I miti dentro (Le schegge doro) (Italian Edition)

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Actes du Colloque International Paris, septembre Alessandro Piccolomini, a scholar and courtier, was the son of the aristocratic Sienese and papal family; he was educated in Padua, and became a cardinal, then an archbishop. The vast majority of his works, printed repeatedly in the sixteenth century, is not available in modern editions as a bibliography included in this volume indicates. Generally recognized for his erudition in an array of scholarly fields, Piccolomini demonstrates in these essays his commitment to a new pedagogy intended for an exclusive, but not scholarly public that included women who were literate in the vernacular.

Driving this new phase of Humanism were the academies that embraced the vernacular, including those in which Piccolomini participated: Piccolomini, in conversation with scholars like Pietro Pomponazzi, Spero Speroni and Benedetto Varchi, reimagined the Italian language as a conceptual tool. His commitment to clarity, precision and methodology synthesizes the essays in the volume. Written in French and Italian, all the essays are interesting and valuable.

They are divided into sections: This essay is followed by discussions of the intellectual culture of the Infiammati in Padua: The next group of essays presents works of moral and political philosophy. The next section presents essays on Piccolomini as playwright. Nerida Newbigen argues that Piccolomini was not merely the comic genius but the Intronato who instructed his colleagues on the theory of comedy. Italian Bookshelf in Horatium, where Piccolomini reveals a particular interest in questions of moral philosophy.

Piccolomini is rarely very original in his thought, and his progressive pedagogical agenda was conceived not to transform society, but to educate and elevate courtiers and elite women. Nevertheless, the case that he was a transformative figure in Italian and European culture is articulated throughout this volume. This book will be of great interest to scholars of sixteenth-century Italian literature and culture. Dante poeta, profeta, pellegrino, autore. Strutturazione espressiva della Commedia e visione escatologica dantesca.

Dante, come sappiamo, interviene diverse volte nella narrazione, interrompendola, per dare dei commenti, elucidare i sensi di alcuni eventi, ma anche per dare un insegnamento morale. Allo stesso tempo, grazie alla sua maestria, lo scriba cerca di riprodurre le emozioni che il personaggio aveva provato con un pathos tale che sembra stia veramente rivivendo quelle esperienze. Nel secondo capitolo, Sternel verace autore, particolare attenzione viene accordata alla differenziazione tra autore e poeta. Dobbiamo ricordare che Dante non si proclama mai autore nella Commedia, ma soltanto poeta, scriba, maestro.

Egli si considera poeta volgare e profeta, ma mai autore. Nei canti XIX e XX del Purgatorio ritorna la figura della lupa causa di vizi e dei mali, della brama di potere che colpiscono i discendenti di Ugo Capeto. La professoressa Riccobono si domanda se il pubblico degli appelli al lettore sia lo stesso di quello delle apostrofi. Translated with an introduction and notes by Elio Brancaforte.

Centre for Reformation and Renaissance Studies. II, Torino, Einaudi, , p. Speroni, Canace e Scritti in sua difesa a cura di C. Roaf, Bologna, Commissione per i Testi di Lingua, , p. Lo Speroni rispose alle critiche del Cinzio con due scritti: La polemica prende avvio dal non rispetto, secondo il Cinzio, da parte dello Speroni, del principio aristotelico della catarsi ovvero della immedesimazione dello spettatore con il personaggio e con la sua situazione di disagio, e quindi il fallimento dello scopo di dissuasione dello spettatore dal commettere gli stessi errori dei protagonisti del dramma.

Partenia, a Pastoral Play. The Toronto Series Centre for Reformation and Renaissance Studies, Italian Bookshelf University of Chicago Press, The Making of a New Genre Oxford: Born in Parma in to an aristocratic family, Barbara Torelli Benedetti enjoyed popularity as a writer during her lifetime, and was also well connected to literary elites in courts and academies.

The relevance of her pastoral play Partenia lies in its being the earliest known nonreligious play authored by an Italian woman. Set in the Farnese estate near Parma, Partenia revolves around shepherd friends Tirsi and Leucippo and their impossible love for the nymph Partenia, an adept of Diana who is determined to preserve her virginity. In despair for having either to disobey her father or to forsake her vow to the goddess, Partenia resolves to take her own life. Only at this point are Partenia and Tirsi revealed to be still alive, and the play concludes with their marriage.

Despite being a largely successful play at the time, Partenia was never printed. This modern edition is based on the only two surviving manuscripts of Partenia: The book also includes two appendixes: The text of the play is preceded by a very informative and thorough introduction, which includes a detailed biography of Torelli Benedetti.

The volume editors analyze Partenia insightfully, referring to the context of contemporary works pertaining to the pastoral mode, and investigate as well the later fortune and influence of the play. A further point of interest in the critical analysis of Partenia is the exploration of the play within the contemporary panorama of secular drama with a moralizing tone. Princeton University Press, A Biography of Machiavelli. Italian Bookshelf after the reinstatement of the Medici family as its rulers, and a significant sampling of his literary corpus, including public and private writings.

The text is broken down into 23 concise chapters with an informative appendix and detailed notes. Little information is presented about Machiavelli before , since most of what posterity knows about him begins when he assumes the role of secretary of the Florentine chancery. Several parallels exist between his major and minor works and recur in his official and personal missives: During this time Machiavelli exchanged letters with his friend Francesco Vettori, which reflected on the lessons gained during his active political life, including the diplomacy of Florentine territory, diplomatic missions, and military reform.

Vivanti highlights several important concepts and stratagems within this work e. From around Machiavelli participated in gatherings of literary, philosophical, and political conversations in the Orti Oricellari, making lasting friendships with his younger interlocutors, who encouraged him to write. During the last years of his life, Machiavelli learned of catastrophic military defeats on the Italian peninsula, namely, the Battle of Pavia in and the Sack of Rome in These military operations would be the cause of persistent anxiety and reflection for the Florentine until his death.

His intelligence, ironic spirit, and literary genius are masterfully highlighted in this work. The Secret Language of the Self. Una rassegna che si apre con Goldoni e si chiude con Leopardi, passando per Bertola, Alfieri, Manzoni ed altri ancora. Nei successivi due capitoli Camerino indaga sul ruolo giocato dalla poetica di Bertola nel contesto del cosiddetto preromanticismo. Quattro capitoli sono dedicati ad Alfieri, o per meglio dire al linguaggio alfieriano. Al linguaggio del Saul sono dedicati gli ultimi due contributi sul poeta astigiano: A Manzoni sono dedicati tre capitoli.

La rassegna si conclude con due capitoli su Leopardi. Il primo indaga sul precoce interesse per Algarotti, che investe questioni linguistiche, ma soprattutto il concetto di noia. Grace, Melancholy, and the Uncanny. This new attention acknowledges Leopardi as one of the most innovative authors not only of Italian nineteenth-century but of European modernity tout court, who was both very aware of the cultural tensions of his own time, but whose work also invites interpretation using the lenses of the most groundbreaking, current scholarship including, for example, Ecocriticism or New Materialism.

Yet, even these minor issues do not diminish the innovative contribution this volume represents. Questo rilievo dello studioso permette di seguire e identificare un percorso di evoluzione della dimensione religiosa del Leopardi. Damiani mostra sempre acutezza di analisi e fornisce copiose evidenze a supporto delle sue tesi. Castiglione di Sicilia CT: Accademia Internazionale Il Convivio, Ai due saggi sulla critica carducciana se ne aggiungono due sulla poesia. Italian Bookshelf difende il progresso sociale e il libero pensiero simbolizzati nella figura di Satana.

