Wednesday, January 26, 2011

Pastal Color Paper Plates

Knowing Rome Feren Carotenuto

study the Imperative and describe the city itself ... Here is the challenge launched to students of Portuguese, which Feren Carotenuto responded with this beautiful text, in a letter to the great violinist Anne-Sophie Mutter, published here - and very grateful!
Ms. Anne-Sophie Mutter Violin soloist

Berlin Symphony Orchestra


Dear Ms. Mutter,
now answer to his request last week: Ms. wanted to spend some indications his holidays in Rome after the concert that will do on April 21 at the Auditorium, the anniversary of the founding of Rome.

Rome may be known in many ways, I wanted to recommend one type of knowledge related to the five senses, and the lady, like all artists, a sensitive and unique.
So, I offer you some suggestions for his stay in my city is unforgettable. My suggestions will not be conventional, such as those that you can read in any book for tourists.

Start with what you can relate to the view: not always see the same things! Visit the first National Art Gallery Moderna, para compreender o nascimento da minha nação como estado unitário: observe as obras artísticas do fim do século XIX, que narram um país ainda subdesenvolvido, um país de campos, pauis, montanhas, aldeias isoladas, de lugares ainda selvagens; um país de doenças endémicas, de injustiças sociais e de desespero, um país de pobres emigrantes. Entenda como o meu país pagou a sua unificação com o estrago das classes sociais mais débeis. Suba depois ao segundo andar, e admire as obras dos famosos futuristas italianos, ligando este período artístico ao desenvolvimento económico e industrial de Itália. Depois, para concluir a conhecimento da época moderna, vá know the city in a car away from the center, positioned in places peripheral to the North and South, as in the neighborhoods of EUR and the Olympic Stadium, a planned city and admire over the Thirties of the last century, unjustly neglected by most tourist guides . I speak of the architectural style named "Razionale", a unique style in the artistic tradition of Italian architecture, a revolutionary style in its total absence of classical decorative elements, a simple, yet elegant, a style achievable with local materials, a historical period of isolation political and economic of the country: note the use of typical rock Rome, travertine, the use of glass with iron or board, the presence of internal structures in reinforced concrete buildings. Note the arcs and straight lines, rectangular shapes constructed with the golden section, imitating the ancient Romans. It all gives an impression of order, logic, and coherence: the ideological elements of a dictatorial regime that marked a notable recent history of my country. But this need not diminish the aesthetic value of the creativity of Italian architects of the time: a political assessment of the rationalist style has no meaning.

continue with the second sense, taste. Do not forget to start your day with a typical Roman breakfast: drink a gallon (dark cappuccino) and eat that cake with cream that can not always eat at local cafes or bakeries, named "con la panna maritozzo," but there is a good bakery not far from Your hotel on the street Ludovisi, where you can get it. A typical lunch includes pasta always al dente, a poor food, but economic nutrient. The spaghetti is served with various sauces, the most famous and eggs, sheep cheese, fried bacon, and lots of black pepper (alla carbonara, or charcoal), or with tomato, onion, bacon fried, seasoned with sheep cheese (forget the parmesan then once in Rome!). After a dish so rich, the vegetables taste typical of Roman camps: a whole artichoke fried in olive oil, crispy and tasty! Have a great spout later in Gallery Alberto Sordi in the center, and continue this journey dining: enjoy an ice cream near the Gallery Alberto Sordi in pastry called Giolitti. Now if only dinner, and I advise you to go to Trastevere district to eat a good pizza romana, but before the pizza, taste the typical fried vegetable croquettes or the iconic rice with mozzarella. Do not forget the local wines: always prefer white wines, much more delicate, with aromas of fruit and flowers, the only red wine that I can advise you would be Shiraz, which also has a love of flowers and fruit, but not easily found in restaurants.

I will continue with the third and fourth sense, smell and touch. It seems incredible, but I assure that in Rome there is also delicious scents! Being in Rome for the end of April, the Lady will find all the stairs from the English full of magnificent flowers, stupendous color, with all possible variations in color between white, pink, purple, fuchsia, red ... St. flowers large, soft, weak, thin and silky, are azaleas! Climb the stairs and touch the flowers with your hands, or rather, caress them with the face, will be a feeling very sweet! This sensory experience can continue even afterwards, when you visit the rose garden on the Aventine. Then the perfume of roses will be truly exhilarating, with the myriad colors of flowers, many and various sizes and shapes! And the softness of the petals, like silk or velvet. Immerse your face in the roses, but watch out for bees! They also like the roses. But the scent as sweet as everyone is different. You know that in many Italian dialects the word "sweet orange" it says "Portugal" Unfortunately, the flowers of sweet orange does not exist in Rome. But we have other flowers in orange, those bitter. They are used to to make perfumes. And the garden of oranges most famous city is not far from the rose garden, walk a few meters further up the hill and you are next to the church of Santa Sabina. Try to go to the post-sunset, when the scent is more intense, close your eyes and sniff the air: it will seem to be in heaven!

conclude with the last but not least the five senses: hearing. You will play on April 21 my favorite concerto for violin and orchestra No. 1 operates 35 by Tchaikovsky, and I can never thank you enough for this! But I wanted to try some suggestions to it: three different types of Roman music: a music tragic, a a heavenly and very cheerful. The first is a very famous opera by Puccini, based entirely in Rome in the times of popery, a story of unrequited love: You surely already know what I'm talking about: from "Tosca"! It's still very beautiful interpretation of Maria Callas and Giuseppe di Stefano, and without leaving your own home, listen to a CD, login with Floria Tosca, and relive the gloomy atmosphere in the Farnese Palace and the death of poor women in Castel Sant'Angelo. Once in Rome, do not forget to see the Farnese Palace, the church of S. Andrea della Valle, Castel Sant'Angelo! The second song he sang exclusively within the Sistine Chapel. This is the Miserere by Gregorio Allegri, a composition for nine voices a cappella male choir divided into two: one to five and the other four. It was a song so special, that nobody could sing it out of the Sistine Chapel, under pain of excommunication. I know very well that this story! Do not think this song is divine? The last song will be a light opera or musical comedy beloved in Rome, "Rugantino. Despite a tragic ending (Rugantino die upon the gallows), the opera blends the two elements of the Roman character, the comedy or irony, by the melancholy. Especially the happy songs very famous and romantic song "Roma non fa 'la stupida stasis are part of our collective imagination of the Romans.

So hopefully I can well appreciate and understand also those more "sexy" in town!

Sincerely

Feren Carotenuto
Tourist Guide

Pastal Color Paper Plates

Knowing Rome Feren Carotenuto

study the Imperative and describe the city itself ... Here is the challenge launched to students of Portuguese, which Feren Carotenuto responded with this beautiful text, in a letter to the great violinist Anne-Sophie Mutter, published here - and very grateful!
Ms. Anne-Sophie Mutter Violin soloist

Berlin Symphony Orchestra


Dear Ms. Mutter,
now answer to his request last week: Ms. wanted to spend some indications his holidays in Rome after the concert that will do on April 21 at the Auditorium, the anniversary of the founding of Rome.

Rome may be known in many ways, I wanted to recommend one type of knowledge related to the five senses, and the lady, like all artists, a sensitive and unique.
So, I offer you some suggestions for his stay in my city is unforgettable. My suggestions will not be conventional, such as those that you can read in any book for tourists.

