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BLENDING Newsletter Issue 2 Year 2 - Palazzi / FUA - MARch /april 2012

A view of Corleone from the I Cento Sguardi project

BREAKING NEWS

The Children of Corleone Exhibit in Florence By Rebecca Valpy

FUA History of Photography professor Margherita Abbozzo along with Alessandra Capodacqua, curated from March 8th to 21st a photography exhibition entitled “I Cento sguardi – Corleone negli occhi dei suoi ragazzi” (The 100 glances: Corleone seen from the eyes of its children). The exhibition was held in the Scandicci area of Florence and was composed of 100 photographs taken by the children of Corleone, who were given disposable cameras and told to photograph their city, to show the rest of the world how they see and live this city that is famous the world over. These images give people the chance to learn something new about Corleone, to see its details, its living and breathing structures and to learn that there is more to this city than the mafia. Before making its way to Florence the exhibition was featured in the town of Corleone in Sicily last year. Corleone is a town in Sicily that gained notoriety for political corruption and poverty, and it is also the town chosen for the family roots of the famed Godfather series. If this topic interests you, then be sure to read on! This Blending newsletter is featuring two faculty features connected to the mafia.

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THE ARTS

Blurred Beauty from Below: Marino Marini Museum’s Newest Exhibit By Arthur Kozlovski

Rob Johannesma, Untitled, 1998, 9:28 min., projection on screen (color, no sound), photo by Dario Lasagni.

The calm sculptural creatures of the Marino Marini Museum have recently become guardians of a profound, visceral beauty that lies within its depths. The museum harbors strange elegant statues bathed in sunlight within the multilevel construction of the building, waiting for visitors to explore the newest exhibit that waits below the ground floor. The crypt has become a haven for Rob Johannesma’s World-Wielding exhibit, offering a multitude of dark, ambiguous scenery through projections, as well as a compilation of newspaper images depicting the beauty of form and color from well-known historical art and violent modern documentations. Upon entering the hollow corridors of the cold cavern, viewers stumble upon a large vertical projection of disguised pixelated landscapes. The video portrays a blurry scene within some sort of jungle, panning and zooming at a haunting, slow pace while echoes of eerie sounds are heard across the void. The mind dissects the scene in an attempt to understand it, morphing the ambiguous imagery into recognizable shapes and forms, trying to obtain solace within the isolated depths of the dim atrium. The yielding response is similar to that of the Rorschach test, a psychological test examining the mind’s ability to reconfigure vague inkblots into personal imagery. The video terminates at the entrance of a cavern, leaving the audience with either a sense of relief from the visual conclusion, or a feeling of unshakable discomfort, caused by the acknowledgment of the psychological journey that is about to begin.

The heart of the basement contains a single, bright light whose rays only illuminate treasures covering a quarantined table. Newspaper pages of beautiful artworks are carefully paired with scenes of gore and suffering, ultimately tying together similarities between shape and form, tonality and color. Two sets of contrasting images coexist within these shadowed depths, forming a gorgeous, but haunting harmony between the aesthetic pleasures of life and death. Images of blood- covered faces are beautifully sprawled next to crimson costumes brought to life by Renaissance painters. Recalling the role of art as a form of historical informative media brings into question the presentation of today’s documentation of news and its relation to that of past records. The photographs that document today’s tragedies are quintessentially portraying similar truths that Renaissance painters strived to create, demonstrating the importance of the dispersion of factual imagery within social contexts. Escaping the table of tragic wonders, one is left in the final corridor of the exhibit, once again staring into eerie scenery. However, this time three projections are on display, each with their own color, panning and zooming. Although the scenery is once again unclear, faint internal shapes of caverns come into view. These images are coupled with sharp, frightening sounds, and spontaneous camera movements that erupt in conjunction with the aural stimuli. The images are hypnotizing, once again calling upon the study of form and color, forcing the mind to run off in search of recognizable comforts that quell irrational fears caused by the unsettling visuals and sounds. Directly behind these monitors, a final display on the ground exhibits slow movements of magnified images, in which careful examination reveals the fragments that conjure color and form, much like the congregation of atoms builds a molecule. The deconstruction of the projected image reveals its formulating blue prints which tie together the relevance between the two sets of historical records which Johannesma studies: master paintings and photo journalism. Finally, as viewers proceed to exit the museum, they are halted by a massive panoramic view of an enlarged newspaper photograph that illustrated a rotting skull within a field, with captions distorted by some natural mishap. At this point, one can turn around and exhale in relief, noting the end of this haunting or enlightening experience. The

