ArchLove Magazine 02 / February 2021 by ARCHLOVE_magazine

2021

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the STORY

The Silver Strawberry Giovanni Casalegno

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No. 02 Febbraio 2021 ISSN 2378-3281PUBLISHER VINCENZO VIVA SALES LLC GROUP

HISTORY, CITY & CULTURE

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v vv

PUZZLE

Fragments of life Letter from the director or a preface? Maybe none of this! She is only the director Vs Violet ergo sum in the new theater of the absurd! Who is she? Who am I? She calls herself the Story I tell a story. She acclaimed I marginalized.

Terror, fear, end, black, Metamorphosis, change, white… everyone flees, everyone tries to deceive her. Presence! Sooner or later it's up to everyone, rich

It's just an imaginary intrigue, the sentence is yours. “I see you in the theater in a twisted and contradictory show, artistic work is only a form of appearance and what blocks and makes you remain with the question mark, the same question mark that allows you to think. A dark friend with strident and unlistenable sounds. At the moment I am creating the puzzle ... A puzzle with incompatible pieces. It is an enigma compared to a sloping floor, which moves continuously. I swing the pendulum and create a false balance because nothing is real. But a borderline context between true false madness and lucidity moves you in opposite and opposite directions " Tic Toc time is running out "Intermezzo III" Death, infinite past present, infinite present future Equilibrium!

and poor, slaves or princes ... money and social status makes no difference. Death always wins at chess. But what is the price to pay? What are you willing to sacrifice? They are confusing games: reality, fantasy, dream, nightmare ... nothing is as it appears. You

january 2021

will sit in a special grandstand and watch an arena transformed into a circus made up of many little monsters, it is the macabre circus of pain. The conductor will enter, he the only sovereign who will play a music never played with an organ of obscure origins, surrounded by silver candlesticks with dimmed light. For a day or eternity? If on a dark and stormy night, in front of a church, you will hear an abandoned child crying that nobody dares to touch, that nobody wants to rock anymore. The doors of the church will remain closed by choice. And as you scream your contempt, you will get close to him. You will pick him up and discover that he is just a decaying body. Tick-tock tick-tock eventually you will make the decision to jump and when you look at your corpse at the end of the ravine, you

servant because nothing is as it seems…. It's the game of needles stuck in a lemon and the hysteria of brass. It is an allusion to fire that becomes blood vapor. Four grains of salt in a glass of water. Deepening of the wisdom in the ransom that becomes a symbol, a living apparent death. Only an analysis of opposing forces of false moralism of disinhibition. There are no barriers that cannot be lowered. A red thread worn around the neck in a sudden movement, the third way! Are you ready to lose consciousness? Your name shouted three times Hypothesis, abduction, body fog. Headaches, sensations, visions, acceptance of the different. Be like them at any cost, but this is not your place. Wood, dust, research and discovery. Street? Maybe! One passes only by degree, origin and purity, blood bond, right and duty! We have the answer, remember to ask. Only at this point the formula is complete: “Oh, mirror, mirror of my desires, what is the most real dream? "

will shout to the sky that it is not over and that you will return. It is like this for years that will become centuries, forgetting the past and then remembering it. It is only the initiation into a free man, but perhaps one will become a perfect 6

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We are only part of the story, we can make the moment deeper (depth and transparency). So many small parts of the story will create the story. Like a puzzle, each piece is an artist, each tile is a small part of the story, which by combining them all, side by side, will show the complete picture. One of the visions of reality. The complex state of mind between life and death, being dragged and dying inside or in some way continuing to create and then live, because freedom is mental and if the latter does not remain free we can consider ourselves already dead. Under oppression there is a dark and superior art, good arguments but prohibited by governments, one expects a gap to be able to breathe. They exchange ideas about art because it is more important than ever and must be repeated several times. Art

danger of the world, potentially subversive intellectuals, from here are born ideas that change the course of events. Art is first head and then hand. The ascent is not the important thing but the moment of the descent and its ascent, not falling but getting up the past serves to go into the future and live the present. What is and we see is the human post, it is what it was. Many artists are no longer there, but they remain alive because their art will be visible. From here, or rather for 15 years, I have declared the Non-artist. The one who denies that he is. That is, the negation is the affirmation of oneself and the detachment from what is not. It asserts itself in denial without the gender. We don't have a gender, it doesn't exist. Gender and speech create social status, hence chains and a false freedom. We are not and but we exist, stronger than those who exalt themselves. To many comes only their own Ego, sterile, empty, intangible and useless. We do not! We are the non-being. Reality is never represented but only fragments of chaos. Dedicate yourself to what? To death? Nobody knows it. To life? Nobody tastes it! The art? Few have owned it, few own it, few will have it! l, makes him laugh and shiver. While the artist renders his face covered by a mask and objects of desire as in a De Sade novel… Tic-tac time is running out. Tic-tac time is relative. Tic-tac who can mark the time? Who can stop it? It is just a fantasy, a utopia. Lock the hands and play with indefinite and bizarre times ... tick-tock. Time is running out. But which is mine or yours? That of the night or that of the day? Is there any other type of time that is not accessible, classifiable and scientifically proven? Do you know him? Spark in saying I am ... are you really sure? The clock always strikes 3. Tic-tac ... a mind that is too dull will never reach the gates of the world; a mind that is too hasty will fall into error; a mind that is too arrogant will be overwhelmed by itself and will die. Tic-tac tic-tac ...

internal and external world, Metamorphosis and transformation, Unconscious and opposite, four elements: fire, water, earth, wind. Feminine and masculine. In a short time in an unknown cause. Warning! Side effects and back shots. Where the red-haired woman? Here lives the thing, the unnameable. He is my creator. Believe it or not, all this is a labyrinth of sensations, of moments lived on the edge of the world. It is the game of looks. Everything has a connection, everything has a purpose. From chaos, balance is formed, from balance harmony, from harmony to perfection. Nobody knows where it starts, nobody knows the end. The whole is primordial and inaccessible. When death comes to save you, you can say you are alive for at that point no one can stop it. But it will be too late to understand that you are now part of the balance and that you are nothing but lake of the balance. Show me the opposite, I who speak to you, come on let me see your truth. Because the unspoken is the truth. But which is mine or yours?

The world from below down “…. Violently breaking into the artistic panorama was once almost considered a kind of checkmate. In fact, I believe, the real checkmate never happened. A break from the past to the present but in part nothing more ... The void as a new absolute space, which in this case brings out the creative affinities that emerge between the artist and his curator. Let's venture! Does he work like the man in the crowd? You look, you become curious, you chase, what? It is an absurd reasoning that gets lost in the paradox of time. The border of the world at that table has already been crossed and one does not live on hallucinations of the past because the past and the future are always the present. Confrontation and confrontation no longer exist. In this place there is no different, in this place january 2021

there is no monstrous. It denies and affirms itself. Man creates archaic forms, imposing a fictitious freedom. It is played with words and colors. Long live ignorance, of a life without moral education and with the desire for revenge by shouting all that is more hateful than human nature. After all, opera is the perfect age in perfect time. Time is the enemy, we are struggling with madmen, a sort of modern alter ego. Who is the master of time? The jumping man who frees himself from the anchors of a world without logic. The leap, as a symbol of change, of falling into perdition. We jump out of fear. I in his mind am his opposite, the other. I who think this, which for him is absurd. I who ask inconsistent questions. Who will answer me? Who will participate in our dialogue. Hallucination? Or parallel reality? But there are those who are born posthumously, did you know? Welcome to the cannibal world, every biological human speck is swallowed. anesthetized: No pain, no effort in losing one's corporeality. The nonsense, the incredible, the non-being, the chaos make us immortal and without salvation. Black and white, good and bad blend together. The strong sense of sarcasm is not taken seriously in that speck of strong self-esteem. He is aware of being beyond, living like them in the appearance that allows him that minimum of living. It's a self-portrait, of everything terribly real. At the end of Celine's night, the sun was murdered, and no one did anything to prevent it. He, in his world, assassinates all that is expendable, and we as the queen of hearts will cry "off his head". Why ask yourself so many useless questions? It is the rule of man that becomes duty. Here is his torture. Ask yourself physical or atomic questions: Where are we? In the fourth? In the fifth? In the sixth dimension? Because? Antidote to modern life, neither space nor time. Path, archetype. It is only a piece, the rediscovery, the questioning completely. It is the non-acceptance is 8

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the modification. Even the very concept of loving and not loving one another is mixed with nudity and its loss. It's the drop that breaks the camel's back. A mental book that continues to be written. It is a hermetic text that leaves room for "the chaste and obscene" that suddenly stops and begins to be silent. A bed of interpersonal impulses and confessions. Physicality vanishes, there remains a mind that denies the marked body. Psychological violence is accepted without understanding the reason. It is a sadistic game in the spontaneous will to become victim and executioner of one's own being. An experiment as a legitimate defense against a possible liberation that travels between anorexia and bulimia from the outside world. It is the crossing of the senses: Charming, simple, sensual, it captivates you by transporting you into a terrible modern nightmare. It is the oblivion of the non-clipping of a possessive morality that chains you. They are annotations of basic teachings in opposition to what we believe outrageous of that innocence shattered by anger and fear. Moments steeped in poetry, tragedy, irony that get lost in the routine. Through an intellectual sensitivity of an ocular lens you can feel alone and you can throw yourself away. Finding yourself alone in the crowd in the company of solitary street lamps in an expectation dense with melancholy; deserted scales that represent only themselves and the weight of their years; find yourself on benches hugging a lover or simply reflect yourself in isolated billboards. A road where in the fog we get confused, nocturnal that accentuates the lights, the moving shadows stop, pierce the matrix and blur. Everything is shattered, everything becomes impersonal: I, the other is different. An evolving work, in the identity of fragments that catch the eye, the road brings with it, an existence that few recognize because we find ourselves between the duo of life and death: And no one dares to try! We do not speak of the world but of us, we do not speak of the work but of the man behind the mask. The work

becomes a partial screen, sometimes incomprehensible by the artist. Of his mind, sometimes it is fine as well, other times the incompressibility leads to puzzles, illusions, atrocious pains, falsehoods. Ideas fly fast, discordant they live on a primordial instinct that comes from the sub sub unconscious, the unconscious which is already its opposite, constantly exchanging the role play. Now I get it! It's a play on words. Man and healer who unite, fight. It's a subtle but sharp war, enough to bleed. It is the extreme, spasmodic and psychopathic search for a fixed point. The zero point from where all the tracks start, stop and restart. Broken tracks, poised on the same land, corrupt wounded. Chaos brings inputs, painful inputs of a life that leads to look out into another life. What's beyond? Perhaps the fragility of inconstancy, of the whirlwind of a sterile way that makes us lonely, but this loneliness regains possession of a listening ... of a voice that is forgotten or perhaps never found. Theories and stories, you live by traveling. Pushed by the burning fire. It burns, consumes, reduces you to dust. I don't control it, it has a life of its own. Like the artist who owns it. Fire is a passion that, when channeled, strengthens the defenses, creating an authentic artistic process. Artistic, language, words that must be used. Frenzy of a specter that invades the artist. It covers itself and it is discovered, it is confused to re-emerge from the abyss. At the border he hesitates and from here we will start again but without any synchronicity ... " EPIDEMIA/PANDEMIA L’etimologia della parola epidemia ci riporta al greco ἐπιδημία (epidemìa) da ἐπί (epì) = sopra + δῆμος (dèmos) = popolo, cioè “che incombe sopra il popolo”, “che riguarda il popolo”, diffusa tra il popolo, popolare… Invece, l’etimologia della parola pandemia ci riporta al greco πανδημία (pandemìa) da παν (pan) = tutto + δῆμος (dèmos) = popolo, cioè “di tutto il

popolo”, “che riguarda tutto il popolo”, estremamente diffuso… I due termini sono usati in medicina per indicare la diffusione localizzata ad una o ad alcune aree geografiche di una malattia infettiva, nel caso di epidemia; la diffusione a livello intercontinentale o mondiale di una malattia infettiva, nel caso di pandemia Obscured, erased, vanished, banned, nothing exists any more. Now the dead speak who nobody wants to see anymore. Virus 310 aka Codiv-19 Censorship. But conquer the world The dramatic situation, communications are difficult. Many artist left voluntarily. Sefl-isolation Year 2020 Complex and delicate historical moment. We thought we were untouchable. IT WASN'T TRUE! Year of: fear, terror, psychosis, anger, abandonment, selfishness, malice. 2020 while the pandemic is claiming victims in the world: guerrillas, demonstrations, abuses of power, murders, suicides, censorship, conspiracy, false news, deniers and elections ride. When reality surpasses fantasy, the unthinkable has become corporeal. Is everything understandable? Rational? No one expected such an odd, too far removed from this situation. Too much well-being for some where renunciations and sacrifices are inconceivable, others too poor, who live constantly in disastrous economic and hygienic conditions. A surreal and inconceivable situation worthy of a film and a novel. Yet it remains a real situation. Between deniers, flat landlords and conspiracy theorists. A pandemic is said to have been created to bring down the system by controlling the human mind and the physical through nano technologies. It is a compelling storyline. The post human future is post apocalyptic. Where there will be the annihilation of all culture and life.

january 2021

There is only one detail that is already happening, and the famous directors do not do it, but every single person denying the right to exist of the other and the disrespect for the earth, nature and its animals. Non-education leads to the descent of extinction. Governed by money Fear, terror, frustration, psychosis, complete attack. Being afraid of yourself too. Ignoble acts towards the other. Pilloried and defined as greasers. An arms race a race in the looting of food. The worst of people has come out, not the best. Mankind slowly came down the ladder. For a virus. A very small virus brought the lockdown to the brain. Freedom of movement was shouted at. What is freedom? A time when all systems were blacked out? At the moment when the information was blocked in the name of various propaganda and false information that created chaos. Ironic memes. And then? Anger. If on the one hand we have the lucky ones who, despite staying at home, had a salary, on the other hand we have those who had no money before. Solidarity chains, not enough. Those same chains that should be every day. Because today, many people beyond the pandemic live by expedients, living in garbage cans or picking fruit from market stalls. The invisible remain invisible with or without a pandemic. Those who cannot get medical care are not the fault of the covid (which obviously made things worse) but of an already cracked and broken system. Inequalities, marginalization is not a virus, it is what it has always been. However, what is disclosed incorrectly. And the solidarity of peoples remains a post on Social. But what do you actually do? Words words, words that degenerate and fall into the black hole. The usual from heroes to executioners from executioners to heroes. It was better than it was worse. Mass checkmate. Because in the end nothing ever changes. We are vulnerable. Attachable to any part. M so that it does not affect us, it 10

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does not exist. Death does not discount anyone, there is no social, national, sexual and color difference, she always wins. It is inevitable. Man places himself in the condition of god, with algorithms, percentages, statics. But living in the world, living on the streets and quite another thing. Dealing with common problems every day is different. Everyday. There are those who fight and there are those who are indignant. But fighting is harder than being indignant, it's easy to get indignant when you have money and a nice home. A happy family. When everything in life has been given to you. Conquering it is another thing. It is a struggle, the courage to show one's ideas. And the revenge on what happened and believe in their identity and freedom of expression against all censorship. But you know the country you go censorship you find. From moralism and respectability arises or voices from the pulpit of a modern parody. Similar Victorianism. It is an all against all. We need union and not division. We make history compact. It is we who live in the streets, not the directors.

An attack on power or just conspiracy? Error / Horror ... Passion ... What happens if a butterfly gets stuck in the spider's web?

What is a story? It is a path, life and death, it is an intrigue that involves everyone. As threads are intertwined, knots are wound up, other times it runs parallel to one another close to infinity, without ever crossing. Many threads: double, fine, wool, silk, cotton. Some are resistant and strong, others fragile and delicate that even with a feather you can break them.The mind speaks and desires, it becomes confused, transforming itself into a passion that burns within. It eats and consumes us, without the possibility of stopping it. A trench of emotions that contain life, history in a vase, which in many cases remains closed there, as in a prison, a cage that is not always enchanted. In that place the most evil part of the soul is born and shows itself. When desire becomes obsession it turns into selfishness and sadism, and only a very strong mind can fight back. It is a fine line that must never be crossed: legal and illegal are so close that it is easy to go wrong by going beyond the imagination. Is it possible that all this exists? The human mind, its history, leads us along paths never thought before. It leads us to commodify and yield, to chase away that part of our loneliness. In our vanity we show ourselves, we sell ourselves, we do everything to feel loved, desired ... we bend down like slaves to get a favor from our master. This is the worst part of passion, of the desire for that eros that can become disease, fetish, a sadistic game of the puppeteer. Where nothing is real, where everything is shown in a virtual and role-playing game. Where there are no bodies, but only fragments of videos and photos, which turn on the excitement through a monitor. What remains of it is the cold of the soul, which crumbles and suffers, a loss of weight in every corner: body and soul. A total anorexia and the search for

salvation seen in a sentence ... in a dramatic and painful choice. The story of souls is presented: a free, strong, lived butterfly, a shadow, who lives in the hidden, deceit in silence, in one voice only on the phone. It is a psychological story, through a virtual game, where a strong passion (whatever it is) blossoms, where lives apparently come together but which in reality will never merge. Through a virtual that will impose life choices ... which in turn will merge with the unreal, creating around itself an atmosphere formed of moments of pure madness, clarity, thoughts on the edge of borders. Between a black and white, a close-up and a full figure, between plays of light and shadows ... through a mirror, the soul is forced to look inside and discover the truth ... to return to the world. But it won't be easy in a mental labyrinth where nothing is what it seems. It is just an absurd reasoning that deceives the senses. Nothing is real. It's just an imaginary intrigue, which deceives the senses. Tic tac the show must go on. Because life is the greatest show ever made. Live your life as if it were a work of art. To the You must I want.

02.2021 Art / Artists 14

EXPURGO Melissa Giovannella

SOB O VÉU Melissa Giovannella

#avanzidigalera Franco Crocco

Remigio Fabris Painting

An.So Sculpture

Elisabetta Rogai Painting

Kazuyuki Uno Painting

Kazuyuki Uno

Manuel Scrima

Painting

Art & Photography

Ist World Contemporary Art Festival in China 2021/2022

Art / Performance 60

Il Caro Estinto Giuliana Bellini

Photography 65

Gotiche apparizioni Itzel cosentino

Music Fashion 70

Black and white, men and women, love and hate, right or wrong...

Academia Italiana The talent factory in florence and rome I and II level degrees at the italian academy.

Radio Sbaam Tv

INTERVIEW

Literature 98

I grandi miti greci “I coatti supereroi ellenici” Vincenzo Fata

the STORY

Hibourama When the accessory makes the difference.

100

The Silver Strawberry

Mena Marano celebrates women with “Silvian Heach”

104

In viaggio con Emiliano

Fashion through the books The word icon admits several definitions.

What fate awaits fashion critics Tatiana Incardone

Museo del Confetto

STONE MEN

Rue Lafayette

Russian Digital Fashion Display 2020

Food, History & Culture

Manuele La Puca

Balossa the white shirt

A definitely fearless woman, Mena Marano, who believes in the strength of women.

The sweetest museum in Italy

The story of the marble supply chain that for centuries has embodied the desire for perfection of human beings.

Il lungo viaggio delle perle e l’affascinante storia dei gioielli nel cuore di Parigi.

Il Diritto di Difesa e la "moda" di ignorarlo Marcello Mariano

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by giovanni Casalegno

Un Cammino per tenere in vita un figlio.

The new generation of greek art - chapter I

Art

Arrtitiststs s / A

EXPURGO Melissa Giowanella

MELISSA GIOWANELLA FACEBOOK

/mgiowanella INSTAGRAM

@giowanella

Expurgo (Purge, in english) is about the inadequacy. That feeling of not belonging, of being nonstandard. Although we live in a society that preaches the cultivation and expression of individuality, those who doesn’t fit are judged and viewed in a negative way. We are dirty, nasty and unwanted.

Expurgo fala sobre o sentimento de inadequação, de não pertencimento, de estar fora do padrão. Apesar de vivermos em uma sociedade que prega o cultivo e expressão da individualidade, quem não se encaixa é julgado e visto de forma negativa. Somos os sujos, os desagradáveis e indesejados.

We often try to fit in, “clean up” and blend with the crowd. We may seem like everyone else, but our essence is immutable and, in one way or another, it always ends up showing.

Muitas vezes tentamos nos encaixar, “nos limpar” e nos misturar à multidão. Podemos parecer como todo mundo, mas nossa essência é imutável e, de uma forma ou de outra, sempre acaba vindo à tona.

TATI KLINGEL FACEBOOK

/tatiklingel.vocal INSTAGRAM

@tatiklingel

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PHOTOGRAPHIC PERFORMANCE /PERFORMANCE FOTOGRÁFICA: Melissa Giowanella SOUNDTRACK AND MUSIC PRODUCTION /TRILHA SONORA E PRODUÇÃO MUSICAL: Tati Klingel DIRECTION, PRODUCTION AND EDITING DIREÇÃO, PRODUÇÃO E EDIÇÃO: Melissa Giowanella

january 2021

Art

/ A r ti st s

SOB O VÉU

Melissa Giowanella “Under the Veil” proposes a reflection on depression, a disease that affects more than 300 million people worldwide, but is still stigmatized and misunderstood.