Start with what you can relate to the view: not always see the same things! Visit the first National Art Gallery Moderna, para compreender o nascimento da minha nação como estado unitário: observe as obras artísticas do fim do século XIX, que narram um país ainda subdesenvolvido, um país de campos, pauis, montanhas, aldeias isoladas, de lugares ainda selvagens; um país de doenças endémicas, de injustiças sociais e de desespero, um país de pobres emigrantes. Entenda como o meu país pagou a sua unificação com o estrago das classes sociais mais débeis. Suba depois ao segundo andar, e admire as obras dos famosos futuristas italianos, ligando este período artístico ao desenvolvimento económico e industrial de Itália. Depois, para concluir a conhecimento da época moderna, vá know the city in a car away from the center, positioned in places peripheral to the North and South, as in the neighborhoods of EUR and the Olympic Stadium, a planned city and admire over the Thirties of the last century, unjustly neglected by most tourist guides . I speak of the architectural style named "Razionale", a unique style in the artistic tradition of Italian architecture, a revolutionary style in its total absence of classical decorative elements, a simple, yet elegant, a style achievable with local materials, a historical period of isolation political and economic of the country: note the use of typical rock Rome, travertine, the use of glass with iron or board, the presence of internal structures in reinforced concrete buildings. Note the arcs and straight lines, rectangular shapes constructed with the golden section, imitating the ancient Romans. It all gives an impression of order, logic, and coherence: the ideological elements of a dictatorial regime that marked a notable recent history of my country. But this need not diminish the aesthetic value of the creativity of Italian architects of the time: a political assessment of the rationalist style has no meaning.

continue with the second sense, taste. Do not forget to start your day with a typical Roman breakfast: drink a gallon (dark cappuccino) and eat that cake with cream that can not always eat at local cafes or bakeries, named "con la panna maritozzo," but there is a good bakery not far from Your hotel on the street Ludovisi, where you can get it. A typical lunch includes pasta always al dente, a poor food, but economic nutrient. The spaghetti is served with various sauces, the most famous and eggs, sheep cheese, fried bacon, and lots of black pepper (alla carbonara, or charcoal), or with tomato, onion, bacon fried, seasoned with sheep cheese (forget the parmesan then once in Rome!). After a dish so rich, the vegetables taste typical of Roman camps: a whole artichoke fried in olive oil, crispy and tasty! Have a great spout later in Gallery Alberto Sordi in the center, and continue this journey dining: enjoy an ice cream near the Gallery Alberto Sordi in pastry called Giolitti. Now if only dinner, and I advise you to go to Trastevere district to eat a good pizza romana, but before the pizza, taste the typical fried vegetable croquettes or the iconic rice with mozzarella. Do not forget the local wines: always prefer white wines, much more delicate, with aromas of fruit and flowers, the only red wine that I can advise you would be Shiraz, which also has a love of flowers and fruit, but not easily found in restaurants.

I will continue with the third and fourth sense, smell and touch. It seems incredible, but I assure that in Rome there is also delicious scents! Being in Rome for the end of April, the Lady will find all the stairs from the English full of magnificent flowers, stupendous color, with all possible variations in color between white, pink, purple, fuchsia, red ... St. flowers large, soft, weak, thin and silky, are azaleas! Climb the stairs and touch the flowers with your hands, or rather, caress them with the face, will be a feeling very sweet! This sensory experience can continue even afterwards, when you visit the rose garden on the Aventine. Then the perfume of roses will be truly exhilarating, with the myriad colors of flowers, many and various sizes and shapes! And the softness of the petals, like silk or velvet. Immerse your face in the roses, but watch out for bees! They also like the roses. But the scent as sweet as everyone is different. You know that in many Italian dialects the word "sweet orange" it says "Portugal" Unfortunately, the flowers of sweet orange does not exist in Rome. But we have other flowers in orange, those bitter. They are used to to make perfumes. And the garden of oranges most famous city is not far from the rose garden, walk a few meters further up the hill and you are next to the church of Santa Sabina. Try to go to the post-sunset, when the scent is more intense, close your eyes and sniff the air: it will seem to be in heaven!

conclude with the last but not least the five senses: hearing. You will play on April 21 my favorite concerto for violin and orchestra No. 1 operates 35 by Tchaikovsky, and I can never thank you enough for this! But I wanted to try some suggestions to it: three different types of Roman music: a music tragic, a a heavenly and very cheerful. The first is a very famous opera by Puccini, based entirely in Rome in the times of popery, a story of unrequited love: You surely already know what I'm talking about: from "Tosca"! It's still very beautiful interpretation of Maria Callas and Giuseppe di Stefano, and without leaving your own home, listen to a CD, login with Floria Tosca, and relive the gloomy atmosphere in the Farnese Palace and the death of poor women in Castel Sant'Angelo. Once in Rome, do not forget to see the Farnese Palace, the church of S. Andrea della Valle, Castel Sant'Angelo! The second song he sang exclusively within the Sistine Chapel. This is the Miserere by Gregorio Allegri, a composition for nine voices a cappella male choir divided into two: one to five and the other four. It was a song so special, that nobody could sing it out of the Sistine Chapel, under pain of excommunication. I know very well that this story! Do not think this song is divine? The last song will be a light opera or musical comedy beloved in Rome, "Rugantino. Despite a tragic ending (Rugantino die upon the gallows), the opera blends the two elements of the Roman character, the comedy or irony, by the melancholy. Especially the happy songs very famous and romantic song "Roma non fa 'la stupida stasis are part of our collective imagination of the Romans.

So hopefully I can well appreciate and understand also those more "sexy" in town!

Sincerely

Feren Carotenuto
Tourist Guide

Tour The Sirius Studio New York

Foundation continues the work of Alfredo d'Andrade


La Fondazione Alfredo d'Andrade, ha il piacere di presentarVi


Alfredo dAndrade:

activity in Canavese and Valle dAosta


by Giuse and Bruno Scalve Orlandoni

Thursday, January 27, at 21


Pavone Canavese, Fondazione A. d'Andrade
Second meeting of the series of evenings dedicated to the life and work of Alfred dAndrade.

Subject of the evening will be the intensity activities of Canavese and dAndrade in dAosta Valley.

Tour The Sirius Studio New York

Foundation continues the work of Alfredo d'Andrade


La Fondazione Alfredo d'Andrade, ha il piacere di presentarVi


Alfredo dAndrade:

activity in Canavese and Valle dAosta


by Giuse and Bruno Scalve Orlandoni

Thursday, January 27, at 21


Pavone Canavese, Fondazione A. d'Andrade
Second meeting of the series of evenings dedicated to the life and work of Alfred dAndrade.

Subject of the evening will be the intensity activities of Canavese and dAndrade in dAosta Valley.

Columbus Ohio Adult Modeling

Camões Institute accepting applications for distance learning courses for Semester 2 2010/2011


Candidate-se até ao dia 6 de Fevereiro neighbor.

Mais informações em http://cvc.instituto-camoes.pt/ensino-a-distancia/novos-cursos.html

Columbus Ohio Adult Modeling

Camões Institute accepting applications for distance learning courses for Semester 2 2010/2011


Candidate-se até ao dia 6 de Fevereiro neighbor.