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final image spools all of the threads together, creating a coherent understanding of how historical documentations throughout time are constructed based on similar visual codes that ultimately create a resonance amongst shape, form, color and tonality, providing a connection between the medias of the past and the present. Through projection and photography, Johannesma delivers a psychological journey in which the audience is given the chance to reconsider the values of beauty as they are applied to traditional works of art and modern documentation. Through the use of obscure projections and violent imagery, Johannesma stimulates the mind’s interpretation of form and figure, offering condolence in ambiguity and gore. The crypt of the Marino Marini museum are perfect for the gloomy, yet gentle exhibit of Rob Johannesma, which is on display from 4.02.201212.04.2012. Museo Marino Marini Firenze, Piazza San Pancrazio - tel.+39 055.219432 e.mail: info@museomarinomarini.it www.museomarinomarini.it from 10 am to 5 pm, closed on Tuesday and Monday entrance: 4 euro

Collezione Maramotti: A matter of passion or of status symbol? By Faith Barton

Upon viewing Achille Marimotti’s collection in what was formerly the Max Mara fashion factory in Reggio Emilia, one must consider the space containing the works of art in conjunction with the pieces themselves. Maramotti, founder of the Max Mara company, began collecting in the 1970s, first acquiring works from past art movements such as that of the art informel, and subsequently adding many pieces considered to be highly important to or representative of their respective movements or periods of artistic thinking. The permanent collection is housed in the two upper floors, consisting of some two hundred works on display, plus three times more in the deposits of which paintings make up the majority. They are spread out over a number of open rooms that are roped off to lead the viewers through the collection in the order presumably considered by Maramotti to be most appropriate for experiencing these works, grouped either chronologically or according to artistic period. Maramotti was known for trying as much as possible to buy directly from the artist’s studio if the artist was living,

suggesting that some kind of personal relationship with the artist and therefore their work, was important to him. Yet walking through the old factory feels strangely similar to wandering through a museum due to the combination of the manner in which the space is divided into sections, with the intellectual, possibly academic organization of the works. His intent was to exhibit the evolution of contemporary art through its various manifestations by collecting works from the artist’s early career or investing in an up-and-coming artist. While he obviously preferred paintings, explaining their large number in his collection, one can question exactly how personal his relationship with the works themselves was and how deeply he understood the art movements they were part of. Supposedly, the relationship between art and fashion was important to him, but considering the works he gathered over the years – again, many of which are highly important pieces of their relative movements – one might ask if instead it was the fact that art was fashionable that fascinated him. Admittedly, he was the founder of Max Mara, and logically it follows that the old Max Mara factory would be a place of some significance to him; in that sense, the space is appropriate, but walking through it feels somewhat sterile and impersonal. One is expected to follow the path Maramotti preferred throughout his collection, namely one that is academically oriented. One can question whether Marmotti established his collection because he was reacting to the pieces himself, or to the critics evaluating them. While his is a collection to be admired, the organization of it suggests less of a personal connection with the work, and simply indicates the creation of a collection for the sole purpose of it being important. The Maramotti Collection features an exhaustive collection of contemporary art spanning from art informel to the present day. The most important names of Italian contemporary art are present at the site, including Lucio Fontana, Alberto Burri and the most important artists representing the Arte

The building of Max Mara by Pastorini and Salvarani in 1950s, ©www.collezionemaramotti.org

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Povera and Transavanguardia movements. The latest acTHE ARTS quisitions of the collection also represent American artists such as Tom Sachs and Alex Katz. The Maramotti Collection also holds temporary exhibitions such as the current works produced by Kaarina Kaikkonen and Huma Bhabha. Collezione Maramotti Via Fratelli Cervi 66 42124 Reggio Emilia tel. +39 0522 382484 info@collezionemaramotti.org http://www.collezionemaramotti.org

Kaarina Kaikkonen, Are We Still Going On, 2012. Site specific work for the Maramotti Collection. Photo by Lucia Giardino

Dangerous and Beautiful: Mauro Staccioli at Galleria il Ponte Firenze By Amy Tanzillo