FACEBOOK

/mgiowanella INSTAGRAM

@giowanella

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In this series of self-portraits, the artist uses the black veil as a symbol of the emotional state of the individual with depression. In several cultures it has been associated with darkness, as Homer described it: “a black cloud of anguish”. Many depressed people report that they feel trapped in the darkness, that it surrounds them and distances them emotionally from everything around them. They believe that they have irreversibly lost the ability to feel pleasure or joy. Everything seems empty, the world

is seen with no colors, with no hues of joy. The world becomes black and white, as the veil not only surrounds them, but defines the whole way in which they interpret and relate to it.

“Sob o Véu” propõe uma reflexão sobre a depressão, uma doença que acomete mais de 300 milhões de pessoas no mundo todo, mas ainda é estigmatizada e incompreendida. PT

Nesta série de autorretratos, a artista utiliza o véu negro como um símbolo do estado emocional do indivíduo com depressão. Em várias culturas ela tem sido associada à escuridão, tendo Homero

a descrito como “uma nuvem negra de angústia”. Muitas pessoas deprimidas relatam que se sentem presas à escuridão, que as envolve e as distancia emocionalmente de tudo ao seu redor. Elas acreditam que perderam, de forma irreversível, a capacidade de sentir prazer ou alegria. Tudo parece vazio, o mundo é visto sem cores, sem matizes de alegria. O mundo torna-se preto e branco, pois o véu não apenas as envolve, mas define toda a forma como interpretam e se relacionam com ele.

PHOTOGRAPHIC PERFORMANCE / PERFORMANCE FOTOGRÁFICA:

Melissa Giowanella

DIRECTION, PRODUCTION AND EDITING DIREÇÃO, PRODUÇÃO E EDIÇÃO:

Melissa Giowanella

Art

/ A r ti st s

#avanzidigalera Franco Crocco FRANCO CROCCO AT THE MACRO ASYLUM IN ROME “AVANZI DI GALERA”, a project with the female prisoners of the Rebibbia Women's Prison. A Docu-Video and a work to reflect on their condition.

THE INTERVIEW

Franco Crocco, why start an artistic path or why start painting? What exactly prompted you to take this path? Tell us about your training. F – I come from a basic classical education, thanks to my father Alfredo, also a painter, who despite being self-taught was immediately able to make me love painting. I'm talking about figurative painting, as he has never departed from this genre. The turning point came in 1984, when I was assigned to Maestro Enzo Brunori of the Painting Course of the Academy of Fine Arts in Rome. Brunori was an Umbrian artist of international standing, he moved 18

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to Rome in 1949 and was very active between the '50s and' 70s, adhering, albeit only ideologically, to the "Group of Eight" theorized in 1952 by Lionello Venturi as " Abstract-concrete ”, and actively participating in the very heated cultural debate in those years between the supporters of figurative painting and those of abstract painting. His was a traditional teaching, closely linked to the study of color as a physical entity. It was he who changed my approach to painting, with his naturalistic vision linked to Cezanne's formal and structural lesson, a sort of "abstract naturalism". He was a very rigorous teacher with the students, from whom he asked the maximum. "The study from life excludes any form of imitation"; after this sentence I realized that I had to review all my alleged certainties on the concept of "beauty", but above all from that moment on I began to appreciate and see abstract art with different eyes, trying to create my own personal style. What meaning does art have today?

F – Every form of art must arouse an emotion, and for me it is very gratifying - much more than when I was doing figurative works, where everything is already "recognizable" - when an abstract work of mine is appreciated or in any case when it arouses a " reaction ”fundamentally linked to shape and color. When you approach non-figurative works and try to understand them, you need to get rid of any prejudice in this regard, overcoming the limits of the "recognizability" of the work and trying to go further, to perceive color as a cultural and spiritual entity, as an explanation originating from all phenomena. Art remains the most important form of communication, even more so in this era we are living in. We are continuously solicited by messages and visual stimuli of all kinds. Concrete reality is now overwhelmed by virtual reality. Also for this reason I abandoned figurative painting. The computer has in fact radically supplanted the more traditional forms of art, which while resisting, represent an approach that is now outdated especially by young people, who find it an easier and more direct tool to communicate. And then they write, they write all the time, even if exclusively on the keyboards of a mobile phone or a PC. In this sense, if used wisely, the "word" is destabilizing, I find it immediate and that it reaches its destination immediately, so the inclusion of lettering in my works was very important and I have been pursuing it for several years. Sometimes I use only a few "key" words, to reinforce a concept and direct the observer to understand my work, in other times longer sentences, always to complete a job and never ends in themselves. An artist who indirectly influenced my decision to use sentences or words to complete a work was undoubtedly Basquiat. But I prefer to use typefaces, newspaper clippings, rather than writing myself. What leads you to choose one material rather than another? Also because depending on the material "used" the "final picture" will be born.

F - I think any material can be "folded" for expressive purposes. It is important to understand how far you can go. The limit between the creation of a work of art and one of bad taste is thin. I like rough surfaces, in relief, where the roughness of the shapes collide with the color. I therefore use sands, putties, glues, plastic. But everything must happen in a harmonious way, so that the observer can perceive an immediate visual impact and have a sort of reaction, which can be positive or negative, the important thing is that there is. In the choice of materials, sometimes I start with an already defined idea, and therefore certain materials become preparatory to the realization of the project. Other times the opposite happens, that is, I start with the idea of discovering the potential of a certain material and then creating a "finished" work around it. From this material need, the series of "accumulations" was born, that is, the creation of works with the use of recycled materials, sometimes even waste materials. 20 years ago I would not have even considered this possibility. An almost surreal historical period: man has not been able to manage this pandemic, probably due to too much well-being and appearance,

he has remained a slave to appearance and too much well-being. Before Codiv-19 the artistic situation was not the best. What will happen next, in your opinion, and how will the balance change? And how important is art today? And how deleterious the artistic critical circuit can be. F – this pandemic will cause enormous damage to the art world: to artists, galleries, the market. It will be

necessary to review and reconsider everything, the very approach to the work of art will change radically. Online exhibitions are now proliferating, a formula that leaves me perplexed, also because innumerable cultural operators or presumed such do not make any selection in these exhibitions. But there is no doubt that the future of art is increasingly virtual and less real. So artists will also have to adapt to these changes. The success of an artist will increasingly be determined by his visibility rather than by what he produces. I can never agree with this, but it is. What does it mean today to be an artist and to paint, in a world where everyone wants to be? What is the substantial difference? F – Although I am very interested in

the life of the so-called "cursed painters" (from Caravaggio to Van Gogh, passing through Pollock to Basquiat), I am quite far from this stereotype of artist. The big challenge at this time that I am personally experiencing is to be as normal as possible. Today, to be the center of attention, a nice over the top performance on You Tube would be enough today and you would have, as Andy Warhol said, your quarter of an hour of fame. But by my nature I prefer to live my condition as an artist january 2021

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in the most normal way possible. I recognize myself more in the polite ways of Afro, an artist I adore, rather than in those, for example, of Schifano. For the rest, the real problem is that now there is no border line to define oneself as artists. Nowadays there are many more possibilities to emerge than twenty years ago, but an almost natural selection should be required before defining oneself as artists. In life he is a teacher, why choose to teach then stay in contact with young people? F – When I realized that art would be part of my life, I thought it would be nice to teach it. It was a very natural transition. At the didactic level I have had many experiences, I have directed a private art school for several years. The professional life of a teacher is truly unique: you get older year after year, but you always work with young people. Teaching graphic and painting disciplines I am very lucky because I believe it is the only job I could have done, and which at the same time allows me to devote myself to my personal production. The image has become one of the most powerful weapons of our time: manipulable and manipulative, what do you think as an artist? F – This is a bit like what I constantly say to young people: listen to everyone, get an idea and if you don't understand it, get information. But then, you decide for yourself, even at the cost of making mistakes. The artist has the duty to tell his own time, but using the most revolutionary weapon that exists, creativity. But it has to be above the parts, it has to tell with images.

to my discipline. I also tried to do my best to identify teaching methods that are more in step with the times. The pandemic forced me to reinvent myself, to get back into the game, in ways, such as distance learning, that I could never have imagined. I learned new and interesting things, but a subject like mine needs to be taught face to face. As I said earlier, young people are invaded by images of all kinds, but it is important to make them understand that, especially in art schools, they must cultivate the talent they have every day with passion and curiosity. If you intrigue them, they can give you a lot, you need to know how to get in tune with them, because they are used to observing any form of art almost always from a screen, when instead they should close it and look around. Does art save lives? Is it a true complaint remedy against acts of violence in general? F – Art can certainly help convey a message, be it social, historical or even political. Even more about acts of violence. The visual impact that a work can achieve is undoubtedly important. But I honestly don't think it can help change human nature. Human beings are not born violent but become so, for infinite reasons but above all for a cultural problem. But woe to respond to violence with violence. As Gino Strada said, “it's a tool that simply doesn't work”. Being a teacher led her to start artistic courses at the Rebibbia Women's Penitentiary, what prompted her to enter a place of marginalization and discrimination like this?

What kind of approach do young and very young people have to art in general? What is missing in artistic dissemination?

F – I was assigned to the women's headquarters of the Rebibbia prison in Rome. Although it was not therefore my choice, I welcomed it with satisfaction and curiosity, because I was sure I would have a very significant experience, and so it was.

F – It is impossible to think of teaching young people in the same way as it was done 15-20 years ago. This also applies

Being an artist also means questioning yourself, even more so when you rely on a specific situation, is

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there a comparison you can make between teaching inside a prison versus outside? F – The school reality of a prison is completely different from the traditional one. Not only in terms of content, but above all in methods. You are dealing with adults, so you have to relate to them differently. Then it is inevitable that the context in which we work conditions every moment of teaching. Often the girls came to school after a morning spent at work, other times they were upset by their personal situation. In prison, everything is amplified, and the teacher must really invent every day a form of teaching that can interest girls, that can involve them. There were very difficult times to manage. Then the school is somehow a "guest" of the prison institution, so it is she who sees adapting to the context and not vice versa. In the project "AVANZI DI GALERA" you worked with the girls of Rebibbia on an almost three-dimensional work using empty cigarette packets. This object lends itself to many interpretations, not least that linked to recycling. But what was the starting point, the initial idea from which he started? F – Inmates are tacitly allowed to smoke, except in the classrooms where teaching takes place. So it was inevitable to see them arrive at school with a cigarette in hand and the packet on the other, with the shouting of their languages that created a unique background. Women, some very young, from every country, many of Roma ethnicity. At one point I thought that these packs of cigarettes could be a vehicle to tell a story, the story of these girls. It was a question of deciding how. I started telling them to keep these empty packages, which soon became several hundred. Then I met Renata, a Roma woman born in Italy with an incredible story, who unintentionally changed the project. He has been in prison for 12 years and has made a truly incredible path of growth and social recovery over all these

years. In fact, she is the protagonist of the video. Last year she graduated from the Liceo Artistico, and the video also documents her preparation, the questions, the will she put into every moment and in general throughout her rebirth path. I think she was the first Roma student in Italy to graduate from an Liceo Artistico. The title is deliberately provocative, it tells not only about a purely artistic work but also portrays a very particular piece of social life, a penitentiary, a place that marks you for life, that marginalizes you at the bottom of the social ladder. F – The title takes its cue from a definition used in an extremely negative way to qualify a certain social status, people with a difficult past who in some way are on the margins of society and for whom life in general is still lived on the edge of legality. The idea was to overturn the negative attribute of the term and to ensure that these people experience detention as an opportunity for redemption for reintegration into the so-called civil society. The packets of cigarettes they used, left over after a new, umpteenth day of detention and destined for the landfill, decorated by them have become precious material, signs of a profound humanity that these objects tell. What did you see in the looks and behavior of the inmates that you can't find outside? The sensitivity of an artist is much more accentuated so what this phrase "if we don't smoke we go crazy" contains for her what does it mean. F - This was the phrase they repeated often. Smoking is an outlet for them. In

the video you can see the girls smoking, absorbed in their thoughts. Smoking helps them not to think about problems, as Renata says. Everything was done with extreme naturalness and without forcing. In their faces there is a beauty that goes beyond the aesthetic fact. From the prison, the project then moved to the MACRO. Tell us about it. F – After the girls had decorated hundreds of packs of cigarettes there was of course the need to create the work. So I thought of a workshop open to all, a space where anyone could intervene by decorating other packs of cigarettes to add to those already decorated by the girls. For 3 days there have been students, alumni but also friends, colleagues or simple visitors who have become an active part in the construction of the work. In addition, I also involved some ex-prisoners. A sort of seamless work in progress was thus created. The stories told by the inmates on the packages have thus joined those of the so-called normal students, in an ideal symbiosis between inside and outside, without any distinction and with the idea that there is no difference, that all women are equal , regardless of their stories and what life has reserved for them. A great job came out, which I donated to the Prison.

me to continue it. I also thank Prof. Marina Tutino, who at MACRO had a dialogue with the young people present, focusing on prison problems in an important moment of reflection. Then the artist Andrea Simonetti, who helped me in making the video. But most of all I thank the girls who have enthusiastically lent themselves to the realization of this project. An important and very demanding project. What do you want to add after your conclusion? F – The experience lived in Rebibbia was very important for me. I would like to be able to continue working with girls in some way. Living certain situations from the inside, when you are used to hearing them only from the outside, makes you appreciate what you have even more. I have known women who have made mistakes and who are still paying for their faults, but we must make sure that when these people come out, they can have a new chance, without hesitation and prejudice from anyone. Because if there is a time to make a mistake, there is also another time to start over.

Who with you worked on the project? F - There was a great synergy between the Penitentiary Institute, the Enzo Rossi Art School and the MACRO of Rome. I thank Prof. Lucia Lo Buono of the Liceo Artistico and Giorgio De Finis, director of the MACRO Asilo until December 2019, who immediately supported the project and urged january 2021

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Remigio Fabris

- Le figlie di Lilith 01 acrilico su stampa fotografica, 15x10 cm, 2019 - - Il mostro sotto al letto acrilico su stampa fotografica, 29 x 21 cm, 2019 - - - Acque torbide acrilico su stampa fotografica, 10x15 cm

Remigio Fabris was born in Sandrigo (VI) on November 10, 1979, lives and works in Dueville. He approaches the world of artistic expression in 1997, and as a self-taught, he begins to show his interest in both painting and sculpture. Starting in 2008, it takes inspiration from sometimes strong and raw photos and videos, with the intent through the use of black and white to create a symbolic realism that expresses our inner and hidden fears.

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From 2017, however, new shades have opened up in the noir field of Remigio Fabris's painting who for the first time works directly on photography, moving away from the figure of black and white: the photographic image becomes the canvas on which the artist intervenes by modifying it, scratching it , erasing it, so as to form those lacerations and those black but bewitching dimensions typical of his work.

An.So An.So is a French artist, plastic artist and selftaught. Trained for life through meetings, music and travel, she lives creation as an outlet, even a vital need. Imbued with her Breton culture and her attraction to the underground world, she transcribes her sensitivity in artistic work with Gothic influences. Exploring all form of human beings with their ideas, their values and their excess, she expresses through a dark poetry and a baroque universe where an abondance of details opens the doors to a dreamlike and fantastic world. As an echo of its history, An.So uses neglected and worthless materials in his artwork to bring them back to life in the form of baroque frames or fantastic sculptures that tell a story and leave a lot of room for the imagination. She likes the idea of making something beautiful, precious with waste...

In her creation process, An.So assembles a multitude of objects and recycled materials such as small child's toys, dolls, buttons, beads, springs, etc. which she then patina with metallic pigments. Put with humor and delicaty, she accumulates these familiar bits and pieces which resonate, delight, amaze, disturb or move, but which never leaves you indifferent and always arouses emotion. In constant search and eager for authentic experiences, An.So participates in various installation and scenography projects, tirelessly following his instinct and his desire to take up new challenges. She collaborates with artists, like Laurent Fièvre, whose sensitivity resonates in her. She multiplies her exhibitions and is permanently represented in atypical places that resemble her, such as the Arts Mouvances gallery in Monfort l’Amaury (78) and the Naïa Museum in Rochefort en terre (56).

SITE

www.ansojusteanso.com FACEBOOK

/AnSo

INSTAGRAM

@annesosaillour

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Elisabetta Rogai L’Arte senza le paure del tempo del Covid Incontro con una artista

Eclettica e fantasiosa, tecniche classiche ma anche scoperte, come quella di dipingere con il vino, ma anche la tecnica dell’affresco – insolita per una donna - e il dipinto sul jeans, dove si riflette la poetica visionaria dell’artista, che scaturisce dalla curiosità di scoprire un universo dove ogni cosa ha un’anima ascoltando le vibrazioni della natura, della materia, del marmo, del canvas, del tessuto. IT

La sua è una pittura apparentemente naïf, ma in realtà nutrita di vasti riferimenti artistici e letterari, che spaziano dal Battesimo di Cristo alla poesia mistica del Palio di Siena, dai ritratti di bimbi assorti nel gioco all’espressionismo delle sue donne ebbre di vino e dei suoi cavalli in fuga.

questa paura che ci colpisce al cuore, quando il pensiero va ai figli, ai nipoti, mantenendo vivo l’istinto della ragione, gli istinti della saggezza che mi hanno sempre segnato, fra l’incrocio creativo tra l’arte, la natura e le emozioni del cuore, passato e futuro, nonché dal contrasto impalpabile di luce e ombra, nell’abbraccio senza tempo tra terreno, fiori, sogni e natura. E allora dobbiamo fermarci, e guardarci intorno, rannicchiati in quel guscio prezioso che è la casa, cogliendo l’opportunità di diventare una persona libera di cercare e trovare la logica delle cose che sono successe nella vita e che mi hanno portato a diventare chi

Elisabetta Rogai interpreta i fiori, volti, occhi, filari di vite, pianeti, in una esplosione di azzurri, gialli, aranci accesi dove parole e brani di poesie piovono come dentro un sogno. Ma in questo accettare il cambiamento dei tempi in cui si devono dimenticare le abitudini, in una girandola infinita di incontri e relazioni, alla fine il disabituarsi potrebbe generare la paura. Tuttavia c’è qualcosa che possiamo scegliere per controbattere la paura, quella di sopravvivere, decidere cosa fare dell’esperienza, il vissuto, le emozioni che proviamo. Abbiamo il potere di scegliere come reagire all’evento che stiamo vivendo, la scelta giusta è un’opzione che può renderci migliori. ARTSY SITE

www.elisabettarogai.it

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Ed Elisabetta Rogai dal suo casale immerso nel Chianti saggiamente ci confida: “Il mio è un sopravvivere a

sono diventata adesso, trasformando gli eventi più duri in preziosi insegnamenti da condividere con gli altri. La casa, il canto delle colombe, il glicine, i filari di vite, il ritorno dell’upupa, le rose...sono i canti della natura che mi insegnano a intravedere la rete impalpabile dei miei sogni di ragazza che mi hanno condotto fino a qui ad essere chi sono e a vivere questo dono prezioso, che è il mio presente.”

Kazuyuki Uno -

The world exists as an “interpretation” of “state.” In the world of interpretation, which is created by repeatedly connecting and disconnecting meanings, we try to find a real thing by placing a value on something more fixed, and by deepening it. However, I can’t find it because I can find it. Even if you think you found it, you lose it. It may be because the essence of what we are looking for there is not a fixed thing or relationship with them, but a state as it is including them. The world itself can be described only by concept, that is, as an interpretation to grasp the relationship. It does not have a fixed positional relationship structure, but exists as a relationship between relationships in which they are parts of each other. Access to a “state” with a secured many-to-many relationship with liquidity. It is nothing but trying.

- 地軸の風景 2

It can be said that what we should pay attention to is not the hierarchical structure of things, but the structure of relationships between relationships, the mechanism of the appearance of states themselves, and the state of “states” themselves. .. The appearance of “states” is the key to understanding the world. For a hypothesis that reads the world as a hypothesis that cannot be proven. The world is full of multi-faceted, multi-layered, ambiguity and chronism. Therefore, boundaries have no intrinsic, definite meaning. It can only be temporary. On the other hand, on the other hand, we have a sense of urgency that we cannot recognize the world without january 2021

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boundaries, and the hypothesis in the battle is established as the real world.

out what should not be taken as ambiguity.

The sensation there, if possible in reality, is only a memory or trace of the phenomenon. Nevertheless, we cannot stop seeking the existence of the world as an abstract reality.

Line context, line spacing. Stretching, shaking, connecting, accumulating, scraping, painting, and repeating the generation and disappearance, the line appears or disappears. The line itself does not carry any concept. And owns no meaning as such. However, the relationship that is born as a context becomes the existence as a state, becomes the subject of thought, and becomes an inevitable existence.

Boundaries, environments, relationships, and spatiotemporal spaces. We call such things as a concept the “world.” The approach to the “world” is not uniform, it is not fixed, there is no process that can be formalized, and only convincing hypotheses are accumulated.

