Strong Marghera Fernanda Pivano Giulio Casale fragments

December 31, 1969

June 30, 2006, a few lines… What stuff yesterday evening in Fort Marghera, that much stuff… Fernanda Pivano tells Pavese, De Andrè, Hemingway, Ginsberg, Corso, Kerouac, Levi, Dylan, and others. 
 tells them as only those who can do them known and shared with them well over a glass filled from the same bottle. He does more with that which is able to give, that voice and smiling at the same time full of strong messages: first inscalfibile the power of poetry, street impossible to rust, non-violence as a way, and the liberation of mind and body, the strong criticism within the government, anarchy in the days and much more. Dylan, and in front of her Giulio Casale takes the guitar and start The times they're a changin ', running own good, rather than run the interpretation: the moments of silence between a word and the other a verse and the other, the breath that focuses and the rise and fall of heading are the litmus maps that do not lie. you are behind by a red sofa sings from memory, scan the words and arms in the following meanings: seem a pennone on which waves the interpretation of Casale. The times they're a changin ', 1964, times are changing wrote to a Mr Zimmermann still not famous. If Like a rollin 'stone would have changed the history of rock, if Blowin in the wind music would have thousands of pacifist marches, The times they're a changin' of those years was the icon social, and listening yesterday in the voice of a man at the time was not yet born, seeing as her cantasse with eyes that brillavano most of his ring when it met a reflection of light… enough to understand that it is not over, and the wind blows again. Of course, times have not changed as called for the song, but without those words would be changed less, and much would be failure, even those who pay no knowledge. That stuff, that much stuff… 
 And thanks to the organizers.

Original post by Toni Piccini

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The strategy multipolar dellIndia