Mais informações em http://cvc.instituto-camoes.pt/ensino-a-distancia/novos-cursos.html

Monday, January 24, 2011

Alternative To Metformin

February 2: Brazilian artist in the Flaminia Mantegazza Gallery IPSAR

The Rector of the Portuguese Archbishop of St. Anthony in Rome
Agostinho da Costa Borges

under the patronage of HE the Ambassador of Portugal to the Holy See
Dr. Manuel Tomás Fernandes Pereira

In collaboration with the Embassy of Brazil to the Italian

is pleased to invite SV
the inauguration of the exhibition of

Flaminia Mantegazza

to be held February 2, 2011 at 18:30


La mostra rimarrà aperta fino al 13 febbraio 2011
dal mercoledì alla domenica, dalle ore 16.00 alle ore 19.00

Ingresso libero

Galleria d’Arte dell’Istituto Portoghese di Sant’Antonio in Roma
Via dei Portoghesi, 6 - I-00186 Roma

www.ipsar.org
appuntammenti@ipsar.org


Flaminia Mantegazza . Códigos genéticos

Esistono caratteri discontinui all'origine di ogni sequenza. Di ogni ordine. Luoghi in cui qualsiasi interferenza rispetto allo stato di omogeneità comincia ad apparire a sua volta alterata, senza regola e senza confine visibile rispetto axioms of circumstance. We, as natural beings we would have no way of learning anything about the matter of events, nor on the theory that it enables us to know. But thanks to the memory of readers can claim the role of human reality, even helped by our inevitable process of forgetting. It is indeed the science, first, to separate us from the immediacy intimately or is suspected, the experience of nature and its advent. But it was our claim to self-proclaimed readers of the book of nature, trying to assign sense gratification where the intertwining of memory and oblivion would give at least an easing of immediacy. Faced with an increasing overlap di un'adiacenza del sapere al vero centro del mondo.

Ma quel che si deve poter scoprire ancora una volta, deve essere prima di tutto dimenticato. Così anche la capacità di poter studiare e riprodurre persino i più evidenti fenomeni di natura, come i colori e i loro influssi, è legata all'immenso distacco da ogni rapporto immediato con la natura, al di fuori del quale l'evoluzione organica e culturale ha condotto l'uomo di oggi. Come contemporanei siamo in un certo senso ciechi di fronte alla metaforica della leggibilità, amando allontanare ciò che costituisce lo spirito del tempo, benché esso ci domini.
Eppure, nelle nostre cellule, nella definizione dei codici genetici la sostanza ereditaria della materia living and the full potential of future development of an organism can be understood and recorded just as an exception modulated. A central chapter in the book of nature. Within the chromosomes of the cell nucleus, in fact, every form has the ability to save a text written in code. For ancestors and descendants.

This metaphorical reference to a great tradition is suggested by a modification of the antithetical relationship between nature and representation of the phenomena of nature. Overcoming this kind of dialectic is due to the merger of the two different perspectives together in the biological features of the logos and then revealed in the transcript of the genome.
What distinguishes the tradition of a language encrypted is the dual nature of assumptions that no one wants to communicate something, but no one wants to hide something. Any ancient document, for example, could be considered to be a wreck, not intentionally given to posterity, is a non-monument. A track whose enigmatic circumstance is based on conditions that have never been a human will, though inevitably dependent on the will of the time. Through a molecular model of a gene is no longer conceivable that the miniature code of life is exactly correspond to a complicated and specified plan of development time, a legacy that somehow contains in itself the means of its origin and subsequent implementation.

Nell'orma Flaminia Mantegazza phenomenological work on the organic metaphor of readability is given by the degree to which each composition can be so disturbed as translated according to precise codes of reading. Areas that appear ordered and original without modularity, infringements and grafts that randomly light up the special functions of the gene, between the horizon and vertical linearity with no prospect of a marked artistic dimension. The tableaux en faisant artist's eyes become light that looks and any accompanying phenomenon of transcription and directly related to the merger scopic register.

The series of papers given in the path of allestitivo Códigos genéticos follows an arc composition of seven years. From 2003 to 2010 shows a periodic formal artist characterized by the insistence on certain aspects and rituals of dematerialisation. Códigos genéticos compartment designed as a sequence of chromosomes (from the greek word composed of chroma and soma, which is the body color), showcases the pictorial-plastic processes such as mitosis and meiosis, taking genetic information of the color combinations and characters from the second hereditary significance.

esondanti In these paintings, the concept of total art or art never stays the final victim of conceptual approaches, but is reinterpreted in the form of immanent description, single intervention. Depth of surface equilibrium between the target dell'altorilievo pictorial and landscape. Changes in rate and extent of structural elements are assembled intrinsic factors for these jobs. Signs in accordance with the inviolable power of passes than any external circumstance. Impressions or minted by the logic of the market nor by the culture.

addition to the growing variety of style changes, for Flaminia Mantegazza, hiding the result of his research, the development of the symptom of a return, return to the traditional field of painting and its multifarious abstractions. In the DNA of these works are based on minimal language the result of a concept, a thought that leaves space for the image to bring out its indelible a priori.
Looking at each section as you can imagine composing the works displayed on the wall to turn to the passage of time, a moment of transition in any case in which reproducibility is released from the object of origin and simulates something else. By converting the logical connotation. Flaminia Mantegazza not to lose neither the beginning nor the end of the idea, gives the transformation of cellulose into their own hands, making terminations invariable. Networks that capture the reality in the form of the fragment. Grain. Mosaic invented to break up riots in the round, so smooth and variations on the canvas.

Chains such as white interior, jointed geometries of Burle Marx, the nests of honey and precise asymmetries behind Spread the possibility of their two-dimensional media, mixing memory to its opposite. The goal here is to indicate a process that interprets the codes of the creative birth, attendance related effects of visual language. In a world saturated, rich and versatile signs of continuous changes of meaning, abstraction of the Brazilian material appears to be an aesthetic model suitable to contain and then to survive in the organic substance to wills. Morphologically unfinished writings, as dictated by the ability to work for impressions. Stands originated from the clarity of strong direction from the front and combinations of various components of thickness. Full and empty encrypted. Minimal forms that balance losses and expansion of the masses, drawing a genetic stance. Descendants of a timeless spatial density.

December 2010, Geneva Bria



ARTIST PROFILE BIOGRAPHY



Flaminia Mantegazza, Rio de Janeiro, 1955. Lives and works in Rome from the nineties. In Rio de Janeiro is a graduate of the School of Visual Arts of Parque Lage, with João Magalhães. In Italy, he attended the School of Ornamental Arts of the municipality of Rome and the school studio Alberto Parres. Graduated in Economics at the Faculty of History and Gama Filho Federal University of Rio de Janeiro, then a master's degree in economic development at the ISVE specializing in Naples and in Rome at the IRI. SELECTED EXHIBITIONS



2009 rock paper scissors _
Rome II Rome
- Cenario para a Escrita por Gabriel theater peca de Marcellus, "in your silence"
Lecce - building - beams Bienal
Mediterranean Rome - rock paper scissors

2008
Rome - shows for charity auction for the Tanzania project "mama onlus"
Rome - telethon - Paribas BNL Group - Branch
pantheon of the Rome-New Jobs
Rome - you recycle into art - art foundry

2007
Rome - telethon - BNL Paribas - agency of the pantheon
Viterbo - Capranica - without - untitled
Reggio Emilia - art fair
Rome - Rome atelier de spelled
- metamorfhoseon - neoartgallery
Istanbul - XVI contemporary art fair in Istanbul
Rome - imagine the impossible. Guaranteed impossible-neoartgalley


Milan 2005 - the third millennium gallery
Torino - Chieri - versus xi Imbiancheria of viarjo

2004
Paris - atelier de spelled
Milan - Brazilian art trends in Italy - Milan atelier de spelled
- IBRIT Institute for Culture Brazil Italy
Rome - Villa Park Villa Mattei in Rome
Celimontana

2003 - harmony della materia - atelier farro


http://www.flaminiamantegazza.com/

Alternative To Metformin

February 2: Brazilian artist in the Flaminia Mantegazza Gallery IPSAR

The Rector of the Portuguese Archbishop of St. Anthony in Rome
Agostinho da Costa Borges

under the patronage of HE the Ambassador of Portugal to the Holy See
Dr. Manuel Tomás Fernandes Pereira

