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On the one hand a concentric warp, on the other a radial weft, to illustrate the perfect mechanism of open-air art. It can grow infinitely because it is flexible and strong. I have chosen this cobweb as the representative image of the twentieth edition of OPEN. An inexhaustible network in which more than a thousand artists from all over the world have taken part.

A race against time, dealing with the bureaucratic and logistic difficulties involved in an openair art exhibition. On this occasion, it is not easy to remember all the important people who helped me create OPEN, but the first was certainly my dear friend Pierre Restany. Those visits were marked by long talks about Nouveau Realisme. When I returned to Venice, I suggested that he chair the scientific committee and his enthusiasm was a distinguishing feature of the line followed by the curators until , the year of his death.

And thanks above all to Carlotta, Francesca and Sofia. This year is distinguished by the return of great artist friends like Un anno che si contraddistingue per il ritorno di grandi artisti amici come Yoko Ono che presenta un progetto curato da Jon Hendricks che ha visto una lunga elaborazione e che viene presentato in anteprima ad OPEN, una visione simbolica e metaforica del viaggio dei migranti, tra immaginazione e poesia per non dimenticare. OPEN was born at Lido and, until a few years ago, the Campari advertising sign towered overhead echoing a social aspect that might be anachronistic to a certain extent, but was nevertheless emblematic and recognisable for the people of Lido.

I therefore had the idea of asking our friend Marco Nereo Rotelli to design a new welcome symbol for Lido, a standard, a poetic invitation to enjoy this little island enlivened by the magnificence of the Film Festival and by the art of OPEN. Today, when everything seems possible, it is necessary to pursue the impossible. The challenge of an idea that originated twenty years ago to meet art almost by chance in the squares, the streets or along the sea promenade at Venice Lido.

A continuous commitment to a climax, without protections or boundaries, where the work of art bursts onto the scene of real life, no longer restricted to conventional spaces but released year after year in public places, where the onlooker enjoys the experience of art in both physical and intellectual terms.

This experience becomes an experiment to escape the inadequacy of language and to make changes in which, on the one hand, the work does not tell a story but offers itself as a thing that exists among things, on the other it escapes from space, it does not sit there motionless in the opaque realm of the non-perceived, but it exudes life.

OPEN, a brilliant intuition, an experience that I have shared with Paolo for fifteen years, during which we have worked together in depth in every collaboration and meeting, enjoying the lightness of friendship and stories like something from a tale by Calvino. OPEN like an infinite possible field of artistic experience. An art that is ethereal as it unfolds because, even where it is tailored to an open or closed space, it vibrates with subtle pulsations.

Currents of energy in the air tell us not so much what is there, but rather what cannot be seen or touched, but that fits our bodies like a glove. In this sudden amazement of a work enjoyed outdoors, the wayfarer in art lingers over doubt, ambiguity and contradiction.

And so the OPEN adventure began. A simple idea, to create an open-air exhibition of sculptures and installations during the Film Festival. An event which, from its first edition, has been distinguished by a successful combination of international artists, representing their country, and the moulded forms of sculptures and site-specific interventions in the green areas of Venice Lido. An exhibition that aimed to reconcile the fervent milieu that was created in Venice during the Film Festival with language, sculptures and forms that infected the surrounding environment. Not just an overlapping of different expressive If, as Pierre Restany pointed out, the first edition in was strongly influenced by public art, that is by sculpture devoid of possible influences of twentieth-century styles of painting and therefore highly suited to be inserted in modern social space, the later editions, and especially that of , witnessed the exponential growth of new participants from Asia and overseas.

The bridge between East and West was created by Taiwan, with which Paolo had already launched an important collaboration, bringing that country to the Venice Biennale for the first time. The high level of quality of the selection criteria in the early days was maintained in the subsequent editions. Those first four editions promoted international movements aimed at a revaluation of contemporary art, with a wider objective of worldwide presence in the Venetian territory. On many occasions, the art of OPEN has been animated by themes that marked its evolution in style.

The edition featured the Globalisation of Art, characterised by the nascent awareness of a more and more pluralistic and multi-ethnic society, where the traditional boundaries that used to separate the individual from the environment were tending to collapse, as they still do today. Arman, Theodoros, Ju Ming and Carl Andre were the standardbearers of this edition that aimed to redefine the open-air spaces in a dynamic system of interactivity and relatability involving several cultural paths and personal experiences. The direct continuation of this reflection was female creativity as the centre of the problem of information and artistic communication.

Non, dunque, una semplice sovrapposizione di diversi processi espressivi, ma un autentico dialogo tra due sfere del mondo artistico figurativo, dal quale entrambe possano risultare arricchite e comunque poste in discussione. Il ha visto invece celebrare il sodalizio tra Arte e Cinema. That edition was also ahead of its time, considering the great turnout of women artists at international Biennale exhibitions.

They are two genres that intertwine and complete each other, two artistic forms that live on image and feed on the desire to translate emotions. Artist-directors took part, like Julian Schnabel, who told their stories creating film images that became pictures; sculptors and painters who strove to go beyond inert material to bring emotion close to the moving image. Tempted to step outside the boundaries of their profession, even famous faces from the movies exercised their talents in the related art forms, among them Dennis Hopper and Gina Lollobrigida, whose presence at the inauguration was a great event for the media.

The commitment and the considerable exchange network that Paolo has established and developed with the Orient during his career, together with the debuts of new countries at the Venice Biennale, are indicative of the theme chosen in , OPENASIA, dedicated entirely to Asia.