December 31, 1969

The strategy multipolar India Tiberius Graziani director of magazine <a target = "_blank" href = "http://www. eurasia-rivista.org "> Studies Geopolitici Eurasia </ a> Presentation of No 2 / 2006 of Eurasia, dedicated to India, Wednesday, May 17 - 18.00 at the Bookstore DRAGHI Via Saint Lucia 11 - PADUA with assistance of Stephen Vernole and Claudio Mutti. Economic growth in India Like China, albeit with a slower pace (around 6% per year), India has recorded over the last fifteen years, a rate economic growth that it can be put in projections for 2020 made by the World Bank and the IMF, among the four most important economies on the planet. Another important always to take into account when analysing nations characterized by an imposing mass population (1 028 610 328 inhabitants in case of the Republic of BhÄ rat, according to the census of 2001), is also its percentage of annual growth, which, though not high, almost, in fact, only 1, 6% (1998-2003), is an important and vital parameter for evaluating groped to understand the role and weight that India will acquire a worldwide In the coming decades. Switching from eleventh place in the ranking of the major world economies to the fourth is the goal of both the government of Manmohan Singh, father of reforms "liberal" and exponent of the coalition led by the Party of Congress, and the composite opposition, national and antiliberista, which, objectively allies, the People's Party (Bharatiya Janata Party), considered, according to Western patterns, right-wing, the Communist Party of India and the Communist Party of India Marxist-Leninist . The adoption of a particular model of "development", which favours a considerable specialisation in the tertiary advanced and a specific interest in scientific research and technology, has enabled India to carve, in ' area of the world economy, the role of "global attractor" of services sectors and scientific research, with particular reference to areas economically sensitive, such as pharmaceutical and that of information technology, which has always been policed by the U.S. and UK. This has attracted a lot of concern in these countries and caused rules and regulations of defence; recently (2005), just to give you an example, the U.S. Senate approved a measure to exclude from public companies that have relocated in offshoring (even if only 50 jobs) in the last five years. Indian governments of the last decade, as well as sustain economic growth of the country and facilitate, through a pragmatic diplomacy, its gradual participation in the world have launched extensive modernisation programmes of road, railway, port, airport and the network of energy supplies. These programs, however, are struggling to be realized because of internal tensions generated by the contrast between the tendency deeply "liberal" of the government and the opposition. A multipolar India, as also the other Asian giant, China, seeks to capitalize on its recent "boom" economic even at the international level, becoming assert and credit, not only as an occasional partner, theoretically & ldquo ; strategic "but also and above all as nuclear power and member constituent of a new planetarium. India, in fact, as can be seen from the analysis of its actions in foreign policy, seems to have understood fully ' current historical moment, which is characterized from a period of transition between the old bipolar system and a future multipolar system under construction. A historical period of transition, we would like to stress, in which the degree of disturbance seems to have reached its climax, as the uncertain "Regency unipolar" dell'iperpotenza U.S. shows increasing signs of its decline, among them include: the "quagmire" of Iraq, acceptance, obtorto neck, the Indian nuclear policy, the Russian-Chinese cooperation in the military, relations "special" between some countries in South America, primarily Brazil and Venezuela, China, India and Russia. Awareness, metabolized from India, that he is in a process of transition to a new world order, and the experience as a regional power from the days of ' independence (August 15 1947) until the early nineties, however rimarcata, symbolically more times (in 1955, during the Bandung Conference of the "non-aligned countries" in 1974 with the first nuclear tests) oblige him to take a responsibility not only regional but also global. A responsibility that moves from its geopolitical role that New Delhi has held during the second half of last century. The Union of India, in fact, well before China and other major nations of what was called in the journalism of the time, "third world", had sensed that the bipolar system based on a precarious balance and for this reason he is godmother of the movement of non-aligned countries is "correcting" the gap between the U.S. and "Soviet bloc" adhering to understandings friendship with the latter. Remember that friendship with the Soviet Union is also strengthened as a result of friction between Beijing and New Delhi, which resulted, as you know, in armed clashes of 1962-63 and, above all, with the choice of China to be part of the device nixoniano Washington-Islamabad-Beijing. The function of "correcting" that India has assumed under the previous system geopolitical, currently allows it to strengthen, this time, however, on a basis of equality and increased autonomy, its ties with Moscow, while its participation in the movement of non-aligned, to be candid, along with Russia and China, a country led by a hypothetical multipolar system. As part of this strategy, we must mention the recent agreements signed with China on border dispute and on scientific and technological cooperation in energy. The creation of an axis Moscow-Beijing-New Delhi seems be a fact. In this device, geopoliticamente relevant to the autonomy of mass protection from the Eurasian continental U.S., however, lacks a pendant vital and irreplaceable, what the emanciperebbe entirety, from the Pacific, and would allow a Pax Eurasian: European axis Paris - Berlin-Moscow. In order not to frustrate the work of the governments of Moscow, Beijing and New Delhi in the construction of a new system that takes into account the peculiarities and national aspirations, and have, above all, a role Equality in future multipolar, it is the role of European decision to make a choice of field functional to the interests of their peoples and of the Eurasian continent.

Original post by Nicola Gemignani

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Mostra del Cinema 3 bis

December 31, 1969

"King for a night" is done in collaboration with: <a style = " font-weight: bold; "href =" http://www.frontiereprogetti.com/ "> BORDERS </ a> projects <a style="font-weight: bold;" href="http://www.eurasia-rivista.org/"> EURASIA </ a> , the magazine of geopolitical studies on the continent Euroasiatico <img width =" 47 "vspace =" 2 "hspace =" 2 "height = "29" align = "left" alt = "" src = "/ picture / upload / Image / nexus / leone_mostra.jpg" /> Yesterday evening walkway of honor for David Lynch, the Lido for withdrawing the Leone d'Oro at career. Ceremony rapid and minimalist to reward this great director, who perhaps has tried to "pull" to campare too on the success of Mulholland Drive. His new film Inland Empire talks about the story of a girl, Nikki (played by Laura Dern you to Lido), which is preparing to interpret the most important role of his career directed by Jeremy Irons. Onirico, in-real and real, the intertwining of Lynch now are no longer discuss but still surprising, paradox of his films. Without original screenplay, as he said himself, the film was developed on the set, through his feelings, his pictures, his dreams (or nightmares?). Inland Empire is an area of Los Angeles and represents the second Lynch the world that is within us. "The cinema, says, is a language and speaks as the words can never do. I can not rationally explain my films, I want to be spectators to find their own conclusions. " "Inland Empire is my Dolce Vita".

