer Verwandlungen verfolgt. Da scheint eine Arbeit die andere fortzusetzen, fortzuschreiben, in ein neues Licht zu setzen. Oktober um 19 Uhr. Ausstellung: September um 19 Uhr Positionen abstrakter Erkundungen.
Sich und einander fragen, die auf verwandten Wegen sind.
Um weiterzugehen. Oder schweigt. Sein Thema ist die Falte. Sofort meldet sich die Frage, was er verbirgt, was aus ihm zu erwarten ist, wie unsere Vorstellung in ihn einzudringen vermag. Unerwartete Balancen nehmen uns mit. Juni ab Konsumveranstaltung finden muss. Anhand von drei Positionen geht die Ausstellung der Frage nach: Wer bin ich eigentlich? Er nahm zum Beispiel an der Biennale in Sao Paulo , der Manifesta 1 , der Biennale in Venedig , , der vierten Biennale in Berlin teil und er gewann den Jurypreis auf dem Kurzfilmfestival in Oberhausen Im Jahre fing Jaan Toomik erneut mit dem Malen an.
Ich kann 24 Stunden hintereinander malen. Miren Doiz S. Serie No painting , cinta adhesiva sobre tablillas enteladas 65x75 aprox. Today Art Museum Building No. Jaan Elken Look right. Look left , Acrylic and collage on canvas, x In einem Bogen von bis heute werden Begegnungen, Motivationen, Interessen und Folgen dieses Austausches dokumentiert. Zur Ausstellung erscheint ein zweisprachiger Katalog in Deutsch und Portugiesisch. January His work is characterized by a diversity of form including sculptures, paintings, objects and costumes that were used in art performances. Hennessy's work absorbs the formalist elements of his modernist contemporaries, but ultimately breaks away from them through his elaborate repetitions of eastern and medieval patterns.
He paints almost exclusively on un-stretched canvases or pieces of fabric that he prepares and stitches together.
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He suspends the work freestanding in space showing both sides. Due to this duality these pieces, two works in one, act as a game for the mind that tends to equalize and obliterate repetitive forms. The concept of a painting that stands sculpturally in space exploring the relationship between itself and the surrounding space is one of the central issues of Hennessy's work and social circle.
Peggy Guggenheim said about Hennessy that he was the last major artist she had discovered. Through out his life he has traced back the origins of this admiration for the fundamental organisation rules of nature, which he found in his studies of primitive art and rituals, religion, psychoanalysis and architecture. The object vibrates. It is really a miracle. Erstarrung , Lightbox, 40x40cm, Ed.
In seiner aktuellen Ausstellung nimmt er den Besucher mit auf eine Reise durch ein winterliches Deutschland, welches nur auf dem ersten Blick idyllisch wirkt. Die Ausstellung behandelt das Thema Jagd und versucht, dieses Motiv vor dem Hintergrund vergangener Epochen der deutschen Geschichte und der Fotografie zu reflektieren. In weiteren Bildern gelingt es Reich ebenfalls, das Thema Jagd anzuschneiden ohne es explizit zu zeigen. Er scheint in einer Opferrolle zu sein, denn so steht er vor der Wand und wartet auf das Unvermeidliche.
Kodak Professional C-Print 43 x 59,5cm num. Mona Isa C-Print, 40x29cm, sig. Isa Genzken Works from private collections November Opening:Friday November at 7pm Opening Times: Fr Nov h So Sie pointieren, was sich in ihnen ereignet, frei von Darstellung, deren Zentralperspektive und Kompositionstraditionen. Eine solche aktuelle Kosmologie ist den Naturgesetzlichkeiten neu auf der Spur. Jahrhunderts suchen. In seiner Darstellungsweise unverkennbar, hat sich Tolts hier in die Lage eines Beamten versetzt, der, um seiner Langeweile zu entgehen, nach dem Stift greift und auf den Formularen seiner Institution gedankenverloren herum kritzelt.