- - Landscape of vestiges 2018

The accumulation and intermingling of such unproven hypotheses builds the world as a real experience. We come up with more hypotheses in order to find

The line exists in the line as it can generate the context by itself in the line and can be anyone. We see the context of a line as an important and potentially important state, not a line as a purpose, but in the form of invisible lines. - -

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CV 1960 Born in Chiba, Japan. Completed the Graduate School of Tokyo University of Fine Art & Music. Professor of Kyoto Saga university of Arts. Major exhibitions in recent years 2020 Known and Unknown�h Gallery Emu (Tokyo) "Art Cocktail 2020" Steps Gallery (Tokyo), etc. 2019

@"Spring breeze from Ngasaki XXI 2019" Nagasaki Brick Hall (Nagasaki) "U know they mean 2019 -Mono �E Gararu �E Koto-" Steps Gallery (Tokyo) "Gallery Ohi Selected Exhibition -Artists Associated with Kyoto Saga University of Arts", Gallery Ohi (Osaka) "Korea-Japan Art Communication -Temperature / Convection that never ends-" Cheongju City Museum of Art (Korea) "Digital Print Exhibition -Evolving Edition, Changing Edition-" O Museum (Tokyo) "MIKEI -The first year of ART in the temple" Sennyuji temple�iKyoto�j "Between what is and what is not" Gallery Mutsu (Chiba) "Japan-China International Art Exhibition / Invited Artist Exhibition 2019",

Chiba Prefectural Museum of Art (Chiba) "Solo Exhibition" Kobo (Tokyo) "Art Cocktail 2019" Steps Gallery (Tokyo), etc. 2018 "Tactile Existence" Hilton Tokyo / Hiltopia Art Square (Tokyo) "U know they mean 2018 -The silence of the trace / the talk of a sign-" Steps Gallery (Tokyo) "Art Cocktail 2018" Steps Gallery (Tokyo) "Problems of mediaity and interpretation in art(Solo Exhibition)" Art Space Saga (Kyoto) "Japanese-Korean art communication part 3" Art Space Saga (Kyoto) "Thinking Gaze 2018" Art Space MEISEI (Kyoto) "Digital Print Exhibition-Liberation from Print / Development from Print-" O Museum (Tokyo) "Kan-Hikari ART EXPO 2019 Kyoto -Final Chapter/MUSUBI-" Sennyuji temple (Kyoto) "Japan-China International Art Exhibition / Invited Artist Exhibition 2018" Chiba Prefectural Museum of Art (Chiba)

"Kan Kei kou", Gallery Mutsu (Chiba), etc.

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Stella Caviart - -

- " My Caviar World Project, No.1" 50x50cm, Oils & acrylics on canvas - 2017 - - " My Caviar World Project - MARIA, No.8" 70x70cm, Acrylics on canvas - 2017

‘MY PERSONAL WORLD - OF CAVIAR’ By Visual Artist, Poet "Stella Caviart" – GREECE- HELLAS. A first public, written report on the Artistic and Poetic Approach of the artist focusing on Caviar (2017) Caviar, according to the completely arbitrary opinion of the Visual Artist -, as a concept and substance has nothing to do with the concept of luxury, and the difficulty or hard to find, selective food. What has prevailed for certain 'social strata' of a society - the artist does not agree with the 'foam cream' of the society and the financially strong people. Caviar, as the artist puts it, which is a source of inspiration for her, has other reasons for existence. * Literally yes, Caviar, concerns the LOWER FORM OF LIFE ... OF FISH.... OF SALMON ESPECIALLY, but also of SNAILS ... (black, tile red and green). It is a living unit - elements - "eggs", which are constantly reproduced to multiply...

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live quietly in their own world ... to "live" and leave their mark on Nature even in the short time of their life. * As Stella Caviart says, THIS FORM LESS EFFECTIVE LIFE EGGS CAN PROCEED AND SYMBOLIC be represented CREATIVITELY. OUT OF MY ART I ALWAYS SEEK TO PRODUCE SIMPLE BUT ORIGINAL WORKS, USE AS " AS STARTING POINT" FOR EXPRESSION OF HIGHER LIFE FORMS, ARRIVING UNTIL THAT OF THE "INTELLIGENT" MAN, HYPOTHETICALLY OF THE BEST CREATION OF NATURE. TO REPRESENT CAVIAR, BUT WITH A HUMAN-CENTERED MEANING OF MY ARTWORKS. CAVIAR, BUT TO BE ANOTHER SOURCE OF INSPIRATION OF CREATIVITY.

* CAVIAR FASCINATES ME: For the SPHERICALITY OF HIS circular shape , (a favorite shape, in all my art work and courses for almost 40 years). *For its TRANSPARENCY but also for its COURAGEOUS color presence, which visually I wish to expand and enrich in a thousand other shades and tones.. beyond their realistic colors, since almost always in recent years, I express myself visually, through my Dreamy Surrealism, which allows me to do it! * For the FRAGILITY that shows in parallel with the RESISTANCE it has. THE DYNAMIC COHERENCE and "COOPERATION" with each other, DEDICATED TO EACH ONE IN MISSION, BUT ALSO TO THE WHOLE IT IS, as we often find in lower or higher organisms-in Nature. So I discovered, after years of research - that I have something in common with caviar. ALL THESE ELEMENTS EXPRESS ME ABSOLUTELY. ACIDENTALLY, THE MEANING OF MY SURNAME AS THE BASIS MY FAMILY NAME (Chaviaropoulou)! SO, I FEEL A SECRET CONNECTION AND CONSPIRATORY CONSPIRACY - UNITY IN WHAT I CREATE ABOUT Caviar. * Starting creating artworks that realistically relate to this form of life, I was inspired to create caviar works as a BASE, WHICH DEVELOP IN FORMS OF SUPERIOR FORM .. HUMANS, FAVORITE PEOPLE, AND SO ON. That is, works with people that I chose for the reason I love them, in combination with some form of caviar, and other works, with elements of Cultural evolution in combination with some form of caviar as well. Others with references to nature or to geometric-mathematical shapes, and in general A SERIES OF WORKS THAT ALWAYS STARTED BASED ON THE CAVIER - AS THE BEGINNING & THE END OF "L I F E" !! A UNIT OF WORKS THAT STARTED IN 2017 AND EXPRESS THE CREATIVITY AND THE POSSIBILITIES WHICH COME OUT OF MY INSPIRATION FROM CAVIAR,

AS AN ARTIST! Works of art that will be presented in a coherent way when everything is completed in a solo exhibition that is important to me, and along with inspired poems that express me perfectly, and that in a symbolic way introduce me to the viewer-listener. All this reasoning, I want to share it with you... At a time when Art and especially the Visual artist tries to seize every occasion for creation, to give by externalizing to the world, every work that will express the modern reflection, the impasses, the constant search of the ideal and harmonious (elements of my origin from the Mediterranean area and the Greek ancient conception of them), I consider a blessing to be inspired of Caviar. I want to express through these attitudes, to the creators - artists - poets, and generally workers of all forms of Art that, it is worth continuing to create, WHAT WE LOVE, INDEPENDENTLY OF THE OPINIONS AND CRITICISM OF THE WORLD, of course without ignoring the experts and specialists! As selfish as it sounds, we start with ourselves, to unite what we express with others of common visions ,or not. It is each of our original works, UNIQUE, each one separately, BECAUSE WE 'MAKE IT BE BORN' after thought, study and existence of purpose, WITH LOVE and CONSISTENCY AND PLAN, FOR A RESULT OF HARMONY , which I try to follow from my early age in everything I do!

- " My Caviar World Project MY TREASURES, No.14" 50x100cm, crylics & palette knives on canvas 2020

january 2021

HOUSTOULAKI HARA

ΧΟΥΣΤΟΥΛΑΚΗ ΧΑΡΑ My name is Hara Houstoulaki and I am from Heraklio, of the beautiful island Crete, Greece.

xara.myrtw@gmail.com

I began my trip to the wonderful world Άρχι σα το ταξί δι μου στον of painting the last year. My artworks θαυμάσι ο κόσμο της ζωγραφι κής have a lot of international Certificates τον περασμένο χρόνο. Τα έργα and awards. I am a self – taught artist. μου εμπνέονται από την Φύση, I also sometimes write poems, and I like που αγαπώ πολύ, ζω σε αυτήν, making crafts, too I studied Byzantine την παρακολουθώ και ακολουθώ. music. My inspirations comes out of the Ακόμη και από τ ι ς μορφές Nature because I love to live in it, watch των ανθρώπων. Τα έργα μου it and adore it. έχουν λάβε ι πολλές Δι εθνε ί ς Δι ακρί σε ι ς. Ε ίμαιμι α αυτοδί δακτη Ονομάζομαι Χαρά ζωγράφος αλλά καισυχνά κάνω EL Χουστουλάκη και κατάγομαι κατασκευές καιγράφω ποι ήματα. και ζω στο Ηράκλε ι ο από το Έχω μελετήσε ι και σπουδάσε ι όμορφονησί,τηνΚρήτη. Βυζαντ ι νή Μουσι κήπουαγαπώ.

Manuel Scrima Evolution for art and photography Italian-Belgian photographer, director and artist who works in different continents mainly in the fashion sector. His research relates to the tradition of the representation of the naked body in photography and, at the same time, challenges the dominant aesthetic paradigm in the contemporary world. His models do not wear clothes but are photographed through fabrics. The naked bodies stand out as pure forms in a compositional balance that reveals the deep passion for classical and humanistic culture. First of all, the photos are all taken in square format and the figures inscribed in these squares seem to respect, knowingly or unknowingly, the patterns and proportions of the golden section. The title of the exhibition, “Disembody”, alludes to the process of Scrima's photography, which starts from the study of the human body, male and female, to arrive at a disembodied, incorporeal, abstract photograph, separated from the original body. In your latest solo show, “Disembody” at the Eos Factory in Milan, you expressed a different photographic and artistic research, which highlights a great change. Do you want to talk about it? The creative process comes from the study of the human body. I started by photographing framed and veiled

bodies: as if they were classical statues enclosed in cubes. The images - like huge negatives and slides - are printed on glass plates or plexiglass mounted together. The superimposition of several plates generates new images: ideograms, masks, figures randomly similar to Rorschach's images. In this search for abstraction, the bodies are also printed on small ceramic and quartz tiles. A puzzle of 400 hand-cut tiles forms the work "Mosaico", a human kaleidoscope, which summarizes the whole meaning of the exhibition. The bodies are denatured and artificially composed, only to be recomposed in another. I think that this historical moment (like every historical moment) needs to question itself, to review and reflect on its ethical and aesthetic values: the body, embodied and at the same time idealized, is at the center of our imagination and for this it has become invisible. , a necessary context of communication. My attempt to denaturalize it goes in this direction: decontextualized from the flesh and the logic of self-sale, the body becomes visible again, an epiphany of the gaze. Reassembling it with new shapes and geometries requires the viewer to make a cognitive and emotional effort that allows the emergence of new meanings, an opening towards self-understanding as a worn mirror of everyday life.

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- Disembodiedness 010 (Metopa) - Disembody - - Mattonelle in ceramica 10x10cm

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a Project by

In collaboration with

Jing jing Shi (ArtBank) the creator

Guo Quansheng

Marica Petti

Director of the Chinese scientific and technological exchange and development center.

(Owner of EtroMirroR management and production, Director of ArchLove Magazine)

ZenCaos Creative (Art Direction and graphic design, Graphic and artistic direction for ArchLove Magazine)

GHENO ARTE association Press office ZenCaos&EtroM and Massimiliano Morelli

Born as in January 2020 in China as a 310 Virus With subtitle"Journalist diary of the artist" become

Ist World Contemporary Art Festival in China 2021/2022 Chapter I Mission: to tell everything without changing the word, to make visible the most important historical pandemic of the twenty-first century. To ensure that the memory of what has been, do not forget. The magazine itself will become the mirror of reality. It will be divided into various issues, until it becomes a documentary collection. A documentary that will become a final book / catalog. The release of a part, in fact, will be in July, to then continue with the other chapters. This allows you to better organize the amount of material sent. (only for the magazine) The magazine that becomes a book, a book that is history. Our history, our memory. As stated by the official writer (who with our pleasure joined the project) Giovanni Casalegno: "This story awaits an end and above all needs a great story" Guest for The Pandemic Chronicles Massimiliano Morelli, Writer and Sports Journalist. When the system stops we continue to move forward: the exchange of information and culture cannot be stopped. We need anyone who wants to make their voice heard, their art.

Today more than ever we are experiencing a period of psychosis, fears and anxieties that must somehow escape. The mind falters in a period of physical, moral and economic decline. A total lock-out that crosses reality and a pure and selfish forest of untrue news. Poor information that makes the weak mind succumb and dry up. We want to unite the artistic and intellectual world through the largest project ever organized. To project into the future and past. Your eyes will tell all this. A link to also create a new awareness of serious problems such as the ecosystem that is currently recovering a crumb of the one removed. Man's foolishness created a pandemic, in such a technological era he proved weak and unable to deal with something so hidden. It is time to facilitate that much-pursued change (we should perhaps say thanks to the Pandemic), respecting the Nature / Man relationship, safeguarding the Biodiversity of Habitats, but also the Biodiversity of Peoples and Languages, subjects to draw on for Culture and Consciousness of the Gentiles. Subsequently, further descriptive details of the work we propose will be provided.

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CHAPTER II The international project 310 Virus Journalistic Journal of the artist has been replaced by the director Guo Quansheng of the Chinese scientific and technological exchange and development center. The project expands unexpectedly, subsequently creating an international city of art for cultural and artistic exchange. Beijing as a first stop. Possible cities will follow: Rome, Tokyo, Paris, Berlin, London, Stockholm, New York, San Francisco and so on. (All the artists and galleries and bodies will be published on the various systems that of Artbank, Archlove, and the Italian part, and then continue with the publication of the various issues in the official Archlove magazine, as well as in the official pagian wikipedia, youtube, vimeo) The 310 virus "Artist Journalist Diary" project becomes an opportunity for global reflection on the situation that the whole world is experiencing. It recalls and brings together art at 360 degrees, without distinction. A single Art flag! An arduous task is to bring together different cultures and languages. A call that never happened in this and in the last century, artists gathered to tell and show their interpersonal work. 310 Virus artist journalistic diary is to be considered avant-garde in the contemporary artistic situation. Because, it is creating a collective artistic consciousness, never carried forward, with respect to the contemporary and to a tragedy that has hit the entire globe. This means bringing global changes to attention and discussing world health and fate. In a delicate and uncertain situation. The man who becomes the spokesperson for change through the only sensitivity, the artistic-social-intellectual one. Where the same cultural artistic system is collapsing, old in the system. A system led to individualism, which eliminates the union that leads the

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avant-garde. Project yourself to the future without forgetting the past. Art is life and is the bearer of the message of rebirth, through what has happened. Unity creates the strength to fight and show one's identity. Your own thought. Through the biggest epidemic. Many used the pen, the brush, the color, the courage to fight it, honoring those who fought on the front lines with their work. US. As a people of art for the "first time" after centuries. Freedom of expression, equality before the virus, fraternity before the weakest. United like never before. This also means studying the incident and making everyone participate so as not to forget. This means teaching and leaving a mark for future generations. Gheno’s Art, artistic generation. Gheno's Art or the "new artistic generation" The 310 virus project lives and grows, thanks to the members: painters, photographers, poets, musicians, dancers, actors, sculptors, writers, intellectuals, scholars, psychologists, people who will donate their amateur videos. The galleries and their artists. Short film festival, music. Street art. Parallel projects proposed by the artists or bodies themselves. The project is the artist. Together united community never existed, avant-garde… Gheno's Art There is no I but there is WE In a moment of difficulty there are two ways: to die or create! The project continues the creation, awareness, teaching, not to forget. Children and teenagers Experts from various think tanks of the Board of Directors of China Science and Technology Exchange and Development Center of China Science and Technology attach great importance to the global

exhibition "310Virus" and propose adding the section of International Painting Exhibition for Young People below 18 years old. Age range: 4/10 years 11/17 For the 4/10 age group, educators, pedagogists, psychologists will take over, who will support the work and ideas of the latter. This section is dedicated to collecting

children's thoughts, and the approach to the pandemic. Look and show through the eyes of a child. This means growth and a new vanishing point. Looking at the world through their eyes means always being surprised, learning alternatives that an adult eye does not see. To notice details that escape because they are considered useless. Teach and learn.

The project is divided into 4 phases Material collection that will be included in the second issues of the US magazine ArchLove, divided into various issues Gheno Arte (as an association of the same name) Format social web radio (U.S. Chinese translation) Exposure via YouTube and online galleries 3D Creation of the documentary book

Event that will be organized at the appropriate time in three countries: Asia, Italy, USA. And in all the countries and /or cities that will join the initiative.

Who is it for

Platforms used

» Figurative artists: painters, sculptors, photographers, digital artists, craftsmen. » Music » Literature (writers, letters, enthusiasts, poetry) » Performances, short films, theater » Journalists » Students » Galleries, associations, publishers, bookshops, museums, embassies, locations... ...simple people who observe our surroundings every day.

» All the sites of the members of the project » Instagram: @arch_love / @etrom_mirror / @zencaos » Facebook Group: ArchLove, Arts Meeting » Facebook Page: Fb @archlovezine » Youtube » Wechat » Twitter: @etromirror » Issuu » Wikipedia

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OFFICIAL MAGAZINE LINK

http://archlove.zencaos.it FB GROUP

https://www.facebook.com/groups/ artsworkinprogress ARTBANK

http://www.china-artbank.com EMAIL:

1917090099t@gmail.com (ArtBank)

310virus@gmail.com (Project, Journalist diary of the artist)

Hashtag to use #diariogioranlisticodartista

archlovemagazine.editor@gmail.com

Logo:

Slogan " 隔梨 (geli) " is not separated”

(Director of ArchLove Magazine)

creative@zencaos.it (Art Direction and graphic design)

ghenosart@gmail.com

More information for the first exhibition in China will be available from March/ April 2021 Contact: ghenosart@gmail.com

Two Chinese Characters " 隔梨 " on Pear The Chinese pronunciation of 隔梨 is: Geli The isolated Chinese pronunciation is also: geli There is also a custom in China: pears cannot be eaten separately, because eating separately symbolizes "separation."

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Jing jing Shi

The historical and academic significance of 310 viruses 310 is a bio-art research group founded by Shi Jingjing in China. At present, the rapid development of science and technology and its super-conventional and huge role in promoting economic and social development have become one of the main characteristics of the times of society. The development of the world’s science and technology is showing an unprecedented systematic and breakthrough development trend. Substantive scientific and technological breakthroughs continue to emerge in the fields of information and network technology, life sciences and technology, materials science and technology, energy science and technology, and physical science. The birth of a new round of technological revolution and industrial change, and art is no exception. Cross-integration between disciplines is an inevitable trend in modern times, and the integration of art and science has already become an important means of expression. Under such a situation, major changes have taken place in the original state of art, and the interaction with science and technology must also go from the surface to the deep. Therefore, compared with the nature and roots that the humanities and social sciences do not understand, the high degree of scientific connotation of the former can better explain and convey the artist’s philosophy. Biological artists use modern science and technology, such as genetic engineering, tissue culture, genetic modification and cloning, to develop artistic works with scientific methods on materials such as cells, DNA molecules, and living tissues. They are combined with life processes. Artistic practice. The scope of biological art is not strictly limited to “life forms”, but includes the use of illustrations of contemporary medicine and biological research, or points out controversies or blind spots caused by the nature of life sciences, expressing a sense of life and human destiny Philosophical thinking. Creating life and practicing in life sciences

are accompanied by ethical, social and aesthetic inquiry questions. Biological art is a cultural form defined at the genetic level. It does not use biotechnology to restate art. It cannot be described and felt in a universal art way such as “aesthetic,” “poetic,” and “experience.” Instead, the visual style presented by biotechnology is used as a carrier to tell some “outside the cave”-the classic cave story of “Plato” may be able to mean one or two of the motivations of this project. Use art as a means to sing the formal art and connotative art in mathematics and mathematics that are independent of human subjective consciousness. Village In Zhuangzi’s thoughts, only those who truly understand life can face death with a correct attitude. Conversely, those who truly understand death can understand the value of life. Perhaps for us who are “dead” every day, only the past and the future are important. If there is no past, who will you be? Without a future, how do you determine your survival? However, about 50 million cells die every second in the human body. With the death of old cells and the birth of new cells, we are also undergoing nirvana transformation. Due to the different time and interval of metabolism of different cells, it takes seven years to replace all the cells in a body. In other words, from a physiological point of view, we are another person every seven years. You were dead in the past and you were not born in the future. The present is not a means for you to reach your future purpose. At this moment, treat life well, treat life well, and a macro-cognition can build a complete, holy and refined noble soul. After the official confirmation of the “310 virus” originating from Wuhan virus, Shi Jingjing led Chinese artists to record this moment with art on the Internet.

prejudiced blame is no longer the task content of bioart in the global new crown crisis. Art will completely break out of its original criticism or commentary by means of biolanguage. Use the language of biology to make up for the shortcomings of existing expressions, and use an objective and full questioning presentation to force humans to reposition “the existence of microorganisms over 3.4 billion years” and “step into agriculture 1” in this current crisis. The right relationship between the two thousand years of humanity. Academic perspective: transmitting non-human-centered ideology. In the field of biological art theoretical research, human-centered consciousness has been mentioned many times. It pays close attention to the society caused by living art creation, thus starting our discussion of the position of the relationship between “non-human” life forms. Here we are talking about human-centered consciousness. It is not an activity that takes human interests as the starting point and destination, or a human-based value evaluation, but we are trying to magnify a microcosmic world and adjust the perspective of the viewer so that people no longer see themselves as the subject. Although they may exist in the human body, we are only organic matter composed of “they” arranged and combined, placing the flesh between nature and the universe. Humans are just beings with attributes. The behaviors and consciousness that we humans can think, calculate, judge, create and execute, in fact, many living beings have these characteristics, which shows that life is not single and scattered, but a whole, all living creatures constitute together A life as a whole. Therefore, human beings and all living beings, etc.