Galleria il Ponte Firenze’s ongoing exhibit entitled Mauro Staccioli: Gli Anni di Cemento 1968-1982 is an enigma both beautiful and treacherous, serene and volatile. The pieces selected by curator Andrea Alibrandi for the exhibit come from a vast collection of works, many of which have never been exhibited, that Staccioli had kept in storage for many years until now. In fact, Gli Anni di Cemento is just a fraction of a much grander project that sculptor Staccioli and curators Alibrandi and Marco Niccoli (Galleria Niccoli Parma) have recently embarked upon: to create a complete archive of Staccioli’s formative works that includes sculptures, models, sketches, drawings and photomontages from the years 1968-1982. This undertaking has been documented in the volume Mauro Staccioli: Gli Anni di Cemento 1968-1982, whose publication the exhibit of the same name celebrates in both Florence and Parma. A visit to the exhibit thus offers a peek into the arduous but expository process of cataloguing the long and fruitful career of one of the most eminent figures in Italian contemporary art, Mauro Staccioli. The exhibit, which opened on February 11, 2012, and will run until April 13th, commemorates the recently completed archival endeavor by featuring works from all stages of Staccioli’s art-making process. Viewers have the rare opportunity to see how Staccioli’s vision of socially engaged sculpture was realized through “common” materials like concrete, iron and wood. Likewise, one can understand Staccioli’s engagement with artistic tradition in his attention to material, proportion and harsh geometricity. The magic in his work, though, reveals itself in forms that marry beauty and ferocity. Curator Andrea Alibrandi says these characteristics make it clear that Staccioli’s work is a bridge be-

tween Tuscan artistic tradition and the volatile socio-politics of the late sixties. Staccioli’s work is never solely aesthetic or activist, but rather both at the same time. A key concept for viewers to keep in mind as they enter the exhibit, then, is that of duality. Staccioli himself was more than awar of the dual nature of sculpture to operate both aesthetically and socially. Beginning in the late sixties, he made this characteristic the cornerstone of his work. Upon entering the gallery, the viewer is confronted by one of Staccioli’s most seminal pieces, entitled Condizione Barriera from his 1972 exhibit Sculture in Città in Volterra. An ominous wood spike looms over the entryway of the gallery just as it had at the Porta del’ Arco in Volterra 40 years ago. It is impossible to resist the form’s essential beauty, its perfect proportions and sleek silhouette. However, its threatening presence is equally as irresistible; there is no choice but to struggle with the sculpture’s imposition on the senses, the mind, and the physical environment. This is true for the entirety of Staccioli’s oeuvre represented in Gli Anni di Cemento; whether a small-scale model or a full-size concrete and iron piece, the sculptor’s work is always simultaneously lovely and intimidating. The dualities in Staccioli’s work only become more apparent as one proceeds through the exhibit. As Galleria il Ponte’s curator Alibrandi says, Staccioli’s sculptures, especially those included in the current exhibition, should be considered performance rather than static sculpture. This is because pieces like Condizione Barriera play on the barrier between sculpture and the space in which it is situated. In the years 1968-82 especially, Staccioli attempted to involve the everyday lives of locals with his art by placing his pieces in public spaces. This encouraged the spectator to consider how the artwork’s presence alters the space it occupies.

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In this way, sculptures such as Barriera, an iron and wood cube with spikes, performed in communal, urban spaces, forcing viewers to see such environments in a different light and to reflect on the violence such forms insinuate. Similarly, the sculptures presented in Gli Anni di Cemento charge the atmosphere of Galleria il Ponte Firenze with tension and anxiety. Staccioli’s work is thus art as well as an instigator of social reflection, and maybe even change. While Staccioli’s sculptures have not “performed” for quite some time, their provocative nature is reignited in all its original intensity in this exhibit. One cannot deny the struggle between nine small-scale cement and iron-spiked sculptures poised to harm on the lower level of the gallery. The performers in this tableau vivant illustrate the extent to which Staccioli rescued contemporary sculpture from the pitfall of its monotonous simplicity and transformed it into a rugged, eloquent agitator of the status quo. The dangerous beauty inherent in Staccioli’s work of the late sixties to early eighties makes it more than worthy of another look in the exhibit and volume that both share the title Mauro Staccioli: Gli Anni di Cemento 1968-1982. Without a doubt, it is this collection of works that has cemented Staccioli in recent history as a veritable instigator and innovator in contemporary sculpture.