Sulla ricezione critica e sul mito del Carducci commemorato dai posteri si concentrano rispettivamente Alessandro Merci ed Elena Rampazzo. Mentre Merci offre una rassegna dettagliata di pareri critici contemporanei e riferimenti a Carducci nei versi di vari poeti successivi, Rampazzo esplora la mitografia di Carducci negli scritti commemorativi di Marinetti e Paolo Buzzi. Fabrizio Serra Editore, Lettere e scritti vari.

Gennaro Barbarisi e Paolo Bartesaghi. Degno di nota il trittico per Silvia Curtoni Verza n. Non mancano lettere che contribuiscono alla ricostruzione della storia interna ed esterna dei testi pariniani, come la n. Tutte le opere edite e inedite. Italian Bookshelf Livio Pestilli. This is the first monograph on a major Neapolitan painter of the late Baroque.

Due to unkind critical fortunes, Paolo de Matteis has been eclipsed by Francesco Solimena and by his own teacher, Luca Giordano. Similarly, many revisionist articles are inaccessible to Anglophone readers. Paolo de Matteis was born in rural Campania. Under noble sponsorship, he acquired a classical idiom in Rome. Nearby, he decorated the architecturally splendid residence of the duke of Monteleone. Later, connections with Neapolitan cardinals resulted in new sacred commissions from the Papal Curia.

Given this curriculum vitae, one wonders how he could have been relegated to the ranks of minori. To the non-specialist, the book seems to begin in medias res. Tantalizing bits of his life story emerge in the course of the study he married, had several children, gave painting lessons to his daughters, was driven to Rome by a difficult second marriage, etc.

One wishes that there had been a clear biography of de Matteis at the outset of the book. Since this is the first monograph, it would have been helpful to assemble all such facts. The earlier material is somewhat confusingly presented, because chapters are organized thematically rather than chronologically.

The author grapples with discrete critical problems before having prepared the way with a good exposition. Perhaps the initial unevenness is a matter of trying to distill so much material or simply of priming the authorial pump. This oft-repeated trope could have been relegated to the biography, freeing the author to move on to stylistic and iconographical analyses.

Early on, Pestilli tends to jump among sources, often from different centuries and not always in chronological order. Lacking a critical framework, it is difficult to follow the argumentation. Again, it would have been useful to simply present a cogent survey of criticism. Chapter titles — novellistic rather than dryly functional — do not offer immediate cognizance of the contents, but the tenacious reader will be rewarded with a series of solid discussions on particular works or series of works within their historical contexts.

Chapter six diagrams a fascinating collaboration between painter and patron: Italian Bookshelf philosopher, guided de Matteis through various sketches, drawings, and oil studies of The Judgment of Hercules. A detail particular to Neapolitan artists of his day is the realistic inclusion of worn or weathered ceramic tile floors.

These were praised by contemporaries and attracted the attention of foreign visitors. Chapter ten examines a cycle of paintings at the Certosa di San Martino which depicts the life of St. Here, Pestilli excels in his analysis of the iconographical program, grounding it in a succinct theological overview which includes the Immaculate Conception, the rise of the cult of St. Joseph, and how the modern significance of the Rosary stems from the Battle of Lepanto. Again, we see how de Matteis was sensitive to the ideology of his commissioner. Innovative details reflect not only St.

Such are the attributes of a master painter. The Apparatus includes lists of abbreviations, color plates, and black and white illustrations. Two Appendices contain checklists of works by De Matteis or his workshop arranged by title and by date. Titles analyzed in the text are referenced in the general Index.

The lengthy bibliography spans four and a half centuries, comprising art historical studies as well as background readings for important concepts. Finally, the overall layout is commendable. Art books or exhibition catalogues frequently become embarassed by their own riches: Pestilli and his editors have wisely grouped all color plates at the center, numbered sequentially. Plentiful black and white illustrations are located appropriately within the text; their numbers reflect first the chapter number and then the sequence within that chapter.

This system allows multiple citations of a single image anywhere in the book and the rapid location of any item under discussion. Scholars of eighteenth-century art, culture and history owe a debt of gratitude to Ashgate for undertaking the publication of this handsome, well-produced volume.

Italian Bookshelf Gabriella Romani.

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Toronto University Press, La creazione di un sistema postale nazionale dopo il ebbe un ruolo fondamentale nel processo di unificazione del nuovo stato e, come scrive Gabriella Romani nel volume Postal Culture: La conseguente riduzione dei costi di tariffazione permise anche alle classi meno privilegiate di partecipare a questa rete di scambio e comunicazione: Painting in Film, Painting on Film.

Is it still possible to say something new and thought-provoking about Federico Fellini? The book opens with a dense introduction devoted to framing the theoretical and methodological ground and to pointing out the polemical targets of the inquiry. On the contrary, as his private library proves, he was well aware of the cultural and intellectual trends in those years, in particular French structuralist and post-structuralist contexts: Italian Bookshelf , preserving a balanced tension between postmodernist issues and a romantic-like global project.

The four chapters into which the book is divided cover four different films, showing from time to time a specific aspect of this relationship. Through a sophisticated film philology, Aldouby untangles the symbolist, intertextual plot that informs the text, convincingly showing the connections between the embedded or concealed specific art-historical quotations and the anti-fascist discourse developed by narration. Here the intermedial dimension primarily concurs to shape a declaration of poetics encompassing both the work of the Italian director and a broad global cultural dimension.

Two converging lines emerge from the film: The third chapter — perhaps the least convincing of the entire book — is devoted to Fellini Satyricon Once again, the analysis of the art-historical intertext contributes to support this reading. Unfortunately, the dense plot created by the several and heterogeneous hidden quotations, which goes from Byzantine art to Klimt, from Bruegel to Picasso and Clerici, seems not to be reconstructed in a sufficiently organic scheme to propose an interpretation not limited to a superficial critique of a postmodernist aesthetics.

Michelangelo Antonioni and Federico Fellini. In the near future someone may well choose to fulfill this task. Nino Aragno Editore, Italian Bookshelf paradigma indiziario di Carlo Ginzburg. The Girl from Vajont. Troubador Publishing Ltd, Tullio Avoledo has published ten novels in less than ten years, but The Girl from Vajont La ragazza di Vajont, is the first one translated into English. The Girl from Vajont is no exception. The setting of the novel is a small town called Vajont in Friuli, which is best remembered for a tragic accident, a collapsed dam, in the early sixties; consequently, almost two thousand people perished.

Maybe this is why Avoledo chose the town as the setting for his fictional novel: The town is as decadent as its inhabitants, as Ania points out: He quickly falls in love with her and soon she becomes an obsession. The protagonist explains that the identity of the mysterious girl must remain a secret: Most characters are nameless, like the girl from Vajont, the Cripple, and the Leader. The first trip together with the girl from Vajont is to this village that no longer exists.

Like Avoledo himself, the main protagonist is a writer. He has fallen ill and, thus, he has to make weekly trips to see a doctor. We learn that there is something wrong with his heart, but also with his mind. Although every time he sees a different doctor, they all seem to be more concerned about his writing than his health. It is clear that he has done something terrible and, consequently, he is guilt-ridden: My studies and my passion had been used to this: The protagonist is extremely concerned because the treatment he is undergoing does not make him better; on the contrary, it makes him forget things.