Aber ich denke doch, dass der auf den Verstand bauende Tolts uns einfach ein wenig auf den Arm nehmen will, indem er uns technisch brilliante Pseudosimulationen a la Surrealismus vorsetzt. Von einer estnischen Besonderheit kann man hier nicht sprechen, denn der Strichcode hat keine Heimat mehr. Lapin bezeichnet seine Serie als archetypische Farblehre. In der schwedischen Kunstgeschichte beginnt die Popkunst mit Hallek.
Now a new abstraction with its very own direction has arrived on the scene. Since long a virtual world has dominatingly confronted conventional reality. The result is her own worlds of color, which are now developing in a new rigor. Their inner dynamism radiates an intense calm that draws the visitor into their discoveries. Accordingly, the viewer needs time to penetrate into the suggested constellations that emerge between the layers of painting, colors, or gestures.
Her paintings develop not in abrupt leaps, but instead evolve gradually one from the other, similar in this sense, to organic growth. In recent years, her colors have become more transparent and lucid. Colors superimpose themselves in soft layers that permeate each other with ambiguous possibilities of depth, thus creating dynamic spatial possibilities. Motifs appear as if through a zoom lens in greater detail, without changes in the size of the image.
Parallel with the oil paintings, the artist also makes watercolors, mostly in a small, intimate format. These genres both support each other and assert their own individual characters. Talking Water. Paintings from this meeting will be presented at Murry Edwards College along with most recent paintings and watercolors. Vernissage: Freitag, den Dieses Zwischen ist in ihrer Arbeit ein Spannungsfeld geworden. Bei ihr, sagt sie, sieht man in die Farben hinein.
Sie dienen nicht mehr der Darstellung des Bekannten. Gianni Moretti Der Adler plastic, xcm, Photo by davide lovatti. Ingeborg zu Schleswig-Holstein ohne Titel Oil and pigments on canvas, xcm, April um Darauf verfasst der Chevalier seit die Geschichte seines Lebens. Sie zeugen im Inneren der Erde vier Millionen Nachkommen. Die Illustratoren haben den eigenwilligen Roman in Collagen nach Stichen des Jahrhunderts bebildert.
Doch all dies sind die Collagen gerade nicht, weil sie ihre Zeitbindung nicht leugnen. Darin gleicht er dem verstorbenen Friedrich II. Die perspektivischen Horizonte der Collagen spiegeln sich in den streng linear verlaufenden Halteseilen wieder wobei die Pendellote in Ihrem Taumeln diese Symmetrie brechen. It is run by the Museum of Modern Art of St. Petersburg and Rizzordi Art Foundation. This year we organise the Baltic Biennale according to the Venetian model, when it is not a single project, but a scope of those.
They will be presented on different locations throughout the city. The main event composed of several projects will take place in the spacious rooms of the Rizzordi Art Foundation 49 A, Kurliandskaya Ulitsa , other individual projects will be shown in St. Petersburg galleries: ART re. October 19—23h Open: October 11—19h October 11—22h October 11—20h Fairprogramm: www.
Rudolf zur Lippe grands gestes Vernissage: September 18h Against the domination of grids, axes, mechanical structures in our environment and even in our thinking, Rudolf zur Lippe with his gestural painting offers the expirience of other orders, orders in movement and change. For more than a decade, the energies of flocks of birds soaring up have been given calligraphic expression on his sheets measuring three meters. Recently he has turned to grand gestures. The intangible order is in the movement of moments. They always speak of their genesis in a story that proceeds in its beholding.
Rudolf zur Lippe hopes that the effect of these gestures will inspire attention for related observations; that the desire to follow such orders and to respect them in our dealings with form of life may be strengthened; that the imagination may feel called upon to seek other orders in the relationships of society, the designs of future cities, the cooperation of forms of knowledge, and many other fields. Motohiko Odani Inferno video and sound installation at Mediations Biennale. The gestural paintings of the two artists disclose the awareness of ever new energies and strata of reality.
The movements of their exchange of poems renshi , one in response to the other, create a field of resonance, as their reading evolves. The artists react with the brush on canvas and paper, the one and the other according to their individual styles. The poets spontaneously join these gestures. In between fife persons, including the Italian video artist Maurizio Spaliardi, a very specific presence emerges in the rhythm of its own and unique time an space — leaving some visible traces.