An edition devoted to contemporary Oriental art and to its most innovative trends, which represented an extraordinary opportunity to get to know emerging talents and to propose those that were already successful, and to discover, nevertheless, the unpublished interpretations and captivating formal results of many western artists who, in their training, had felt the strong attraction of the ancient Oriental figurative tradition.

The exhibition not only proposed a journey into a specific cultural reality, but it focused on transverse interpretations of a theme of global interest. One of the curators was Philippe Daverio with a project entitled The Etruscans in the Orient, while Chang Tsong-zung, who had given a precious contribution ever since the first edition, was confirmed as leading curator. It is from the point of view of its curators that OPEN has expressed its international vocation.

Chang Tsong-zung che sin dalla prima edizione ha dato il suo prezioso contributo. Seward Johnson, passando per Rabarama fino alle monumentali sculture di Sebastian. In a present at the centre of political tension that monopolised even the cultural sphere, burning topicality was a constant presence as in the art of B. While up until the aim had been to identify a plural nucleus, able to determine the creative careers of internationally known artists, for the ninth edition it was decided to include a series of artists from the Fine Arts Academy.

These artists, represented only marginally or not at all in other international reviews, found an opportunity for vibrant confrontation at OPEN. New energy to be combined in a joint exhibition path that focussed on the experience of the international Academies and on their achievements. The central nucleus always remained the plastic arts, though interpreted not only in the conventional form, but also in border areas where creativeness competes with communication, with its mechanisms and its aims.

We cannot forget the Matatoa group which, with. E sono proprio le performance e gli happening ad aver animato i vernissage di OPEN nel corso degli anni. Giunta alla sua dodicesima tappa, OPEN offre ancora una volta un nuovo percorso in divenire. After ten years of intense and exciting work, the need was felt for new stimuli, new horizons in which to wander. At its twelfth edition, OPEN again offered a new route to follow. Winding their way through the countless surprises offered by installations with a strong seductive power, like that of the Swiss artists Daniel Glaser and Magdalena Kunz, the great canvases by the Georgian artist Eteri Chkadua and the countless blue sheep of Bertamaria Reetz and Rainer Bonk, the visitors found satisfaction in the next contextual setting, where a huge sculpture workshop awaited them.

The American artist, one of the leading exponents of contemporary conceptual art of the second half of the twentieth century, devoted especially to the creation of great installations in public spaces, presented. Fulgida nei colori, sconvolgente nella ricerca del dettaglio, ferma e imperturbabile allo scorrere del tempo. Relazione spaziale in bilico tra sfondo e vicinanza, forma chiusa e forma aperta e poi esperienza e ancora pregnanza per rivelare la funzione. Heavy Dog Kiss. Completely radical, opposed to the banal and the foreseeable, is the approach of the French artist ORLAN, who presented Drive-in: ORLAN REMIX, a video installation with an inflatable limousine where the hybrid concept is the absolute protagonist, able to become tangibly the signified and the signifier, a means of expression of the work of art of which it outlines the form and the content.

The set-up of the fourteenth edition of OPEN was eclectic and heterogeneous, made of contrasts where the exhibition was opened, as a tribute to the rebirth of life, by the imposing and disturbing painted bronze orchid The Chromatic Archaeology of Desire by Marc Quinn. Brightly coloured, with a devastating search for detail, motionless and unperturbed by the passing of time. The pairing of beauty-time, life-death, is a strong leitmotiv in the works of the English artist, an exponent of Young British Art and one of the leading artists at world level. Argan about Signorelli, an interplay of levers and springs to overcome the inertia of the figure.

The curators chose not a theme but a language: to provide the artist with a code, or rather with the signifier, a flag, a standard, a piece of fabric measuring 3x1m. A visual grammatical element based on rules of syntax linked to the urban context, to spatial configuration, the openair spaces and the air of Venice Lido. The spatial relationship swings between background and foreground, closed form and open form, then experience and meaningfulness, to reveal the function of visual language, whether it be expressive, exhortative, aesthetic or informative.

Thousands of banners, standards, scrolls, art and literature from all over the world captured in signs and entrusted to the wind ten years later addressed and inspired the layout of OPEN. The flags at OPEN were developed following the rules of classical image composition, based on equilibrium, weight, perspective, rhythm, movement, direction and finally symmetry; particularly striking was the series by Yoko Ono, taking part in OPEN for the third time, curated by Jon Hendricks and. Migliaia di stendardi, drappi, rotoli, arti e letterature da tutto il mondo catturate in segni e affidate al vento dieci anni dopo indirizzano e ispirano il percorso di OPEN.

Maria Elisabetta. Conversazioni con Serena Vitale, Roma Fino ad arrivare alle ultime edizioni quando OPEN reinventa i suoi spazi. OPEN celebrated its seventeenth edition, well aware of the impossibility of overcoming the specificity of language, again putting sculpture on display and proposing installation, both as purely free gestures.

Conversazioni con Serena Vitale, Rome The installations and sculptures at OPEN interrupt the ordinary urban context, they cause a short-circuit in the observer, that effect of alienation that forces us to keep on looking, to notice the details, to wonder about the secret substance that enables us to shake off the habit of the reality that surrounds us and leads us into an absolutely new universe, the one that lives inside us through the art created outside.

At its latest editions, OPEN reinvented its spaces.

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Along with the public spaces on Lido, workshops accessible for physical and aesthetic enjoyment, a new exhibition venue was inaugurated at Molino Stucky, the most important example of industrial archaeology preserved in Venice. A mill, a space with a memory, is voluminous, swollen with temporality, vast exposed brick surfaces, pinnacles and towers inspired by mediaeval cathedrals and town halls, a true example of architectural eclecticism. The artistic interventions are grafted onto this eclecticism, linked one to the other, from the work by Michelangelo Pistoletto, who opened the display with his Third Paradise, to Nam June Paik, the father of video art, with the historic work Hello Elephant.