However, as his friend the Cripple points out: The girl from Vajont is a mischling, a half-caste, which is why she is in danger. Italian Bookshelf romantic getaway at a hotel by a lake for Christmas. He buys her a suitcase full of clothes, provides her false documents, and sends her off to Switzerland on a boat. This dramatic ending takes the reader by surprise, as the narrative I recounts their final farewell: I walk down the gangway, with my heart racing and a thousand words suspended in my heart, words that will never be uttered.

Sometime later he receives a letter from her with a picture. She is safe in Switzerland. The Girl from Vajont is a strange, but fascinating story. Avoledo confirms that he is worried about the extreme right-wing and xenophobic currents in Italy today, and their opposition to ethnic minorities. For this reason, he quit his job at a bank and decided to become a writer. John Libbey Publishing, Ltd.

Given the prominence of early cinematic developments in Italy, the dearth of critical scholarship on the silent era is both disconcerting and myopic. Despite interest in Fascism dispelling neorealism as a terminus post quem, the sound barrier has remained largely intact. Giorgio Bertellini is an exception to this tendency.

A leading scholar on the early history of moving pictures, he has striven for years to bring this collection to fruition. Well, the eagerly anticipated publication of Italian Silent Cinema: A Reader has finally arrived, and it does not disappoint. Italian Bookshelf aesthetic, and political developments of the seventh art. Thirty essays organized around seven subject-areas attest to the impressive scope of the project and counter the reductive representation of a period that cinematic histories tend to gloss over.

Moreover, these essays, by both internationally renowned experts and newly established scholars, engage in a behind-the-scenes dialogue in which national colors inform, but defer to a shared deference for the silver screen. The next four sections constitute the core of the study as it pertains to both Italian film culture and geographic specificity.

Pragmatically, it specifies pertinent information on where to find Italian silent films Blom and on how to access non-filmic materials Mazzei. The extensive listings of sources and reference works along with a bibliographic appendix and detailed indices also provide generous guidance for future research. Notwithstanding the consistently high quality of the research, the volume retains an accessibility all too rare, though most welcome, in contemporary scholarship.

The contributors draw on archival materials, provide historical contextualization, and engage in theoretically informed analyses that challenge a national approach to a transnational medium. Each essay rarely does a chapter exceed ten pages is concise and lucid in its exposition. Such brevity facilitates the incorporation of these materials into Italian film studies courses that too often dismiss the pre- talkie era with a quasi-silent nod to historical epics and little else.

The compelling presentation of the volume is certainly enhanced by its visual appeal — well over images grace its pages. While the illustrations do bestow a necessary visibility to a bygone era, they also inform and complement the analyses. The end result is that Italian Silent Cinema: A Reader makes an indispensable critical and historical contribution to film studies in and beyond the Italian context. In this essay, which is inspired by the outcome of a doctoral research, Emma Bond proposes to analyse from a clearly psychoanalytic perspective some of the most representative prose texts by Italo Svevo, Giorgio Pressburger and Giuliana Morandini.

Drawing on the recent ideas of Julia Kristeva, who overtly refers to Freudian and Lacanian concepts, Bond focuses on those elements and phenomena which escape conscious control and which are rendered via subversive narrative techniques. Italian Bookshelf and Morandini, have interwoven traces, symptoms, and signs related to physical illness which are mirror elements of mental suffering.

Illness, Silence and Identity in Svevo, Pressburger and Morandini starts from the assumption that illness can be defined as the trigger that allows something to be revealed to the sufferer himself or herself. A pre- or extralinguistic element disrupts semiotic processes, which cannot be captured in language. The writing on that illness is not only the enactment of the inner struggle, it enhances the recovery of the problematic past of the characters.

Therefore, Bond considers as mandatory the unraveling of the narrative plotting process , as intended by Peter Brooks in his Reading for the Plot: New York, Knopf, Her detailed, well-structured, and chronological analyses show how male and female characters deal differently with their own illnesses, or struggles, or the ones of others. Revelatory in this respect is female illness as a sign of death but also of desire. Both signs become intertwined in a destructive dialectic of repression.

The plotting of the illness is communicated through a narrating voice which tends to conceal its identity — think of the use of initials or false names — or to hide behind other characters to the extent that Zeno becomes the unreliable narrative instance par excellence. The latter seem to handle poorly their symptoms, such as the progressive loss of speech, the incapacity to hold on to an almost maniacal dependency on order, and the ambiguous fascination with the void.

The logocentricity of male characters contrasts with the tendency to silence of the female characters. Within the suffering of the latter, silence has a potential for generating meaning, whereas the failure of language of the male characters the desemantization, for instance contaminates the narrative itself. Italian Bookshelf so-called exile in his writings illustrates clearly the otherness in and of displacement. Female characters take their own space with them, forging a link between vocal and bodily expression. This process results in an acceptance of the dialectic between semiotic and symbolic spheres.

Illness, Silence and Identity in Svevo, Pressburger and Morandini presents insightful findings based on a very representative selection of works by Svevo, Pressburger, and Morandini. It is not clear why she chose these three particular authors for her research, and some fundamental references in the two-fold bibliography are missing.

Figures in Italian Migration Literature. Hybridity in Italian Colonial and Postcolonial Cultures; ed. Cambridge Scholars Publishing, ; In this monograph, she continues to examine Italian migration literature, namely, published narratives authored in Italian by migrant writers from the s to the present.

The eight authors and associated novels she focuses on are: This is a departure from many other studies, which focus on how these novels describe the phenomenon of immigration and its consequences for Italian society. The body of the book is divided into five chapters: In the first chapter, Burns examines the ongoing process of identity formation present in novels by Methnani and Fortunato, Tawfik, and Fazel.

The second chapter utilizes memory studies to look at the tension between remembering and forgetting, present in examples of narrative memory. These works, written in Italian, also take on a performative function, as they not only tell the histories and cultures of other places, but also introduce them to an Italian audience and place them in dialogue with contemporary Italian culture. Italian Bookshelf protagonist of Lontano da Mogadiscio acknowledges her inability to be at home in any one space, suggesting that the sense of being at home involves frequent renegotiation between different spaces.

The fourth chapter looks at the relationships migrants form with places — generally real, named locations — and spaces — more indefinite or imagined areas — as they move through them. Throughout, she argues that migration literature is particularly suited to destabilizing the image of the Italian city as fixed and steeped in history through the figure of the migrant, who is both a city inhabitant and an outsider.

The last chapter begins by examining the role of writing and books within migrant narratives and then turns to the field of Italian migration literature itself and possible comparisons with magical realism, postcolonial literature, and resistance literature. Overall, this monograph successfully demonstrates the value of examining works of Italian migration literature, not just within the context of Italian society and Italian literature, but as examples of interactions between different cultures, histories, and spaces, which is apparent both within the narratives and in the publication and circulation of the novels themselves.

Italian Women Filmmakers and the Gendered Screen. Italian Bookshelf spazio rimasto per troppo tempo scoperto. La selezione degli interventi non segue altro tipo di categorizzazione tematica, geografica, ecc. Italian Bookshelf intervento discute la figura di Pasqualino attraverso la lente dei gender studies e delle teorie di Judith Butler. La seconda parte della raccolta offre interessanti ed inedite interviste ad alcune protagoniste del cinema italiano contemporaneo.