September ab 19 Uhr Stefano Ronci was born in and is living in Rimini. He studied modern architecture at the University of Florence and art and drawing at the University of Bologna. The works of Stefano Ronci start as simple paintings on canvas, which are then, being dismounted from their frames and tainted into resin, are transformed into objects or sculptures thus losing their identity as a common work of painting.
Consequently the titles of these objects are found by random hits on the computer keyboard by the artist. Since the last ten years Stefano Ronci exhibited his works in Italy, France and Spain, and participated in collective exhibitions and art fairs. The paper is on the floor, and the painter kneels and has traces of the brushstrokes race across the paper in the rhythm of breathing. Often the sheets should be viewed in all directions.
This way, too, these gestural paintings elude usual patters of composition and beholding. The images create spaces of moving events. We experience something comparable when people come together successfully. The soaring up of flocks of birds is only one of the countless gestures in which moving orders of nature reveal themselves; their forms always come about in comparable ways as orders in time. The concert of mutual resonances and reaction cannot be planned. It cannot even be reconstructed retrospectively. Thus the gestures of man with his brush full of Chinese ink are always just as unrepeatable as the movements of birds, of water, or of volcanic rocks.
An answer to this experience that becomes visible. His works have entered public collections like Berlinische Galerie and private collections through out Europe and Pacific. Using various viscous household paints, the artist layers down the paint onto flat surfaces laid on the floor, normally ceramic tiles, aluminium sheets and canvases. The resultant ridged patterns, interconnected, networks of rounded forms and reticulations emerge as the paint dries over a period of weeks or months.
The patterns are reminiscent of scenes from nature — sand dunes in the desert, the sea-bed or meandering river tributaries. The proximity of ridges creates an optical vibrancy and energy that draws the viewer in — to explore the intricacies and secrets of the patterns creation. This leads to the essence of these images. Natural processes and human processes are forming in all these works a remarkable unity, which, to the direction of autopoiesis, has shifted to the direction of self-organizing of nature finally to those works that hardly need the artist himself.
To an extent they create their own form. On one level they are just patterns, on a deeper level they are metaphors for interconnected life forces and journeys. Kant once said in his, Critique of Judgment,''works of art are made in order that man feels himself at home in nature". In this sense, art imitates nature, not necessarily by its motives but by the structures of the rhythms in the pictures. When man finds in the things that are rhythmically organized, his own rhythms, he is also finding the rhythms of nature again.
This constituates the idea of reconciliation between us and the world. The world is set up as if it were made for us. This illusion is created by a work of art. He shows scientificly, that everything in the world is actually in motion, from atoms to pulsating galaxies, from our mental effort of thinking through our body movements, from the immaterial to the material, the organic and the inorganic.
And just as much, works of art belong in their rhythmical pulsating. And through the experience of a work of art, if it appeals to us, so to speak a common oscillation comes about between our inner vibrations and the vibrations that are caused by the images. But if there is a resonance, then we feel something similar to what Kant has said: that we are at home in this world. For this reason art is created. We cordially invite you to visit us at the artfair Art Vilnius Look left in two parts Acrylic and collage on canvas, x cm, Rudolf zur Lippe Installationview Peinture Gestuelle, mixed media, dim.
Die Bilder sind nicht mehr wie in der alten Tradition sozusagen Fenster zu einer anderen Welt. Es gibt keinen Illusionismus mehr. Sie erinnert an die neuen Medien der Massenkultur, weshalb sein Stil auch schon als "Graffiti-Abstraktion" bezeichnet worden ist. Elken hat seine einzigartige und intuitive Sprache der Malerei mit lokaler Alltagsmythologie und den Farben und Symbolen verbunden, die unmittelbar die Zeichen der kommunistischen Vergangenheit in das internationale gesellschaftliche Bewusstsein holen.
Dabei sind eigene Farbwelten entstanden, die jetzt gerade in eine neue Strenge gelangen. Zwar verklingen sie nicht, bleiben aber ungreifbar. In the police prefect of Paris issued an extraordinary permit to Pierre Jouve. Join Dr. James Beacham, particle physicist at CERN, as he explores how physicists extract complex patterns from the universe, including by using the biggest science experiment in history, the Large Hadron Collider, to recreate the conditions of the universe as they were just after the moment of the Big Bang, fourteen billion years ago.