Historical perspective: Active and philosophical reflection on the largest pandemic in 21st century history. The painless and itchy record and the january 2021

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The novel THE RED TOWER (provisory title) By Giovanni Casalegno

SYNOPSIS

The organizers

A girl, Margherita, is about to take the 2040 state exam and has been asked to prepare an essay / research on the great pandemic of 2020. She immediately knows what to do: look for her father's words. Twenty years earlier, during the quarantine, his father had fled the world and had taken refuge in the Red Tower, a family property, from where he thought of communicating with the outside through modern means of communication. But in the Red Tower there was no connection, neither digital terrestrial, nor GPS. Nothing. And so he communicated above all with himself. Margherita discovers all this by finding her fragments. The father, not at all fond of reading or writing, began to write notes, emotions, memories, moods and bad moods, dreams, nightmares, hopes, comments, on the white pages of the books of the large library that he leafed through at random. So Margherita searches book after book for hundreds and hundreds of fragments of her father, a few lines, one page at most, and tries to reassemble them trying to give them a logical, chronological and sentimental order. During the quarantine, which was double due to recidivism, she found a playmate, the little girl Elsa, who became Miss Elsa 23 years earlier, then Mrs. Elsa just after leaving an unsuitable marriage, and finally Elsa and that's it. Margherita was conceived right at the end of the quarantine, thanks to the "ointment of the moon", she finds it written in a note, but she doesn't know what it means. He will have to find out.

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Shi Jing jing, who was not talented, worked hard for a long time, worked as a university teacher, opened several companies, and worked as a consultant for large state-owned enterprises and the government. Has been doing creative work for society. In the unfortunate car accident in 2010, 70% of the possibility was a vegetable. A chance encounter with a genius doctor, Xifeng Jiaren takes care of her carefully. Get healthy. The ordeal of marriage at the age of 40 led to a warm and humorous disposition. Surviving a catastrophe enhances the sense of mission, and the single life gains more reading time. In 2015, he traveled to the world to find incredible art and brought it to China. At the same time, he led Chinese artists to go abroad. ZenCaos & EtroM, born from the collaboration between the ZenCaos Creative and the EtroMirroR Ed./ Ed. Musicali, offers services of digital and editorial graphics and deals with communication both national and foreign. We create one together with the customer communication strategy and exclusive marketing, adapting it to your needs and paying particular attention to the layout, to the visual impact and to work graphic designer creating a product visible and desirable. We offer ours professionalism with the aim of enhance the work of artists, painters, musicians, brands of fashion, jewelers, galleries and everything those people do of art their philosophy of life. Marica Petti holder of the Owner of EtroMirroR Ed. /ed. Musical. Art

critic and event organizer. President of GHENO ARTE, cultural association of twinning. Director of ArchLove magazines (Art magazine) VIVA VINCENZO VIVA (Fashion magazine) Gourmet food and gift baskets (cooking and food magazine) Voci D'Italia Gazette (Socio-political-cultural magazine). ZenCaos Creative, digital graphic services for artist and creative people; Art Director of ArchLove magazines (Art magazine) . Guo Quansheng is the Chinese civil diplomatic love ambassador recognized by the international sister city industry. Founder and manager of the think tank of the China Science and Technology Exchange and Development Center. He is mainly good at interacting with celebrities and decision makers from various industries in strong cooperation with sister cities and building a global community of destiny, and has good public relations with international sister cities. In particular, relying on the special background of the Chinese People’s Association for Friendship with Foreign Countries, the China Association for Science and Technology, the National Development and Reform Commission, and the Organization Department of the Central Committee, we have innovatively designed many non-governmental diplomatic public products and Platform. It has gathered a group of experts from international think tanks in different fields at home and abroad. He has successfully designed and hosted many projects and activities among international sister cities.

Leaders of the organizing committee The plague spreads with a thunderbolt, which erodes the human body. The extinction of this century only stems from the gluttonous greedy people. Scorpions centipedes, spider bats, snakes and cockroaches, grasshopper monkey brains, civet pangolins ..., we are eating big! Severe outbreaks of SARS and viral rampage. Stumbled twice by the same stone and maimed twice by the disaster of self-production. Sin is unforgivable! God will not forgive! SARS, Ebola, HN9, coronaviruses, like ghosts, like demons wandering the earth, eroding the planet of the century with holes and holes! The man who was once arrogant and ignorant has finally suffered relentless revenge from nature! Lies and truths, wrapped in each other, test people's IQ. Silence is not gold, it is cowardice and shamelessness! After a long silence, I lose the ability to speak. When darkness extends to myself, I feel helpless. Countless tragedies in history

stem from collective silence! Silence will eventually become the epitaph of the silencer! The outbreak whistleblower finally gave his life because he tried to save the earth! Your heart stopped, and the country stopped. Hope your loud whistle can penetrate the east! Close the city and close the road. You cannot go out at home, and you cannot return home. The days of family reunion, spent in fear, panic, anxiety, and suffering, tested the psychological limits of mankind, and wrecked the will of mankind. Viruses that are invisible to the naked eye defeated us, and our proud metropolis became a ghost town! Decades of economic development have fallen back, and everything has stopped. Author: Cui Wenzhi, who Yushu City, Jilin Province, Jilin Province Artists Association, Yushu City Artists Association.

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Artist's thoughts I shot is more representative of contemporary Chinese life scenes work of the people are wearing gas masks, found a kind of visual contrast characteristics of the times in which aesthetic. This pushed everything under reconstruction era, a better environment, often at the expense of the health of people in the ideological helpless on the self in the closed and protected. We enjoy this beautiful environment when they unknowingly poisoned by various erosion. In addition to these works of visual, more people thought. The most beautiful mark series "30 * 35 * 12 cm," This is a war without smoke, this is a war without bloodshed, this is An unprecedented epidemic in the new century, your battle robe is a protective suit, your helmet is a mask, your battlefield is a hospital, the enemy People are silent, colorless, tasteless, and unpredictable new coronaviruses. "You have left a deep mark on your face."

"The eyes of the whole world are witnessing your long journey in the hospital with a spirit of professionalism, the will of steel, extraordinary courage, and compassion. Corridor, at any time of the day and night to fight, to protect the lives of others. We know that we understand that we are distressed and we cry. Just want to sue. Let me tell you, you are not alone. There are countless people in the rear who care, support, and pray for you. " Xu Yuhua, a native of Yushan, Jiangxi, has graduated from Jingdezhen College and the Academy of Fine Arts of Jiangxi Normal University.

(Government Allowance), member of Jiangxi Artists Association, member of China Art Education Committee, member of China Art Promotion Association, Jingdezhen Director of the Artists Association, sketching chairman of Jingdezhen branch in China.

Adversum humana natura Dmitris Sodomu Zindros

Akaki Jashi

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Andrew Nawroski

Mauricio Valencia

ArchLove Magazine

Ildiko Goldner

Morker Latt

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Joelle Eyraud

Jordan Jordanov

Juan Antonio Picasso

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игорь горюнов

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Sandra Koretskaya

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Valeriu Buev

Resul jusufi

ArchLove Magazine

Natasha Volosnikova

january 2021

Hou Xiaoqiang

Luo Ji

ArchLove Magazine

Liu Qing

january 2021

Pei Yanru

Qiu Fei

ArchLove Magazine

BIO ART By the artists Zhou Huan and Shi Jingjing, produced by 310 Biological Art Institution (it will become an artistic art catalog) Artbank [生物艺术研究工作室] 310 BioArt Lab is part of the Artbank Art Institute and has a team of biomedical companies and laboratories that provide advanced biotechnology such as genetic engineering, artificial culture, tissue culture, and genetic modification. The 310 Biomedical Laboratory has a team of elites. In biotechnology, we have experienced professional technical consultants, including botany, medicine, and zoology. In the art show, we have a project company. Strong background in resources, including art galleries, galleries, commercial venues, websites and other influential art exhibition platforms; in the later stage of art, we have famous Chinese art critics and long-term cooperative art-derived institutions. The development of anatomy and perspectiveology ushered in the classical art of the Renaissance; the rise of optics ushered in impressionist painting; the industrial revolution ushered in modern art; and the IT era ushered in new media art. Therefore, the arrival of the biological century will also accompany and call for the arrival of biological art. Biological Art White Paper The Death Squad of Contemporary Art Awareness War

(Skr) and combine modern scientific and technological means to demonstrate the reexamination of existing knowledge such as human nature, culture, and environment. Half a year ago, a school paper by Zhou Huan caught my attention, and my instinct told me that this is a model of innovative perspective and scientific independent spirit that Chinese contemporary art is desperately missing. For multi-party communication, Zhou Huan's paper can be used as a 310 bioart white paper (February 2019 edition) to stimulate the development of Chinese bioart. The following sentence is excerpted to taste this white paper:

Biological artists use the knowledge of natural science to create artistic entities, questioning the ethics behind the science of the past

Domestic biotechnology is not behind, but the development of foreign bioart is much earlier

(Zhou Huan ’s appeal)

(Many data support in the article)

Biological art is an absolute boost, but how to change the boost from thrust to gravity depends on the strength of our Chinese artists (Inflammatory challenge) Biological art can promote a "head-up humanity"

Biological art reminds us to respect all life forms with tolerance formed by learning and reflection

This article elaborates the academic significance of bioart, and at the same time popularizes the concept of bioart to the audience

(Ideas worth spreading)

(Purpose of spreading this book)

1 Biotechnology participation

Emphasize the scientific spirit obscured by culture in people's thinking consciousness. Lead us to squint with modern technology

2 Media activity and activity

(Original source) Help people build a correct scientific outlook through bioart

Bioart works have the following guidelines

3 Required questions for ethics 4 The scientific attitude to be hard and not fake 5 Entity manufacturing 6 Place in the art world

(Responsible young people) The biological age is a big trend. It requires artists to have bold thinking about the arrival of the new era, cooperate with scientists with innovative thinking,

(Art and life intertwined)

Biological art is a war of consciousness, covering technological innovation while facing ethical challenges january 2021

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Xu Guangyao

Xue Zhiyuan

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Yang Lijie

Yang Weifeng

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Yang Yawen

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Zhang Dajun

Zhou Guangyu

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Wang Zheng

Eleni P. Papanastasiou Eleni P. Papanastasiou was born in Athens, Greece, and studied psychology in Greece and USA. She works for the corporate world and she paints every day nearly her entire life. Painting has been the utterance of her existence, “even before I learn to speak or write”, as she says. Abstract expressionism characterizes her most powerful statements. Lines

converge to symbols and symbols load her paintings with colors. Titles always accompany her paintings and in a way, each one of them, conveys a positive message to the universe. She has participated to more than 30 exhibitions during the last 3 years, and she has exhibited solo 3 times in Agrilides gallery, located in Athens, Greece.

SITE

www.elenipapanastasioupaintings.com

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Giuliana Bellini THE DEAR EXTINCT Goal of the project The transformation of a work, through death and rebirth to new life.

the ashes in a funerary urn and always goes away in silence. The scene is repeated for each author.

ParticipantsThe number of participants is made up of 10 artists, 5 women and 5 men representing humanity Description of the first performance The action can take place outdoors, on the beach, park, rallies, or in an anonymous place. The author, dressed in black, approaches in silence, turns around his work to observe it for the last time, remains in meditation for a few moments, takes leave of her, then sprinkles it with alcohol and sets it on fire; when all is consumed, he collects 60

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The action can be done with the participation of different artists for each performance, which is carried out in different places. Description of the second performance A funeral ceremony will be performed, in the presence of people to say goodbye to the dearly departed; at the entrance of the room there will be a container with chillies in the shape of a lucky cornet, from which the guests

The ceremony will be accompanied by sounds for all the time of its duration. Thereafter, an urn will be held open and watered from time to time so that the grass sprouts and grows.

First stage The filming of the “cremation of the work” event will be done with a video camera in a fixed position, in order to give a single point of observation, with people entering and leaving the shooting field. This shot will be reworked later in the editing phase. For the whole time of the recovery the sound that will accompany it as background will be the noise of combustion

Video documentation of the event The whole operation, in the two performances, will be documented with videos. The video documentation is divided into three phases.

Second stage. in the farewell ceremony to the dearly departed, the people present at the ceremony will be shot from different points, preserving the sound existing at the time of recording.

to the ceremony can take them; in the center of the room will be placed a container for the offers of good omen for the passage to a better life of the deceased.

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Third stage We prepare the editing of a video with insertions of clips from the first and second phase of the events were superimposable and interchangeable; a time present at the same time, as if past and present coexisted together. Conclusions On each urn is applied a photo of the burned work with all the indications of the work, date of birth and death, title, places of exhibition, material used, 62

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measurements, name of the author. The urns prepared with earth and ashes are each placed in a special crate suitable for shipment, then sent to the most important contemporary art museums in the world, as the last place to stay for a work of art, accompanied with all the documentation related to the event.

The final video will be an allegory of humanity projecting itself into self-destruction titled Simply Life.

From the text Hypothesis around the sense of extinction “Images have become the most powerful weapon of our time, manipulable and manipulative” What moves inside the human mind when it comes to managing the inevitability of death? Which psychological mechanisms, which irrational thoughts, which attitudes and which reflections? The rich degree thesis by Giuliana Bellini revolves around this concept; a precious and splendidly displayed work, clear and understandable for anyone. But if good human reactions to the idea of one’s own mortality are almost uncontrollable, who can exploit them? And how? From religions to philosophy, from psychology to spirituality, from history to science, there is material to try to build something intelligible. And in all this, even more absurd is the behavior of the great civilizations that are pushing and pushing us more and more vivgorously towards extinction.

january 2021

IRENE LAZARIDOU “LAZARINI” Irene Lazaridou was born in Thessaloniki, GREECE. From 1994 to 1999 she studied Hagiography and Painting next to painter Kontou Vassiliki. Then she focused her attention on the Fayoum wood painting and processing technique. She studied for 4 years their portraits with encaustic art and powders.

SITE

www.polismagazino.gr EMAIL

irini.art@gmail.com

She used this typology and technique for a series of modern portraits. In the decade 2000-2016 she approached the painting of the European Renaissance and Caravaggio, along with the Orientalists. She particularly loves Tsarouchi's technique, but she has a terrible passion in Gogen, worshiping Klimt, whom he has completely decoded, applying the techniques she taught for 5 years at the Vafopouleion Foundation of Thessaloniki. She used enamel, clay, sand pastes and other materials. She has the quirk to create invaluable artworks by adding to

the works true gold leaf, 24 carats, precious stones , even diamonds! At the back of each painting of hers, the gems are accompanied by their certificate. She has participated in many group Exhibitions, she is a member of Association of Thessaloniki Painters, ans also a member of Assosiation of Mega Art Gallery, in Corchiano, ITALY, where she is taking part in the Group Art Exhibition with Greek artists, in May of 2019. Also became an active member of Club for UNESCO Art,Literature & Sciences of Greece. Her precious artwork- Portrait of Prince of Dubai, has really took great advertisement.

special Photography photos by Itzel Cosentino

Gotiche apparizioni january 2021

Gotiche apparizioni

january 2021

S p e ci al P h otogra phy

Contrasts, memories mixed with new sensations. Reminiscences of a past alive and teeming with silence, collapses, ivy and bushes have taken the place, offering unknown smells, colors and suggestions. Abandoned places penetrate deep into emotions. Although devoid of human presence, they maintain a soul that shows itself to be overbearing and changeable, shaped to infinity, infinite times, by nature and the passage of time.

Photographer Izel Cosentino is also the author of the 2021 Abandoned (Secret) Places calendar which bears the brand ArchLove magazine, EtroMirroR ed./ed.Musicali, ZenCaos Creative. "I LUOGHI ABBANDONATI" abandoned places, it will be a photo book with more than 100 photographs, published by EtroMirroR ed. /ed. Musical. In addition to being a virtual exhibition. This is just part of the project that was born in 2012.

PHOTOGRAPHER: Itzel Cosentino MODEL: Annalisa Carosi MUA: Sara Pangrazie DRESS: Ida Carleo HAIR STYLIST: Olivia Trinetta

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Balossa the white shirt by Cristina Vannuzzi

Black and white, men and women, love and hate, right or wrong... A mini shooting that appears unreal and inaccessible but is instead studied down to the smallest detail with the intent not to transform dreams into reality but reality into dreams, restoring Balossa’s white shirts to their centrality. A fluid and magnetic dance of a beautiful woman that allows you to observe in detail every fold, decoration and secret of shirts that become dresses, tight at the waist and then swell, fly, like butterflies, shirts / outerwear where the linings peek in different lengths , seem to play, and with irony the stylist Indra Kaffemanaite re-authenticates the shirt, bringing it back to the basis of meaning but renewing it in the language, realizing an unexpected glamor, a force of expression and inviting the viewer to set in motion the force of the imagination that Balossa invites to rediscover. Knowing how to tell yourself, the slogan of the SS 2021 collection, to bring new ideas, perfect in detail, to the world of fashion, inspirations and proposals that are a hymn to finding yourself in contact with nature.

office@balossashirt.com SITE

www.balossa.com

CLOTHING: Balossa STYLING: Indra Kaffamanaite

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His shirt, stolen from a man’s wardrobe, becomes a “romantic uniform”, the extension of the experience that has new but also traditional hints, an evolution of a garment already seen but now classic, therefore exclusive, unconventional, becoming imprint of our time, the Balossa shirts / objects that inhabit our wardrobe, inhabit the world, allowing us to experiment and express nuances, emotions, sensibility, giving us a new identity. Black and white, men and women, love and hate, right or wrong, feminine and

masculine mixed together to create new hints, restore freedom and desire to smile, change the world by making the rigor and minimalism of the men’s shirt meet and not clash with poetry, using romantic lapels, collars, cuffs, the bias a lesson in style - that determines hems, sleeves, outerwear, the asymmetry of skirts, shirts, even sleeves that are different from each other, a new palette of colors, all white and all black, new images made evident by the garments that define us created by a new Balossa.

Accademia Italiana by Cristina Vannuzzi

The talent factory in florence and rome I and II level degrees at the italian academy. Creativity - they say - is a gift of nature, a natural inclination, but at the Accademia Italiana Arte Moda Design, with over thirty years of experience behind it, they believe that talent is learned, indeed, it is a method. The secret of such certainty lies in an accredited teaching staff and study programs attentive to innovation and the rapidly changing world of work. But there is also the enthusiasm that reigns in the corridors and classrooms of the prestigious school of fashion, design, graphics and photography, based in Florence and Rome, to add appeal to the Academy founded by the architect Vincenzo Giubba in 1984 and recently moved to the French network AD Education which with this latest acquisition, in Italy, adds a pearl to its series of schools, 22 in all. The latest project in chronological order is “Dress the stars”. She had great success on the occasion of the 1st edition of the WiCA - Women in Cinema Award which took place in Venice as part of the Venice Film Festival. The project, curated by the students of the Fashion Design courses in Florence and Rome, was presented by Claudia Conte who for the occasion wore a creation by Andrea Lambiase, recently graduated from the Italian Academy. The project is an important opportunity for a young man taking his first steps in the profession, to which is added the privilege of working closely with the entertainment world. Accademia Italiana, with its elegant offices in Florence in Piazza Pitti and on

the Lungarno and in Rome in Piazza della Radio, is a university-level institution with a strong tendency towards internationality, but also a laboratory of ideas projected towards the future, which nevertheless does not forget the tradition of Italian know-how. In the study rooms and laboratories, students handle subjects such as history, art, philosophy and contemporary aesthetics, because it is important to grasp the evolution of thought, to grasp the changes in society in order to better identify the desires and trends. In short, creativity must rhyme with concreteness just as dreams must find a meeting point with production realities. At the Accademia Italiana the educational offer includes 1st level academic programs (accredited by the Ministry of the University) international and integrated degree programs, with the release of double degree (1st level academic diploma and European Bachelor degree) at the end of the three-year period, annual specialization courses, masters and short summer programs and from this year also the two-year specialist, or the five-year degree. The results obtained by the students each year are promoted by the institute through international events involving thousands of operators and

personalities from all over the world. In April, with the traditional fashion show in Florence, which is complemented by the exhibition of graphic, design and photography works elsewhere. In July, in Rome, with participation in the Capitoline glamor event, AltaRoma. Interesting opportunities for students who, thanks to these stages offered by the school, receive many proposals from fashion companies and stables, for example Gucci, Roberto Cavalli, Max Mara, Emilio Pucci, Donna Karan, Les Copains, Yves-Saint Laurent, Blumarine , Ferragamo, Ermanno Scervino, Guess,

Vivienne Westwood, Miu Miu. A Job Placement desk is active all year round to facilitate contact between recent graduates of the various courses and companies.

