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BUT GEOGRAPHY ...

Penso che sia necessario avere strumenti corretti per vedere come cambia il mondo. Uno di such WorldMapper , watch to understand.

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Non Confidentiality Agreement

until 10.I.2010
Gianni Colombo
Castello di Rivoli

viewer at the center, to be on display is the reversal of his habitual perceptions _______________________________________________________________________________________


Inside dell'affascinante team offered by the Castle medievale più contemporaneo d’Italia,
Gianni Colombo (Milano, 1937 – Melzo, 1993), grande esponente dell’arte cinetica degli anni Cinquanta e Sessanta vede rivisitata la sua vasta produzione attraverso un affascinante percorso che mira a coinvolgere lo spettatore.
Se nella prima sala compaiono alcune delle sue ceramiche, a partire dalla seconda sala lo spettatore è immerso in uno spazio completamente buio in cui giochi di luci e di colori risvegliano se non altro la sua percezione visiva. Ma è nelle successive sale che veniamo al meglio della capacità di Colombo di relazionarsi con le tradizionali forme architettoniche e di criticarle aspramente. Ora ideando una casa dalle pareti e muri deformati (Topoestesia 1975-77), ora dilettandoci con percorsi segnati da elastici azionati da macchine che ne mutano continuamente la percezione, complici anche il buio e la fluorescenza degli stessi elastici grazie alla presenza di lampade di Wood (Spazio Elastico, 1968), ora ancora, creando delle pareti bianche composte da parallelepipedi di polistirolo dall’effetto inaspettatamente pulsante (Strutturazioni pulsanti, 1959), Colombo mira all’effetto-sorpresa, alla sregolatezza del campo che, più di tutti, è retto da solide norme, l’architettura.
Quello di cui le installazioni di Colombo necessitano è sempre una partecipazione attiva, chiedono cioè allo spettatore di divenire attore interagendo con l’opera, perché questa altro non è, che mezzo per far riflettere su temi che sarebbe difficile rendere a parole, ma che con l’esperienza diretta, possono subito intendersi.
E’ un discorso umano quello di Colombo , volto a guardare l’uomo e i suoi meccanismi percettivi (visivi, tattili, uditivi). Dietro c’è Fontana e l’idea di opera come spazio stesso dell’opera; spazio che, in Colombo, non può che essere necessariamente, pena l’insensatezza dell’operazione stessa, vissuto.
Le opere in esposizione sono giustamente praticabili tranne alcune per via dell’usura; cosa potrebbe pensare l’autore delle sue macchine tattili ormai inaccessibili dietro una lastra di spesso vetro? Fin quando Art will continue to maintain its gold standard, we will only be the case.


yamuna Jivan silvia Illuzzi
visited the exhibition in September 3.X.2009

dal16 06/10/2009 Gianni Colombo
Castello di Rivoli Museum of Contemporary Art
Piazza Mafalda di Savoia, 10098, Rivoli (TO)
Hours Tuesday - Thursday from 10.00 to 17.00
Friday - Sunday from 10.00 to 21.00 Monday
closed, open on Easter Monday
closed Dec. 25, Jan. 1, May 1
Admission: € 6.50, reduced
€ 4.50 (pensioners, students, military)
tel: +39 011 9565222
www.castellodirivoli.org

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permanent collection, a History of the Museum of Modern Art of Bologna, Bologna

, MAMbo

Re-Creation of the collection of MAMbo: pictures, videos, installations , books, audio, photographs, to discover the history of Italian art of the last forty years through four multi-sensory pathways. _______________________________________________________________________________________


Nothing else in front of the Museum of Modern Art in Bologna Via Don Minzoni, MAMbo. The former bakery in fact, like a Byzantine church, it is wrapper that hides within its wonders. You will find the lost regular visitor to note how the collection is enriched with the long-hidden treasures and must pass the old entrance door and the stairs to get to the new space designed for it.
The old room will henceforth be used in exhibitions (one of imminent Zorio G.) and the new space already provides for the use of four thematic paths (which is unusual in Italy), distributed as follows: Art and ideology, and Abstract informal, for a history of GAM (1968-2008). Extracts, Focus on Contemporary Italian Art
MAMbo finally opening in 2007, many of the works of GAM to breathe in a collection that finds, indeed, it creates its own identity. New pace of contemporary life, combining the art of the past four decades in a speech smooth and full of meaning, the Collection is able to respond to everyone, and not to isolate the works so hard, catalog for years but they can communicate in an intriguing game of references, perhaps even to challenge academicism unable to hear the work, but only to classify, away from a free thinking that those who visit, you must have.
The works of the rooms of MAMBO want to get involved politically, emotionally and mentally through ideology, speech, abstract informal, poor, and the New-New transavanguardistici barilliani to reach the eroded landscape (Eroded Landscape, 1999) A. Cragg (Liverpool, 1949) which, with its frosted glass, allows us to make the point: beyond Duchamp and the poetry of objects, here the weaknesses that have achieved the same. On what basis can engage today?