OPEN is a great public park, a weave of nature and culture, internal and external, biological and technological, painting and multimedia, a synthesis of characters and of contemporary trends. In this way the territory becomes a privileged observatory, as is demonstrated by the organisation of this important event, projected in a national and international dimension.

It is with this pleasure of discovery, among sculptures that seek tones and changing forms and installations that dialogue with the environment, that visitors to OPEN over the years have explored an exhibition path in a western visionary dimension where historic notions are mixed with a taste for the bizarre, but which is nevertheless able to amuse the intelligence, with small and large surprises. And so now we are celebrating its first twenty years. Twenty years of sculptures, installations, happenings and performances bearing witness to how art can break into the outside environment to attract onlookers, capturing their eyes and cheering their souls.

A stage, a point of arrival and of a new departure, more aware and more rigorous. Unlike every other yearly event, from which one could always expect something new, OPEN proposes its linearity and its integration, characteristics that have matured thanks to the simplicity of the underlying idea and to the open-air exhibition space: territories to explore, points of exchange and confrontation, choreographic spaces often left open to transformation. Now, twenty years later, we find ourselves in a world that is becoming more and more closed; they are building walls instead of bridges; we are breaking up and defending a homeland that is becoming smaller and more stifling all the time; there is rejection instead of welcome; there is the globalisation of markets but the restriction of rights.

Culture is the most formidable weapon to enable meeting, dialogue and reciprocal contamination to prevail. Ever since its inception, OPEN has hosted countries that had never appeared on the Italian cultural scene before. Venice is the home of prestigious cultural institutions recognised at world level. For this to happen, they must talk more, collaborate better with one another. Biennale, University, Academy of Fine Arts, Conservatoire, Cini Foundation, Guggenheim Foundation, Pinault Foundation, Museums Foundation, the Superintendencies, the Fenice, the Teatro Stabile, but also the various associations, laboratories and craft workshops are formidable forges not only for exhibitions but also for cultural production.

OPEN, which is held at the same time as the Film Festival and dialogues with it, sends a signal in this direction. The artists who take part in OPEN step outside protected locations and, instead of showing their works in museums, galleries or specifically dedicated areas, they accept the challenge to place sculptures and installations in the open air, where every citizen. OPEN ha ospitato, sin dagli esordi, Paesi che mai si erano affacciati sulla scena culturale italiana.

OPEN, che si svolge in contemporanea con la Mostra del Cinema e con essa interloquisce, da un segnale anche su questo. Grazie, quindi, a Paolo De Grandis e a Carlotta Scarpa e auguri di buon lavoro per tutte le prossime edizioni. When people leave the house, when they take a walk, when they go out for work or for family reasons, they find themselves face to face with works of art. They were not expecting this and it will always produce an emotion, or at least a reaction.

After twenty years, OPEN still has not exhausted its mission: today more than ever, there is the need to reinforce its underlying elements of inclusion, dialogue, involvement and exploration. So thank you to Paolo De Grandis and to Carlotta Scarpa and every good wish for all the coming editions. Deve essere anche e soprattutto un rilancio culturale. Quality, passion, enhancement and regeneration of the territory, experimentation and culture are the key words of OPEN, which has succeeded in overcoming the considerable bureaucratic difficulties and the growing problems imposed by the economic situation.

The return to Lido, for this twentieth-anniversary edition, is a privilege that enables us to admire an impressive international event in the field of contemporary artistic production. The return to Venice Lido cannot and must not be viewed exclusively as an economic move. It must also and above all be a cultural boost. Over the decades, Lido has always been distinguished for its highly important cultural production, starting from the International Film Festival.

OPEN comes fully in the wake of this consolidated cultural tradition, making its own important contribution to the rebirth of our territory. It will be an honour to host OPEN again in our territory and I hope that this synergy and harmony may be long-lasting, preserving that strong tension towards the future without forgetting the glorious past, with the spirit that indissolubly bonds the community of the island of Lido and the City of Venice to their artistic soul. Eccoci davanti a una di quelle presunte certezze destinate a venir subitaneamente smentite.

Pochi anni dopo per Bonifacio B. Here we are in front of one of those presumed certainties that are destined to be disproven immediately. An industrially, architecturally and socially important structure like the Molino Stucky, the mill built at the entry to the Giudecca Canal at the end of the nineteenth century, with highly modern criteria for its time, has not left particular traces in the world of film.

And this despite its nearness to the Scalera Film studios at the time of the Italian Social Republic. Another ten years or so would pass before we would finally see, not only the Neo-Gothic exterior, but also the dangerously crumbling interior of the immense, destroyed flour factory. A rapid motorboat ride takes us back to the Thirties, where Indiana Jones at the top of his form makes a lucky escape Steven Spielberg, Indiana Jones and the Last Crusade, Not many people know that the last resting place of the now extinct Stucky family is to the right of the monumental entrance to the cemetery of San Michele, facing the Fondamenta Nuove.

They lie in a chapel with a crypt where, in the horror film Nero Veneziano Ugo Liberatore, , there appeared none other than the father of the Antichrist Con orgoglio eccomi ancora una volta accanto a Paolo De Grandis, amico fraterno maggiore, da cui molto ho imparato, anche attraverso i suoi racconti. Curatrice Curator Writing, one of the many ways of living and loving Art… Chance meetings that are transformed into great friendships thanks to the common denominator of the love of Art as an essential Vitamin. Because Art is, above all, the love of life, sharing, teaching and constant mutual growth.