SITE

www.accademiaitaliana.com

january 2021

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Bottega No1

Russian Digital Fashion Display 2020 by Cristina Vannuzzi

Despite the social distance and the restrictions of this difficult moment, the Russian Next Generations presents the interesting fashion project RUSSIAN DIGITAL FASHION DISPLAY 2020 to the Italian European and international fashion-community, which is aired on Monday 30 November at 8.00 a.m., in format digital, with a series of fashion shows by brilliant Russian designers and brands. EMAIL

milano@esque.su SITE

www.fashion-vibes.com

INSTAGRAM

@russian_fashiondisplay_

TELEPHONE

+79 774461193

PRESS

press.fashionvibes@gmail.com

ArchLove Magazine

RUSSIAN DIGITAL FASHION DISPLAY 2020 is an ambitious fashion project born in Moscow with the aim of presenting to the European public the Russian next generation made up of emerging designers, as well as productions, textile companies and accessories, formed through a peculiar and detailed selection made throughout the country, focusing on many criteria: the originality

of the idea, the uniqueness of the collection, the quality and philosophy of the brand. RUSSIAN DIGITAL FASHION DISPLAY 2020 is the most important event on the theme of industrial development in Russian fashion and takes place within the international project "Fashion bitva" (Fashion challenge). Six brilliant and talented designers from all over the country present their best collections and exclusive innovations during the show presented on the online platform. The purpose of RUSSIAN FASHION DISPLAY is not a simple presentation of the collections, but an important project for promote Russian Fashion and its production as part of the promotion of the high-quality Russian Fashion Product, with videos made from the most

Elena Iosifova

beautiful locations using sophisticated techniques, precisely to give the best image of the Russian Next Generations. Among the participants of the digital show the following brands and designers:

sexy, daring and, at the same time, elegant female images. The Klimkova Kids brand It is immediately a fairy tale when the fashion show of the collection of the kidwear

Brand Bottega No1 (designer Eva Dorosh) - a brand that combines luxury with minimalism by presenting elegant clothing, a style lesson for children and teenagers. Designer Eva Dorosh focuses on lines and colors in combination with the latest trends and unusual design, garments that make you fall in love at first glance. Brand Giaccata (Tatiana Nais) - a hymn to life for a collection of clothes designed by the stylist Tatiana Nais, who presented the “Collezione Allora", made of tender and fragile hints combining strength and courage with feminine grace, a brand which unites masculine and feminine energies giving beauty. harmony and balance, but also emotion and transversality by combining elegance and chic in a single fragrance, GIACCARTA, which guarantees to highlight the uniqueness and individuality of the wearer. Victoria Nadolinskaya - The main focus of designer Victoria Nadolinskaya's work is on the creation of children's clothing. In the context of the event, the designer presents the collection for teenagers entitled "I dress what I want". Cloaks, jackets, vests, clamys, cotton culottes and voluminous knitted dresses in the black-yellow color palette. This is the must have that every teenager must have in his wardrobe. Elena Iosifova - the Bridal 2021 Capsule Collection for a different perspective of wedding dresses designed by the stylist Elena Iosifova is a global analysis of the new trends that change the entire Russian fashion system, which, while maintaining the focus on traditional canons, offers a vision on the new trends of an important sector, that of Fashion Bride, with sensual,

brand Klimkova Kids appears. Designed by the stylist Evgenia Klimkova, the new autumn-winter 2020/21 collection includes the entire indispensable range of children's clothing: eco-fur, comfortable knitwear, light dresses, hand-made models made by local artisans using natural fabrics

Victoria Nadolinskaya

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with a warm color palette that reminiscent of nature. The Alla Jeltukhina Brand - a Kids collection for little "warriors" created by designer Alla Zheltukhina - clothing designer and stylist. Alla is the founder of the kidwear clothing brand that bears her name, where models with different textures and an iconic cut combine perfectly with each other, creating hundreds of lively and fun looks giving a fairy tale to the wearer.

A modern perspective of Russian fashion talents, combining craftsmanship and high fashion, tastefully interpret the most refined evolutions, where technology and art advance, in an innovative, sparkling and multifaceted way that will surprise the public by harmoniously declining the women's couture collections with casual and wedding dresses, kid collections and capsule collections. The fashion shows are broadcast on Monday 30 November at 8.00 a.m. on the web platform www.fashion-vibes.com.

Giaccata

Alla Zheltukhina

The lights go out on the Milan Fashion Global Summit, an event born in response to the limitations of Covid that hosted the presentations of brands dedicated to the SS 20/21 collections. The Digital Revolution is changing the world with new fears but also endless opportunities: for work, for life itself. photos and short videos to the texts. This trend seems to simply follow the motto according to which an image is worth a thousand words by becoming aware that immediate communication is therefore the shape of our time.

Klimkova kids

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Among the brands presented, the Russian Global Fashion Display Project, an interesting imaginary journey through an emotional video in which the garments of the new Russian next generation are unveiled in a virtual dimension that wants to be a tribute to Russia. The intent is clearly to convey a clear message of optimism, in a

delicate moment for the world, a fashion project born in Moscow with the aim of presenting emerging designers to the European public, as well as production, textile companies and accessories, craftsmanship and “handmade” by focusing on the originality of the idea, the quality of the fabrics, the care and refinement of the execution as well as the brand philosophy. The Project presented 6 women's clothing, bridal and kidwear brands, brands that have great potential in terms of creativity and craftsmanship. Brand Bottega No1 (Eva Dorosh) - Brand Giaccata (Tatiana Nais) – La designer Victoria Nadolinskaya - Designer Elena Iosifova – Il brand Klimkova Kids

Milano Fashion Global Summit The Milan Fashion Global Summit (MFGS) is the fundamental moment of meeting and analysis between the protagonists of fashion, design, lifestyle and finance at an international level, in the fashion capital. MFGS brings together entrepreneurs, top managers, designers, stylists and experts every year to discuss and share opinions and experiences on the new opportunities and challenges that all the components of this strategic industry for Made in Italy are facing, in a constantly changing scenario.made of tender and fragile hints combining strength and courage with feminine grace, a brand which unites masculine and feminine energies giving beauty. harmony and balance, but also emotion and transversality by combining elegance and chic in a single fragrance, GIACCARTA, which guarantees to highlight the uniqueness and individuality of the wearer.

Elena Iosifova

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(Evgenia Klimkova) - La designer Alla Jeltukhina. It is not just about fashion, both women's and children's outerwear in addition to the wedding line focuses on the lifestyle and activities that the wearer, showing how Russian fashion, present at fairs for some seasons, has a good potential. by young people full of ideas and talent, productions that have an excellent manual skills and workmanship. Even from the comments of the web public, buyers and shops, it is revealed

that the world of Russian fashion has made great strides in recent years despite the difficulties of affirming itself on more competitive markets, but they believe that it is a market ready for Western Europe. The fashion week this year has given great satisfaction both in terms of public and buyers because fashion needs "ideas and fresh air" and Eastern countries are a middle ground, a crossroads of cultures that today are reflected in style where everyone is free, while continuing to refer to the past, to experiment with new ideas and new styles.

Klimkova kids

Giaccata

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Milano fashion week donna Fall winter 2021/22 From Tuesday 18 February 2021 the spotlight is all on Milan Fashion Week Women's 2021/22. Another highly anticipated edition of the fashion week that lands in the city from 23 February to 1 March 2021, on the one hand the Coronavirus emergency cuts attendance, but the Chamber of Fashion responds with solidarity initiatives with a full program of fashion shows and appointments, both in presence and in streaming. Password "make fashion week more and more open to the world" motto that remains the priority for the Runway show Fashion Vibes, conceived by Yuliia Palchykova, now in its 5th edition with the aim of attracting the largest number of guests and professionals both Italians and foreigners. Animals, trees, wind, water and other natural elements are the digital environment recreated to virtually bring to life the fashion collections that the industrial world, of textiles, of buyers, of professionals observes with great interest, focusing on development. of the digital communication of fashion and textiles that comes from the East, young companies and talented designers who

keep up with the times by committing to support the innovative project in its expansion process towards foreign markets. The purpose of Yuliia Palchykova with her RunWay show Fashion Vibes is to present an imaginary journey through an emotional video in which the garments of the new Russian next generation are unveiled in a virtual dimension that wants to be a tribute to Fashion that follows the East wind. The intent is clearly to convey a clear message of optimism, in a delicate moment for the world, a fashion project born in the East with the aim of presenting emerging designers to the European public, as well as productions, textile companies and accessories, craftsmanship and “handmade”, focusing on the originality of the idea, the quality of the fabrics, the care and refinement of the execution as well as the philosophy of the brands.

Yuliia Palchykova

The special Fashion Vibes will be visible on the VIVA VINCENZO VIVA magazine which for the second time, together with ArchLove is a media partner at the event.

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THANKS TO THE MEDIA PARTNERS: MFashion ( Milan) THANKS TO THE FASHION VIBES PARTNERS

3D Magazine ( Italy)

25 febbraio ore 20.00

KIDS RUNWAY SHOW By VEL VIVA VINCENZO VIVA (Fashion) U.S.A

Yulia Shkolenko President of the Foundation for the support of the National Award of women and private club "Woman of Russia" Member of the board of experts of the Moscow regional branch "Business Russia" Founder of the ICB

ELSA FAIRY VDG Magazine NOLO ARCHLOVE MAGAZINE (USA e China) SMENA PERSONA STYLE ( Moscow ) VICTORIA NADOLINSKAYA

Tuna Yilmaz President Fashion Film Festival Istambul and Amsterdam

TRENDSPEOPLE ( Moscow ) ICON Magazine ( Bielorussia )

MrJP The last of the Dandies. Ambassador and testimonial of the excellence of Italian craftsmanship. National contact person for the UNIMPRESA Men's and Women's Fashion Federation in Triveneto.

SK ( Cecenia )

26 febbraio ore 19.00

KULT ( Bielorussia )

WOMAN’S RUN WAY SHOW

LIMA ( Moscow )

VALIOSA

Palma Sopito 3D Magazine publisher

Salon 375 Mag ( Bielorussia)

KIBOVSKAYA

Dmitry Novoselov President of Novoselov Fashion Day Creator of the first Russian fashion school Novoselov Fashion School

Ladys.by ( Bielorussia )

NOTA BENE

ASH Magazine ( Bielorussia )

EVA EGNIS

Celebrity.TV ( Moscow) Cristian Mitranescu President of the Chamber of Fashion in România.

Il Valore Italiano ( Turin )

Elisabetta Rogai Italian artist

World Beauty Magazine ( Moscow )

Francesco Stella Italian actor, tv production.

BEES MEDIA GROUP ( Moscow )

27 febbraio ore 20.00

COUTURE RUNWAY SHOW

Natalia Eclectic Fashion stylist and Art Director, journalist. Ketty Carraffa Columnist and writer (Milan)

ANTONIO MARTINO COUTURE

1 marzo ore 20.00

WORLD FASHION UNION FASHION VIBES TEAM: UFFICIO STAMPA CRISTINA VANNUZZI PER INFO:

press.fashionvibes@gmail.com IG @fashionvibesmilano www.fashion-vibes.com YULIIA PALCHYKOVA

+393283484027

ArchLove Magazine

Program

5th EDITION FASHION VIBES EVOLUTION at Milan Women's Fashion Week 2021 February 25/26/27/1 March The 5th EDITION of FASHION VIBES EVOLUTION conceived by Yuliia Palchykova is an interesting imaginary journey through an emotional video in which the garments of the new Russian next generation are unveiled in a virtual dimension that is intended to be a tribute to the countries of the East. The intent is clearly to convey a clear message of optimism, in a delicate moment for the world, a fashion project born with the aim of presenting emerging designers to the European public, as well as productions, textile companies and accessories, craftsmanship and “handmade” by focusing on the originality of the idea, the quality of the fabrics, the care and refinement of the execution as well as the philosophy of the brands. The brands of the shows are as follows: For Italy Antonio Martino Couture, you were like today the great Italian designer retraces his unique and unmistakable style with clarity and nostalgia, which has always been a symbol of Italian quality in the world. An elegant style, never studied or built, a profound retrospective that underlines how the designer looks back to admire and rediscover the roots of his history. And then the designers who arrived from the East ... By Vel, Elsa Fairy Dresses, Victoria Nadolinskaya, Valiosa, Kibovskaya, Smena, Nota Bene, Nolo Brand e WORLD FASHION UNION. Yuliia Palchykova, with her 5th Edition of FASHION VIBES EVOLUTION shows us a new way of conceiving fashion, rediscovering time which is the key to the new way of conceiving the world of fashion, for true beauty that never goes out of fashion, for an elegance sought for ourselves and no longer to appear.

january 2021

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Hibourama by Gabriella Chiarappa

When the accessory makes the difference.

SITE

www.lesalondelamode.eu

ArchLove Magazine

Hibourama was born in Rome from the creative and entrepreneurial minds of Rachele Mancini and Maila Ferlisi. After undertaking different studies and professions, they meet in a famous fashion school in the capital, giving life to a friendship destined to become an indissoluble bond and fuel for their main professional activity. It is from this meeting, in fact, that the young Roman designers decide to create the first collection of bags. Hibourama bags are based on a concept of luxury starting from a continuous research and study of unique shapes and materials. The two founders, who have always been united by their passion for art, work closely with the best leather and model development laboratories without ever losing sight of their goal: to create accessories with a strong identity and a DNA devoted to practicality elegant.

At the base of the brand there is an incredible craftsmanship, the hand made is the essence of the corporate culture that makes each model and each product unique.

Hibourama bags are entirely Made In Italy products and therefore the selection of suppliers plays a crucial role in offering a high quality product intended for a demanding and detail-oriented target.

Structure and Design: Hibourama bags are all characterized by an important and consistent structure and soul. A sort of geometric architecture of the bag;

The choice of leather is always very careful and cared for as is the selection of the best laboratories and manufacturers.

The strengths of the brand are: Refined taste: modern, refined, contemporary style that makes the brand appreciated by a demanding target; Precious materials: use of high quality materials and always able to make each product luxury; Craftsmanship: processing and manufacturing of the productions entrusted to Italian artisans who are always required to be carefully processed and that reflects the high standards of the brand;

Digital Soul: all Hibourama bags will be equipped with a digital soul that will allow dialogue and interaction between the customer and the product.

Mena Marano celebrates women with “Silvian Heach” by Gabriella Chiarappa

A definitely fearless woman, Mena Marano, who believes in the strength of women. A mother and a wife who faces life's challenges with courage and determination and always manages to convey all her positive energy.

through the example of young women who fully represent the company's philosophy, a message of trust and hope for those who never stop fighting.

Mena Marano is the CEO of Arav Group, an Italian company from Campania started in 2002 as a family business of production and distribution of women's clothing, today a giant that has three in-house brands such as Silvian Heach, John Richmond and Marcobologna.

Women are considered expression of strength and courage. What is the focus of the line of the new collection? M.: If we talk about the common denominator and take Silvian Heach as an example, it is the expression of a strong and determined woman, obtained transferring the authentic character and personality to avoid banality. Of course, sources of inspiration differ in the collections, depending on the reference theme, seasons, trends and colours. For example, for the next Fall /Winter 2021 collection, one of the reference moods is the equestrian world.

A reality that deals with fashion at 360 degrees, from the conception, creation, development and design up to the distribution in more than 20 countries, boasting 2,500 customers worldwide. In a moment like the one we are experiencing, marked by the economic crisis due to the Coronavirus, Mena Marano always manages to transmit all her strength and positive energy, as her motto says: Never give up because even from great crises new opportunities can be born.

Despite the historical period, you have found a way to celebrate women, with the new Silvian Heach campaign, which sees eight young women entrepreneurs of the fashion industry as protagonists, what is the message? M.: This campaign was born from the desire to highlight women who have an idea, a project and the desire to succeed, all the women who want to make their dreams come true. We focused our attention on authentic women, those who fight, who make sacrifices every day to achieve their goals, without discrediting bloggers or influencers, but making a clear distinction. We want to reward perseverance and determination

How do you see the future after Covid? M.: The crisis could have a positive side since it could open the doors to innovation and leaps in quality. In every crisis there have been opportunities and we should welcome changes. Like when a house collapses during an earthquake, it is then rebuilt with new techniques and with a vision of tomorrow. The future is how you build it.

work and we must admit that working anywhere in the world, regardless of physical location, can bring significant benefits. Today we must aim to set the foundations for an even more innovative future for the company.

- -

This is one of those historical moments that leads you to rethink the future. It is necessary to find the lucidity to project oneself into a future with different logics from both a personal and entrepreneurial point of view. The increasing importance of e-commerce is a perfect example of opportunity. Furthermore, the pandemic has accelerated the growth of remote

- Silvian Heach image campaign - - Mena Marano

january 2021

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Fashion through the books by Riccardo Seghizzi

The word icon admits several definitions. However, the one that best suits fashion is: an emblematic or highly representative figure. Fashion is the icon par excellence. Beyond the person, object or event that is then the vector of that iconography, fashion is. In parallel to what fashion can be, let’s talk about books. That priceless object, which increases the mind, fills with knowledge and culture. By combining these two things, fashion and books, titles on titles concerning this subject come out. Understanding fashion is not a trivial thing, nor is it within everyone’s reach. But by reading some text on it you can appreciate it more, understand and decode it more than expected. Reading in fashion means getting closer and closer to his being. Trends, charm, clothes, profession, impact on society and thousands of other topics are linked to the fashion icon. Here are three titles on fashion that deserve to be read for a more comprehensive, refined, professional knowledge or just for pure intellectual curiosity.

’Fashion. The Complete Story. ‘By Marnie Fogg / ‘Moda. La storia completa.’ a cura di Marnie Fogg” Marnie Fogg, author of the book, is an editorial consultant with vast experience in the fashion industry. Author of dozens of books published around the world including: ‘Fashion from A to Z’ (Atlante, 2012), ‘Print in Fashion’ (Batsford, 2006) and ‘Boutique: A 60s Cultural 82

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Phenomenon’ (Mitchell Beazley, 2003). He gives us this title, which starts from the dawn of fashion itself. From what in ancient times meant covering oneself for survival, passing from the technical part such as manual and sartorial weaving to the computerized one and reaching the present day. A text that follows a detailed and exhaustive timeline, illustrative, which touches various historical periods and what concerns them. We dance between various countries, styles and stylists, historical eras, also examining the transformations of clothing in all its forms. Furthermore, Fogg’s text does not neglect the artistic, architectural aspect and the role in society that fashion has had in the periods covered. It deals with everything and everyone, with a wise and exhaustive knowledge as well as well structured. A book that serves as a manual to have a complete knowledge of the ‘fashion’ thing.

’Brief history of fashion in Italy ‘by Maria Giuseppina Muzzarelli / ‘Breve storia della moda in Italia’ a cura di Maria Giuseppina Muzzarelli For a bit of parochialism, Maria Giuseppina Muzzarelli’s book is perfect. One of the main fashion historians, starts with fashion that began in the municipal Middle Ages, to lead the reader through various eras of European clothing. The evolution of tailoring and the actual creation of the dress, the use of the

TITLE: Moda. La storia completa. CURATOR: Marnie Fogg TRANSLATIONS: Andrea Antonazzo, Leo Nardi,

Valerio Stivè PUBLISHER: Atlante PUBLISHING YEAR: 2019 ON THE MARKET SINCE: 7 novembre 2019 PAGES: 576 p., Rilegato PRICE: 30,75€ Amazon

dress as a means of communication and as a symbol of trend. These and many other topics are covered by the author’s wisdom and knowledge. The colors, the textures, the wide or tight shapes, the busts and the ‘made in Italy’, influenced first and then predominant, along a journey that started hundreds of years ago. Interesting text, which focuses a lot on the constructive aspects of fashion as a phenomenon and not just as an object.

'Audrey and fashion ‘by Cindy De La Hoz / ‘Audrey e la moda’ a cura di Cindy De La Hoz As written at the beginning, if fashion is the icon by definition, there is a need for someone to act as a vector for it. The

TITLE: Breve storia della moda in Italia CURATOR: Maria Giuseppina Muzzarelli PUBLISHER: il Mulino SERIES: Storica paperbacks PUBLISHING YEAR: 2014 ON THE MARKET SINCE:L: 25 settembre 2014 PAGES: 234 p. PRICE: 11,05 € Amazon

TITLE: Audrey e la moda. A fashion love affair. CURATOR: Cindy De La Hoz TRANSLATIONS: V. Camerini PUBLISHER: Mondadori Electa PUBLISHING YEAR: 2017 ION THE MARKET SINCE:: 19/09/2017 PAGES: 174 p., Rilegato, Illustrato PRICE: 16,91 € Amazon

last text speaks of this, through images to be tasted, observed and admired. The protagonist of the book is obviously Audrey Hepburn, the personification of fashion, of the icon. An illustrated collection of Audrey inside and outside the set. Her clothing and style, matured by meeting the stylist Hubert de Givenchy, will become universal, admired and copied. A look and a charm still proclaimed and idolized. Hepburn and Givenchy have influenced and set trends in the imagination of society and fashion. The designer will say of her that she always managed to improve clothes by adding something of her own, a personal detail capable of enhancing everything, see this book to believe.

january 2021

by Tatiana Incardone

What fate awaits fashion critics

Fa shi on l ov e s A r t

We are living in a very nostalgia moment, 2020 reality. “The nostalgia economy”, as named by Quartz, is the most powerful trend in fashion since florals mood and it represents a reaction to what’s happening in the entire world and in fashion system in particular. The arrival of “see now, buy now” first, the disappearance of regular seasons later and recently the massive impact the Instagram nation has on the way shows are created and fashion is thought. The fashion system is facing parading shift on many fronts. Now, with Covid-19, it is no wonder the past looks appealing. Fashion is unsure of the future and has retreated into its past. Something it does during periods of global crisis, just like a pandemic. Fashion is calling out for something to save its identity as Art, unique and creative as always has been. Amongst all this turmoil sit fashion critics. I remember once, when a bad review from a prominent and expert fashion critic would have a direct effect on the bottom line in terms of brand’s orders. As a consequence, style department would have reviewed the entire collection. Today, economy runs faster and faster, so buyer often spend a large percentage of their cash and time the more “consumer friendly” pre-collections instead of the directional runways show offerings, reviewed by critics. It seems like the role of fashion critics is diminishing, but just in appearance. Fashion critic isn’s a latecomer in the fashion system and faces some serious competition in this world. In any case, and I am talking as a critic myself, we will write what we see with specific and technical eyes: previous experiences, studies, background, attitude, objectivity, knowledge make the difference. It is still relevant that we give that immediate feedback saying if a collection is good enough, emotional and strong (or not).