In collaboration with the Embassy of Brazil to the Italian

is pleased to invite SV
the inauguration of the exhibition of

Flaminia Mantegazza

to be held February 2, 2011 at 18:30


La mostra rimarrà aperta fino al 13 febbraio 2011
dal mercoledì alla domenica, dalle ore 16.00 alle ore 19.00

Ingresso libero

Galleria d’Arte dell’Istituto Portoghese di Sant’Antonio in Roma
Via dei Portoghesi, 6 - I-00186 Roma

www.ipsar.org
appuntammenti@ipsar.org


Flaminia Mantegazza . Códigos genéticos

Esistono caratteri discontinui all'origine di ogni sequenza. Di ogni ordine. Luoghi in cui qualsiasi interferenza rispetto allo stato di omogeneità comincia ad apparire a sua volta alterata, senza regola e senza confine visibile rispetto axioms of circumstance. We, as natural beings we would have no way of learning anything about the matter of events, nor on the theory that it enables us to know. But thanks to the memory of readers can claim the role of human reality, even helped by our inevitable process of forgetting. It is indeed the science, first, to separate us from the immediacy intimately or is suspected, the experience of nature and its advent. But it was our claim to self-proclaimed readers of the book of nature, trying to assign sense gratification where the intertwining of memory and oblivion would give at least an easing of immediacy. Faced with an increasing overlap di un'adiacenza del sapere al vero centro del mondo.

Ma quel che si deve poter scoprire ancora una volta, deve essere prima di tutto dimenticato. Così anche la capacità di poter studiare e riprodurre persino i più evidenti fenomeni di natura, come i colori e i loro influssi, è legata all'immenso distacco da ogni rapporto immediato con la natura, al di fuori del quale l'evoluzione organica e culturale ha condotto l'uomo di oggi. Come contemporanei siamo in un certo senso ciechi di fronte alla metaforica della leggibilità, amando allontanare ciò che costituisce lo spirito del tempo, benché esso ci domini.
Eppure, nelle nostre cellule, nella definizione dei codici genetici la sostanza ereditaria della materia living and the full potential of future development of an organism can be understood and recorded just as an exception modulated. A central chapter in the book of nature. Within the chromosomes of the cell nucleus, in fact, every form has the ability to save a text written in code. For ancestors and descendants.

This metaphorical reference to a great tradition is suggested by a modification of the antithetical relationship between nature and representation of the phenomena of nature. Overcoming this kind of dialectic is due to the merger of the two different perspectives together in the biological features of the logos and then revealed in the transcript of the genome.
What distinguishes the tradition of a language encrypted is the dual nature of assumptions that no one wants to communicate something, but no one wants to hide something. Any ancient document, for example, could be considered to be a wreck, not intentionally given to posterity, is a non-monument. A track whose enigmatic circumstance is based on conditions that have never been a human will, though inevitably dependent on the will of the time. Through a molecular model of a gene is no longer conceivable that the miniature code of life is exactly correspond to a complicated and specified plan of development time, a legacy that somehow contains in itself the means of its origin and subsequent implementation.

Nell'orma Flaminia Mantegazza phenomenological work on the organic metaphor of readability is given by the degree to which each composition can be so disturbed as translated according to precise codes of reading. Areas that appear ordered and original without modularity, infringements and grafts that randomly light up the special functions of the gene, between the horizon and vertical linearity with no prospect of a marked artistic dimension. The tableaux en faisant artist's eyes become light that looks and any accompanying phenomenon of transcription and directly related to the merger scopic register.

The series of papers given in the path of allestitivo Códigos genéticos follows an arc composition of seven years. From 2003 to 2010 shows a periodic formal artist characterized by the insistence on certain aspects and rituals of dematerialisation. Códigos genéticos compartment designed as a sequence of chromosomes (from the greek word composed of chroma and soma, which is the body color), showcases the pictorial-plastic processes such as mitosis and meiosis, taking genetic information of the color combinations and characters from the second hereditary significance.

esondanti In these paintings, the concept of total art or art never stays the final victim of conceptual approaches, but is reinterpreted in the form of immanent description, single intervention. Depth of surface equilibrium between the target dell'altorilievo pictorial and landscape. Changes in rate and extent of structural elements are assembled intrinsic factors for these jobs. Signs in accordance with the inviolable power of passes than any external circumstance. Impressions or minted by the logic of the market nor by the culture.

addition to the growing variety of style changes, for Flaminia Mantegazza, hiding the result of his research, the development of the symptom of a return, return to the traditional field of painting and its multifarious abstractions. In the DNA of these works are based on minimal language the result of a concept, a thought that leaves space for the image to bring out its indelible a priori.
Looking at each section as you can imagine composing the works displayed on the wall to turn to the passage of time, a moment of transition in any case in which reproducibility is released from the object of origin and simulates something else. By converting the logical connotation. Flaminia Mantegazza not to lose neither the beginning nor the end of the idea, gives the transformation of cellulose into their own hands, making terminations invariable. Networks that capture the reality in the form of the fragment. Grain. Mosaic invented to break up riots in the round, so smooth and variations on the canvas.

Chains such as white interior, jointed geometries of Burle Marx, the nests of honey and precise asymmetries behind Spread the possibility of their two-dimensional media, mixing memory to its opposite. The goal here is to indicate a process that interprets the codes of the creative birth, attendance related effects of visual language. In a world saturated, rich and versatile signs of continuous changes of meaning, abstraction of the Brazilian material appears to be an aesthetic model suitable to contain and then to survive in the organic substance to wills. Morphologically unfinished writings, as dictated by the ability to work for impressions. Stands originated from the clarity of strong direction from the front and combinations of various components of thickness. Full and empty encrypted. Minimal forms that balance losses and expansion of the masses, drawing a genetic stance. Descendants of a timeless spatial density.

December 2010, Geneva Bria



ARTIST PROFILE BIOGRAPHY



Flaminia Mantegazza, Rio de Janeiro, 1955. Lives and works in Rome from the nineties. In Rio de Janeiro is a graduate of the School of Visual Arts of Parque Lage, with João Magalhães. In Italy, he attended the School of Ornamental Arts of the municipality of Rome and the school studio Alberto Parres. Graduated in Economics at the Faculty of History and Gama Filho Federal University of Rio de Janeiro, then a master's degree in economic development at the ISVE specializing in Naples and in Rome at the IRI. SELECTED EXHIBITIONS



2009 rock paper scissors _
Rome II Rome
- Cenario para a Escrita por Gabriel theater peca de Marcellus, "in your silence"
Lecce - building - beams Bienal
Mediterranean Rome - rock paper scissors

2008
Rome - shows for charity auction for the Tanzania project "mama onlus"
Rome - telethon - Paribas BNL Group - Branch
pantheon of the Rome-New Jobs
Rome - you recycle into art - art foundry

2007
Rome - telethon - BNL Paribas - agency of the pantheon
Viterbo - Capranica - without - untitled
Reggio Emilia - art fair
Rome - Rome atelier de spelled
- metamorfhoseon - neoartgallery
Istanbul - XVI contemporary art fair in Istanbul
Rome - imagine the impossible. Guaranteed impossible-neoartgalley


Milan 2005 - the third millennium gallery
Torino - Chieri - versus xi Imbiancheria of viarjo

2004
Paris - atelier de spelled
Milan - Brazilian art trends in Italy - Milan atelier de spelled
- IBRIT Institute for Culture Brazil Italy
Rome - Villa Park Villa Mattei in Rome
Celimontana

2003 - harmony della materia - atelier farro


http://www.flaminiamantegazza.com/

The Darkness Soundtrack

"The Knight of Denmark" by Feren


Our student Feren Carotenuto continued the tale of Sophia de Mello Breyner, The Knight Denmark, according to his fancy, and without knowing the end the Portuguese writer who had created the original version. We thank Feren for this beautiful piece of prose, published here for our readers.