We meet each season, more united and enthusiastic, alongside the artists who, thanks also to all of us, are writing pages in the history of world culture. I am proud to be here again with Paolo De Grandis, a friend who is like a big brother and from whose stories I have learned a lot. Like the story of the chance encounter on one of those circles of life in which you can walk at the same speed, side-by-side or even far apart, and write together a much-awaited page of art with a strong soul.

I felt the desire to commemorate this important birthday of OPEN in the world and its creator, Paolo De Grandis, with a tribute also to his eternal friend Pierre Restany. I am aware that I learned to love Art especially from the words of the great critics, such as Restany, and from the works of great artists such as Salvatore Fiume and his friend Kengiro Azuma. Directly from the emotions, looks and words alongside Gillo Dorfles, Arturo Schwartz, Vittorio Sgarbi, Luciano Caprile, Daniele Crippa and Paolo De Grandis… The privilege of talking every day with the artists of our time and translating their emotions and Art into words.

Living, loving, writing, stimulating new ideas, strong convictions like theme of Design as a form of Art, which is so dear to me. Little drops that can fill voids that had been overlooked until now, that require new impetus that few are able to provide, but that must be fully acclaimed as artists able to stimulate greater meanings even in everyday situations. A new page to write together, ready for new editions and new challenges, involving life, emotion, love, in one word ART. Whenever I walk through this city, I cannot help but not that Venice has always had a special, indissoluble bond with art: you can breathe it in the calli, inside and outside the churches or in the magnificence of St.

This magic hangs in the air and strikes you with all its wonder when the daylight gives way to night, everything seems to remain fixed in time, while the water flows gently in the canals. Just like Venice, our Hotel has always had a very strong bond with art. The former mill, Molino Stucky, is one of the finest examples of nineteenth-century industrial architecture, a gem brought back to light after years of restoration following its closure in From the walls to the detail of the rooms and the splendid Neo-Gothic tower, every day we breathe the art of this modern Venetian masterpiece that dominates the waters of the Giudecca Canal.

Paolo De Grandis and Carlotta Scarpa had the idea of using the extensive spaces of the Mill to host the installations of internationally acclaimed artists. This year too we shall propose a bridge between past, present and future; a bridge between the charm of things past and the mystery of today: just as every visitor walking through the calli of Venice can breathe today.

Located on Venice Lido beach, the Hotel Excelsior is a masterpiece of Venetian architecture dating back to the early The night of July 21st over three thousand invited guests, personalities who had travelled especially for the occasion from all over the world, and over Over the years innumerable distinguished guests have stayed at the Excelsior, and no star in the star system would dream of opting to stay anywhere else during the Venice Film Festival.

Experiencing the Hotel Excelsior means living its glamorous atmosphere and its unique style. The opening ceremony of the Film Festival took place in on the hotel terrace, and since then the bond with the Film Festival is an indissoluble combination, and every year in September the spotlight around the world is focused on our Hotel.

Hotel Excelsior is an iconic hotel, always loved by the international jet set, and continues to be symbol of elegance and charm. Una finestra sul mondo aperta con coraggio e passione da una piccola isola della laguna. I numeri di OPEN in questo ventennio parlano da soli: Paesi rappresentati, oltre artisti invitati, curatori di fama internazionale.

Senza di lui, e loro, nulla di questo sarebbe stato possibile. Una sfida intrapresa nel segno della grande passione e di una solida determinazione. Un rapporto non sempre facile, non privo di ostacoli e problematiche, ma sempre presente, comunque. Capace di far discutere, dibattere, a volte anche dividere, ma comunque di gettare un seme da far crescere e fruttare. Verso un radioso futuro che brilla non solo di luce passata, ma anche di nuovo fulgore.

A window onto the world, opened with courage and passion from a small island in the lagoon. It is a real pleasure for me, having followed all the editions from when I too was only in the early days of my career as a journalist to the present day, to appear in these pages to celebrate this important twentyyear milestone. For all this we must first pay our compliments to its untiring creator, Paolo De Grandis, chairman of PDG Arte Communications, and to his staff of curators, collaborators and promoters.

Without him, and them, none of this would have been possible. A challenge undertaken with great passion and firm determination. Yet there is something that goes beyond data and that the numbers alone would not be able to explain: I mean the deep bond with Venice Lido, the island that not only hosts the event but which, with its tree-lined avenues and symbolic sites, has become an integral part of it. The relationship has not always been an easy one, without its obstacles and problems, but it has always been present. Able to provide food for discussion, sometimes to divide opinions, but still to cast a seed that will grow and bear fruit.

Over the years, this important artistic event has also been featured in other parts of the city in particular, the island of San Servolo and the Hilton Hotel on Giudecca , without ever completely excluding Lido, where the exhibition was born and grew with great satisfaction. If we wish, this is the precious message that OPEN sends to us, with its actions and works: the desire of an island to grow not only thanks to the prestige of its past, but also to the challenges of the future, to innovation and genial intuitions.

Towards a radiant future, resplendent not only with the light of the past but also with a new brightness. Twenty years are an important milestone, but not a point of arrival. Thanks to those who believed in it twenty years ago. Wishing the review every success and many more years to come.

The prize will be awarded to a director taking part in the 74th Venice International Film Festival whose work reveals, in an unprecedented way, afruitful interest in the fascinating theme of the mutual interaction between art and cinema, two art forms wchich live on image and are nourished by the desire to express emotions.