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It is also important for customers to have professional opinion about the clothes they are dreaming and looking for. It’s ‘bout trust and tacit confidence between client and critic. People are still going to want to educate themselves about a collection before they buy anything. On the other hand, fashion critic is one of the most impervious and crudest job ever: is someone who knows fashion and its history very well, who loves it, regardless of the context and brand. Clients don’t necessary understand fashion and there is no guarantee they know the brands either. But some things, thank God, won’t change, never, because they just like, love, desire that feeling. Clothes can really make everyone happy. Clearly, maintaining a sense of integrity and impartiality will be vital going forward if a fashion critic wants to be taken seriously. A show review needs to explore if a collection underlines a designer’s processing and reveals evidence that they are pushing themselves as an Artist. Only a real critic can reveal if there is a cohesive and clear message and if the designer is bringing something new to the fashion conversation or not. Reading reviews just like summery of catwalk rather then a well thought out critic, which puts a collection in context with what is happening within the fashion industry specifically and the global system in general, won’t have place in fashion, never. Fashion criticisms need to dig up the past to face the future, just like fashion designer. There will be a Darwinian winnowing go critics in the near future. A natural selection from which only those strong enough to stand up to brand and advertisers to report their true sentiments and back them with a framework of context and perspective will survive.

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“Art is the synthesis of creativity, passion, skill and tradition. The synthesis of a centuries-old ingenuity refined by experience and embellished with painstaking manual work, with slow procedures, which gives rise to surprising creations. A wonderful list of delicacies, capable of satisfying not only the most demanding connoisseurs, but all those who believe in uncompromising quality” Once upon a time there was the award-winning Mucci factory... No, it is not a tale of a thousand and one nights. It is a reality It all began in 1984 when Nicola Mucci, the founder of the award-winning Fabbrica Mucci, fulfilled his dream: A confetti factory. Giovanni Mucci inherits the business started by his father by expanding his brand. The company crosses national borders with unique and diversified

products of their kind, quickly becoming a niche product that no one can resist. Today Giovanni Mucci's children and grandchildren carry on the factory in the new headquarters, creating over 200 varieties of simply unique sugared almonds and dragees, following the tradition and the original artisan method. Quality is the distinctive categorical imperative of the Mucci family. Which provides passion and experience to give small masterpieces of confectionery art for every happy moment in life, and why not, even to treat yourself to some sweet cuddles. For years 24 people have been working in this sweet factory who feel part of the big family that leads with passion and dedication, the realization of these precious sweets. Among them there are some who have found a soul mate, giving birth to great love stories.

Therefore, the convict was the confetto, or the dragees, sweet moment of life.

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january 2021

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STONE MEN The story of the marble supply chain that for centuries has embodied the desire for perfection of human beings. The ancient Romans used it to pay homage to the deeds of emperors and leaders with its preciousness. Michelangelo was able to shape it as if it were living material to create great masterpieces and it was here that he came looking for it. Marble is the stone that embodies delicacy and strength, luxury, whiteness and majesty. A series is born that tells the fascinating world of marble quarrymen: "MEN OF STONE" Protagonists with his men are the quarries of Monte Altissimo di Henraux in the Municipality of Seravezza (LU) in the Apuan Alps of Versilia, the same ones which Michelangelo paved the way in 1517. For the first time in history the marble quarrymen interpret themselves and tell own work: a centenary history made of strength, experience, effort, great passion and traditions handed down from father to son, in a socio-cultural uniqueness that has made this territory of Tuscany one of the most unique and known in the world . 86

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Paolo Carli, President of Henraux, also in the double role of protagonist of the TV series that sees him alongside his men to face the challenges of every day, declares himself particularly proud for having been able to contribute to paying homage to the intense, extraordinary and essential work the quarry and the unique and exclusive marble supply chain. It is a tribute to all the quarrymen and marble workers, a tribute to the territory, a tribute to all those who, through the essential and tiring work, have contributed and contribute to building beauty in the world, to keep an important economy solid. local and national, and to significantly contribute to the diffusion and image of one of the most prestigious Made in Italy products. "We were chosen because we represent a history spanning two hundred years, because our quarries are like a precious casket, because we represent the complete supply chain in the processing of marble, from cultivation and extraction

to the finished product in the three areas in which the company has always worked : Architecture, Design and Art, a vertical economy that represents excellence and uniqueness in the marble sector. Production wanted to shoot in our reality because here it has found a significant cohesion of all production departments and, again, has found excellence and humanity, collaboration and professional skills. These are all elements of which I am proud, just as I am proud of the whole team that makes up the company, men, women and collaborators. I particularly thank Ugo Pozzi, the Producer, Andrea Rizzoli, the author, all the technicians who made the TV series, Discovery and DMax ", declares Paolo Carli" but, above all, I'm curious to see our work that becomes a television story . I thank all my men who went on stage and all those who remained behind the scenes but contributed to the production of the six episodes that bring to the limelight a work that is not normally visible ”. Even the City of Seravezza, Terra Medicea and City of Marble, through the Mayor and Deputy Mayor, declares itself satisfied with this new important contribution to the tradition and culture of the territory. "We look forward to seeing this new series on TV set in our marble quarries", declares the mayor of Seravezza Riccardo Tarabella. "From the trailers circulating on the web, we understand that the authors and producers are focusing on the spectacular aspects of the mining activity, the grandeur of the places and the difficulty of a profession that for Seravezza and Versilia has been an almost exclusive source of employment of income and which is still essential for modern life stone industry. We are curious to see how tradition is read in a modern and televised key, how the series tells about today's quarrymen, their world, their daily difficulties, the commitment and, why not, the pride they put into making a a profession so ancient and rooted in our territory. " "For the future of this sector, for the safety of workers and for maintaining a correct balance between entrepreneurial activities and landscape protection,

the Municipality and the other institutions work side by side with companies and trade unions, listening and open to the requests of citizens, associations and businesses”, adds the deputy mayor and councilor for production activities Valentina Salvatori. "It is a complex and fragile sector, to which we try to give answers and guarantee perspectives by working on the themes of protection, safety - both for workers and the environment -, the training of new generations of operators, the development of materials and their on-site processing. The attention that the quarries of the Most High and our territory receive today is also the result of years of commitment and a complex and far-sighted vision that is obviously paying off ". "In any case, Henraux must be recognized as having great merit in its promotional activities at an international level", conclude the two directors. "Through a series of multiple initiatives the support given to Konchalovsky's film on Michelangelo and this new television production, but also the exhibitions in Italy and abroad, the Cidonio Prize, the great collaborations in the design and architecture sector - the company has proved effective in recent years in promoting not only its work, but the very territory in which it operates, together with all the skills and resources that characterize it ".

STONE MEN - Presentation of the TV series Apuan Alps, Tuscany, the largest marble basin in the world. Marble has been "cultivated" here for over 2000 years: this is what the hundreds of quarrymen who, aided by the most sophisticated machines, work with passion and effort to extract the perfect material, feeding the industry that historically contributes to the economic well-being of the territory and the territory is a social and identity culture. Among these, the protagonists of Men of stone, key men of Paolo Carli's Henraux who on Monte Altissimo (1,200 meters january 2021

Fo o d , Hi stor y & Cultu re

high in the Apuan Alps in Seravezza), thanks to his love for stone combined with a brilliant entrepreneurial mind, manages four different cave - the Russia quarry, the Catino Alto, the Platone and the Buca - employing over 150 people. From the very precious Statuario dell’Altissimo, to the fine Arabescato and Versilys, to the Bianco Plato and Bianco Buca, each variety has its own history. Paolo's teams know that you have to give your best every day, because the unknown is around the corner: no one at the beginning of a cut can know whether the chosen vein will give the perfect block or will break as soon as it is detached from

the mountain. A daily challenge against the unexpected, with demanding customers, deliveries to be respected and above all, the protection of the mountain, the most precious of treasures. Following the activity of Paolo and his men, from quarry leaders to the managers of production and commercial activities, we will learn about the world that revolves around the entire marble supply chain, from the extraction of the block to the finished product: a modern tale from epic flavor, which focuses on men who with instinct and competence carry on a process that is handed down from generation to generation, but which is at the same time an ever new challenge, immersed in lunar scenarios and breathtaking views. "UOMINI DI PIETRA" (6x60 ') is an original GiUMa Produzioni production for Discovery Italia with the support of Trentino Film Commission. DMAX is visible on the Digital Terrestrial Channel 52, Sky Channel 170, Tivùsat Canale 28. Or DPLAY PLUS (www.it.dplay. com - app on the App Store or Google Play). OFFICIAL WEBSITE: www.dmax. it - TWITTER: @dmaxitalia - FACEBOOK: facebook.com

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The Background 1517 - Michelangelo begins to build the road to reach the quarries of Monte Altissimo. He said about the quality of the marble that is still extracted today: it is “of a uniform, homogeneous, crystalline grain, and reminds us of sugar”; here it is possible to extract “any and all quantity of marble or any other mine in ten mountains of the Most High, and their close circumstances "; the mountain is "filled with marble in all parts that there is to be quarried until the day of judgment";

1520 - Pope Leo X on February 20 relieves Michelangelo from the task of building the road. The "chronicler" par excellence of antiquity, Giorgio Vasari, in the book "Lives of the most excellent painters, sculptors and architects" recalls that Michelangelo "... it was convenient to take a road of several miles between the mountains";

The road was completed at the behest of Cosimo I dei Medici in 1567; in 1569 the first block of between the exultation of the people arrives in the valley. This block was sculpted by Giambologna to accomplish “la prima figoura di marmi bianco ocire fuora di quel monto del Haltissimo” la “Fiorenza” (Firenze vittoriosa su Pisa), o Vittoria, today at the Bargello Museum in Florence;

In 1820, Mr. Jean Baptiste Alexandre Henraux, Royal Superintendent for the selection and purchase of white marble and statuary for public monuments in Napoleon's France, visited Michelangelo's quarries on Monte Altissimo; On January 20, 1821, Jean Baptiste Alexandre Henraux founded the Henraux Society with Marco Borrini, which in a few months will have 200 years of history;

In 1845, the Tsar of Russia ordered large quantities of marble for the construction of St. Isaac's Cathedral in Petersburg (the same Russian quarry in the series). Also in those years Auguste Rodin was Henraux's guest in Querceta.

Bernard Sancholle Henraux, in 1865, donated the marble for the monument of Dante in Piazza Santa Croce in Florence and in 1880 he donated all the marbles for the construction of the facade of the Florence Cathedral, Santa Maria del Fiore (a plaque on the same facade recalls this) and some monumental bridges of Florence;

In the twentieth century, between the 1950s and 1960s, the workers of Henraux rebuilt the chapel with polychrome marble of the war-damaged Montecassino abbey and in 1962 created and laid the polychrome floor of St. Peter's in the Vatican for Pope John XXIII.

In 1959 Henry Moore arrives in Henraux and here he creates the monumental work Reclining figure for the Unesco headquarters in Paris. In those years Henraux became an international center for marble sculpture;

In more recent times Henraux has created: in 2007 in New York, the Memorial Sloan-Kettering Cancer Center; 15 Central Park West; the Telfair Museum of Art in Savannah and the Palisades West in Austin. In 2008, the expansion of the Abu Dhab Grand Mosque for Sheikh Zayed Bin Sultan Al Nahyan; in New York The Visionaire and Eleven Times; in Miami the Four Season Hotel; In 2009 the Arcapita Bank Headquarters in Bahrain and the Mirdif City Center in Dubai. In the last decade 2010-2020 the Project Delta and the Hess Tower in Texas; the Bulgari Hotel in London; in Oklahoma the Devon Energy Center; BurJuman Center in Dubai and ExxonMobil Energy Center, Town Center One and Amegy Bank Headquarters in Houston; in London, the marble installation in front of the Selfridges store; in Hong Kong for Taikoo Place.

Achievements and works by Henraux are found on five continents. Paolo Carli, President of Henraux SpA, has been at the helm of the company since 2003 january 2021

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Rue Lafayette by Carla Diamanti

Il lungo viaggio delle perle e l’affascinante storia dei gioielli nel cuore di Parigi. Sembra che ci fosse una luce speciale, lungo rue Lafayette, a Parigi. A due passi dalle vetrine delle Galeries Lafayette e dalla scalinata dell’Opéra, dove il bel mondo si dava appuntamento a teatro, questa strada della Rive Droite poco nota ai turisti ha una storia curiosa da raccontare. Intitolata al marchese diventato eroe della Guerra d’Indipendenza degli Stati Uniti, all’inizio del XX secolo rue Lafayette era il centro mondiale del commercio delle perle. IT

Una dietro l’altra, lungo questa ampia arteria che collega in salita il cuore dell’esclusivo “triangolo della moda” alle sponde meno sofisticate e più popolari del Bassin de la Villette, lasciandosi alle spalle le affollatissime Gare du Nord e Gare de l’Est, si concentravano le vetrine di oltre 300 commercianti di preziosissime “perles fines”. Prima di giungere qui, dove riscuotevano un successo tale da diventare più preziose dei diamanti, le perle compivano un lungo viaggio che partiva dalle sponde del Golfo Persico. Un viaggio riservato a pochissimi 90

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e rarissimi esemplari: ci vogliono 100 ostriche per trovare una perla; 100 perle per trovarne una di qualità e 100 perle di qualità per trovarne una adatta all’alta gioielleria. Ed erano solo queste a raggiungere Parigi, che in breve tempo divenne la capitale mondiale di questo gioiello naturale, nato casualmente da un granello di sabbia intrappolato fra le due conchiglie di un’ostrica. Rarità e bellezza alimentarono il mito che crebbe richiamando l’attenzione di estimatori, artisti, investitori. Ma fu proprio la rarità – unita agli eventi storici della prima metà del Novecento – a portare al declino di questo commercio di cui oggi lungo rue Lafayette, non rimane traccia. Così la lunga arteria che sale dolcemente verso una Parigi distante dalle luci dei gioiellieri, finì per diventare – appunto – solo una lunga arteria di scorrimento, oggi protagonista della grande trasformazione urbana della città, che punta sulla scommessa ecologica e si è data l’ambizioso obiettivo di diventare una capitale totalmente ciclabile.

Così, metà della strada è riservata alle due ruote, cui vengono destinati sempre più spazi. Intanto, il “triangolo d’oro” del lusso si è ridisegnato, concentrandosi attorno all’elegante place Vendôme, una delle più celebri e delle più esclusive di Parigi. Già place Louis le Grande, ancora prima place des Conquêtes, la piazza progettata da Mansart nel 1699 è sede delle più prestigiose maison della gioielleria mondiale. Tra queste, la celebre Van Cleef&Arpels che oltre alle straordinarie creazioni vanta l’unica scuola di arti dell’alta gioielleria (L'École des Arts

Joailliers) aperta al pubblico con lo scopo di renderlo partecipe dei segreti di un mondo tanto affascinante quanto da sempre riservato all’élite. Nei saloni della maison si possono seguire corsi per imparare a conoscere le pietre preziose, la storia dei gioielli, si può sperimentare l’arte della lacca e quella dell’intaglio. Si possono anche visitare gratuitamente le eccezionali mostre organizzate una volta all’anno, si può consultare una biblioteca dedicata ai gioielli di tutto il mondo oppure seguire conferenze (anche online) come quella sulla lunga e affascinante storia delle perle.

january 2021

Fo o d , Hi stor y & Cultu re

Il Diritto di Difesa e la "moda" di ignorarlo by Marcello Mariano

(articolo estratto dal libro "i diritti inviolabili" di Marcello Mariano - in uscita nel 2021, edito da EtroMirroR ed. /Ed. Musicali )

Il diritto di Difesa lo troviamo nell'art. 24 della Costituzione, e da tale norma notiamo come questo sia considerato un diritto inviolabile, ma in tal senso, è importante individuare il contenuto di tale diritto, considerando che non si manifesta sempre allo stesso modo. IT

Il diritto di Difesa è un diritto che appartiene ad ogni cittadino a prescindere dall'instaurazione di un vero processo, dal fatto che sia innocente o colpevole. Questo significa cosa? In un sistema processuale come quello italiano, significa che il diritto di difendersi si ha anche in altri casi, come in quelli dell'attività investigativa del P.M. Nell'ambito penale, il diritto alla difesa si manifesta in diversi modi e funzioni, basti pensare che questo diritto si articola anche nel tacere alle domande, di nominare dei difensori, o di rispettare il principio del contraddittorio. Tale diritto passa anche per il giusto processo, che trova potere nell'articolo 111 della Costituzione. Per aprire il discorso, occorre citare l'avv. Della Ratta nel dibattito organizzato dalle Pari Opportunità del Caffè Letterario di Caserta tenutosi il 23.11.2020, avente come tema "violazione dei diritti umani e tutela del diritto alla difesa": "L'attività forense mantiene ancora oggi una missione, un compito fondamentale che risiede nella tutela del diritto di difesa di ciascun cittadino. Dalle questioni etiche alla crisi della famiglia, fino ad arrivare ai temi del divorzio, della tutela dei minori e delle fasce sociali più deboli, la classe forense garantisce ogni giorno il rispetto della legalità e contribuisce alla 92

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creazione e al riconoscimento di nuovi diritti di cui gode la collettività". Questa frase è importante oggi, soprattutto dopo un caso di cronaca: Giuseppe Forciniti, il 25.11.2020, uccide la compagna Aurelia Laurenti, a Roveredo in piano, a Pordenone. L'avv. Rosanna Rovere, avvocato di Pordenone, rinuncia alla difesa. La scelta, per molti, è più che legittima, poiché un professionista, per qualcuno, potrebbe anche rifiutare l'incarico. Tuttavia, a mio avviso, non c'è alcun bisogno di pubblicizzare la cosa, per due motivi: 1. la dichiarazione pregiudica la difesa dell'individuo; 2. motivo più importante e svilente per il ruolo, sono mirate a farsi pubblicità (sulla scia di Odiare ti costa: motivazioni sicuramente nobili, ma quando alcuni personaggi connessi a questo movimento scrivono su twitter "Aborto mancato dalla fogna più lurida" per essere carini, una persona potrebbe anche non credere alla genuinità di quanto mostrato). Proseguendo il discorso, la decisione di Rosanna Rovere è stata criticata dall'Unione della Camere Penali del Veneto. Tale rinuncia era stata motivata dal fatto che la professionista si è sempre impegnata a tutelare le donne maltrattate o uccise, e non avrebbe quindi garantito una giusta difesa. Fino a questo punto lo scrivente è d'accordo con il pensiero dell'avvocato, ma cambia opinione quando queste dichiarazioni vengono rese più volte in diverse interviste televisive.

Sussiste a tal fine il problema del confine tra diritto di difesa e libera professione. L'avvocato è il professionista, esperto in diritto, che presta assistenza in favore del proprio cliente o operando in giudizio come rappresentante legale, o fuori in via stragiudiziale, in veste di consulente. Ma essere avvocato oggi, non è solo questo: l'avvocato è la figura che deve avere un certo equilibrio per rimanere lucido e non farsi trasportare dai problemi altrui, ma allo stesso tempo, donare una presenza viva. Questa figura non è solo quella di un professionista, ma di una persona in missione, che presta un servizio alla collettività, che si potrebbe considerare anche " pubblico" visto come si accede alla professione. In ogni caso, tornando al caso in questione, il presidente dell'Unione delle Camere penali del Veneto, Federico

Vianelli, si è espresso, confermando che il diritto alla difesa va riconosciuto a tutti "nessuno vuole mettere in discussione la libertà del difensore di fiducia di accettare o non accettare un incarico difensivo" anche perché si tratta sempre di una libera professionista, aggiungerei "ma tale libertà non può tradursi nel rilasciare pubbliche dichiarazioni sulle ragioni, per non pregiudicare la posizione dell'indagato, ed oltre a ciò, getta un'ombra sulla figura dell'avvocato". A tal fine, l'Unione delle Camere penali si è espressa: "L’Avvocato non difende le azioni dell’accusato/imputato, ma è figura indispensabile per garantire il suo diritto ad un processo giusto ed equo, perché solo all'esito di un processo siffatto uno Stato autenticamente democratico può giungere ad una sentenza, sia essa di assoluzione o di condanna.