Mauro Staccioli: gli anni di cemento 1968-1982 Curated by Andrea Alibrandi and Marco Niccoli

February 11 – April 13, 2012 Galleria il Ponte Firenze Via di Mezzo, 42/b 50121 Firenze www.galleriailponte.com

February 18 – April 23, 21, 2012 Galleria Niccoli Parma Via Bruno Longhi, 6 43100 Parma www.niccoliarte.com

Mauro Staccioli: Gli Anni di Cemento 1968-1982 Curated by Andrea Alibrandi and Marco Niccoli February 11 – April 13, 2012 Galleria il Ponte Firenze Via di Mezzo, 42/b 50121 Firenze www.galleriailponte.com February 18 – April 21, 2012 Galleria Niccoli Parma Via Bruno Longhi, 6 43100 Parma www.niccoliarte.com

Photo courtesy of Galleria Il Ponte - Firenze

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FOOD

Reduce, Reuse and Recycle: an Italian Easter Idea By Rachel Cala Believe it or not, la mamma isn’t the only one getting all the love; Mother Earth is reaping the benefits as well! In a society that requires you to (GASP!) purchase your own disposable grocery bag to reduce waste, you can imagine that the population is pretty conscious of what goes to waste. Italy is kind to the environment, monitoring its energy emissions using smart cars, efficient (although maybe not time-efficient) appliances, and cutting out excess waste. With no dryers in sight, you can enjoy the solemnity of hanging your laundry to dry like your ancestors in the old country once did. Italy sets a good example for other countries on how to use the bare minimum, and show some love to the Earth we live on. Students in Italy can stretch their legs and take a walk to the garbage and recycling receptacles, and forget about garbage disposals. Although it is an adjustment for some students hailing from other countries, the rewards are great. We can use these principles of reducing waste and capitalizing on the materials we have to conserve the Earth in every day life, even when it comes to holiday festivities. Think about Easter - what comes to mind? Hues of neon pink, green, yellow; shiny plastic “grass” adorned by individually wrapped candies that catch the eyes of children and adults alike. Perhaps we have lost sight of the simpler, more natural aspect of Easter. Whether the holiday is solely dedicated to celebrating the resurrection of Christ or you enjoy decorating and spending time with family, there is a natural way to decorate your Easter eggs. With this natural, clever method for dying your Easter eggs, you can make good use of what would otherwise be thrown in the trash and astound your Easter guests with the simple beauty that results from this old-fashioned method. Ditch the highly concentrated inorganic color pellets and prepare to be blown away by the marvels of nature. All you need for spectacularly colored eggs is your old onion peels, some oil and vinegar, and panty hose. These items aren’t what most would reach for in order to make elegantly colored Easter eggs, but the results are amazing. Not only does this method reduce the mess, but also the waste in and out of the kitchen. No more discarded materials like a cardboard box, wire egg-dipper, or plastic bags - just getting rid of some old onion skins that you would have otherwise tossed (hopefully in your compost).

TRY IT OUT!

Follow these simple steps to naturally dye your own Easter Eggs!

INGREDIENTS:

For a dozen eggs, you will need roughly 10 goodsized onion skins. Choose either gold or red skins, and achieve an elegant result.

DIRECTIONS:

1. Boil the skins in water with a little vinegar until the water is visibly red/orange. 2. Strain the dye, and cool to room temperature. 3. Place eggs in dyed water and boil them 10-20 minutes until your desired color is achieved, but no longer than that because you want to keep them edible! For added flair, you can cut up a pair of panty hose into six-inch increments and place them around an egg with a leaf or small flower pressing against the egg in between the nylon. Doing this before you place them in the water will leave a beautiful, natural print on the eggs.

Get into the swing of reducing, reusing, and recycling this Easter by stepping away from the plastic eggs, and having some fun with this creative and naturally beautiful method.

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WINE

The Basic Science of Pairing Food & Wine By Ashley Reece

You’re at the store, searching for the right wine to complement your meal. Confused and frustrated, you surrender and buy the usual. But, I urge you, don’t give up! Let me teach you basic rules to best enjoy your enogastronomic experience. The main word to remember is: balance. In order to balance the flavors of a meal with wine, first break down the main characteristics of your dish. Is it mild or flavorful? Is it lean or fatty? Is it rich or acidic? When eating a rich, fatty dish, like a Florentine steak, drink a red wine rich in tannins to cleanse the palate, like a Chianti Classico. Tannins are the astringent flavor that strip your tongue of the rich fats from a dish, and allow the wine to refresh. When eating a rich, fatty dish, like fried chicken, and if you prefer a white wine, try a crisp, acidic Sauvignon Blanc. The key is to match mild foods with mild wines, and bold food with bold wines. You do not want to overwhelm the simplicity of a dish with a powerful wine, or on the other hand, lose the taste of wine to a powerful dish. Match acids with acids. Try pasta with shrimp and lemon with a fresh, young, white wine, like a Morellino di Scansano, to balance the acidity of citrus. You should be aware that acidic wines, like Sauvignon Blanc, and cream sauces do not mix. For example, if you squeezed lemon juice into milk, would it blend or separate? Lemon juice causes milk to curdle, to break, which does not taste good or look appetizing. When puzzled what to pair with sweet oriental or spicy Indian food, consider a sweet and spicy wine, like Riesling or an Amabile wine. Rieslings pair well with spicy food, not only because of their sugar content, but also because of their lowalcohol percentage. Alcohol accentuates the oils that make food spicy, so it is best to avoid high-alcohol percentages. Sweet wines also go well with deserts, and can even stand alone as a desert wine. See? It’s not so hard when you remember to balance.