The woman was crying the Knight to his confessor. "I am afraid that my husband will not return mais”, soluçava. O frade disse-lhe: “O teu marido tem este desejo no coração. Se tu o amas verdadeiramente, tens de o deixar partir. Crês em Deus? E tens confiança no teu esposo?” “Com certeza”, disse a mulher. “Então”, respondeu o frade, “Tem fé. Tem fé em Deus: tudo o que se vai passar, vai passar pela Sua vontade: nada te pode fazer mal, se te entregas a Ele”.
A mulher enxugou as lágrimas e regressou a casa, ao Cavaleiro. “Marido meu, seja feita a vontade de Deus! Se verdadeiramente o desejas, vai, mas promete-me uma coisa”. “Prometo”, arriscou o Cavaleiro. “Cada tarde, depois do pôr-do-sol, I'll look at the tallest pine in the direction of the Holy Land, think of you and pray for you. You, every evening after sundown, sunset, look north, and thinks about me and your servants. Pray thou for us also. " "I promise, my wife," said Knight, and next day, after many tears and many hugs, went to the Holy Land.
Each night, she prayed and looked at the pine tree, I prayed to the South and tried not to cry. The pine aspect has not changed for several months. Also
Knight prayed every night, but always less intensely. And new countries, new landscapes, exotic faces, colors, smells and tastes different distracted Knight do pensamento da sua família. Frequentemente, ocupado por outros pensamentos, o Cavaleiro esquecia-se completamente de rezar por eles. Devagar começava aproximar-se entre longas marchas e às vezes também duelos com outros Cavaleiros Mouros, que tentavam não o deixar passar. O calor aumentava, os dias eram sempre mais longos. O calor cansava o Cavaleiro, não acostumado a esse clima, e os seus olhos claros não suportavam a luz violenta do sol. A sua pele delicada era queimada, os lábios ardidos pela seca.
Lá na Dinamarca o grande pinheiro começava a secar-se e perder sempre mais folhas. A Mulher do Cavaleiro começou a inquietar-se, mas continuou a esperar e a rezar com devoção. Ali o Verão tinha já finished, and the shadows lengthened at sunset is always more.
The Knight in the autumn was not far from Palestine. Met other pilgrims on the road, and Knight was happy to join them, often spending his evenings telling of his country away from its home, his wife and his servants. He began to miss them, the cold, the things most familiar to him. Finally arrived in Bethlehem a few days before Christmas. Your heart is God, and spent Christmas and several days after Christmas praying intensely. For him, being there was truly a dream of his life. He asked God's forgiveness for his mistakes, and he also realized that to achieve that peace in your soul, tinha de perdoar os seus inimigos. Foi à gruta e beijou o ponto onde o Santo Menino nasceu, onde Maria e José adoraram o Filho de Deus. E finalmente lembrou-se que ele não tinha rezado mais pelos os seus familiares cada noite como prometido, mas só para si mesmo. Compreendeu que, sem eles e o amor deles, a sua vida seria muito triste, vazia e sem sentido. Agora estava bem depois da Epifania, e o Cavaleiro não podia esperar para ir para casa. Percorreu as mesmas estradas, mas desta vez cada noite olhava para o Norte, rezava, e o seu coração sentia um grande calor. Estava feliz em voltar!
Na Dinamarca, entretanto, o pinheiro parou de secar e perder folhas. A esposa do Cavaleiro estava tranquila, porque ela tinha sempre guardado her lover at heart, had not dropped once.
Cansadíssimo but happy, the Knight returned to his homeland. Came to his house around sunset, sunset, and remembering the promise he walked to the tallest pine. He noted that the leaves had lost and that was partly dry. He hid nearby, waiting for darkness. And with darkness he saw his wife approaching the tree, looking south and pray with devotion. By Knight eyes filled with tears. But he recovered and walked silently to her. She felt him move and turned around. She saw him and his eyes filled with joy. They joined hands and walked to their house.

Feren CAROTENUTO

The Darkness Soundtrack

"The Knight of Denmark" by Feren


Our student Feren Carotenuto continued the tale of Sophia de Mello Breyner, The Knight Denmark, according to his fancy, and without knowing the end the Portuguese writer who had created the original version. We thank Feren for this beautiful piece of prose, published here for our readers.



The woman was crying the Knight to his confessor. "I am afraid that my husband will not return mais”, soluçava. O frade disse-lhe: “O teu marido tem este desejo no coração. Se tu o amas verdadeiramente, tens de o deixar partir. Crês em Deus? E tens confiança no teu esposo?” “Com certeza”, disse a mulher. “Então”, respondeu o frade, “Tem fé. Tem fé em Deus: tudo o que se vai passar, vai passar pela Sua vontade: nada te pode fazer mal, se te entregas a Ele”.
A mulher enxugou as lágrimas e regressou a casa, ao Cavaleiro. “Marido meu, seja feita a vontade de Deus! Se verdadeiramente o desejas, vai, mas promete-me uma coisa”. “Prometo”, arriscou o Cavaleiro. “Cada tarde, depois do pôr-do-sol, I'll look at the tallest pine in the direction of the Holy Land, think of you and pray for you. You, every evening after sundown, sunset, look north, and thinks about me and your servants. Pray thou for us also. " "I promise, my wife," said Knight, and next day, after many tears and many hugs, went to the Holy Land.
Each night, she prayed and looked at the pine tree, I prayed to the South and tried not to cry. The pine aspect has not changed for several months. Also
Knight prayed every night, but always less intensely. And new countries, new landscapes, exotic faces, colors, smells and tastes different distracted Knight do pensamento da sua família. Frequentemente, ocupado por outros pensamentos, o Cavaleiro esquecia-se completamente de rezar por eles. Devagar começava aproximar-se entre longas marchas e às vezes também duelos com outros Cavaleiros Mouros, que tentavam não o deixar passar. O calor aumentava, os dias eram sempre mais longos. O calor cansava o Cavaleiro, não acostumado a esse clima, e os seus olhos claros não suportavam a luz violenta do sol. A sua pele delicada era queimada, os lábios ardidos pela seca.
Lá na Dinamarca o grande pinheiro começava a secar-se e perder sempre mais folhas. A Mulher do Cavaleiro começou a inquietar-se, mas continuou a esperar e a rezar com devoção. Ali o Verão tinha já finished, and the shadows lengthened at sunset is always more.
The Knight in the autumn was not far from Palestine. Met other pilgrims on the road, and Knight was happy to join them, often spending his evenings telling of his country away from its home, his wife and his servants. He began to miss them, the cold, the things most familiar to him. Finally arrived in Bethlehem a few days before Christmas. Your heart is God, and spent Christmas and several days after Christmas praying intensely. For him, being there was truly a dream of his life. He asked God's forgiveness for his mistakes, and he also realized that to achieve that peace in your soul, tinha de perdoar os seus inimigos. Foi à gruta e beijou o ponto onde o Santo Menino nasceu, onde Maria e José adoraram o Filho de Deus. E finalmente lembrou-se que ele não tinha rezado mais pelos os seus familiares cada noite como prometido, mas só para si mesmo. Compreendeu que, sem eles e o amor deles, a sua vida seria muito triste, vazia e sem sentido. Agora estava bem depois da Epifania, e o Cavaleiro não podia esperar para ir para casa. Percorreu as mesmas estradas, mas desta vez cada noite olhava para o Norte, rezava, e o seu coração sentia um grande calor. Estava feliz em voltar!
Na Dinamarca, entretanto, o pinheiro parou de secar e perder folhas. A esposa do Cavaleiro estava tranquila, porque ela tinha sempre guardado her lover at heart, had not dropped once.
Cansadíssimo but happy, the Knight returned to his homeland. Came to his house around sunset, sunset, and remembering the promise he walked to the tallest pine. He noted that the leaves had lost and that was partly dry. He hid nearby, waiting for darkness. And with darkness he saw his wife approaching the tree, looking south and pray with devotion. By Knight eyes filled with tears. But he recovered and walked silently to her. She felt him move and turned around. She saw him and his eyes filled with joy. They joined hands and walked to their house.