Palazzeschi, Govoni e Boine. Capello si sofferma sui sonetti del Vas luxuriae, un gruppo di componimenti erotici rimossi dalle Fiale. Fictions of appetite alimentary discourses in Italian modernist literature. More specifically, it aims to research their aesthetic significance in the works produced by Filippo Tommaso Marinetti, Aldo Palazzeschi, Massimo Bontempelli, Paola Masino, and Luigi Pirandello, between and It is essential to point out the importance of the historical context chosen by the author, a period of time considered by many scholars to be associated with modernism. By analyzing Le Roi Bombance, the author takes into account its bodily and consumption metaphors, and is thus able to reveal how they intertwine the gastronomical and sociopolitical sides of the play.

With the following section of the same chapter, the author is able to underscore how the text is revelatory of the rhetoric of hygienism, and consequently of eugenics. Interestingly enough, the very end of the chapter dedicated to Marinetti centers on the poorly known Patriottismo insetticida. In this section, food and consumption are considered by the opposite pespective of cannibalism, although not exclusively.

The second chapter of Fictions of Appetite focuses on Aldo Palazzeschi, and more specifically on his novels, namely,: While analyzing comparatively the almost homonymous works by Masina and Bontempelli, Cesaretti focuses on the representation of appetite in these two authors, with a particular attention given to their relationship with creativity and gender. Ultimately, considering the opposite sides of productivity against sterility, the author suggests that Nascita could also be interpreted as an allegorical representation of creation and the difficulties related to the creative act.

Within this context, Pirandello offers an interesting point of view of breastfeeding as a reflection of the fascist biological political agenda. Because of this effective critical approach, Cesaretti underscores effectively some fascinating recurring features of the period and works under scrutiny and their interactions with the body, such as its potential, its devouring or self-limiting patterns, as well as its increasing importance as an object of commodification. On a similar note, by using the same critical approach, the author has been able to point out some of the issues related to a feminine body, exposed to the paradox of being both a producer and a consumer within this commodified environment.

Literature, Ideology and the Avant-Garde. A tre anni dalla scomparsa di Edoardo Sanguineti, Paolo Chirumbolo e John Picchione propongono questo interessantissimo volume dedicato al poeta genovese. Theoretical Debate and Poetic Practices UT Press , il primo studio capace veramente di prendere per mano chi si affacciasse per la prima volta sul mondo dello sperimentalismo italiano degli anni Sessanta. Italian Bookshelf fino alla morte, ha lasciato un fondamentale lascito anche come romanziere, commediografo, critico letterario, teorico e traduttore. Scritture di viaggio e sguardi di lontano nel Novecento italiano.

Nel primo, De Marco individua con precisione e finezza le suggestioni evocate dalle prose ungarettiane La rosa di Pesto e Viaggetto in Etruria, intimamente connesse alla produzione lirica del poeta. Con grande acutezza, ne puntualizza la funzione di raccordo con la produzione poetica, in Viaggetto in Etruria: Lungi dal costruire una guida turistica, egli, per esempio, descrive le bellezze paesaggistiche, —artistico,architettoniche, esprimendo un autentico concetto di arte, simile a quello di un suo interlocutore, il professor Pane: Italian Bookshelf Gloria De Vincenti.

Il genio del secondo futurismo fiorentino tra macchina e spirito. Il secondo futurismo fiorentino riponeva nella scienza e nella sua dimensione logica un ruolo fondamentale nella produzione artistica. La dimensione onirica, quindi, era considerata dai membri del gruppo un fondamento del processo creativo. Italian Bookshelf secondo futurismo fiorentino eludendo la comune interpretazione di gruppo esclusivamente magico-occultistico, non in dialogo con il culto della macchina.

The Poetry of Nino De Vita. Many of their lives are chronicles of hardship, yet they exhibit admirable resiliency, stoic endurance, and a fierce will to survive. A supper consisting of snails was still on the stove. Qui trovo una dimensione che mi permette di coniugare lavoro artistico e vita personale. Non riesco a tenere insieme troppi progetti. Mi avevano ad esempio proposto delle docenze, ma non mi sento in grado di insegnare. Rifiutai anche quando me lo chiesero da Los Angeles.

Che cosa consiglieresti a chi vuole intraprendere oggi la carriera di artista E ci vuole una sorta di vocazione, di chiamata a una religione laica.

Se non si ha quella, meglio dirottarsi su altro. Se mio figlio mi dicesse che vuol fare l'artista non la prenderei bene La fotografia come forma terapeutica e i viaggi fino in Taiwan di Nastynasty di Elettra Stamboulis. Come siete approdati alla fotografia? Mi ricordo di Valentina tecnico delle luci Sono ragioniere, e dopo il diploma ho fatto il consulente del lavoro Poi andai in terapia, dove portai la serie di fotografie che mi facevo come forma di individuazione.

Quindi la fotografia come forma terapeutica e di ricerca Quella lingua che abbiamo scordato. Cosa succede in residenza artistica? Prendiamo ad esempio il libro d'artista, un modo intermedio con cui il formato libro sta tentando la sopravvivenza interagendo con il processo artistico Oppure comprando i progetti editoriali, raffinati ma anche indocili, che ne testimoniano il tragitto. L'illustratrice bolognese in mostra a Ravenna di Elettra Stamboulis. Avrebbe voluto far la maestra, Marina Girardi: Dalle aule seriose del Liceo Classico sono poi planata al disegno, alla musica, alla pittura e al fumetto attraverso molti incontri e diverse esperienze formative.

Devo dire che un ruolo particolare ha avuto il workshop con Marjane Satrapi che voi di Mirada avevate organizzato nel Che cosa succede in una settimana da Marina? Come organizzi il tuo tempo e il tuo lavoro? Cavalletto, colori e pennelli ho il mio pubblico semifisso che mi aspetta. Clienti inaspettati che comprano un quadro, dialoghi di critici improvvisati sul colore, interventi sul lavoro di commesse e studenti. Poi ci sono i laboratori in giro per l'Italia: Ma come si fa a fare fumetti in bici?

Cerco quindi di usare anche io qualche strumento che mi permetta di connettermi a questa meraviglia Il naif invece mi piace come categoria: Magie della Maga Magira, come ama spesso chiamarsi. Per maggiori informazioni sul lavoro di Marina Girardi http: In che senso, ho finito? Intendi se ho finito di scrivere? Ho scritto la parola fine. Ma non so se questo significa finire.

Decidere un nuovo inizio. Anche io a volte decido di cominciare un gioco nuovo. Allora, hai deciso di finire? Vedere la pagina bianca mi fa pensare alla fine. Oggi mi dici il contrario. Hai ragione, non mi sono espresso bene. L'inizio e la fine. Solo quando mettiamo un segno, o non lo mettiamo, decidiamo in che parte della cosa vogliamo stare. Lasci qualcuno o qualcosa.

schegge italian edition Manual

Come in questa pagina bianca. Oppure stare a parlare con te Anche se a volte mi sembra che preferiresti continuare a guardare la tua pagina bianca Di cosa parla il tuo libro? Ci sono sempre due cose. Parlare e tacere, sapere e ignorare. Voi adulti mi confondete. Sembra che non ci siano mai confini tra le cose. Capisco l'inizio e la fine, ma sapere e ignorare. Sono proprio due cose diverse. Coesistono due cose diverse. E sono anche un po' la nonna. Io smetto quando mi annoio. Allora sappiamo quando si smette. E quando si decide di iniziare? Io voglio sempre giocare. Quello non smette mai.

Inizio quando trovo il modo di farlo.