Questa è la ragione della indispensabile presenza dell'avvocato nel processo, garanzia da riconoscere a tutti, senza alcuna distinzione. Su questa tema equivocare non è possibile né consentito" A tal fine, si rimarca quanto detto, usando le parole del’avv. Fiorentina Orefice, che ha concluso il dibattito "violazione dei diritti umani e tutela del diritto alla difesa" di cui sopra: “La funzione sociale dell'avvocato quale sentinella dei diritti impone una riflessione sulla libertà dell'esercizio delle sue funzioni nell'interesse dell'intera collettività. Alla luce dei clamorosi e drammatici fatti richiamati risulta doveroso monitorare lo stato di autonomia degli Avvocati al fine di garantire una più ampia tutela dei diritti umani.

january 2021

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Manuele La Puca by Daniele Borgia

Hi Manuele, tell us who you are and what do you do? Manuele: Hi everyone. I am a Tuscan composer who emigrated to Rome and there in love with the Eternal City, I studied and graduated in composition and film music at the St. Louis in Rome and in Traditional Composition at the Frosinone conservatory. At the moment I compose, arrange and write pieces on commission, be it songs, small soundtracks for videos, radio broadcasts or video games. You are a full-fledged composer, tell us which are the musical genres that belong to you the most. M: I love writing epic music, both orchestral and modern, I have a predilection for combining symphonic and electronic sounds. I could mention a Hans Zimmer from the period of Inception or the Batman trilogy or the latest Blockbuster works by Alan Silvestri or Michael Giacchino. I also write a lot of songs and, in this case, I go quite the opposite direction. One of my favorite genres is Electroswing, a song I produced a few years ago, the last one, for an English girl that should be released between January and February 2021. Of course there is no shortage of ballads, rock songs, pop or a little bit. jazz, but, I'll be honest, the electroswing genre is one of the ones I like the most. We know you teach music at St Louis tell us a little about your business. 94

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M- As I said, I studied there. I had to do the specialist in Frosinone because when I started my studies there at St. Louis only the three years were available. Too bad because my years of study there were, without a doubt, the best years I've ever spent artistically. My teacher, Gianluca Podio, besides being a teacher of exceptional stature, preparation and training, is also an extraordinary person. When it happens that the Maestro has to be absent he calls me to replace him, especially for the subjects of Songwriting and Film Music. We take paths to teach how to compose and write songs that work in the modern landscape (I only deal with the musical aspect, not the text), the same goes for film music. What do you think of current Italian and world music? M: What I can say nowadays is that I miss the bands enormously. 90% of artists today are soloists. How many great bands have come out in recent years? And in the past, most of the musical experimentation started right from the bands. I think the reason why rock is scarce today is because bands are scarce. And when you happen to find groups of twenty-year-olds playing, they always end up doing covers or songs in the style of Led Zeppelin, Deep Purple, Queen, Beatles etc. the historicity and artistic importance that these groups have had is not questioned, but just as they no longer write like Mozart and Beethoven, we should move forward in other

genres too. There is so much to say in today's music, but nobody says it. What advice do you give to kids who want to undertake the professional activity of composer? M: First of all, there is work. Obviously we have to adapt a bit, no one starts with a super salary or hit songs. It starts from the apprenticeship, small projects. Then, also specialize in related disciplines. The first that comes to mind is the knowledge of a bit of phonía. Having the possibility to mix your own works facilitates the success of the project. Everything contributes to forming an artist who in this way can "sell" himself better. Don't be afraid to get involved with projects that seem distant from your genre. I just finished a small video game soundtrack, the requested style was Disco / Funk, similar to the 1970s cartoon theme songs (Daitarn 3 and similar). I had never written anything like this and I do not deny that it was also a bit distant from my usual style. Well, it is one of the works that came out better. Finally, be self-critical but also positive. Every artist and composer must be moved by humility and pride at the same time. Humility in saying “I can do better, it's not my best” but also pride in saying “I'll do better, I need more study, practice, dedication.” “Be hungry” as Steve Jobs said. What are your plans for the future? M: It's hard to say. Ten years ago I was still in Tuscany and I never imagined moving to Rome. Two years ago I fell in love with a Neapolitan girl and now I live here in Naples and even this was not exactly planned. Therefore, I live with amazement and joy every change and proposal that the future will offer me. At the beginning I had oriented my professional life on teaching, but as time passed I had more and more commissions and more and more interesting commissions. I therefore decided to devote much more time to composition, putting aside some aspects of teaching at least for now. So I went from about ninety percent

teaching and just some composing to 60/70% composing songs, arrangements, transcriptions and creative work. My plan for the future would be to make this 100%. You also compose a lot of symphonic music ... explain to us in your opinion the difference between the composer of symphonic music and that of real songs. M: None. In my opinion, writing a symphony, an orchestral piece or a song always presents the same challenge and one difficulty: does it work? If the song works it's fine. If it doesn't work, it may be as sophisticated as we like, but it doesn't work. And I'm not talking about how much that song could sell. A song works when you can understand it musically. Why were certain tools put there, how they were used, where the song goes. It works the same way for a symphonic piece. The orchestra must be thought of as a single instrument, just like the four-piece band. It is not sixty people who play separately but only one instrument. And at the base there must always be the same approach. Then some techniques may be slightly different and it is necessary to know, at least partially, the instruments used, but the starting point and the compositional intention must be the same. Whether it's a song, a piano piece, a film theme, a musical or a symphony, everything always starts with us, paper, pencil and computer. There are as many professional self-taught musicians today as is music study important to you today. M: I will answer you by quoting a very dear friend and colleague of mine, Milena Nigro, she teaches Jazz Theory and Harmony at St. Louis and the first day of the first year always starts like this: “Welcome. In the world of music, there are about 4-5% of musical geniuses. They don't need my lesson, they are already gifted by nature. Then there are about 60% who with study, attention, practice and dedication, a lot of effort and effort can reach the same level as the genes

we mentioned above. Good. My job is to discourage the remaining 35% ”. Everyone has a laugh, some with gritted teeth, and the academic year begins. This monologue embodies my idea and philosophy quite well: except for that 5% about which no one can say anything, it is really very difficult, as I think, for a self-taught person, in complete autonomy, to be able to reach a true professional level. Obviously there are many different ways to learn a discipline, I'm certainly not saying “either conservatory or anything”. For example, I know many musicians who have followed in the footsteps of other more famous musicians, a bit in the style, for example, of the Renaissance painting workshops, but, as I see it, a method is needed that is difficult, without an initial approach. , you can have it. In addition, the role of the Maestro is not limited to, and must not be limited to, teaching you harmony or how to orchestrate a piece. His main task is to keep alive your interest and your desire to move forward when the first disappointments arrive and at the same time keep you with your feet on the ground. The stimulus of the Master must always be there, alone you risk falling into one of two traps: either too much exaltation or the abyss of disappointment. Often and gladly both. When composing what are your sources of inspiration? M: It depends on what I compose. When they commission me a song I always get references. A basic idea to start from, so when they ask me for a song in the Italian melodic style I have to go and look for the exact genre. Melodic can be Claudio Baglioni like Gino Paoli. So, in these cases, you have to investigate the genre in question very well and get a lot of plays, asking the customer what the reference song is. There is always one. From there I proceed with the composition and arrangement of the piece. When instead I write something for myself, so that it is simply an expression of what I have inside, well then I rely on what I feel at that time. The first musical experience that january 2021

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made me change was Jesus Christ Superstar. For me, my life exists before JCS and after JCS. As if I had been given a pulse, an electric shock and I started writing songs. Then when I was twenty-two I went to see Notre Dame de Paris live and even then there was a shock. It was the moment I decided to stop trying to be a singer and start composing. From that moment I started composing seriously and wrote my first opera / musical (still not represented). There were times in my life when I mostly listened to Hans Zimmer and my past compositions reflect that enough (and probably some current ones too). Or again, when I presented my thesis at St. Louis, I was enchanted and fascinated by the film version of the musical Les Misérables. I loved that musical, so much so that I brought an unpublished musical as my degree thesis, unfortunately left a little aside for subsequent works but which I expect to finish as soon as possible. So, as you can see, the sources of inspiration are many, they depend on the period of my life, what I feel at that moment and what I want from the music at that moment. Now, in this moment, I feel the need for something strong and powerful, again. Your negative and positive impressions regarding music on the internet and on social networks. M: I'm afraid I'm a bit of a voice out of the chorus in this context and in this specific topic. In fact, I have no negative opinion about how music issues on social media are handled. If the songs don't work, there is no internet, social, marketing or advertising to hold. Basically we have very illustrious examples of characters with infinite economic possibilities who have tried the singing career but stopped at half album because no one listened to their music. They just didn't work. Mind you, my speech is only valid for music. Entertainment of another type,

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such as variety, theater or other forms of art does not concern this discourse because they follow different paths, different techniques and have a different propagation. Either music is really good and gets full audience approval, or if it's mediocre it ends up being trashy and suitable for entertainment and non-musical shows. If the piece is out of tune, with errors, imprecise and invalid, it falls into the category of variety, as in the good tradition of La Corrida. So, honestly, I don't see any negative aspects, I don't see how it is possible that a musician with little talent but good with social media takes away the place of a good musician. On the contrary, social networks are an extraordinarily powerful tool for those who have something valid. A good musician with a good product in hand, with a negligible amount can start an advertising campaign that will make him have an economic return even in a short time. When I started singing and recording my stuff, about fifteen years ago, all of this was not there. It was necessary to pass the song on the radio, there was no Facebook and YouTube had just come out, there was no possibility of doing what is done today, not to mention the fact that the record had to be printed, with a huge mass of costs, as well as excessive bureaucracy. Now with an expense within everyone's reach, you can arrange and record a song, put it on sale on all digital channels. And the promotion agency prices are a fraction of what they paid when I started. Of course, there is never the certainty that a song will work, be successful or become famous through social media, in addition to talent, commitment, dedication and passion (and the nerve), a pinch of luck. Or rather, as Seneca said, "Luck does not exist, there is a moment when talent meets opportunity". The opportunity always comes, it just needs to be grasped.

Radio Sbaam Tv by Daniele Borgia IT

Intervista a Di-Vino Torru di Radio Sbaam Tv

Ciao Marco……allora spiegaci chi è il divino Torru e cosa fa. Marco: Ciao a tutti per avermi dato la possibilità di raccontare chi sono e spiegare il mio progetto.io sono un ragazzo semplice che vuole raccontare qualcosa alla gente, regalare un sorriso.nasco come comico trash e da diversi mesi dirigo una web radio dal nome radio sbaam tv. Sei il produttore e presentatore di questa radio, parlaci di Radio Sbaam Tv. M: Radio sbaam tv è un progetto nato sotto il lockdown e va in diretta tutti i giorni dalla nostra pagina facebook. all’interno ci sono 15 collaboratori sparsi per tutta l’italia e fanno dirette casalinghe con i pochi mezzi che hanno a disposizione per dare al pubblico un servizio diverso da quello che solitamente sono abituati a vedere nelle solite emittenti televisive e nelle più tradizionali radio FM. I miei programmi sono autoprodotti e normalmente li conduco io,uno dei format più seguito e gettonato si intitola come viene viene un format musicale che promuove solo musica emergente. Perchè creare una web radio? M: Perché mi piace mettermi in gioco e conoscere tanta gente nuova e l’approccio migliore per farlo era quello di creare all’interno dei social una radio che da tutti i servizi che ci avevano tolto durante il lockdown.

al pubblico la loro musica ed il loro talento.proprio in questo periodo sto conducendo e producendo un talent musicale di artisti emergenti una gara canora per mettere in risalto il loro talento sperando in un loro meritato successo. Ci sono molte radio web e molte radio FM, qual’è secondo te la differenza tra queste due tipologie di radio? M: Le radio FM sono l’origine della comunicazione con un vasto pubblico ancor prima della televisione e ancora oggi viene molto ascoltata nella quotidianità delle persone.le radio web sono un servizio relativamente giovane ma molto funzionante oggi la gran parte delle persone senza internet e più nello specifico i social non sa stare. Che consiglio dai a chi vorrebbe intraprendere la tua stessa professione? M: Il consiglio che posso dare è quello di essere sempre solari e far si che il pubblico si diverta e si affezioni al format, di non correre per avere risultati facili ma fare le cose con calma e sperimentare sempre con cose nuove. Soprattutto essere sempre se stessi divertirsi e fare divertire.come ho detto la mia radio trasmette sempre musica emergente,ci sono ottimi dj e produttori anche se ancora non molto famosi che danno alla radio un valore aggiuntivo con la loro musica techno rap spy ecc... una piccola discoteca portatile.

Che importanza hanno secondo te le radio web per gli artisti emergenti?

Quali sono i generi di musica che trasmette la tua radio?

M: Io lavoro esclusivamente con artisti emergenti e le radio web danno a loro una grande vetrina per far conoscere

M: Radio sbaam tv trasmette e da spazio a tutti i generi musicali, dall’hip hop alla musica elettronica, dal reggae

al country, dal rock al pop. dal rap alla trap e cosi via. Come hai già accennato Radio Sbaam Tv da spazio a vari format al suo interno anche esterni, parlaci di questa iniziativa. M: Come ho già detto siamo in 15 all’interno della radio con dei format propri e a secondo del giorno vanno tutti in diretta seguendo un palinsesto ben specifico.All’interno ci sono una grande varietà di programmi dalla cultura al comico tutti per far divertire e crescere. In un mondo dove le radio FM la fanno da padrone con grossi sponsor e distributori che futuro avranno per te le radio web? M: Tengo a precisare che noi andiamo avanti senza nessun tipo di sponsor,se ci fosse qualche sponsor che vorrebbe investire sarebbe molto bello. Comunque penso che nel futuro ci saranno molte più radio web e forse le radio FM potrebbero purtroppo estinguersi questo lo dimostra il fatto che il web è sempre più presente nelle nostre vite facendola da padrone. Parlaci dei tuoi progetti futuri. M: I miei progetti futuri sono quelli di scrivere e produrre sempre più programmi radiofonici. Vorrei anche realizzare il sogno di partecipare al reality pechino express, sarebbe davvero bello. E naturalmente di poter portare Radio Sbaam Tv a livelli davvero alti.

january 2021

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I grandi miti greci “I coatti supereroi ellenici” by Vincenzo Fata

Estratto tratto dalla prefazione de I grandi miti greci: i coatti supereroi ellenici, di Marcello Mariano.

“I miti mi piacevano. Non erano storie da adulti e non erano storie per bambini. Erano molto meglio. Erano e basta.” - Neil Gaiman Trovo perfette le parole utilizzate da Neil Gaiman per descrivere, in maniera semplice e diretta, la potenza narrativa dei miti. Su questi racconti si fonda la nostra cultura, il nostro modo di immaginare delle storie. IT

L’intero intrattenimento contemporaneo, volente o nolente, deve tanto ai miti e alle leggende che caratterizzano il bagaglio culturale di un paese, se non di una zona geografica più vasta. Pensiamo al prodotto più blasonato degli ultimi 30 anni, che continua a trainare le giovani generazioni: Dragon Ball. La storia delle Sfere del Drago è profondamente ispirata a Il viaggio in Occidente, romanzo cinese ad opera di Wú Chéng’ēn, risalente alla fine del XVI secolo e ritenuto uno dei miti più importanti della cultura orientale. Il protagonista dell’antico racconto è una scimmia di nome Sun Wukong, conosciuto nell’adattamento giapponese come Son Goku, proprio come quel Son Goku che è protagonista di Dragon Ball e che ci viene presentato come un selvaggio, dotato di coda, che vive tra le montagne. Sono tanti i parallelismi col romanzo cinese che Akira Toriyama, autore di Dragon Ball, ha inserito nel suo manga: la nuvola e il bastone magico sono strumenti comuni sia a Goku che a Son Wukong, ma anche i comprimari del piccolo saiyan, nonché alcune delle avventure che questo si ritroverà ad affrontare, presentano similarità evidenti con Il viaggio in Occidente.

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Ma torniamo ad ovest, nella culla della mitologia che ci è più familiare: in Europa. Gli innumerevoli miti e leggende europee hanno un impatto incredibile nei prodotti di intrattenimento di cui comunemente fruiamo. Pensiamo alla mitologia greca: sono infinite le opere letterarie, cinematografiche e fumettistiche che richiamano le morali di miti come quello di Icaro o Prometeo. Pensiamo a Frankenstein di Mary Shelley, il cui sottotitolo stesso cita il mito di Prometeo: The Modern Prometheus. Il lavoro encomiabile dell’autrice anglosassone è quello di aver unito le due versioni del mito: quella greca e quella romana. Quando parlo di versione romana, mi riferisco a quella presente ne Le Metamorfosi di Ovidio, in cui Prometeo crea l’uomo dalla creta, così come il dottor Victor Frankenstein dà vita alla sua creatura mediante resti di cadaveri in putrefazione. La versione greca del mito di Prometeo, invece, è maggiormente basata sul concetto di ribellione avversa al destino: Prometeo ruba il fuoco agli dei dell’Olimpo per donarlo agli uomini, mentre la creatura a cui dà vita Victor Frankenstein si ribella a quest’ultimo, un uomo che ha “giocato” a fare dio. Rimanendo in Grecia, uno dei poemi ellenici più reinterpretati di sempre è sicuramente l’Odissea. Il tema del viaggio è il focus principale di tutta l’opera di Omero: un viaggio non solo prettamente spaziale, ma che coinvolge anche il carattere di Odisseo. Una delle rivisitazioni più interessanti è senza dubbio

Ulysse, fumetto di Jacques Lob e George Pichard, edito in Italia da Rizzoli Lizard. Per quanto si mantenga fedele, perlopiù, alla struttura del viaggio affrontato dall’Ulisse di Omero, Lob e Pichard arricchiscono il racconto con delle particolarità: gli dei sono essenzialmente degli umani vestiti in maniera eccentrica che dispongono di tecnologie avanzate in grado renderli superiori rispetto ai loro simili, ad esempio le sirene incontrate dal protagonista sono un esperimento genetico di Poseidone, mentre Circe non trasforma i compagni di Ulisse in porci, ma semplicemente fa assumere loro una droga che gli fa credere di essere dei maiali. Così come quelle citate, ci sono altre peculiarità, nel fumetto di Lob e Pichard, che non cambiano il cuore del racconto di Omero, ma lo rendono più moderno, tingendolo con la fantascienza o la dipendenza da droghe, tematiche fortemente centrali negli anni ’70, decennio in cui il fumetto venne pubblicato sulla rivista francese Métal Hurlant. Breve menzione, sempre riguardo l’Odissea, merita ODY-C, fumetto di Matt Fraction e Christian Ward, edito in Italia da Saldapress. ODY-C è una space opera in cui i personaggi in comune a quelli di Omero, sono tutti di sesso femminile. Fraction e Ward, però, a differenza del poema originale, creano una storia maggiormente concentrata sui personaggi, anziché sugli eventi di cui questi sono preda. A dirla tutta, poi, ODY-C non rimaneggia solo lo scritto di Omero, ma anche l’Ulisse di James Joyce. Infatti Matt Fraction scrive i dialoghi di ODY-C alternando, a livello metrico e di componimento, esametri e limerick: l’esametro richiama ovviamente la struttura del poema di Omero, mentre il limerick si rifà allo scritto di Joyce. Rimanendo nel fumetto statunitense e parlando di mitologia, è impossibile non citare i supereroi. Alessandro Bilotta, in un’intervista, parlava delle differenze tra le produzioni a fumetti italiane, giapponesi e statunitensi: “Ogni territorio ha delle caratteristiche particolari, per

esempio se prendiamo l’America, ha i supereroi. Non avendo una mitologia, se la sono creata negli ultimi due secoli.”. Pensandoci, effettivamente, non è così assurdo ricollegare le avventure e i personaggi dei mondi Marvel e DC Comics alla struttura di antichi miti e leggende. In particolar modo, i personaggi di punta di DC Comics assomigliano molto ad alcune delle divinità greche e romane: Superman viene considerato, nel mondo dell’editoria a fumetti, il padre del fumetto supereroistico, così come Zeus è il padre di tutti gli dei; Aquaman è il re dei mari, facile quindi il parallelismo con Poseidone. Flash richiama espressamente Ermes, in particolar modo, la prima versione del velocista scarlatto, Jay Garrick, indossa un elmetto coronato da delle ali dorate, richiamando espressamente le antiche raffigurazioni del messaggero degli dei dell’Olimpo. Senza dimenticare poi Batman e Lanterna Verde, che invece possiamo ricondurre, rispettivamente, ad Ares ed Efesto. Passando poi a Wonder Woman, l’influenza della mitologia ellenica è molto più esplicita, dato che tutto il suo background è pressoché quello dei miti greci: Diana è un’amazzone che vive su Themyscira, un’isola adornata da costruzioni tipicamente elleniche; in alcune versioni del personaggio, questa è figlia di Zeus, mentre Ares e Circe sono due delle sue più note nemesi. Anche Marvel Comics non è riuscita a tenersi alla larga dalla mitologia, introducendo sia quella greca che quella norrena. Quest’ultima è quella che Marvel ha maggiormente sviluppato, noto è infatti il successo del personaggio di Thor, sia su carta che su pellicola. Come visto, non è casuale l’uso del termine “mitologia” quando parliamo di universi narrativi nati da saghe cinematografiche, serie TV, fumetti e romanzi, perché è questo che noi esseri umani siamo sempre stati abituati a creare e percepire. D’altronde si tratta pur sempre di raccontare storie, forse la cosa che meglio ci riesce.

january 2021

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The Silver Strawberry

the STORY

by Giovanni Casalegno

«Why are you asking me to blessthis ball, M.r count ?»

and they pulled him by feet.One each, until his neck bone broke,until he awoke.

«not to and up in hell chaplain.»

When he awoke in a sweat ,count potocki decided that only he would be the architect of his own end and not fate or a human court or a ferocious disease.He took the gun: that would have been the fastest and most effective method,pearhaps even a little painfull.