The "cross-eyed look" of MAMbo respond, with the help of well-trained guides that involve the public, which only has the response. M. Cattelan (Padua, 1960) with its famous pyramid of Flash Art (Strategies, 1990) takes us to the exit, once again marking the hand over insecurity, paradoxically only certainty of this "liquid modernity".



yamuna Jivan silvia Illuzzi

visited 27.IX.2009



from September 19, 2009 The collection, a History of the Museum of Modern Art of Bologna Via Don Minzoni
MAMbo
1-40121 Bologna
Hours: Tuesday - Friday from 10.00 to 18.00 Thursday from 10.00 to 22.00

Saturday and Sunday 10:00 to 18:00 Monday closed

January 1, May 1 and Dec. 25 closed
Admission: Free
Tel: +39 051 6496611 info @
mambo bologna.org-
www.mambo-bologna.org

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PENGUINS

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Funny Gym Quotes And Sayings

> THE CLASS AND 'WATER \u0026lt;

The term derives from the Latin class classis, which probably originated from an ancient word that meant to call. Classis meant so call , appeal. Towards the middle of the eighteenth century the word was used class in the language of the economy with the value of a group of people who have the same situation as income or engaged in the same profession.

Karl Marx continued the eighteenth-century idea of \u200b\u200bclass as a homogeneous group of individuals for origins, wealth and culture, but it highlights the economic significance. In the Marxist - Leninist, in fact, the concept of class is mainly due to the division of social work into two categories: the capitalist class , which owns the means of production and the proletariat that has the labor force. The course of history, according to Marxism-Leninism, is the direct product of class conflict intended to lead to the seizure of power by the proletariat and the emergence of a society no longer divided.

Each was arranged, however, is governed by a ruling class, which includes politicians, but also those who hold real power, namely industrial, judges, professionals and intellectuals. In addition to politics and sociology, the term class is used in other contexts, always with a sense of group of individuals with similar characteristics. In the language of military bureaucracy, belong to the same class all those born in the same year. In this expression refers to the class of iron . In the world of education we mean by the word class the organizational unit, and minimum education and, by extension, is the set of students who attend a class to the room where the lessons are held.

Today it happened to me in a class of school where I have my duties as a teacher (teaching not, it seems to me an exaggeration), which expresses its class conflict in my classes follow screaming to avoid that I would address the terms grammarians art (fundamentals, sport) to see, tout court, things on the pages of the book and follow the things that I should explain. To my great disappointment I started to become a teacher because this was their request. I have him, by the ministerial program, and I will. I expected a build less inattentive to the epistemological reflection, I find myself in front of a generation that wants to follow the course syllabus, books and teacher. Il termine classe , infine, ha anche il senso di distinzione, signorilità, stile: si dice per questo che una persona è di classe o che ha classe (da cui, forse, l'espressione "la classe non è acqua"). Ma la parola può anche rappresentare un giudizio negativo quando indica una casta sociale o un ordine chiuso. Spiegato l'arcano!

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Small Bubble Inside Lip

Venice and ...


"There are a Korean, an American and two Italian" seems to be the beginning of a joke, it is instead of the group with which I dealt with yesterday adventure Biennale .

wrist watches, time was really limited to devour the monster art in which we were stumbling, we are just outside the station in Venice impaled, stuck, standing type caryatids. The scenery is breathtaking.

Venice. The city seen in the paintings of Tintoretto, Canaletto, Bellini (and many others), is here before us, almost intact (the almost is reported billboards seeking their visibility on the most beautiful monuments).

We are resigned to a whirlwind tour for her little streets before reaching the 'Arsenal from which we then started the path to the Biennale.

... The Biennale !
Lygia Pape with his Tteia 1, C welcomes visitors by immersing it in a dark room with beams of light illuminating golden pillars. It seems a call for silence, reflection, a moment of silence and moved into the art world. Stroll around this first installation and you will discover how the column is nothing but a set of thin gold wires made perceptible only by the light beam.

between destruction ( Pistoletto M., Twenty-two less two), ecological art ( Potrc M. ) and calls for active participation ( A. Mir, Venice-all place Contain all others) we arrive in the beautiful room dedicated to Tayou PM (Human Being), which recreates a world in a room: small houses with video projections, a tribe of puppets, straw, waste paper bags and colorful skies with pointed poles, connected space-time impossible Here are their raison d'etre in the name of everyday life that makes us closer and the like.

Costellation can not fail to modern man used to being surrounded by all kind of electrical device in Chu Yun reveals the unexpected dark side.


New this year: the Italian Pavilion, a large space dedicated to our local halls instead of being placed together with other States in the Gardens, this year is fixed and increased stay in the junction point between Arsenal Gardens and perhaps want to reiterate the Italian event or art in general. Excess of ego?

We're so in the Gardens, to our left the Pavilion of the Biennale, the temple of the sea thanks to the installation of J. Baldessari, which houses, among others, the phrases Zen Yoko Ono, the scene of flowers and videos fintissimi Djurberg No, the web of elastic Saraceno T. Scattered in the gardens are all the national pavilions.


A day is not enough to get lost in this dimension of playful, colorful, poetic, a little magic, a bit scratchy, in this mini-world to live and never to be read only!