And what does this mean for society? James Beacham is a particle physicist at the Large Hadron Collider at CERN, where he hunts for evidence of dark matter, gravitons, quantum black holes, and dark photons as a member of the ATLAS collaboration, one of the teams that discovered the Higgs boson in Beacham trained as a filmmaker before becoming a physicist and often collaborates with artists.
The art world is flooded with replicas. Some are honest reproductions. Others are fakes. The difference is based on the idea of authenticity, but today digital technology is redefining this fundamental notion. Luciano Floridi will discuss these new phenomena and the way they can be effectively interpreted and managed. His areas of expertise include digital ethics, the philosophy of information, and the philosophy of technology.
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His most recent book, The Logic of Information , has just been published. This documentary recounts their immeasurable will, devotion and their ability to endure fatigue and pain in order to continue the race at any cost and make their crucial contribution to the captain's final victory. If they fall off, they get back on and do everything to continue the race: raising the white flag is forbidden. The Wonderful Losers are not the only unsung heroes: the team of doctors, crammed into a small claustrophobic vehicle, rushes to give first aid, gets down on the asphalt to rescue those who have fallen or medicate the wounded who, without stopping, grab onto car windows.
The 21 days of the Giro d'Italia are the perfect scenario for the odyssey of the followers and their guardian angels. The MAST Foundation has invited Thomas Struth, the protagonist of the exhibition currently on view in the PhotoGallery, to share with the public the films that have marked his intellectual and artistic education and contributed to his visual research — works he considers relevant also for the younger generations.
The screenings are organized in collaboration with Cineteca di Bologna. Once they arrive in the capital, the reception is not what they expected: the eldest son Koichi, a doctor, and his sister Shige, a hairdresser, are too busy with their jobs to be bothered with their elderly parents, who they seem to regard as more of a nuisance than a joy.
Only Noriko, widow of the second son Shoji who died eight years before, shows sincere affection for the former in-laws, although there is no blood tie between them. Through interviews with Chisu Ryu, the main actor in Ozu's films, and Yuharu Atsuta, the very loyal director of photography, Wenders alternates daring shots and disoriented sequences of life in Tokyo today. Savouring words, he accompanies us slowly through the neon and blossoming cherry trees, transforming us into veritable traveling companions.
After the brusque landing, he is helped by a few mongrels, willing to do anything to escape the depressing condition they find themselves in. Directed by Pasolini and with his own commentary, there are also conversations with Alberto Moravia and Cesare Musatti, as well as contributions from Camilla Cederna, Oriana Fallaci and Giuseppe Ungaretti.
The numerous interviews conducted throughout every part of Italy with men, women and children are divided into four blocks. In the s in Borgo, an imaginary village in Romagna, the teenager Titta is growing up and subject to conditioning inside and outside his home. His father Aurelio is a small building contractor who perennially disagrees with his wife; Uncle Patacca drifts along in the background of the other relatives; Uncle Teo is committed to an insane asylum; the grandfather selfishly enjoys excellent health, and does not hesitate to take liberties with the maid.
In the town, some characters destined to become part of Titta's adolescent memories stand out: Gradisca, a buxom hairdresser; Volpina, a slightly mad girl who lacks inhibitions; a mammoth, almost monstrous tobacconist; a lawyer with an easy and grandiloquent line of rhetoric; Gudizio, the village madman; Biscein, the liar; the exhibitionist motorcyclist and a whole gallery of characters who, through their actions in the worlds of school or church, at fascist parties, folkloristic rituals or special events, reveal their specific characteristics.
It's time to grow up Frustrated by the lack of available treatment but far from resigned to the death sentence, Woodrof begins to study the illness. He finds comfort in alternative treatments that come from Mexico and are not approved by the Food and Drug Administration, going against the scientific community and specialized doctors, including his therapist. Although a stranger to the homosexual community, Ron allies himself with the young transsexual Rayon, who is also ill with AIDS but determined to survive. Ron finds meaning in his illness and ultimately his own life in the struggle for the right to dignity, information and care for all those in the same condition.