Feren CAROTENUTO

Reactive Attachment Wii

Portogallo Carotenuto, President Cavaco Silva rieletto


Portugal, Cavaco Silva elected president Abstention historic turnout

The outgoing head of state was re-elected with 53.05% of the vote. The Socialist candidate Manuel Alegre scored 19.7% of the votes, while independent Fenrir Nobre 14.7%

Lisbon, January 24, 2011 - The Portuguese President, Anibal Cavaco Silva is the conservative re-elected with il 53,05% dei voti secondo i dati quasi definitivi diffusi dalla Commissione elettorale.
Il tasso di astensione della tornata elettorale ha raggiunto il massimo storico del 53,4%, il livello più alto dalla fine della dittatura salazariana 35 anni fa. Cavaco ha superato facilmente il candidato appoggiato dal Partito Socialista del premier Jose' Socrates e dai post-trotzkysti del Bloco de Esquerda, al 19,7%, e l'indipendente Fernando Nobre, al 14,7%.


Cavaco é o Presidente do País da gigantesca abstenção

Cavaco smashed in all districts, but PR is the least voted in history. Alegre disappointed across the board, and with fewer votes than party support alone.
confirmed the indications from polls, the electoral tradition, the predictions of commentators, the common sense: Cavaco Silva was elected as his supporters chanted during the election campaign, "the first"; and Manuel Alegre had a worse outcome than when he ran in 2006 without party support.
But the country's abstention (52.4%, a figure exceeded only in the choices for the European Parliament), although triumph in all districts (most crushing Alegre), com 52,9% e 2,2 milhões de votos, mesmo assim Cavaco Silva é o Presidente menos popular da III República: não só é o único que nunca teve três milhões de votos, como ficou abaixo de Jorge Sampaio, que tinha registado o pior desempenho até à data, com 55,6% e 2,4 milhões na reeleição de 2001.
O resultado de Manuel Alegre (19,8%), inferior aos 20,7% que teve quando concorreu sozinho - a origem desse milhão de votos de 2006 terá sido sobretudo dos que contestavam os partidos e, agora, votaram em Fernando Nobre -, pode ser terrível para o poeta, mas também é péssimo para o PS, o BE e o PCTP/MRPP - que somaram 43,7% (2,2 million votes) in the 2009 legislative. And in particular, to Jose Socrates, leader of the party elected two PR (Mário Soares and Jorge Sampaio) and then received derisory votes for candidates in the race that decided to support the Bethlehem in 2006 and 2011.
The surprise of the night was Fernando Nobre, for his 14.1% exceeded even the polls that were more flattering, showing that an independent can win a slice of the relevant electorate - what should be a warning to the political class, because instead of a figure as blameless as the founder of AMI, nothing guarantees that in future it will make a leader to excite crowds. More impressive
ainda seriam os 4,5% de José Manuel Coelho, encarado como o equivalente ao brasileiro palhaço Tiririca, ao cómico Coluche nas presidenciais francesas de 1981 ou à porno star Cicciolina nas legislativas italianas de 1987, que, além de galvanizar a Madeira (39%), registou também boas votações no resto do País - e que sucederia com um outsider mais carismático e bem popular entre a juventude como o músico Manuel João Vieira?
Il trionfo del capo dello stato uscente fin dal primo turno era stato preannunciato dai sondaggi e si è puntualmente confermato oggi in un Portogallo duramente colpito dalla crisi e dalle pressioni destabilizzanti dei mercati.

Reactive Attachment Wii

Portogallo Carotenuto, President Cavaco Silva rieletto


Portugal, Cavaco Silva elected president Abstention historic turnout

The outgoing head of state was re-elected with 53.05% of the vote. The Socialist candidate Manuel Alegre scored 19.7% of the votes, while independent Fenrir Nobre 14.7%

Lisbon, January 24, 2011 - The Portuguese President, Anibal Cavaco Silva is the conservative re-elected with il 53,05% dei voti secondo i dati quasi definitivi diffusi dalla Commissione elettorale.
Il tasso di astensione della tornata elettorale ha raggiunto il massimo storico del 53,4%, il livello più alto dalla fine della dittatura salazariana 35 anni fa. Cavaco ha superato facilmente il candidato appoggiato dal Partito Socialista del premier Jose' Socrates e dai post-trotzkysti del Bloco de Esquerda, al 19,7%, e l'indipendente Fernando Nobre, al 14,7%.


Cavaco é o Presidente do País da gigantesca abstenção

Cavaco smashed in all districts, but PR is the least voted in history. Alegre disappointed across the board, and with fewer votes than party support alone.
confirmed the indications from polls, the electoral tradition, the predictions of commentators, the common sense: Cavaco Silva was elected as his supporters chanted during the election campaign, "the first"; and Manuel Alegre had a worse outcome than when he ran in 2006 without party support.
But the country's abstention (52.4%, a figure exceeded only in the choices for the European Parliament), although triumph in all districts (most crushing Alegre), com 52,9% e 2,2 milhões de votos, mesmo assim Cavaco Silva é o Presidente menos popular da III República: não só é o único que nunca teve três milhões de votos, como ficou abaixo de Jorge Sampaio, que tinha registado o pior desempenho até à data, com 55,6% e 2,4 milhões na reeleição de 2001.
O resultado de Manuel Alegre (19,8%), inferior aos 20,7% que teve quando concorreu sozinho - a origem desse milhão de votos de 2006 terá sido sobretudo dos que contestavam os partidos e, agora, votaram em Fernando Nobre -, pode ser terrível para o poeta, mas também é péssimo para o PS, o BE e o PCTP/MRPP - que somaram 43,7% (2,2 million votes) in the 2009 legislative. And in particular, to Jose Socrates, leader of the party elected two PR (Mário Soares and Jorge Sampaio) and then received derisory votes for candidates in the race that decided to support the Bethlehem in 2006 and 2011.
The surprise of the night was Fernando Nobre, for his 14.1% exceeded even the polls that were more flattering, showing that an independent can win a slice of the relevant electorate - what should be a warning to the political class, because instead of a figure as blameless as the founder of AMI, nothing guarantees that in future it will make a leader to excite crowds. More impressive
ainda seriam os 4,5% de José Manuel Coelho, encarado como o equivalente ao brasileiro palhaço Tiririca, ao cómico Coluche nas presidenciais francesas de 1981 ou à porno star Cicciolina nas legislativas italianas de 1987, que, além de galvanizar a Madeira (39%), registou também boas votações no resto do País - e que sucederia com um outsider mais carismático e bem popular entre a juventude como o músico Manuel João Vieira?
Il trionfo del capo dello stato uscente fin dal primo turno era stato preannunciato dai sondaggi e si è puntualmente confermato oggi in un Portogallo duramente colpito dalla crisi e dalle pressioni destabilizzanti dei mercati.