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Hey there, Welcome! My name's
Yamuna, I am a student of art history of Bologna, Bari emigrant , triggianese to be exact ("charming" village located in the province of Bari further from the sea and near the beautiful St. George Lama, fertile land and rich with olive groves and vineyards).
bewildered and fascinated by the mobility of today's world, I thought it appropriate to find me a corner to avoid being crushed by the fast flow of things.
Not to be sucked into the vortex of nihilism , from ' apathy, from' anxiety insignificance of all, I look for a positive counterbalance the web that I hope will be useful and inspirational to all those who feel troubled the same sense of emptiness .
These intentions.
Happy reading!

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SOMEBODY



Qualcuno (Somebody)

Voglio qualcuno con cui condividere
Dividere il resto della mia vita
Dividere i miei pensieri più profondi
Che conosca i miei particolari intimi
Qualcuno che stia al mio fianco
E mi dia coraggio
E in cambio
Otterrà il mio supporto
Mi ascolterà
quando vorrò parlare
del mondo in cui viviamo
e della vita in generale
Come la vedo io forse è sbagliato
I miei pensieri possono essere perfino perversi
lei mi ascolterà
e difficilmente si convertirà
al mio modo di pensare
infatti lei spesso non sarà daccordo
ma alla fine di tutto
lei mi capirà

Voglio qualcuno che si prenda cura
di me appassionatamente
con ogni pensiero e
con ogni respiro
Qualcuno che mi aiuti a vedere le cose
in modo differente
tutte le cose che I liked almost hate

not want to feel tied to strings

'm looking for someone with great attention to be within this


but when I sleep I want someone to hold me

And kiss me tenderly Though things like this

I make sad
In a case like this will manage
Me

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Indiglo Alarm Clocksireland

> THE CROSS OF PROF. M \u0026lt;

analyze it in the abstract. X The institute is housed in a building that previously housed offices for the Inland Revenue (Ministry of Finance, I suppose). This building, and, I am told, a number of buildings that made rented to schools and public offices, belongs to a citizen, and a family, which owns a large part of the city's buildings K implemented over a period of boom in building permits (which some call illegal pre-amnesty).

This city rents the building, and all other buildings, a public body almost excessive (the Province of Region Q Y) even though he knew, the two parties, it does not have any of the requirements that can define public building, much less "school". This contract should even exist, but does not come out. The story is common to many complexes. Let this situation here, and go forward.

comes to directing the Institute Professor X M which, while relying deliveries from its predecessor had, she nevertheless see clear through the papers and in the corridors of the Institute inherited. Keeps on hitting, he discovered the flaw and aware of it so that not only sends elegantly, in his heart, in that country (we will not say which one) and its predecessors have managed with great light, outside of any legislation safety, life in that building, that everything will be (albeit non-standard) but not school, but does more.

He says, clearly, and without being denied to a reporter. What comes to the internet and, as expected, began to operate in environments up to management hell breaks loose. But no. What comes to the Internet. Punto. Finisce là. Ma come? Proprio ora che un dirigente dichiara la sacrosanta verità, bolla di sapone?

Eppure è così. Il dirigente può soltanto correre ai ripari, dopo la sua dichiarazione, e prova ad aggiustare una porta di sicurezza, a mettere a norma un impianto elettrico, richiama docenti e personale a verificare lo status quo delle aule in cui lavorano: soldi però non ce ne stanno, e l’edificio continua a non avere i requisiti. Ma in quella scuola vivono 1500 persone ogni giorno. Ripeto: millecinquecento persone ogni giorno, distribuite su cinque piani.

I piani di sicurezza non sono adeguati, non ci sono scale di sicurezza e, ciliegina sulla torta, anche se ci fossero la popolazione defluente non saprebbe dove allunare, una volta fuori. Il professor M lo sa, lo dice, lo comprende ma non ha soluzioni e dall’inutile Ente non arriva nessuna notizia: né addenda né reprimenda.

Ora capiamo da cosa derivano gli indirizzi strategici di Gelmini: il signor ministro pensa che tutto funzioni a meraviglia dovunque e che, essendo tutto così perfetto, vadano apportati correttivi strutturali che non consentano iniquità di trattamento tra differenti istituti e/o scuole.

Io non posso che plaudire, invece, alla sagacia del professor M che, nonostante tutto, immagina di intravedere un barlume di speranza all’orizzonte e, credendoci, insiste nella sua ricerca dell’Eldorado. La sua non è una crociata perduta in partenza, come non lo sarebbe quella di altre scuole se a sollevare i vessilli e a sguainare le spade fossero le centinaia di dirigenti scolastici che subiscono immotivatamente angherie “oltre norma” dai loro superiori.

E, forse, è da qui che dovrebbe ripartire con nuovo vigore una protesta. Solo una scuola consapevole dei propri limiti reali può indicare soluzioni contro il precariato e suggerire che le buone pratiche possono partire dal corpo docente, dalla popolazione scolastica, dal personale più che essere esperimenti in provetta sulla vita delle persone. Ho esagerato?

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