Original post by Nicola Gemignani

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Mostra del Cinema 4

December 31, 1969

"King for a night" is done in collaboration with: <a href = " http://www.frontiereprogetti.com/ "style =" font-weight: bold; "> BORDERS </ a> projects <a href="http://www.eurasia-rivista.org/" style="font-weight: bold;"> EURASIA </ a> , the magazine of geopolitical studies on the continent Euroasiatico <img width =" 47 "vspace =" 2 "hspace =" 2 "height = "29" align = "left" src = "/ picture / upload / Image / nexus / leone_mostra.jpg" alt = "" /> 
 Today was the day's Pier Paolo Pasolini. And even today was a day of the tail. 45 'waiting to secure a mail room Volpi to attend "Pasolini our next", as it fotoromanzo defined the same director Giuseppe Bertolucci, interview that Pier Paolo Pasolini has issued to a journalist of Corriere della Sera, during the shooting of Salò or 120 days of Sodom. Fotoromanzo because more than sequences of the film, are scene photographs taken by Deborah Beer (to which the film is dedicated), which will tell the sequences, the emotions. The film is perhaps one of the most difficult for both Pasolini both for the public. Heavy, atrocious, ridiculous and horror (according to various definitions that can be collected from those who has succeeded at least once you reach the end), Salo or the 120 Days of Sodom, represents "the four powers that govern the body and then the intellect, "she said Pasolini. "I when I decide to make a film I do not because I have lots of ideas to put into the scene, but I have a flash." "The flash is the film." "I - continues the director - often use non-professional actors. Riprendo everything. The real work can be editing for elimare what is not. " "With this movie instead, in addition to use professional actors, I also claimed by young people without experience of working as they were." "In fact - tells - the film will not need assembly because what I have taken is already mounted." Paradoxically from the film more difficult, shows the clearest image of the director, poet , Writer. And 'the film from which part of all, from which everyone should start to know the Pasolini. The Pasolini of all. When asked "you think?" Pasolini answered "I believe and I do not believe, but produce a film though I know what to produce and to whom should be the final product." And 'the last film which will not see the end. It 'a "testament intellectual." His testament.

Original post by Nicola Gemignani

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Mostra del Cinema 3

December 31, 1969

Original post by Nicola Gemignani

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Mostra del Cinema 2

December 31, 1969

"King for a night" is done in collaboration with: < a style = "font-weight: bold;" href ="../../../../ exit.php? url = www.frontiereprogetti.com% 2F "> BORDERS </ a> projects <a style = "font-weight: bold;" href ="../../. . / .. / exit.php? url = www.eurasia-rivista.org% 2F "> EURASIA </ a> , magazine of geopolitical studies on the continent Euroasiatico <img width = "47" vspace = "2" hspace = "2" height = "29" align = "left" src = "/ picture / upload / Image / nexus / leone_mostra.jpg "alt =" "/> There are at the Mostra del Cinema of stories that run. Young people who do not want to become adults, adults who wish to return young. The first out of fear. Second because I know what you are lost and want to fix it. The youth of Falkenberg, the Swedish town by the sea, are well represented by the film Jesper Ganlandt though rather slow (and the music certainly does not help), which tells of five young friends who must decide what to do in their lives over the summer . Undoubtedly the most romantic dreamer and David who will deliver post-mortem his diary, guidelines and genuine solution of the doubts that involves friends left. At the bottom David also made a choice. Will remain only the fear of not being able to return to the town hometown after having taken the decision to move to Goteborg, metropolis and then favolosamente ready to welcome young people of good hopes. Those who reached the door and sees reluctantly involved in a "very cold" will have to reckon, cinematograficamente speaking, with Fallen by Barbara Albert. The door in this case are 5 women, but tell us things already seen, already known, repeatedly annoying. "The great cold" is past. The only cure is surrounded by younger people. Starting from his wife, would support someone! Finally tomorrow the first prize. David Lynch withdraw the prize "Golden Lion" in a career that will follow the projection of its Inland Empire, the story of a mystery, the mystery of a world in other worlds, which unfolds around a woman , A adonna in love and in danger… only hope is not another Mulholland Drive. The Exhibition at the Venice Film deserves far more.