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Anche io vorrei sempre iniziare. Anche tu hai il cuore bianco allora? Come nel tuo libro Lo dice Lady Macbeth al marito che ha appena ucciso un uomo. Anche non fare gesti. Tu sei il risultato di scelte o caso, che non sai. Nessuno di noi sa esattamente da dove viene. Non ho il cuore bianco, ma lo vorrei con tutti fiorellini.

Me lo puoi fare? Questi tre ingredienti, idealismo, tradizione e sfiducia nella scienza, sono difatti i tre ingredienti che incontriamo in molta della produzione culturale del nostro Paese. Anche lo scorcio del secolo breve ci aveva consegnato ad un altro paesaggio narrativo: Le teorie che avevano animato i salotti intellettuali, riempito le librerie dei futuri disoccupati cognitivi, erano diventate l'arma con cui il populismo mediatico si stava preparando da Bush a Berlusconi a Putin, a diventare il nuovo sistema.

Il mondo degli anni '80 era finito e non si capiva che cosa e se ci sarebbe stato un nuovo futuro. Non che non esista anche il mondo della favola bella: E con il Risorgimento ha fatto i conti anche l'istrionico Giuseppe Palumbo: Il segno di Palumbo, che diventa folgorante e malinconico quando si permette di essere libero dai vincoli della produzione di serie, si addice alla pensosa riflessione del suo approccio alla narrazione delle origini. Un approccio che ritroviamo anche nella storia dedicata al sindaco poeta Rocco Scotellaro, in cui il tema delle origini si interseca con la biografia dello stesso Palumbo.

Dalla fine consapevole, ma pur sempre drammatica di Salgari alla biografia di un altro personaggio che nella letteratura italiana ha vissuto come un nomade, un oggetto disperso e disamorato: Rocco Lombardi e Simone Lucciola firmano un Campana che riporta, nella sua tensione figurativa data dallo stile delle incisioni di Lombardi, il tratto peculiare della dedizione alla parola che scolpisce l'anima. Costantini ha disegnato anche Cena con Gramsci, tratto da un testo teatrale, e quindi interessante adattamento dal palco alla matita.

La vita di un uomo e il suo lascito sono al centro di Lo scrittore necessario. Una biografia di Primo Levi dal al di Pietro Scarnera: E di nuovo al centro della narrazione la vita di un uomo che ha tracciato un pezzo di storia economica e culturale dell'Italia in piena ripresa industriale, Adriano Olivetti. Questo intrecciarsi dei piani temporali, presente e passato, in un continuo dialogo che mette in scena direttamente il farsi della ricerca storica caratterizza anche il fortunato In Italia sono tutti maschi di Luca De Santis e Sara Colaone.

Storia di un esule friulana di Caterina Sansone e Alessandro Tota nasce anch'esso da istanze tutto sommato simili: Un pezzo di storia con cui, per motivi ideologici e legati al tempo in cui fu, si fa fatica ancora ad armeggiare e che riappare attraverso l'uso di madeleines: Una storia sbagliata di Bepi Vigna e Mattia Surroz si pone invece l'obiettivo di una lettura indipendente dell'episodio che segna la nascita degli anni di piombo. Scenari di guerra di Leonora Sartori e Andrea Vivaldo ci porta nuovamente nel gorgo putrido dei cosiddetti misteri italiani.

Ristampato in occasione del trentennale della strage, il libro segue con delicatezza, ma anche chiarezza le varie ipotesi di indagine. Il caso Calvi di Luca Amerio, Luca Baino e Matteo Valdameri rientra nella ridda dei misteri noir che purtroppo infestano le pagine della storia italiana, e non solo dell'ultimo secolo. E si torna invece nel falcidiato sud con Pippo Fava. Lo spirito di un giornale di Luigi Politano e Luca Ferrara. Poi arrivarono gli anni del ventennio berlusconiano: E ritroviamo sempre Marco Rizzo, insieme a Nico Blunda e Giuseppe Lo Bocchiaro, nel progetto dedicato a un personaggio che davvero ha attraversato fasi e contesti diversi e che raccontano una bella fetta dell'Italia tra anni '70 e la fine degli '80, Mauro Rostagno, prove tecniche per un mondo migliore: Un post realismo che si manifesta in un'Italia che sembrava aver preso una piega irrazionalistica e burlesque, e che credo abbia ancora molto da raccontare e disegnare.

Lyotard, La condizione postmoderna. Rapporto sul sapere, Milano The obsessive normality of being special. If we had to find a lowest common denominator in attempts to represent and recount the History of Italy we could say that it lies in having continual recourse to the category of exceptionality. The exception of having become a nation state considerably late in life and without a shared language, the exception of the south, the exception of the mafias, the exception of bomb outrages, the exception of the Italian Communist Party and other such pleas.

In considering itself special the normality of Italian historiography and its offshoots takes shape. I mean the forms of historical narration which may be traced back to the desire to narrate History but which employ forms different from scientific research. Literature and the arts have often shored up the drift of a historical reality which apparently cannot be handed over to the present: In all, the aphasia, the impossibility of recounting the exceptionality of Italian history, was turned into a trace that vindicated the possibility of taking the floor, of representing Italy without the aid of idealism, tradition, and without suspicion of science and technique.

There have been however models and choices that have kept their distance therefrom, even if they did so by remaining themselves the exception. Even the brief end of the century had delivered us into another narrative landscape: The theories that had animated intellectual circles, filled the bookshops of the upcoming cognitive unemployed, had become the weapon with which mediatic populism was preparing itself, from Bush to Berlusconi and Putin, to become the new system.

And there is no sense in seeing it because reality is an opinion and as such can be expressed on a talk show but cannot be verified. The political and social realisation of the postmodern2 was manifested by what the postmodernists had only thought; and art in its various forms became the interpreter of this vision.

The comics of those years also stumbled into cultural and artistic relativism, experiencing in fact a period of redefinition, repetitiveness and retreat that seemed almost to mark their end. The world of the 80s was over and nobody knew what the new future would be or if it would arrive. Not that the world of the fine fairytale does not exist: And yet the new does not lie in this phenomenon, easily assimilable to other forms of entertainment that range from Disneyland and its emulators to fake mediaeval festivals. But the element of novelty and reconstruction of the medium came from the birth of the so-named Graphic Novel, which may be recognisable substantially by the change in format from comic to the more traditional book, and in particular for Italy by the proliferation of narrations of stories of reality arising both from classical episodes of national history, especially recent, and narrations of micro-stories singular for the reconstruction of a history of the excluded.

And the encounters between stories and authors may be surprising. And surprising indeed is the encounter between a Risorgimento hero like Garibaldi, by now high-flown and frozen in marble statues where pigeons flutter and adolescents kiss, and Tuono Pettinato, whose nom de plume Well-combed Thunderclap already certifies his delightful irreverence.

And the dramatic Giuseppe Palumbo has also come to grips with the Risorgimento: An approach we also find in the story dedicated to the poet-mayor Rocco Scotellaro, in which the theme of origins intersects with the biography of Palumbo himself. Paolo Bacilieri with Sweet Salgari also moves on the ambiguous borderline between narration of the other and of self: From the conscious yet nonetheless dramatic end of Salgari to the biography of another who lived in Italian literature as a nomad, a dispersed and alienated figure: Storia di ordinaria guerra civile [Last.