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The film is based on actual events. The film is divided into six sequences that are connected by the presence of two characters who meet several times throughout the day: the Hulot himself and Barbara, a visiting American girl. Two years later the girl moves from Osaka to Tokyo and meets Ryohei, a young man working for a sake company and looking exactly like Baku. But one day Baku, now a successful model, reappears and forces the girl to make a decision.
Who will she choose? The idealized, troubled love of her teenage years of the calmer, reassuring relationship she is currently into? The film was in the official selection of Cannes Film Festival In conversation with Alessandra Mauro , editorial director of Contrasto. The book, published by Contrasto, reflects the ideal dialogue between the photographer, who lived in Venice for years, and the Renaissance writer: both observe the flow of everyday life, the commercial traffic, the crowds of travelers, and the regattas.
Different eyes separated by a distance of centuries, and encountering each other in this volume, are focused on the same undisputed beauty: Venice. Gianni Berengo Gardin was born in Santa Margherita Ligure in and began taking photographs in After a long period in Venice, he settled in Milan, where he became a photographer.
In almost sixty years he has published over volumes, and what emerges above all is his interest in researching social issues. He has held about two hundred solo exhibitions, both in Italy and abroad, including major retrospectives in Arles , Milan , Lausanne , Paris and New York at the Leica Gallery In , the magazine Modern Photography added him to the list of the 32 greatest photographers in the world.
In addition to the numerous awards that he has won, in , he was given the prestigious Lucie Award in recognition of his career. In collaboration with Contrasto. The event is an opportunity to attend the classical guitar lesson Frank Bungarten will give to ten students, to observe the interaction between teacher and students and to witness the human exchange implied in the act of teaching and learning.
Frank Bungarten is a classical guitarist from Germany, he was born in Cologne in To date, he has performed in more than 40 countries throughout the world. He has won two Echo awards for his outstanding stylistic versatility on the Classical Guitar.. In he was awarded with the Opus Klassik prize as best instrumentalist of the year in Germany. Programme John Dowland, Fancy no. Foto: Thomas Struth. E poi tramandare Kate Tempest.
Confronti, riflessioni e illusioni scorrono sul crinale del dolore. Eppure, sprecati e soli ci ostiniamo nel tentativo di vivere il primo giorno della nostra nuova vita. Siamo costantemente disumanizzate, sovradimensionate, sfruttate e dimenticate. Al MAST. Antonio Cavedoni Disegnare lettere oggi. Dal giornale e dalla scatola dei cereali al mattino, allo schermo del cellulare e del computer durante la giornata, fino al libro prima di addormentarci, i caratteri ci accompagnano ogni giorno, tutto il giorno.
Antonio Cavedoni, progettista di caratteri, autore del San Francisco , font ufficiale Apple. Per il programma completo: griffoggl. The MAST Foundation presents a selection of large colour photographs taken by Thomas Struth since at industrial sites and scientific research centres throughout the world that represent cutting-edge technological experimentation and innovation.
One of the best known artists on the international scene, Struth takes us in realms and forbidden zones to which we do not normally have access, giving us a glimpse into the unexplored world behind technological innovation in 25 large-format works on display at the MAST PhotoGallery. Space research labs, plasma fusion experiments, operating theatres, and a drilling platform are photographed with painstaking precision and a remarkable visual sensibility.
The artist looks at sites where contemporary society is transformed and shows us scientific, highly technological experiments, developments, research, calibrations and interventions that will at some point, directly or not, impact our lives. In these images we can perceive the complexity, importance, and force of these processes, but we can also sense the power and the politics of knowledge, and the business they conceal. As a reference to craftsmanship and the human capacity for highly developed artisanal skills and artistic precision, at Level 0 of the MAST.
Featuring five classic guitar lessons by Frank Bungarten at the Lucerne Hochschule, the video shows the meticulously orchestrated interaction between teacher and students in music tuition and demonstrates just what it takes in terms of teaching and learning, giving and receiving. Mario De Caro. Michele Marangi. ORE
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