Original post by Nicola Gemignani

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Mostra del Cinema 1

December 31, 1969

"King for a night" is done in collaboration with: <a href = " http://www.frontiereprogetti.com/ "style =" font-weight: bold; "> BORDERS </ a> projects <a href="http://www.eurasia-rivista.org/" style="font-weight: bold;"> EURASIA </ a> , the magazine of geopolitical studies on the continent Euroasiatico <img width =" 47 "vspace =" 2 "hspace =" 2 "height = "29" align = "left" src = "/ picture / upload / Image / nexus / leone_mostra.jpg" alt = "" /> A sea of "if". Or rather a lagoon of "if". If you have not yet seen a film from "golden lion". If now the film that received more applause and support from critics and the public was "The Queen" by Stephen Frears (but fingers crossed for the film by Gianni Amelio "The star that there is no" with Sergio Castellito), there are certainties. The first is that the general public seems to have deserted part of the review. May this year the management of accredited has demonstrated once again the logistical difficulties of a Lido which has not fully equipped rooms and must make a virtue of necessity and scontentare many that after interminable queues you see denied entry. But coming to what went well. Although now are a certainty, the sections " Parallel "(eg. Horizons) show that cinema is alive. What at European level there is a "factory" of talent that can bring on screen stories told with so much conviction, passion and love that is a pity already know in advance will find no place in television schedules and film circuits except Take the salt (which fortunately still exist). In parallel with these if and certainties, The Exhibition is also proposing a retrospective dedicated to Joaquim Pedro de Andrade, one of the fathers of Cinema Novo movement that has in fact revolutionised cinemtografia Brazilian. Thanks to the children of de Andrade, in particular thanks to Alice de Andrade, 14 jobs are replicated among documentaries, feature and short films. One of the most famous is without a doubt "Macunaima", 1969, where " the "classic Brazilian hero, called Macunaima, moves from forest to city, discovering new things and people absurd, a city in the middle of revolution where just run for the road to be stopped and arrested as suspects. Blood patently fake. Corps opened with two in the bowels always patently false. A drama-comic-surreal, but it says a lot about construction of a cultural identity. Among revolutionary and prostitutes, among friends and brothers, our hero returns in the forest, not defeated but rather winner (has recovered a amulto lucky), finishing in a lake in the arms of death, where his blood sgorgerà abundant sprayed by a tube you see and de Andrade does nothing to hide.

Original post by Nicola Gemignani

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Lucio Fontana VeneziaNewYork