It deals with the killing of Leandro Arpinati, a very well known member of a fascist action squad, and his childhood friend Torquato Nanni, socialist and antifascist. Costantini also drew Cena con Gramsci [Dinner with Gramsci], taken from a theatre text and therefore an interesting adaptation from stage to pencil. Una biografia di Primo Levi dal al [The necessary writer. A Biography of Primo Levi from to ]: And once again at the centre of the narration, the life of a man who carved out a piece of Italian economic and cultural history at the height of industrial recovery: Un secolo troppo presto [Adriano Olivetti.

A Century Too Soon] by Marco Peroni and Riccardo Cecchetti already in its title somehow reprises the historiographic interpretation of Eric Hobsbawm who sets the historical reality of the twentieth century from to Un incontro [An encounter]. The possibility precisely of setting out from the encounter with history to go over steps and ask for truths, to open avenues in search of answers.

A collective and at the same time contingent story of the homosexual community interned under fascism, the centre of the narration is silence, dismissal of the memory of detention and authoritarian moralism. Colaone returns to individual stories that become collective with Ciao, ciao bambina [Bye-bye Little Girl], which grew out of the wish to put together her own family history of emigration.

It finds its strength precisely by stepping outside biographism and becoming an exemplary tale that speaks of a Country which has become many Countries, quickly forgetting however just how hard it is to leave. Storia di un esule friulana [Crepes. A piece of history with which, for reasons that are ideological and linked to its time, it is still hard to deal and which reappears through the use of madeleines: Space that is still inhabited, the community that was there with the bit-actors, childhood memories that intersect with capital H History: A history which precisely due to its being only covertly autobiographical succeeds in telling the many stories of these communities.

Circumstantiated by and bound to an event that became the subject of songs, slogans and films, Pinelli e Calabresi. Una storia sbagliata [Pinelli and Calabresi. The two main figures, the anarchist railwayman and the police superintendent, became victims and symbols of a period which has yet to be either ratified or told with historical truth. Well, never mind that Italian cinema versions of the years of lead seemed unresolved, and the Pinelli and Calabresi affair in its dichotomy, in its being easy to manipulate from a symbolic viewpoint, was taken on as an icon, but it is also particularly risky.

Because the path of justice follows strange and contorted routes, whereas the facts by now are certain. Although there are no guilty parties, because all the accused were acquitted on appeal, this does not mean that we do not know who were responsible for the bomb outrage in Brescia. And there are no less than two works on , symmetrical because the lives of the two protagonists ended on the same day with alchemical precision: Scenari di Guerra [Ustica.

Scenarios of War] by Leonora Sartori and Andrea Vivaldo takes us once more into the putrid maelstrom of so-called Italian mysteries. Reprinted for the thirtieth anniversary of the outrage the book follows with delicacy, but also with clarity, the various investigation hypotheses.

Isabella Orsini, duchessa di Bracciano by Francesco Domenico Guerrazzi

Certainly one of the most disarming aspects of Italian abnormality is that though it took place only 35 days afterwards, nobody at the time related the Ustica outrage to that of Bologna. Il caso Calvi [The Calvi Case] by Luca Amerio, Luca Baino and Matteo Valdameri comes under the bedlam of noir mysteries that unfortunately infest the pages of Italian history, and not only over the last century.

The apparent suicide under Blackfriars Bridge in London had all the features of a genre film, yet reality had once more exceeded fantasy. And we return instead to the massacred south with Pippo Fava. A southern Italy which provides the setting for a considerable number of Graphic Novels produced in recent years and which, unfortunately, does not cease to be the background against which the evils of Italy play out a sort of mortal bullfight. The courageous journalist of the paper I siciliani, killed in , aroused the passion of Politano, he himself a journalist who still believes in seeking the truth: Storia del pool antimafia [A Human Fact.

History of the Antimafia Pool] by Manfredi Giffone, Fabrizio Longo and Alessandro Parodi take their place in this reconstruction, loving, tenacious and tough, of the story of those who stood up against the inevitability of the mafias. Still on the subject of the Antimafia pool, but with a slant that is more philological and at the same time interpretive, is the work of A Human Fact: Then came twenty years of Berlusconi: In this sense his satire may coexist with the book-format narratives in the exhibition. Apparently out of the running, but nonetheless dense in unresolved aspects, the disturbing end of an Italian cycling myth is the fulcrum of Gli ultimi giorni di Marco Pantani [The Last Days of Marco Pantani] by Marco Rizzo and Lelio Bonaccorso.

Based on the investigative book by French journalist Philippe Brunel, it raises doubts, perplexities and unclear points: And again we find Marco Rizzo, together with Nico Blunda and Giuseppe Lo Bocchiaro, in the project dedicated to a figure who truly passed through various phases and contexts.

They recount a good slice of Italy between the 70s and the late 80s in Mauro Rostagno, prove tecniche per un mondo migliore [Mauro Rostagno, technical rehearsals for a better world: And here we are, crossing the threshold of the new millennium which already smells of end: Il ribelle di Genova [The Rebel of Genoa] by Francesco Barilli and Manuel De Carli marks the end of the relationship of conflict, while still maintaining dialogue, among a multiform movement with many souls like the anti-globalists that met in Genoa for the G8 summit.

Reading it while also taking into account the verdict on the Diaz School may in effect clarify what took place during those days, over and above the death of a twenty-three year old whose shared biography is set out in this book through the eyes of those who knew him. So behold Yeti, the Barbapapa of the new millennium, bright, soft and cuddly yet troublesome: His sweet appearance will not prevent him from living the distance, filling the emptiness, finding the space that welcomes him in the strange breeze that stirs today in this strange Europe, consoling but certainly not welcoming. Pioneering publishers who devote themselves exclusively to the production of reality comics, also infecting the big publishing houses for example Rizzoli Lizard and Mondadori , journalists and researchers who try their hand at scripts, actual investigations that take the form of sequences.

A post-realism manifested in an Italy which appears to have taken an irrationalistic and burlesque turn, and which I believe still has much to recount and to draw. Rapporto sul sapere, Milan Ferraris, Manifesto del nuovo realismo, Laterza Roma-Bari E ne coglie con grande sintesi elementi di contraddizione, cartografando le pulsioni nascoste.

Tutti ingredienti assenti nel paese del generale deposto, e che purtroppo latitano anche alle nostre latitudini. Pare che durante le rivolte del sia riuscito ad evadere di prigione. Successo, affari, politica, amore, gelosia, sangue. Giuda indaga il tradimento delle immagini. Lo fa con animo dark, ma ottimista. Giuda si pone come obiettivo implicito il denunciare attraverso la propria esistenza che resiste alla targettizzazione, al prodotto, al merchandising, al mercato, alla distribuzione,e a molte altre cose, la posizione di privilegio che nel tradimento ha il disegno.

Un tradimento che fa buon uso della mano di chi lo guida: Un tentativo indagatore sui processi memoriali nella costruzione di sequenze. Una cosa ben diversa dalla costruzione della sequenza narrativa tradizionale.

La memoria non opera in senso lineare, concatenando in modo logico e comprensibile gli eventi, tra un prima e un dopo. Giuda segue un movimento territoriale, ma anche il movimento centrifugo del processo di appropriazione della memoria. E la visione non ha sempre bisogno della retina, anche se Giuda si impegna nello sviluppo di questa parte del corpo umano. A man has to be born somewhere! Metamorphosis often appears as a metaphor that has remained latent for a whole lifetime and is suddenly understood in visual terms1: In the metaphoric process, which leads to a change that translates this latency into matter, a deep idea of crisis is implicit; the unease perceived in the transformation may be condensed into anguish, pain of loss or, more sentimentally and profitably, into nostalgia.