There is a horn sound, tapping of the water against the boats, and the sound of people shouting in the distance. The beautiful sound was made by all the winds in the universe. However, not a shadow of a boat can be seen with the naked eye or through the telescopes. La reiterazione del modulo-sigillo abdica alla narrazione per concentrarsi su un portato emotivo e si appropria di una valenza estetica e semantica indipendente fino a sperimentazioni linguistiche che tracciano la doppia trattazione di storia e politica come in Resistance, opera realizzata per OPEN Misterioso, affascinante, inafferrabile.

Phil Akashi is Belgian artist who, in his expressive research, combines European academic training with a love of Oriental art and philosophy. His travels to Asia are characterised by expressive stages that coincide in a research based on experimentations, balanced between art and technical practice, which finds its main expression in the creation of seals produced on different supports.

Right from the start, it is clear that the artist tends to reduce the subjects of his works to motifs repeated in an unceasing process in which the seal becomes the sign of a space built not on the laws of perspective, but on the suggestion that the onlooker draws from them. A game of solids and voids, a visual seesaw of sudden concealments and revelations. Like a book, it opens to reveal truths that declare the strength of a possible and fruitful meeting between similar and different cultures.

The repetition of the seal module abandons narration to concentrate on an emotional content and appropriates an independent aesthetic and semantic value, leading up to the experiments in language that trace the double treatment of history and politics, as in Resistance, a work created for OPEN If a governor acts in an incorrect way he can be overturned. A principle to safeguard the virtues of morality and integrity of a regent, of the leader of a people, and, by extension, a symbol of the fight against corruption.

Mysterious, fascinating, elusive. Resistance rame, vinile marmoreo copper, marble vinyl 1 x x cm Photo credit: Phil Akashi Studio. Quindi, non soltanto poster con il nome di ORLAN, ma anche i nomi dei suoi amici del momento e il nome di qualche grossa stella del cinema, per far credere alla gente che il film esista. ORLAN takes this sentence literally to find the reverse of the cinema and starts to create cinema posters, telling of her life in art in the form of painted cinema posters. First in acrylic paint on canvas, Bollywood style, then posters in light boxes, but also paper posters like in Valencia, with an enormous posting campaign in the town and on banners at the Venice Film Festival.

So not only posters where the name of ORLAN appears, but also the names of her friends of the moment and one or two names of big stars from the world of the cinema, to make people believe that the film exists. ORLAN has thus created the trailer of the film that does not exist. She also realized the sound track of one of the films that do not exist and the DVD, the book of presentation as well as the press releases and great performances like at the Cartier Foundation, where several directors, actors and film critics were invited to take about the films represented on the posters.

The concept is to make fiction about fiction, creating at the end a film that exists, and that will have existed for decades just because of all the communication that is habitually made when the film is finished and is to be presented to the public. Essicati i colori ad olio, gli elementi sovrapposti, applicati sulla tela e fissati dalla cornice, producono un lieve effetto tridimensionale.

Sponheuer si muove sulla scorta di queste esperienze. La sua sensibile scelta emerge dai suoi ritratti. When the oil paints have dried, the overlapping elements, applied on the canvas and fixed by the frame, create a slight three-dimensional effect. The diptych originated with the meeting between the German Chancellor and the President of the USA, Donald Trump, and the critical looks of the Chancellor — during a press conference - led the painter to immortalize the scene with his brush and paints.

Sponheuer takes his cue from these experiences. His chosen sensitivity emerges from his portraits. Donald Trump olio su tela, vetro acrilico oil on canvas, acrylic glass 80 x 80 cm Angela Merkel olio su tela, vetro acrilico oil on canvas, acrylic glass 80 x 80 cm. Inga Svala Thorsdottir and Wu Shanzhuan Inga Svala Thorsdottir e Wu Shanzhuan, artisti e persone eclettiche di grande cultura, da decenni si preoccupano di tracciare i perimetri del sistema matematico per ponderarne la forma.

Gli artisti hanno continuato a esplorare una condizione aprioristica della connessione attraverso nuove permutazioni ed evoluzioni di The Perfect Bracket create aggiungendo elementi calcolati matematicamente. Inga Svala Thorsdottir and Wu Shanzhuan, artists and polymaths, have for decades pursued an interest in tracing the perimeters of the mathematical system to ponder its form.

As a metaphor for knowledge, brackets are frames of reference and the bracketed contents represent the entire field of significance. Thorsdottir and Wu realized that the wider apart the brackets, the broader the field of concern, but the lesser the depth of focus. Conversely the narrower the scope, the more profound the insight. The artists then posited if, by gradually bringing the brackets closer together, so that they cross and pass through each other, does this equal a complete transcendence of thought and comprehension, rushing exponentially towards perfection, like the all-knowing God?

The artists have continued to explore an a priori condition of connectedness through new permutations and evolutions of The Perfect Bracket created by adding mathematically calculated features.

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Chang Tsong-zung. Sono i segni degenerati di popoli negletti che escono dagli squarci di un borgo medioevale come da una qualunque strada di una metropoli. Opere veloci, pensate e create in un tempo breve. Le figure titaniche di Giancarlo Bozzani sono paure e solitudini, sorrisi dimenticati e passioni abbandonate, occhi che guardano lontano, dietro la memoria, vicino alla pazzia. The elegant, well-mannered figure of the artist Giancarlo Bozzani clashes with his production as a painter, filled with broken, dark forms.

If Francis Bacon, Jackson Pollock and Jean-Michel Basquiat used drama, despair, harsh and violent lines as elements that trace stories and legends, in Bozzani, who was strongly inspired by those masters, the history, mythology and literature present in his cycles tell of scandals in monasteries, the Inquisition, the sale of indulgences, forced vocations and corrupt cultures. They are the degenerate signs of neglected people that emerge from glimpses of a medieval village just as from any street in a metropolis.