December 31, 1969

<img width="150" vspace="2" hspace="2" height="150" alt="" /> align="left" src="/picture/upload/Image/nexus/fontana.jpg" Lucio Fontana painted in 1961, in a few months, a series of paintings considered unique: a moment of great rarity known by scholars as the venezie. After long called his works Space Concept or expectation, Fontana takes hours for the first time poetic titles dedicated explicitly to one city. Venice was all gold or Night of love in Venice are just some of the paintings to be exhibited at the Peggy Guggenheim Collection nell'attesissima shows lucio fountain. venice / new york from June 4 to September 24, 2006, edited by Luca Massimo Barbero. The exhibition, which enjoys the patronage of the Foundation Lucio Fontana, Milan, is dedicated to the cycle of venezie and the series of works in metal called new york here gathered and presented together for the first time. A sugellare the exceptional nature of the trip overseas will be of venezie and new york: from October 13 2006 to 17 January 2007 the exhibition approderà Indeed, the Museum Solomon. R. Guggenheim in New York. In 1961 Fontana is the protagonist of the exhibition at Palazzo Grassi Art and Contemplation. For the occasion is running a series of paintings dedicated to Venice and its lagoon: venezie. The canvases are designed and painted in a matter of abundant oil, often bucata and cut with listings of glassy materials, travelled by signs that present the "curve" of churches, lines of the moonlight, the preciousness mosaics in the Basilica of St. Mark and all the splendour of the city casket Byzantine art world. The paintings create a summary of the elements of the city, ranging dall'oro white Istrian stone, glass transparencies, the deep black of night. They are all paintings on canvas, 1.50 square meters of hand, a strong visual impact and precious cause in the public a big surprise for the baroque and descriptive richness of their materials. The same year the critic Michel Tapié organizes the exhibition of this cycle of paintings in New York, the Martha Jackson Gallery: the first solo exhibition of Fontana in the United States devotes the new master dell'avanguardia internationally. As a reference Lucio Fontana remains fascinated by American cities and, in a curious game geographic and aesthetic, while exposes venezie in New York prepares some sketches dedicated to the metropolis that, on his return to Italy, will perform in a series of unforgettable metals: the New York. Large slabs of polished brass and scratched, drilled and cut vigorously penetrated by large vertical signs that simulate the strength newyorchesi construction, metal and glass palaces. They are works of great impact, seductive for their tormented character, metaphor voltage electricity as the city changes. The exhibition at Peggy Guggenheim Collection (which includes a section opening with important masterpieces Fontana) starts from two important data: the work Concept Space Holes (1949) and paintings by 1958/59 with the first cuts. It is around the 1959-61 biennium held the first part of the works with the material calls oils: a substance rich in color oil is drawn on canvases to create a genuine field material on which the hands imprint signs strong. The issue that faces Fontana at this precise moment seems to be to exit the concettualità algida minimal and the monochrome to give rise to works that meet in full his research. The oil can sink their mark, whether it be a cut or a hole similar to glimpse. Often this matter already voluttuosa, is white or pink, a soft pink, next to the sensuality of meat. It Fontana in 1961 that begins to create paintings increasingly thick oil, where the matter is a paste of silver or gold in which embedding blocks and pieces of colored glass, as in small galaxies. These are the venezie, one of the few series with a title naturalistic. The works are of scandal and attention. The master dell'Informale running a painting cycle dedicated to the city of Venice, it sounds like a provocation paradoxical and anti-avanguardistica. In exhibitions of 1961 Venice and New York, Fontana exhibits 15 venezie, other paintings in the same series will be presented only after the death of the artist. Shortly after 1961, the venezie and part series dedicated to new york were dispersed between major museums and private collections in Europe, America and even in Japan. Starting then by the exhibitions of 1961 and following subsequent exhibitions dedicated to metals, the curator, with a job lasted more than two years, has tracked down every single work to present an exhaustive searches of both Master. Finally, more than forty-five years away you can see gathered for the first time well together 11 paintings of the series venezie and many new york. The rarity of this "meeting" makes the exhibition event certainly unique. Lucio Fontana. venice / new york offers the unique opportunity to observe the extraordinary works as The sky in Venice next to the Sun in Piazza San Marco and Space Concept Venice Lagoon. Among the new york stands out the imposing triptych metal Concept Space, New York 10, more than three metres base, along with smaller plates and metals rarely visible. Tracciando un parallelo, è legittimo affermare che la mostra veneziana fornisce un primo spaccato di differenze e affinità all’interno dell’opera di uno dei maestri del dopoguerra: le venezie rappresentano l’ideale didascalico dell’amore per il Barocco e la storia dell’architettura urbana antica, le new york sono il simbolo della sorpresa di Fontana per la contemporaneità. Lucio Fontana. Venezia/New York è realizzata grazie al sostegno di Banca Aletti, Private & Investment Bank del gruppo Banco Popolare di Verona e Novara. La mostra gode anche del supporto della Murray & Isabella Rayburn Foundation grazie alla generosità di Maurice Kanbar. Si ringraziano l’Istituto per il Commercio Estero (ICE), la Regione Veneto, Alitalia, e Tratto in qualità di trasportatore ufficiale della mostra. Il catalogo a cura di Luca Massimo Barbero, è impreziosito da inediti materiali d’archivio, ritratti fotografici dell’artista, riproduzioni di rarissimi disegni e opere su carta del Maestro. La pubblicazione, edita dalla Collezione Peggy Guggenheim, si propone come nuovo strumento di studio e approfondimento dei due momenti della ricerca di Fontana grazie al lucido contributo degli autori, oltre allo stesso Barbero, Enrico Crispolti, Paolo Campiglio e Barbara Ferriani. I programmi della Collezione Peggy Guggenheim sono resi possibili grazie al sostegno del Comitato Consultivo della Collezione Peggy Guggenheim.

Original post by Nicola Gemignani