But the mythological argument, and substantially also the artistic one, feeds on transformation and metamorphosis. And the very notion of Europe, from which we draw to define boundaries, transitory and presumed identities, and which constitutes an imaginary embankment against otherness, has its roots in a metamorphic voyage: A voyage whose starting point was the coast of modern Lebanon.

And it is precisely from this concept of broad gaze that our curatorial voyage set out on this arbitrary mapping of the metamorphic visions of the artists invited. From that Europa who lingered with her handmaidens to play on the shores of Tyre.

i miti dentro le schegge d oro italian edition Manual

A light and disenchanted irony, a play of unexplored references and queries which seeks the way to finding names and combinations that are new but feed on a nostalgia without ID card. Yet in working with a visual grammar that employs many shared references it is possible that the metamorphic process of artistic creation might lead to assonant solutions.

In inhabiting a glance we cannot preclude the space we inhabit, but at the same time the space chosen as ideal geography for this exhibition project has a sea at its centre which, antonomastically, is a place of transit and movement. Because in the act of naming there is also the act of creating, and we are reminded of this by Alban Muja, an artist from Pristina who concentrates his action on this different geography of names, running with the times, encountering places or making their bearings difficult.

And who are you who calls me? In this exhibition Orthographe will be putting on a table game, inviting spectators into a playful and estranging dimension: On the ethicality of play as a liberating mode and indispensable cognitive tool, Adelita Husni Bey intervenes with a complex work inspired by educationist Francisco Ferrer who was executed in And nostalgia without memory is certainly a trait in many works. Her artistic transformation renders these options visible and recognisable, placing them in a dimension that is immediately comprehensible in the act of looking.

Narrators, narratees and public become one. The breadth of the glance and its stubbornness in being intangible are also the subject matter of Clio Casadei, an Italian artist who exhibits the bare result of her irremediably lost artistic actions, and Almudena Lobera who, through drawing in particular, materialises the frustration of this impossible mediation.

A cartographic vocation that wanted to investigate representations of the mental landscape, for example. A concept which in itself came late in our culture. In both cases the photographic spectre does not record, it imposes its own glance without absolution. The predominant line in this artificial and synthetic geography has been the representation of power, understood as a device which contains fetishes and with which the artist has the possibility of dialoguing precisely by virtue of its transposition into icon, into an already naked image.

Power has become thing: The hourglass has run out, irony remains in re-chewing words that become objects. If the animal is unpredictable, might not man also be? Is there a prescribed and taken for granted fate, as is actually outlined today in the economic measures undertaken by delegitimized governments, but acting in virtue of this hypothetical predestination of the act? Zygouri acts as devastator. She does not bring answers but permits the suspension of the predictable.

The anaesthesia of vision is replaced by the synaesthesia of action. Yael Plat interacts with the spectator through direct provocation towards political action: No Entry leaves no room for ambiguity. The door is closed to all the named categories, even to you who are reading the writing. A protagonist of change and also an inquirer into the forms that power assumes and that involve those subject to it, Wafa Hourani uses ironic forms to transpose history into pop metaphor, the history of a people substantially imprisoned and obliged to exile in their own land which has by now been worn down by mediatization.

Slave to a past that does not pass, to a geography that interweaves power and bodies, Borjana Mrdja examines the breakdown and recomposing of the Bosnian frontiers, transferring the borderline onto the wound of her own hand, which is also subject to the wear and tear of time. A wear and tear which Bisan Abu-Eisheh attempts to resist by containing — by means of museographic and classificatory tension — the dispersion of the dust of the vanquished: Thus also Zoulika Bouabdellah who, in drawing up sumptuous and ironic representations of the geographies of female commonplaces in the Arab world, does not shrink from the illness of memory recovery in the form of ethical nostalgia, in works like Genie Lady, inspired by a sentimental Arab cult movie of , redesigned with evident ironic references to the Orientalist tradition.

Nostalgia for the future is found in the work of Danilo Correale who touches on a city — Istanbul — which reappears in many biographies and productions of these migratory artists. Naming and dreaming, the possibility of controlling the imagination and everything pertaining thereto through attribution of a name, and the loss of control through oneiric activity or perhaps its acquisition in more interesting forms The step to Almudena Lobera, seeking manuals for mental places, is a short one: The drawing of a tree does not portray a tree but a tree that is observed3: Tiberi, Strappato and Nicolai, different in codes and references, take their place in the project Porta Pia — Open Academy, as mirrors of the glance, cultivators of the apparent abandonment of places: And so we come back to the origins, to the wide gaze of Europa: None of the invited artists believes in the apparent and sweetening ideology of a reconciled Mediterranean.

Some concentrate on stating it through their art, others denounce it in their reticence about naming the country they were born in. Parla un linguaggio iconico immediato, anche se stilisticamente ineccepibile. Ad esso il ruolo di sipario strappato che inevitabilmente mostra qualcosa che di norma si vuole celare dietro la tenda. Unknown sports are the ones practised by women to survive the daily erosion of possibilities, the infinite obstacles that a deeply male chauvinist society has produced over the millennia.

The ironic and at times comic verve is vivid and unequivocal. For modern Goddesses Kali of the thousand arms, a fitness workout is not understood as the process of mortifying the body to which many submit in order to approach ideal models of plasticized femininity: Unknown Sports , like many other works by this Turkish artist, needs no special subtitles. It speaks an iconic language that is immediate, although stylistically beyond criticism.

The unknown space evoked in the title, and which becomes public, extended, surreal, is the stone guest which takes the role of ripped away drape that inevitably displays something normally intended to be concealed behind the curtain. The point of view is focalised, concentrated, and the poetics coherent.

The propulsive centre of her multiform work — which has taken her in a short time to a qualitatively significant presence at international level — is the deconstruction of commonplaces, of stereotypes and of the codified maps that define political, cultural and gender-related identities. The appearance and the embalmed codification transmitted to us of the female image in the world of Islamic and in particular Turkish tradition, is completely overturned here, making us part of a femininity which belongs to us inasmuch as we are women who are revealed in their shared condition of subordination, but at the same time of Olympic athletes of destiny.

Numerous artistic activities, hard to label under any one category, are attributable to the pseudonym Ganzeer. After coming to the attention of the public at large for his graffiti on the walls of Cairo during the days of the revolution, Ganzeer has actually never stopped. Everything interests him, from fanzines to digital art,. Arrested and then released for having drawn a tank aiming at a man on a bicycle carrying bread, he belongs to a generation of Egyptian artists who see no separation between political and artistic action.

They think the streets are a sort of entity controlled by the official government. And this conviction goes so deep that he does not sign his own street works. The preparatory figure created for the catalogue, to be subsequently reinterpreted and exhibited on a main thoroughfare in Ancona, is in this sense explicit: The writing in Italian plays on the ambivalence of the site where the image will be displayed, a highly frequented underpass.

But it also harks back to the rhetoric of international cooperation where this phrase is enunciated with persuasive and oratorical facility, and then its meaning disappears when international diplomacy and foreign policies of the various countries take action and decide. Arrestato e poi rilasciato per avere disegnato un carro armato che punta un uomo che porta del pane in bicicletta, fa parte di una generazione.