It is curious how Bozzani, like Bacon, comes from design and arrives, through abstraction, referring strongly to Action Painting, at the dismemberment of the figure to offer a new image taken to extremes, almost declaring its spiritual collapse, its moral inadequacy. The artist paints to exorcise the transformation, to keep death away, telling its story. Rapid works, conceived and created in a short time. For them there is no time, painting is the esprit that halts the creative moment. What remains is the memory and the modernity of the gesture with a poignant humanity, there remains the reality of action.

Nulla si crea nulla si distrugge pittura a olio, acrilico, grafica oil painting, acrilic, graphic x 80 cm. Colui che ha saputo creare da incoerenze e sperimentazione nuova Arte, colui che vive di colore ci aiuta a leggere drammaticamente la concezione attuale deformata del tempo. Una staffetta con noi stessi, ove la pista va corsa in entrambi i sensi; ove non esistono squadre e maglie multicolori; ove si corre contro gli altri e contro il nostro inconscio. Serena Mormino. The man who has managed to create new Art from incoherence and experimentation, who lives on colour, helping us dramatically to read the present deformed conception of time.

It is no longer the hands of the clock that mark the seconds, but the speed of our own body with our laboured breathing as we chase after a time that is no use to us, because it is already suffocated by other relentless chases. A relay race with ourselves, where the running track goes in both directions; where there are no teams or multi-coloured vests; where we race against the others and against our own subconscious. And everything around us loses its flavour, just as nature loses the vitamin of life without the brightness, the change of light during the day and the different seasons.

Everything is the same, even the people around us, without any distinction of race, status, ideology In the end we run, we collide and we fall to the ground exhausted In his constant game of inconsistencies, Bressani offers his world another chance, so as not to forget that the essence of life comes from the desire to regenerate and to achieve something higher… but does it really exist, or should we read it all over again?

Nando Crippa non poteva che plasmare terracotta, materiale semplice in assoluta sintonia con i suoi personaggi. Personaggi senza tempo, quasi fuori moda, sospesi nei decenni a cavallo tra il Novecento e questo nuovo millennio. Nando Crippa could not but work in terracotta, a simple material in absolute harmony with his characters. Crippa has the great ability to fix long moments of eternity, in the silence that his works call to mind. Timeless characters, almost out of fashion, suspended in the decades between the twentieth century and this new millennium.

Men from the suburban belt, classic accountants with black over-sleeves to avoid spoiling their starched shirts, almost sexless characters, ageless, with the typical face of someone for whom time has stopped in the moment when their thought began, asking themselves about the reason for life. Tenda 1 terracotta dipinta painted terracotta 39 x 47 x 47 cm Courtesy: collezione privata private collection. Un secolo di testi critici, di volumi che portano la sua firma, ma anche un secolo di produzione artistica di suo pugno. Pochi mesi dopo Gillo inizia a dipingere la sua scultura, il suo monumento….

Dialoguing with the person who has been experiencing the change of the world for over years, with THE critic, THE art historian, THE founder of artistic movements including the MAC, is like entering the history of art of the last century as protagonists. Independent and proud, sometime almost frightened and curious like a child, he welcomes me with a big smile and infinite humanity, in a location containing decades of culture, like a book on history of Art written with intensity, great wisdom and enthusiasm by the Professor himself.

The windows never let in too much light, because the real light is in the works and of course in our host. Yes, because these works are alive in his collection, just as in museums all over the world, thanks to him and his writing. A century of critical texts, of books bearing his name, but also a century of his own artistic production. Gillo Dorfles witnessed the evolution of the classical rules of art, narrating them with words and with the language of painting.

During one of the visits, in a whirlwind of emotions, talking about Art, we linger on the subject of sculpture From some pages of newspaper, because there are always words, with great emotion and a low tone of voice, as though revealing a secret, he unwraps three little terracotta sculptures, shapeless and soft like his paintings, as though everything began there, even his most recent production.

We immediately share the idea of a new challenge, enlarging these shapes into large sculptures. A few months later, Gillo started painting his sculpture, his monument…. Claudio Strinati. Qui scrive un uomo dalla bizzarra caratteristica di vedere con le orecchie, piuttosto attente. Poche immagini mi restano passate attraverso la vista, molto pigra.

A rappresentare la nostra epoca e la nostra avventura quelle create da Marco Fioramanti sono filtrate, arrivate, e restano, con forza. Marco Fioramanti is an artist who interprets the contemporaneity with his radical vision. He searches to semplify the absolut. At the same time Fioramanti acts an upsitedown of the objects in order to regenerate and transform them. He brings them alive as vital works in our existence. He is similar to these fictional characters, he is the stubborn and wonderful creator of magical and adventurous actions.

It is a sort of secular sacralisation actual and aeternal together. His sharp perception of our contemporary times belongs to many different ages. Everything can happen in this wonderful land because here nothing is truly real. Here is Tito Schipa Junior writing. A man who can see with his sharp ears. A man with lazy eyes. Only few images remain in his vision. The pictures which represent our age and our adventure.

These are the images made by Marco Fioramanti, filtered images which stay powerful in the mind to live in our Memory. Tito Schipa Junior. Sperimenta contaminando tecniche, dimensioni, spazi, varcandone i confini. Painting, sculpture, Laura Fiume was born in Art and has always lived on the chromatic and olfactory intensity of colour; she loves the succession of life, she learns its equilibriums and weaknesses through Art. She experiments by mixing techniques, dimensions and spaces, breaking down their borders. She assimilates everything that surrounds her with a simplicity and skill that only someone who has first-hand knowledge of excellence and all that it represents can express in perfect equilibrium, suggesting new viewpoints to the observer.