Sunday, January 23, 2011

Do I Need Vitamin B12 Every Day?

Seminar of Architecture "Incontri tra l'Italia e il Portogallo" -20 January - Polytechnic of Milan


call attention to the second part of the seminar in architecture "Incontri tra l'Italia e il Portogallo" that will happen on January 20 at the Polytechnic of Milan, which has some of the most important of the two countries protoganistas Area.Near this same day at the same venue will open the exhibition which was representing Portugal at the Venice Architecture Biennale in 2010.

thank Prof. information. Paulo Cunha e Silva.



Fernando Tavora and Ernesto Nathan Rogers himself conoscono the Hoddesdon nel 1951. L'incontro fra uno of teachers of Portuguese and one Italian masters was a moment of debate, lively and authentic on architectural production, which is still alive and kicking thanks to the continuing dialogue, public and staff, including the most active agents in the field design, criticism, photography and urbanism. In these two days will pick up the threads of a fertile and productive relationship theory and constant over time.



architecture, urban design, photography

CONVERSATIONS BETWEEN ITALY AND PORTUGAL



a cura di Maddalena d’Alfonso
in collaborazione con l’Ambasciata del Portogallo



20 gen 2011, aula S01, ore 10.00
Saluto di
Consigliere Culturale del Portogallo a Roma
Paulo Cunha e Silva
Preside della Facoltà di Architettura e Società
Piercarlo Palermo
Direttore DiAP
Patrizia Gabellini
introduce
Maddalena d’Alfonso
Sulla città Europea
Nuno Portas e Bernardo Secchi
Premio Piranesi
João Luís Carrilho da Graça, Luca Basso Peressut e
Pier Federico Caliari


20 gen 2011, aula S01, ore 14.30
Progettare in Europa
Manuel Aires Mateus, João Nunes and Giuseppe Marinoni, Giovanni Chiaramonte
with
presents: Carlos Machado Moura
architecture and photography
Eduardo Souto de Moura and Gabriele Basilico
presents: Federico Bucci
Faculty of Architecture, Via Ampere 2, Area exhibitions
Nardi, 18.30
Inauguration of the exhibition
No Place Like
official representative of Portugal at the 2010 Venice Biennale

Do I Need Vitamin B12 Every Day?

Seminar of Architecture "Incontri tra l'Italia e il Portogallo" -20 January - Polytechnic of Milan


call attention to the second part of the seminar in architecture "Incontri tra l'Italia e il Portogallo" that will happen on January 20 at the Polytechnic of Milan, which has some of the most important of the two countries protoganistas Area.Near this same day at the same venue will open the exhibition which was representing Portugal at the Venice Architecture Biennale in 2010.

thank Prof. information. Paulo Cunha e Silva.



Fernando Tavora and Ernesto Nathan Rogers himself conoscono the Hoddesdon nel 1951. L'incontro fra uno of teachers of Portuguese and one Italian masters was a moment of debate, lively and authentic on architectural production, which is still alive and kicking thanks to the continuing dialogue, public and staff, including the most active agents in the field design, criticism, photography and urbanism. In these two days will pick up the threads of a fertile and productive relationship theory and constant over time.



architecture, urban design, photography

CONVERSATIONS BETWEEN ITALY AND PORTUGAL



a cura di Maddalena d’Alfonso
in collaborazione con l’Ambasciata del Portogallo



20 gen 2011, aula S01, ore 10.00
Saluto di
Consigliere Culturale del Portogallo a Roma
Paulo Cunha e Silva
Preside della Facoltà di Architettura e Società
Piercarlo Palermo
Direttore DiAP
Patrizia Gabellini
introduce
Maddalena d’Alfonso
Sulla città Europea
Nuno Portas e Bernardo Secchi
Premio Piranesi
João Luís Carrilho da Graça, Luca Basso Peressut e
Pier Federico Caliari


20 gen 2011, aula S01, ore 14.30
Progettare in Europa
Manuel Aires Mateus, João Nunes and Giuseppe Marinoni, Giovanni Chiaramonte
with
presents: Carlos Machado Moura
architecture and photography
Eduardo Souto de Moura and Gabriele Basilico
presents: Federico Bucci
Faculty of Architecture, Via Ampere 2, Area exhibitions
Nardi, 18.30
Inauguration of the exhibition
No Place Like
official representative of Portugal at the 2010 Venice Biennale

Efudex And Alcohol Interactions

29 gennaio - serata di musica brasiliana "Brazil ... for us," Convegno Internazionale


"Brasil ... pra nós

evening of Brazilian music


with Anna Maria Manzi (voce) e Roger Carrer (pianoforte)


29 gennaio 2011

Ore 22:30

Ingresso gratuito


Teatro dei Contrari

Via Ostilia. 22

00184 Roma





Agradecemos à nossa aluna Elisa Fiorenza a assinalação deste espectáculo.

Efudex And Alcohol Interactions

29 gennaio - serata di musica brasiliana "Brazil ... for us," Convegno Internazionale


"Brasil ... pra nós

evening of Brazilian music


with Anna Maria Manzi (voce) e Roger Carrer (pianoforte)


29 gennaio 2011

Ore 22:30

Ingresso gratuito


Teatro dei Contrari

Via Ostilia. 22

00184 Roma





Agradecemos à nossa aluna Elisa Fiorenza a assinalação deste espectáculo.

Milena Velba Swimsuit

: "Oltre la Pagina - 25, 26 and 27 gennaio - Rome Three



Department of Comparative Literature at the International Conference


BEYOND THE PAGE:

the literary text and its metamorphoses

AGE IMAGE


organized under the research program collettva
"LITERATURE AND FILM"
25-26-27 January 2011


scienfico Committee and organized
Masolino D'Amico (coordinator of the research program),
Simona Corso, Giorgio de Marchis, Louis the Great, John McCourt,
Maddalena Pennacchia, Simon Braithwaite, Ute Weidenhiller


PROGRAM


Tuesday, January 25
14:30
Greetings
Othello Lottini , Director of Comparative Literature Diparmento
Francesca Cantu, Dean Faculty of Humanities
14:45
Introduction Masolino D'Amico
15:00
Vieri Razzini , film critic, a marriage of

16:00 COFFEE BREAK 16:30

Gianni Amelio, A film by 17:30 BREAK
novel

17:45
Laura Marcus, Oxford University, The Birth and Death of Cinema and Film in Aesthecs Ficon

Wednesday, January 26 9:30

Ian Christie, Birkbeck College, University of London, Illuminang Manuscripts: How Graphic Novels Challenge the Paradigm Gutenberg
Costagli Simone, University of Ferrara, Aura. The icon in pop culture and Kafka graphic novel

11:30 COFFEE BREAK 12:00


Gian Luigi De Rosa, University of Salento, Zona Sul and Favelas: polarization dichotomy of fictional reworking of a discursive space in Rio de Janeiro

13:00 BREAK 14:30 pranzo

Maria Teresa García-García Abad , CSIC, Madrid, El rostro de las cosas o la Esteco irony as a strategy de la vanguardia en el cine y la literature
Jérôme Game, American University of Paris, Under The Influence

16:30 BREAK 17:00

Paulo Sérgio Guimarães de Sousa , University of Minho, Braga, 'Mostração' narration and Nuno Bragança

GIOVEDÌ 27 gennaio
10:00
Deborah Cartmell, De Monort University , Leicester, Adaptaon and Its Metamorphoses in the Age of Sound: Sam Taylor's The Taming of the Shrew as the First Adaptaon of Shakespeare