The chaplain of uladowka castle shuddered at the word " hell",who se only this name summoned all the monsters he had been forced to see in his previuos life ofblasphemous image hunter. He did not know the origine of the sphere he was going to to bless. Two yeas ago it was a strawberry topping a silver teapot .The count had used that precious knob to open and close the teapot for yaes , ever since he had decidedc to always carry it with him on his endless travels, starting with those in the steppes of astrakan. It was reminder of his mother Anna Teresa. The instant of choise was not casua: it was one morning when he woke up, after a tormented night in which dreamed of a having that never ended. For a crime that the black count never wanted to reveal,he was sentecenced to death a long with two repugnant looking brothers. The trap door was unique and when it opened under his feet you felt a jerk like a shock and saw the two wretches kick for a few seconds and then stop.Before him was still the host of his accusers staring at him and his breathing was painful,but he felt and knew he was still a live. The nople squeezed the breath but the eyes still saw and thoughts were more alive than ever. He heards the cheers of the crown:every time a capital execution failed people were thrilled because it was a slap in the fale of poller. The illusion lasted a few moments: the executioner arrived with his assistant

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«I'll buid the final ball with my hands.» he said to himself. The count had lived a life of th best,thanks to an almost inexhaustible weacht and a couture that allived him to appreciate the best of each city he visited. A saturnine character prevented him from accessing happiness and generated in him a desire,which never stopped, to know all books and to know the lenguages on man. He knew much of the modern onest thonoughly latin,greek,arabic and hebrew. On his desks arrived almost all boks that the typographies of europe inposed,especially the french ones.When hefound the first volumes on the encyclopedie in his hands, he was very envious of that gigants and unique operation in the world,infect by the desire to know. He was tweenty years old when he finished reading all 17 volumes of text but he was not sorry for having missed the opportunity to participate in the enterprice,his demon was another. Every thinghs in the count was market by the double and precisely two were the demons that tormented him.

The first showed up when he was thirty six and two marriage :write a modern story machine after the two great example he adored and of wich he had all the existing editions ,in all lenguages the thousand and one night and the decameron. The count polish took out the strawberry silver and mesured the barrel of his gun. His wife's illness consumered her and consumere him. During the day he wrote stories for his book, a mirror of the univers and it's world populated by gost and in the evening he read the peges to his wife who always reacted for very few words and with the foud of her lips. He read stories of bandits and vendettas, of gypsies and sisters entwined and lost in a double labyrinth that crosses itself and shows wandering Jews and Aztecs left suspended in history, crossings between the age of enlightenment and the period of darkness. The wife listened and noddedand his faint smile was the reason for continuing to compose the labyrinth. He wrote all day thinking about the reaction of the evening. After the reading came the night and vice versa the other face of the count and the strawberries were filed to give them the shape of the perfect sphere. He was in no hurry but at the same time he knew that he was not faced with infinity, and the next morning the dawn brought back a pink embrace that left an echo of light to a day that was sunny and had very little. In the hours of writing the

count canceled his double and there was only the constructor of weaves. she placed her stories like gems in a larger fabric that must contain them all, like the diamond-embellished dress she had brought from one of her countless journeys. She traveled and wrote,they were two different and complementary ways to breathe. Illness and assistance had stopped only one of his breaths. The daily ritp involved first of all a greeting to his wife who regularly returned from a restless night and then an hour of filing. The strawberry seemed impossible. It had to become a sphere identical to the model he had placed beside it; it had to enter her heart and extract the perfect soul that would one day lead him to death. He already knew how he would die and therefore he was no longer afraid of anything. Having made all the trips, tasted all pleasures ad nauseam, given the corpses of revenge and her fury, he still had two objectives: to bring a few drops of happiness to the woman he had chosen to love for her diversity, among all the aspirants of all. The courts, and close the labyrinth.He had seen the daughter of a minor count stopped at a post station with the carriage badly damaged due to a sudden hole that threatened to make it overturn and screw into space in a slope of rocks and shrubs thorny.

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The Silver Strawberry

The father cursed fate, the mother cried, the elder sister lamented the delay with which they would arrive at her betrothed, the Duke of Caillois, the coachman collected all the charges with his head bowed and the housekeeper recovered the fallen jewels and jewelry. It shone with its own light and the will to live, her cheerfulness was magnetic and it infected him.while they were arranging the carriage, Count Potocki invited costanza to take a walk along the shady edge of the lake. When the whole perimeter was passed it was total love. Seeing her in those conditions with an ever weaker smile made nostalgia become more and more bloody. Continue to file the strawberry from the outermost shapes to get to it's center, every day he collected a few silver crumbs and placed them on a white plate. He did not yet know what he would do with the removed dust, but he knew that he should not throw it away, the operation convinced him more and more and while he followed him he thought of his writing, which had to reach the heart of the stories. Meanwhile the manuscript grew in it's great desk, the days in which it was divided increased word by word. He had two hundred different nibs, collected during his many trips. When he arrived in any city he always went in search of three things: The nibs were the first, he was convinced that it was there the soul and the secret of writing, in that little magic spout, in those spear points that could pierce more than a pike. The gesture of the grafting on the stem was an accurate ritual, it had to be perfect, just as the immersion in the ink bottle was a real fertilization. He had to keep his characters in order with a

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barracks discipline, he kept them in a precious cherry casket inlaid with his initials. He had made an Italian cabinetmaker do it, he kept the white sheets in a leather folder, always in a number of twelve,as he filled one, he inserted it into the casket and replaced it with a new sheet of paper that he put it under the others,with a red ink he wrote the number of pages, the day and the title of the story and then left, he had an index in a folder apart, where he tried to keep in order the coming and going of the major and minor protagonists of his great machine in perpetual ferment. The creative demon invaded and consumed him, he believed he had in his blood two demons: that of creation and that of destruction and maybe it was only one with two faces. When the first one flowed louder there was nothing but his stories that took shape the words slipped and rested happy for their long journey, on the Japanese paper that provided him a master papermaker and the theater of his wonders came to life. Alfonso Van Worder met his illusions and visions,when the second demon was knocking with insistence, then he left the nibs and returned from his strawberry still amorphous and with burning slowness worked her to achieve his alchemy: to transform a jewel of silver in the tool of his death, which in those moments awaited as a deliverance. The slow filing liked the demon and brought him back to the desire for life, then he left for a walk in the woods. The forest, it was the mystery, every time he crossed it he promised to insert more woods in his stories and to use less bare and burnt passages but the pretense of the Spanish manuscript forced him to carry on this choice.

One day he found himself observing a drop of ink the size of a grain of rice and began to think how many words that drop could contain, he became even more convinced that he was an alchemist magician who had discovered the great secret. He began to think that the real red work was not the creation of the philosopher’s stone, the transformation of living metals into gold, but the preservation of tannins and iron salts in words that became living flesh. They took the form of people who people who escape, chase each other, fall asleep in the arms of nightmares, massacre themselves under the besieged walls which unite in a single startled creature, they seek each other and sometimes they never met. the black demon became jealous of so much enthusiasm and brought him back to himself. That day it happened that the file flowed faster than usual and wanted to get immediately to the heart. That day, the strawberry became a rough sphere but the final shape was clearly visible and the time of its use was approaching. He had to hurry because the black demon was becoming increasly dominant over the writing demon. The abyss against the written page; The Count knew for sure that his lonely crowd would emerge from the cherry casket only posthumously but he was equally certain that he had created a masterpiece that would sooner or later be discovered. He had to hurry and devote more energy to his nibs, marching them like soldiers along the Japanese sheets waiting inside the folder. He wanted to write sixty-six days and then reveal in an epilogue the key to the mysteries, making all the characters meet and close all destinies. He had in mind almost every word and above all the final legacy that the

protagnista would leave, coincided with his. If life is a failure, what remains is the story. The nibs galloped on the white meadows that crowded. The nibs galloped on the white meadows that crowded. The ball, became more shiny every day so came the end. When he engraved the last word, a drop of tears fell on the paper. It made a stain he thought it would be his last joke. He took the blessed ball, polished it with his tissue having his wife’s initials, and put them slowly into the gun; it was perfect. He knew, the effect that the silver strawberry would have by putting everything back in disorder, crumbled his cathedral of papers. He did not care because everything had already been written and fixed. So the silver ball met Rebecca and Fatima, the three veiled women. He met Sheikh Rebecca’s father, Cabalist Velaquez. The gypsy’s daughters and their husbands, as well as the brothers of Zota and Zoto himself. Then Camilla and Zulica. The disorder of his senses and the Gomelez. The philosophers, the gentle Dariolette, the leader of the gypsies together with the Prussian princess who brought it to destruction. The wandering Jew, all the criminals.

The infernal pleasures and delight that in them had been forged.

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Lit eratu re

In viaggio con Emiliano di Efisio Collu

Un Cammino per tenere in vita un figlio. L'obiettivo? Intersecare i passi del Cammino di Santiago con la vita di un figlio che non c'è più, passato a miglior vita due anni e mezzo fa, allontanato dal pianeta terra per un arresto cardiaco. "In Cammino con Emiliano", scritto da Massimiliano Morelli per "Arancia Publishing", pare più un romanzo che una storia di vita vissuta. L'autore, cinquantasettenne, giornalista e scrittore, ripercorre il Cammino verso Santiago di Compostela unendo a quel viaggio, che avrebbe dovuto realizzare con il figlio e che invece è stato portato avanti per forza di cose in solitaria, unendo momenti del viaggio stesso a spaccati di quotidianità vissuti col figlio. Rapporto endemico fra i due, parevano amici più che genitore ed erede. Diversi forse solo nelle scelte musicali ma uguali nel carattere, nella filosofia di vita. IT

Massimiliano mai ha versato lacrime per il pargolo, ma ha scritto e continua a farlo nel nome del ragazzo, quasi a cercare di tenerlo in vita con racconti e aneddoti, 104

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evanescente idea di immaginare la presenza fisica di Emiliano al suo fianco. Avevano paventato l'idea di partire verso Santiago poco prima dell'ultimo giorno di vita terrena di Emiliano, e in memoria di quel progetto a febbraio 2020, poco prima che prendesse corpo la pandemia, Massimiliano ha preparato lo zaino e da un giorno all'altro s'è ritrovato a Oporto, per percorrere i duecentosettanta chilometri che separano la capitale lusitana dal centro di gravità permanente della Galizia. Una missione apparentemente impossibile per uno come l'autore, cui non piace correre né camminare. Impresa invece riuscita grazie alla forza dell'amore e a quella volontà di ferro che lo trasforma in tedesco quando deve agguantare un obiettivo. Il libro, in vendita a 12 euro in libreria e su Amazon, è un amarcord delicato ed elegante che evita lo strappalacrime ma che ha la capacità di far pensare all'importanza della vita e del rapporto padre-figlio, soprattutto quando l'abitudine s'impossessa dei sentimenti.

CHALKIOPOULOU ZOE ΚΥΡΙΑΚΗ

- ΑΝΝΑ ΑΘΗΤΑΚΗ

( Anais- Anais)

Μ έμαθανότ ιμεταξύΣαββάτουκαιΔευτέρας είναιη Κυριακή. Απότότεψάχνω νατηνβρω. Μετράωτ ι ςμέρεςμεταδάχτυλα Πάνταέξιμουβγαίνουν συνένακενό. Κιέτσιγέμι σαθυμό. Ήθελακάτ ιπαραπάνω. Ήθελα μια Κυριακή. Όχιμόνογια μένα Γιαόλους. Μιανανάσα! Γιατ ίδεναντέχωτοκλάματουπόνου. Γιαταθλιμμένα μάτ ια πουχάνονται.ΓιατηνΆνοιξηπουμαςξέχασε. Γιατογκρίζοπουτύλιξετοερειπωμένοσπί τ ι. Γιατηνμοναξιά πουρημάζει. Γιατοδέντροπουσφαγιάστηκε. Γιατ ίέπαψαννα μεαναγνωρίζουν. Γιατ ίεγώ αρνούμαινα μεγνωρίσουν. ΓιαέναΓιατ ίπουαπελπι σμέναψάχνουμε. Η ξέχασανα μετράω ήδενυπάρχειΚυριακή.

THE NEW GENERATION OF GREEK ART - Chapter I The head of the Greek group of participants Visual Artist, Poet, Curator of Exhibitions: Stella CaviART Participating artists Alexandrou Chrysoula Afioni Olivia Arapi Vasiliki Athanasiadou Ioanna Athitaki Anna - “Anais- Anais” Chaviaropoulou Stella - “Stella CaviART” Diakovasili - Nina Halkiopoulou Zoe Kaderoglou Lia - “aqualia” Kalatzi Maria Kapetanoudi Pinelopi Kontrafouri Stavroula Lazaridou Irene - “ lazarini” Molyndris Giannis Noutsou Maria - “mis Butterfly ” Dr. Ntovas Miltiadis Papanastasiou Eleni Psirolioliou Foteini Romanos Christos Tampaki Dimitra Triviza Mary

NTOVAS MILTIADIS ΤΟ ΤΕΛΕΥΤΑΙΟ ΧΟΡΙΚΟ Μιαεκκλησία, έναθέατρο! Ο πέτρι νος βωμόςοαφι ερωμένος στηΔιώνη! Τογυάλι νονεκροταφείομετ ι ς μεταλλικέςπλάκες! Ο βράχοςπουράγι σεστηνάκρη τουΧρόνου! Τακομμέναδέντρα πουέκοψε ο φιλάργυροςξυλοκόπος! Τακούτσουρατα πεταμέναστη

- MOLINDRIS JOHN

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ADDRESS

213 WILLIAM HILTON PKWY #21361 HHI SC 29925 USA

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ArchLove Magazine, insieme a Viva Vincenzo Viva (fashion magazine) e GOURMET FOODS AND GIFT BASKETS (Food magazine), invita tutti gli italo-americani ed italiani, a raccontare la propria storia, le loro origini, la loro vita quotidiana. I magazine saranno un ponte tra stati uniti ed Italia dove raccogliere testimonianze di vita. Non solo, sarà un'opprtuntià per mettervi in comunicazione con le vostre famiglie, oltre che attraverso le sue pagine, anche attraverso un possibile format radiofonico e social del quale il magazine è partner ufficiale. Potrete, attraverso noi, riscoprire l’eccellenza italiana e allo stesso tempo raccontare la vostra verità. Uno dei nostri obbiettivi è quello di riunire un'Italia telematica più viva che mai.

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Lingue inglese/italiano. Dialetti italiani tutti. Partner del progetto: OLIMPOPRESS Testata online, nata nel 2016, ideata e fondata dal giornalista Massimiliano Morelli, al momento conta più di 5. 500 visualizzazioni. Format webradio Gheno Arte EMAIL

vociditaliagazette@gmail.com

VOTE

Red or blue? What's your color? Not just a straight But it is my right Your right Our right

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ZenCaos&EtroM Graphic services for creative people

ZenCaos&EtroM, born from the collaboration between ZenCaos Creative and EtroMirroR Ed./ Ed. Musicali, offers services of digital and editorial graphics and deals with communication both national and foreign. We create one together with the customer communication strategy and exclusive marketing, adapting it to your

Visual for pages social Website layout Organization of business meetings

needs and paying particular attention to the layout, to the visual impact and to work graphic designer creating a product visible and desirable. We offer ours professionalism with the aim of enhance the work of artists, painters, musicians, brands of fashion, jewelers, galleries and everything those people do of art their philosophy of life.

Brand design Business cards Letterhead Brochures

Jingle and ambient music composition Advertising campaigns Product promotion campaign Press office

Customized Notepads Bookmarks Layout for books and catalogs

Photo shooting Video presentations

Cd and dvd artwork and packagings

SOME OF OUR SERVICES

Personalization of merchandise Flyers Poster Calendars

Promotional postcards Illustrations for editorial projects

and many more

EtroMirroR Free, visionary, equal, dishonest intellectual publishing house .... and label Aggregation of ideas and artistic synergies, each text is built between figurative art and writing and music. We do not publish without photographs. Each book is an art catalog. We do not publish and print wildly. Each text has its purpose and we do not send copies to waste paper. We do not have a literary and artistic / musical “Genre”.

ZenCaos Creative Creativity at the service of art and culture! We want our clients to be artists, painters, musicians, writers and all those people who make art their own philosophy of life, we want to take care of it and put our creativity at their service to give added value to their works.

CONTACTS

The texts can be sent by e-mail, specify if they are unpublished or already published ... In all languages. We accept collaborative proposals from all over the world. Books testinediti@gmail.com For the music section, send your material to Daniele Borgia ed.musicalietromirror@gmail.com To participate in the self project selfetrom@gmail.com General information / to collaborate etromirror@gmail.com Publisher Marica Petti etromarica@gmail.com

From traditional graphics, to digital and classical illustrations, we have the necessary skills to offer our customers quality products. CONTACS

www.zencaos.it creative@zencaos.it

www.redfashiontalentagency.com agenziaredfashion@gmail.com

Red Fashion Talent Agency Red Fashion Talent Agency is a reality managed by a multifaceted and professional team, chaired by the agent for entertainment and sport Claudio David, artist, talent scouter and TV DJ, who deals with the research, growth and promotion of members in the field of cinema, TV, music and fashion. A cultural reality managed by an avant-garde team that creates and produces formats and situations inherent to the entertainment world, aimed at inserting its associated talents in cinema, TV, music and fashion. It represents a reference in the sector, for the selection of models, actors / actresses (covering any age), singers and artists to propose them to the attention of advertising and cinema productions of today. The Red Fashion Talent Agency is establishing its members (artists and models) throughout Italy and collaborates with studios and production houses for commercials, cinema and TV and many new fashion brands. He renews the studio images, based on the needs, requests of existing projects with the data of models who rely on his management, always in line with fashions and companies. The Red Fashion Talent Agency is ready to be there!

Cavalleri Roberta @ZenCaos Creative Digital photomanipulation study on Photoshop

GHENO ARTE

Association of artistic twinning

No frontier Only one flag Art It comes to life and is born perhaps, in the most suitable historical moment. We live in the balance, without balance and with a strong sense of the question mark for the future. Living means creating and here Gheno ArtE strengthens itself and emerges from a tormented past. Born in the courtyards of the academy of fine arts in Rome, he went into hibernation over the years. To become in 2020 the fourth platform in the first world festival of contemporary art in Beijing.

From this point, in fact, it hooks up to THE VIVA INN project which will be divided into three points: the magazine, the tourist guides created as real artistic, culinary, historical catalogs, and finally tourism.

It thus becomes an international cultural association of twinning, which on February 3, 2021 will become an art and culture format in web radio.

In parallel, the Chinese Bio art artistic project and the section dedicated solely and exclusively to animals will be carried out: Pongo & Company

Gheno Art has more than 10,000 contacts between Italian and international radio outlets

The pillars of Gheno Arte are: EtroMirroR ed / ed. Musicali, Zencoas Creative, ArtBank chinese, Archlove. An important partner is OLIMPOPRESS Online publication, born in 2016, conceived and founded by the journalist Massimiliano Morelli, currently has more than 5500 views.

The Gheno Arte cultural association was born as a platform for cultural exchange between nations. Its purpose is to create bridges of exchange. It is the fourth platform of the worldwide Beijing contemporary art project (as origin) and works closely with ArtBank Chinese, together with the ArchLove magazine of course The Association aims to: cultural development, linked to the various arts. It will also have the task of increasing the promotion and development of training and educational issues. The association was born and developed on the principles of democracy and equality, without gender exclusion. He 112

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then carries on the non-genre (like the publishing house, which does not deal with specific genres) but also works for the protection of the environment, the territory and the rediscovery of forgotten and little known towns and cities.

FORMAT Is it a new format? Maybe not! But we are young and fresh. And the pandemic has never stopped us! ZenCaos & EtroM management presents

GHENO ART Produced by EtroMirroR and / ed. Musical

In collaboration with ZenCaos Creative ArchLove Magazine Artbank Chinese OLIMPORESS Format conductors Kia Soprano Arby songwriter Daniele Borgia music producer ( EtroMirror Ed./ Ed. Musicali) Marica Petti Every Wednesday from 22:00 to 23:30 (Italian) on Radio Sbamm Tv (web radio) live on FB / IG / YouTube translated into English and Chinese, visible in streaming and recorded on Chinese systems. The program is conceived by EtroMirroR ed. / Ed. Musicali, the owner is also the director of the US magazine ArchLove and collaborates with ArtBank Chinese and its owner Shi Jingjing (TONNY), hence the idea of connecting the US world China Europe through a format. We open the doors of the artistic world, to create what has been forgotten artistic cultural synergies of comparison. Essential in the contemporary world devastated by all that we thought was impossible. The format is created by EtroMirroR mold and quality, opening the doors to art at 360 degrees, without any exception. From the most famous to the emerging up to the famous influencers or important blogs of fashion literature. So journalists, musicians, bloggers,

writers, visual artists, culture and territory. The aim is to tell and tell about oneself. Not only will we show events such as online exhibitions, telematic events such as clips from some fashion shows or filming where cities and towns around the world can be shot. Entering where possible also in connection. Gabriele Arbizzoni in Art ARBY Born as a drummer, becoming a songwriter over the years, he has been playing since 1992. His passion for music has often been hindered by his family, as often happens. The pianist father could not support and comfort him from the rest of the family, because he passed away prematurely. He loves art in general and music is his oxygen. In particular, electronic rock, funky and experimentation in general. Influenced by Italian music, especially by Bluvertigo, Subsonica, La synthesis ... Franco Battiato whom he considers brilliant. It is a self-produced and its third Lp by title “Al Pensiero, All’amore, Alla musica” was released on January 2, 2021 K.I.A (KIRA) Is a singer-songwriter with a passion for classical music. In particular opera singing and piano. He also appreciates other musical genres, in fact his songs embrace classic sounds in the voice and modern in music with even electronic sounds. His songs are inspired by the most current topics and by the people and animal friends that are part of his life.

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containerofartandculture

OLIMPOPRESS di.Massimiliano.Morelli