She enters architectural spaces, the glossy covers of furnishing magazines, giving them the soul that often cannot be generated with words alone. She captures moments of daily life not only of real people, but also of the design icons that characterise our time, that become true protagonists, reminding us that we are also all that we choose and love. With her strong canvases, rich in colour and material, she simplifies the senses and the energy of everything that becomes the source of inspiration for her colourful tale.

With a knowledge of classical painting technique, the ability to create exhibitions, catalogues, archives, to generate art, she is also a stage designer in her personal life; perhaps this accounts for her instinct of depicting scenes of everyday life in a perfect balance of compositions and decompositions. In a continuous search for self-renewal, she experiments in arduous techniques with an antique flavour, refined and important colours, elegant and precious fabrics, creating works with a disarming simplicity and a poetry of bygone days, almost like a fairy-tale.

I regret only one thing, that I did not know him sooner… He is the one-man band of a faultless symphony performance, the symphony of life… A man who has succeeded in bringing his nature-culture ratio to the level of the most immediate existential equivalence. A man for whom culture necessarily passes through a highly acute sense of integral nature, the nature of the Ego and of the Other, of the being and of things… Artists who are able to combine technical skill with the emotional richness of planetary culture are very rare indeed.

They belong to the common good of humanity, they are part of its eternal heritage. Mi rammarico di non aver conosciuto Fiume e Restany, ma sono grata alla loro anima tradotta in Arte e parole, per avermeli fatti amare…. I regret never having met him in person, but I am sure that I meet his soul whenever I delve into his Art, rediscovering old sensations, cultures contaminated with a unique knowledge, a primeval simplicity, with the awareness of someone who has experienced centuries of history and of humanity. Pervaded by the desire to create new characters and to animate them with his poetry, giving them a soul and immortality; by the desire to give a meaning to empty and timeless spaces.

Salvatore Fiume was unaware of his natural ability to stop time, to amplify it infinitely… female and animal figures are intertwined, completing one another in a natural game, dialoguing between periods in history and different cultures to find the true space and their own essence. I am sorry that I never met Fiume and Restany, but I am grateful to their soul translated into Art and words, for having made me love them Ferruccio Gard [ In short, the retina is not everything: what we see is a manifestation of an attempt, a hope, for an absolute that art must need confront.

His optical universe contains no the nostalgia of unexplored dawns, or of perverse ironies that indicate the hostility of space in the age of technology. This reference is probably the most appropriate gauge for judging the art of Gard. The artist is cognizant that to use color you need to know that it deceives time. And that color with multiple variations generates endless possibilities of perception, as well as musical rhythms that justify the utopia we call art, setting continuous flow into form.

Resi Girardello Con alcune sculture [ Lavorando fili di rame, ottone, argento e acciaio, Resi Girardello crea sculture metalliche soffici, ingannevolmente cedevoli e delicate, facendo ironia sulla paziente applicazione femminile che si associa alla storia di questi lavori, e nello stesso tempo disarmando, con umorismo, gli strumenti della seduzione.

With some sculptures [ Just as important, she hopes through education these projects will provide global citizens the visual means to recognize the public good achieved when we reduce and reuse plastics. Laura Parker is a staff writer for National Geographic and specializes in covering climate change and marine environments. She has been a Nieman Fellow at Harvard University. An Alicia Patterson fellowship enabled her to spend a year in the Mississippi Delta, for a comprehensive look at illiteracy, poverty and casino gambling in the racially divided town of Tunica.

She and Prochnau also have written for Vanity Fair on such subjects as avian flu, for which they traveled the back roads of Southeast Asia, and the descendants of the H. Can the Seas be Saved? His books include The Mountains of the Mediterranean ; Something New Under the Sun , winner of two prizes, listed by the London Times among the 10 best science books ever written despite not being a science book , and translated into 9 languages; The Human Web , translated into 7 languages; and Mosquito Empires , which won the Beveridge Prize from the AHA; and The Great Acceleration Wednesday, September 27, at p.

The Georgetown University Italian Research Institute, in collaboration with the Embassy of Italy and the Italian Cultural Institute, is pleased to sponsor a conference and discussion on cutting-edge research on the autism spectrum disorder led by renowned neuroscientists. Luigi Mazzone M. After obtaining the Ph. The fellowship offered him the opportunity to complete his second postdoctoral experience, which lasted from October until September , at the Pediatric Brain Imaging Laboratory at Columbia University in New York.

The clinical heterogeneity observed in this population e. Stratifying this population according to its neurobiological substrate could significantly improve our knowledge regarding the most appropriate pharmacological treatment for individual needs. We will discuss the possible genetic and biological pathways, including the Glutamatergic, GABAergic, and mTOR systems, involved in the pathophysiology of autism, as well as the mechanisms that may be targeted by new drug interventions. We will also describe the current progress from the preclinical and clinical studies on some potential therapeutic options for ASD core symptoms.

The Institute serves as a focal point for translational research and comprehensive clinical services for people living with Autism Spectrum Disorder ASD and related neurodevelopmental disorders. Using multimodal neuroimaging, his team has identified the neural circuitry supporting the representation of social cues, including auditory, visual and tactile social signals, as well as neurocomputational mechanisms for social learning.

This Network has generated a shared national treasure consisting of comprehensive, gene-brain- behavior data from large and diverse cohorts of young women and men with ASD. They are now following these young people as they transition through adolescence and into young adulthood. He is the father of two children on the autism spectrum and is a public member of the Federal Interagency Autism Coordinating Committee.