Sono gli immigrati i costruttori di ponti, forza lavoro sottomessa e docile. Mrdja is a Bosnian artist who already has exhibitions and projects to her credit in various parts of the world, from Berlin to New York and Milan. She mainly uses photography to document an artistic oeuvre created through close contact with the public and the relationship with her own body. The theme of boundary and identitary limit supplies one of the most profitable sources of her work.

Body is boundary and boundary becomes body: Borders as unstable as those of a wound as it gradually changes form, diminishes and follows the passage of time. Human geography becomes an actual map reflected on a body, her own. The state of exception , as Agamben defines it, becomes the subject represented by this work, which draws its greatest force from synthesis and from the simultaneous possibility of rising to the perfect symbolic form of the Bosnian situation.

What remains and defines the creative action of the individuals is the landscape, which unites the bodies without concern about their background. The artist is born and acts in sociological and cultural space that reflects a light in which the artist acts and becomes somehow shadow. La geografia umana diventa mappa vera e propria riflessa su un corpo, il proprio.

You in space are the parameter, the maximum limit,. Tu nello spazio sei il parametro, il limite massimo, la fine della mia corsa. Della distanza nella definizione On Distance into Defining. Born in in Faenza. Curated by Trial Version, Florence, Italy. Un-limited , Palazzo Carminati. Curated by Blauer Hase, M.

Clio Casadei began her artistic activity with drawing, subsequently going on to installation as a tool that better marks the fugacity of the artistic intervention, and converting this artistic phase into an audiobook, a narrative and expository form that unites these two cores. You in space are the parameter, the maximum limit, the end of my stroke consists of pages and an 11 minute soundtrack where the artist herself is curator and narrator. It is a work that deals with the fugacity of immanence and weaves a curatorial dialogue with the spectator.

Can the act of exhibiting be understood not as the object exhibited but as the communication thereof? Setting out from this question the artist decided to act solely within the space of time given by the occasion and to subsequently destroy all traces of that passage. The audiobook is the narrative testimony of this itinerary which comprises 5 works:. The narrative journey starts out from a project linked to Istanbul,.

Observing the luminous form of the Turkish metropolis from a satellite its profound mutation can be recorded, not perceptible from the town plan, which is daily disregarded, but marked by the vertiginous increase of luminescence which from space shows just how much new humanity the city is accommodating every day. In History Belongs to Humankind this element is underscored by a cartography that does not mark the spatial limit of places but traces the movements of people, their migration.

La memoria del mondo alla biblioteca Malatestiana di Cesena

The vexation of the ineluctable erosion of time running by is also evident in Take My Time , where the generous gift stated in the title is none other than a declaration of defeat. The exhibitory act is conceived as a still life: With candour and lightness, and without ever renouncing a refined and impeccable aesthetic, she succeeds in tackling typically philosophical themes. Her production however sits firmly in the international visual grammar which, besides the specific cultural range, feeds on the questions posed by Walter Benjamin: Strongly influenced by surrealism, and Man Ray in particular, Lobera carries out her own re-creation of a visual almanac in Manual de la imagen mental , a series presented in Ancona, which dialogues with spectators by inviting them to execute a positive and ironic action, which is to say create their own mental image by means of a series of drawn gestures.

This classificatory and normative obsession obviously clashes with the spirit powerfully oppositive to the sense of fetish: The theme of the place of images returns in Lugar Entre , but with different methods: The artist decontextualizes objects belonging to different moments of communication, the subject in this case being digital photography. Dissolution of the object is sustained by its decomposition in three moments, from the dialogue it establishes with the spectator: Tutti i lavori di Lobera ruotano intorno a questi centri tematici: Fortemente influenzata dal surrealismo, in particolare da Man Ray, Lobera opera una propria ricreazione di un almanacco visivo in Manual de la imagen mental , serie presentata ad Ancona, che dialoga con.

Questa ossessione classificatoria e normativa si scontra ovviamente con lo spirito fortemente oppositivo al senso del feticcio: With irony Alban Muja pursues the infinite possibility of naming as a creative and autonomous act, an indisputable artistic form granted to all of us. Palestina and Tibet also come out of the same inquiry: Naming, says a son, is a sort of primary creative act, and in these deviations from tradition Muja seems to catch a glimpse of change: Official geography plays nasty tricks, and the fragile and precariously balanced identity of Kosovo seems, in the interpretation of Muja, to be a refraction of the Palestinian situation.

In Blue Wall Red Door the name confuses places and orientation: Growing up in an artistic space subsequent to the international acclaim achieved by artists such as Anri Sala and Marina Abramovic, Muja shares the same concern about ethical impact and political reflection in the high sense of art, coupled with a new weapon, indubitably painless, which is irony.

Also evident is concentration on the private, individual aspect of inquiry: His works have appeared in public spaces in Vienna and Berlin and numerous galleries in the countries of former Yugoslavia. Anche Palestina e Tibet partono dalla stessa indagine: Come ci si sente ad essere albanese del Kosovo e chiamarsi con il nome di uno stato che non esiste? Un uomo deve pur nascere da qualche parte! E chi sei tu, che mi chiami? Proprio gli Ortographe espongono in mostra un gioco da tavolo, che invita alla dimensione ludica e straniante: Aspetti questi che costituiscono un leitmotiv dei paesi sul mare su cui si affaccia Ancona, e che a ondate tornano ad interrogare i cittadini: Le vacanze dalle regole di Husni Bey si pongono sul confine tra rappresentazione del potere o antipotere della pedagogia liberatoria e il passato che non passa.

Narratori, narratari e pubblico diventano un unico. Una vocazione cartografica che ha voluto indagare le rappresentazioni del paesaggio mentale, ad esempio. In entrambi i casi lo spettro fotografico non registra, impone il proprio sguardo senza assoluzione. Zygouri agisce come una guastatrice. Non porta risposte, ma permette la sospensione del prevedibile. Il disegno di un albero non mostra un albero, ma un albero che viene osservato3: Un mondo che si sta per disgregare, assumere nuovi nomi, nuovi contorni, abbracciare nuovi simboli.

Il tratto di Raul trova carne per la sua traccia: Un mondo di volti contadini che si contraggono in narrazioni visive in una mappa iniziale che considera la storia il condensato del vissuto nello sguardo e nel labirinto delle linee che compongono i volti. La radiografia dei volti continua, nei piccoli gesti dell'apparecchiare una tavola, un gesto antico che prepara il fuoco intorno al quale le storie nascono.

La narrazione come salvezza, l'ironia come salvagente. E la storia ha bisogno di un inizio. E poi con un salto che dimentica consapevolmente vari secoli gli anni venti, quelli del disincanto, con una storia di amore, poesia e calcolo differenziale. E poi, per non affogare nel melodramma, una storiella, di quelle sovietiche. Quelle che fanno ridere fino alle lacrime.

Poi arriva Napoleone, virtuoso e manierista nella linea.

Animali che ci guardano negli occhi. E dopo il silenzio di Napoleone rimane Larissa, l'unica donna, l'armena di minoranza. E la storia diventa una storia che potrebbe essere popolare, con i tratti della fiaba, con la morte che ci ripensa. Rimane la finestra attraverso cui continuare a guardarsi. Le immagini continuano ad essere interrogative e non didascaliche. Difficile infatti attribuire immaginario alle vite dei profughi, sempre costretti dal cartellino che li ingabbia, da un passaporto simbolicamente bianco.

E se fossimo umani, troppo umani. Le fotografie di Molinari hanno valore euristico nel senso primo della parola: Edward Said, Nel segno dell'esilio,.

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