11:00 COFFEE BREAK 11:30

Literature and film, the search results
coordinates Masolino D'Amico
Participants:
Simona Corso, Giorgio de Marchis,
Louis the Great, John McCourt, Maddalena Pennacchia,
Simone Braithwaite, Ute Weidenhiller


Conference Room "Ignazio Ambrogio"
way Valco di San Paolo, 19 Rome



Technical realization
Mosticone Claudio, Roberto Parlavecchio
Administrative Secretary
Passeri Giuliano, Anna Siepracki, Daniela Tosoni,
Sabina Truini, Luigi Veraldi, Margherita Zei

Per informazioni
lmagno@uniroma3.it
tel. 06 57338999

Sede del convegno
Sala Conferenze "Ignazio Ambrogio"
via del Valco di S. Paolo, 19
accesso anche da via Ostiense, 234
METRO B "MARCONI"

Milena Velba Swimsuit

: "Oltre la Pagina - 25, 26 and 27 gennaio - Rome Three



Department of Comparative Literature at the International Conference


BEYOND THE PAGE:

the literary text and its metamorphoses

AGE IMAGE


organized under the research program collettva
"LITERATURE AND FILM"
25-26-27 January 2011


scienfico Committee and organized
Masolino D'Amico (coordinator of the research program),
Simona Corso, Giorgio de Marchis, Louis the Great, John McCourt,
Maddalena Pennacchia, Simon Braithwaite, Ute Weidenhiller


PROGRAM


Tuesday, January 25
14:30
Greetings
Othello Lottini , Director of Comparative Literature Diparmento
Francesca Cantu, Dean Faculty of Humanities
14:45
Introduction Masolino D'Amico
15:00
Vieri Razzini , film critic, a marriage of

16:00 COFFEE BREAK 16:30

Gianni Amelio, A film by 17:30 BREAK
novel

17:45
Laura Marcus, Oxford University, The Birth and Death of Cinema and Film in Aesthecs Ficon

Wednesday, January 26 9:30

Ian Christie, Birkbeck College, University of London, Illuminang Manuscripts: How Graphic Novels Challenge the Paradigm Gutenberg
Costagli Simone, University of Ferrara, Aura. The icon in pop culture and Kafka graphic novel

11:30 COFFEE BREAK 12:00


Gian Luigi De Rosa, University of Salento, Zona Sul and Favelas: polarization dichotomy of fictional reworking of a discursive space in Rio de Janeiro

13:00 BREAK 14:30 pranzo

Maria Teresa García-García Abad , CSIC, Madrid, El rostro de las cosas o la Esteco irony as a strategy de la vanguardia en el cine y la literature
Jérôme Game, American University of Paris, Under The Influence

16:30 BREAK 17:00

Paulo Sérgio Guimarães de Sousa , University of Minho, Braga, 'Mostração' narration and Nuno Bragança

GIOVEDÌ 27 gennaio
10:00
Deborah Cartmell, De Monort University , Leicester, Adaptaon and Its Metamorphoses in the Age of Sound: Sam Taylor's The Taming of the Shrew as the First Adaptaon of Shakespeare

11:00 COFFEE BREAK 11:30

Literature and film, the search results
coordinates Masolino D'Amico
Participants:
Simona Corso, Giorgio de Marchis,
Louis the Great, John McCourt, Maddalena Pennacchia,
Simone Braithwaite, Ute Weidenhiller


Conference Room "Ignazio Ambrogio"
way Valco di San Paolo, 19 Rome



Technical realization
Mosticone Claudio, Roberto Parlavecchio
Administrative Secretary
Passeri Giuliano, Anna Siepracki, Daniela Tosoni,
Sabina Truini, Luigi Veraldi, Margherita Zei

Per informazioni
lmagno@uniroma3.it
tel. 06 57338999

Sede del convegno
Sala Conferenze "Ignazio Ambrogio"
via del Valco di S. Paolo, 19
accesso anche da via Ostiense, 234
METRO B "MARCONI"

Wednesday, January 19, 2011

20% Aluminum Zirconium Pentachlorohydrex

Theatre Workshop - intercultural meeting


PORTOGHESI IN ITALIA

La Compagnia Teatrale Diritto e Rovescio
presenta


Laboratorio teatrale
RISVEGLIO DI PRIMAVERA


ispirato al capolavoro di Frank Wedekind
DAL TESTO ALL’INTERPRETAZIONE

Incontro interculturale in teatro
Da febbraio a marzo 2011

CONDOTTO DALLA REGISTA TEATRALE
TERESA PEDRONI


Due incontri settimanali per un totale di 8 ore a settimana.


Agli elementi che saranno ritenuti idonei alla fine del percorso verrà data la possibilità di partecipare alla dimostrazione-spettacolo finale
presso il Teatro Belli di Roma


Temi : il laboratorio si propone di sviluppare le relazioni esistenti fra l’attore e il suo personaggio attraverso un lavoro sul dramma “Risveglio di primavera”, in cui Frank Wedekind rappresenta a group of teenagers with their dreams, anxieties and desire to revolt against the hypocritical world of adults.


Objectives: Through a process of improvisation is to focus on the rational and emotional subtexts is needed to interpret the role in the search for a tissue of signs shared by all the interpreters of the energy center of the functional identification text to be transmitted on stage.

Teresa Pedroni, a theater director, is responsible for theater since 1978. Alessandro Fersen graduated from the school, began his career with Giuliano Vasilica at the show "The Man Without Qualities" by Robert Musil. Among his recent performances, "says Pereira," with Paolo Ferrari, "Elizabeth II" with Roberto Herlitzka and "Invisible Cities" by Massimo Popolizio and Javier Girotto.

Participants: the workshop is open to 15 young Italians and foreigners between 18 and 30 years. Previous theater experience is required.


For information or to send your application with CV and photo to write laboratoriowedekind@hotmail.it by January 25.





20% Aluminum Zirconium Pentachlorohydrex

Theatre Workshop - intercultural meeting


PORTOGHESI IN ITALIA

La Compagnia Teatrale Diritto e Rovescio
presenta


Laboratorio teatrale
RISVEGLIO DI PRIMAVERA


ispirato al capolavoro di Frank Wedekind
DAL TESTO ALL’INTERPRETAZIONE

Incontro interculturale in teatro
Da febbraio a marzo 2011

CONDOTTO DALLA REGISTA TEATRALE
TERESA PEDRONI


Due incontri settimanali per un totale di 8 ore a settimana.


Agli elementi che saranno ritenuti idonei alla fine del percorso verrà data la possibilità di partecipare alla dimostrazione-spettacolo finale
presso il Teatro Belli di Roma


Temi : il laboratorio si propone di sviluppare le relazioni esistenti fra l’attore e il suo personaggio attraverso un lavoro sul dramma “Risveglio di primavera”, in cui Frank Wedekind rappresenta a group of teenagers with their dreams, anxieties and desire to revolt against the hypocritical world of adults.


Objectives: Through a process of improvisation is to focus on the rational and emotional subtexts is needed to interpret the role in the search for a tissue of signs shared by all the interpreters of the energy center of the functional identification text to be transmitted on stage.

Teresa Pedroni, a theater director, is responsible for theater since 1978. Alessandro Fersen graduated from the school, began his career with Giuliano Vasilica at the show "The Man Without Qualities" by Robert Musil. Among his recent performances, "says Pereira," with Paolo Ferrari, "Elizabeth II" with Roberto Herlitzka and "Invisible Cities" by Massimo Popolizio and Javier Girotto.

Participants: the workshop is open to 15 young Italians and foreigners between 18 and 30 years. Previous theater experience is required.


For information or to send your application with CV and photo to write laboratoriowedekind@hotmail.it by January 25.