Humans are deeply social creatures. We have existed for millennia in highly collective environments in which each individual depends upon others as well as larger social entities, such as family and kin, peers and neighbors, institutions and society. Social cognition, broadly construed, is the term we use to reference the fundamental abilities to perceive, categorize, remember, analyze, reason with, and behave toward other conspecifics.

The extent to which such processes work successfully contributed to the fate of individual humans in the past and continues to do so today. In this talk, I will describe our research using brain imaging, computational modeling, and molecular genetics to identify neurobiological mechanisms for social cognition in typically developing people and the disruption of these mechanisms in Autism Spectrum Disorders ASD. Our work has served to characterize the functional properties and development—from infancy to adulthood—of a network of neuroanatomical structures dedicated to processing social meaning.

In turn, this greater understanding of the normative developmental trajectory of social cognition has permitted efforts to identify the brain basis of social cognition dysfunction in people living with ASD. This knowledge has allowed us to develop more effective, targeted interventions for social-communication dysfunction in ASD. I will focus on the recent development of biologically-based tools for detection, prediction, and individually tailored treatments for ASD.

Chandan Vaidya, Ph.

Futurist Women

Her graduate training is in Developmental Psychology from Syracuse University and her post-doctoral training is in Cognitive Neuroscience from Stanford University. Her research program focuses upon characterizing the functional neural architecture of executive control, which are effortful processes that allow us to adapt to environmental demands.

Studies examine functional specialization of inhibitory and working memory processes, how individuals differ by dopaminergic genotype, how they break down in developmental disorders, and what mediates pharmacological treatment by stimulants. Her research tools are multidisciplinary, comprising behavioral and structural and functional magnetic resonance imaging. In collaborative projects, she is examining learning and executive control in normal aging with Darlene Howard from Georgetown University and Jim Howard from Catholic University and in schizophrenia with Barbara Schwartz from the Veterans Administration Hospital.

Her work is primarily funded by the National Institute of Mental Health. Tuesday, April 18th, at p. The book received an immediate international recognition. He has also published several books of essays. His books have been translated into more than forty languages.

The Participating Italian Companies

Mario Vargas Llosa has also been an outspoken participant in the world of politics, as a prolific essayist and candidate for elected office. Claudio Magris, was born in Trieste in He graduated from the University of Turin, where he majored in German studies. His master thesis, Il mito absuburgico nella letteratura austriaca moderna Einaudi is still considered a milestone in the field of Austrian literature studies.

In he published his first novel, Danube , which was translated in 24 languages. He is the author of numerous novels and essays, translated into many languages as well as a columnist for the Corriere della Sera and other European newspapers. Since , Charlie Rose has aired countless hours with Nobel Laureates, and extraordinary men and women of science, politics, art, business, sports, technology, literature and entertainment.

These conversations have made the broadcast a cultural and intellectual archive. He is the recipient of the Legion d'honneur, Vincent Scully Prize, and numerous awards from the scientific and journalism communities, and many honorary degrees including Georgetown, N. State, Fordham and others. He maintains a home in Henderson where his father, a businessman, and his mother are buried. His primary residence is in New York City. Saturday, March 25, 9 a. This is an exciting program which brings to campus well-known and established Italian companies and serves as a bridge between business and academia.

Last spring, four students were awarded, on a rotating basis, paid internships with Eni, S. A and Domori will present students with an outline of the area the company is seeking innovative input and present the students with a challenge that implies their creative participation. The registered students, divided into small groups, will work together to develop a proposal for a solution. At the end of the day the Eni group winning team will be offered paid internships at their Washington Office. The Domori winning team will receive a week fellowship in Italy to further develop their proposed solution.

Our students showed genuine interest in the project. Their superb performance, in the limited time they were assigned, and their impressive and professional presentations demonstrated their excellent analytical skills, innovative solutions, and team work. Given the high quality of the presentations selecting the winning teams was not an easy task, nonetheless, we were happy to provide such an extraordinary experience to our talented students. A winning team of 4 students was selected for each company.

Each member of the Eni winning team will receive a paid internship in their new office located in Washington, DC.

Florence, Feminism and the New Sciences

The Domori award consists of a 2-month research summer fellowship in Italy between the headquarter of the company in Turin and the Domori Innovation Lab in Treviso located in the Italia Innovation campus Fabrica. Eni S. It has operations in 79 countries and is currently the world's 11th largest industrial company.

Gianni Di Giovanni, Eni's U. The Eni group winning team will be offered paid internships at their Washington Office. Eni Workshop Presentation. Eni Contest Presentation. Domori is a renowned Italian chocolate company that specializes in the production of a chocolate that maintains the natural essence of cocoa intact. Domori has headquarters in None, near Turin, and since it has been a member of the Illy SpA group.

Riccardo Illy, President of Illy S. Domori Challenge Presentation. Group 4 Joyce Zheng, Anna A. Lawrence, Anya Bharadwaj, Naomi Kasbekar. Franco Peracchi , Professor of the Practice in the Department of Economics at Georgetown will provide students advice and guidance during the workshop. The Workshop will serve as a bridge between business and academia and offers students a great opportunity to be intellectually engaged in finding solutions to challenges confronting the business world.

The application deadline has passed. Lunch will be served. The Future of Italian Manufacturing. Friday, March 24th at p. In those same years, he reestablished and started up a network of Sales Organization in Italy as well as abroad. He also developed marketing and communication activities and redesigned the business logo. Subsequently, he raised to international sales director and re-organised the structure of the subsidiary companies.