Photo by Ashley Reece

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TRAVEL

An Overlooked Destination: Marmore Falls By Jamie Shea Italy is famous for its beautiful landscapes and bustling cities, and rightly so. These places give the country much of its character and provide endless opportunities for exploration. However, there is one place in Italy that does not seem to fit in with the typical image of Italy, and that is the Marmore Falls. Located in the Terni district of Umbria, the Cascata delle Marmore is a perfect choice for a day or weekend trip for those who want a break from Florentine life. The Marmore Falls are 165 meters high and were made by the ancient Romans, which makes their power and beauty even more intimidating and impressive. Leave it to the Romans to decide that the Colosseum isn’t enough; they needed to create a waterfall too. Because they are not natural falls, the water is not “open” all the time; instead, there are a few specified hours each day when the water is released and gushes out. The area around the waterfall is beautiful in its own right, regardless of whether the falls are opened. One can walk around in the verdant area, hike one of the four trails, or just sit and enjoy the beauty that is everywhere. When the water is released and the falls are open, it is easy to just stop and stare at the massive waterfall. The sound of the roaring water pounds in your ears, the water from the falls may get you wet, and the ever-constant power of the waterfall is astounding. One cannot help but feel small in comparison to this mammoth, but inspiration can also be found here. If people over two thousand years ago were able to somehow create a waterfall, what will you create? This is the question that resonated in my head as I left Marmore Falls, and I now pass it onto you.

Afternoon in Arezzo By Tara McGarry

Arezzo is a city I had no intention of visiting during my time in Italy. I had never heard of the town before I arrived at the train station on a Saturday morning, intending to go to Ravenna. However, Ravenna train tickets were inexplicably sold out that morning. So, my friend and I decided on a whim, to go to Arezzo. After the hour and twenty-minute train ride and cloudless blue skies, an unknown town await-

Photo by Angela Garbo

ed. Arezzo is not large and can easily be seen in a day, or a few hours if you’re in a hurry. I suggest not being in a hurry, however, and giving Arezzo the chance to really show you its charm. Taking a circular route around the city, we were quickly able to see the basilica and other major churches. Arezzo’s main square, Piazza Grande, is uniquely built on a sharp slope and makes for a unique photo. Climb uphill from the square to reach the Medici Fortress, which is also next to a peaceful, grassy park with views over the medieval tower and countryside. Bring a picnic lunch, or just relax among the trees, as we did. A reasonably priced and delicious lunch was found easily at Caffe dei Constanti across from the basilica; nothing on the menu was over 9

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euro. Unexpectedly, we also found that Arezzo is filled with many upscale boutiques as well as picturesque shops selling Tuscan-made foods. Once you’ve done some shopping and seen most of the churches, I suggest walking toward the Arezzo Ampitheater. Just a few minutes away from the train station, it’s a good last stop. The Ampitheater itself is free to wander through, and you’ll find largely intact stone arches and lots of shade and grass. In all, I would highly recommend giving refreshing Arezzo a chance this semester. You’ll get to see a place many tourists don’t know about, and have a relaxing afternoon while you’re at it.

FASHION

Grabbing Spring by the Bootstraps By Layne Rogers

Back home, stamped on the bottom of my shoes were the words: vero cuoio. Until I came to Florence I didn’t know those words meant “real leather.” As a southern girl, I know some things about boots; I go dancing in mine, tuck them into jeans or wear them with a sundress. However, shoes can’t just be a fashion statement here. In Firenze, scarpe are marked by their quality. Unless your have the real deal, the vero cuoio, your shoes won’t stand a chance against the city’s cobblestone streets. Let’s face it: as students, we all walk everywhere; there is no avoiding this. So what makes a good shoe this March? As the warmer days approach you may be convinced it’s time to pull out your sandals, but be warned: a subtle chill creeps in the city’s shadowed corners waiting to nip at your toes. So keep your boots on this month! Keep on your knee highs, ankle cut, men-inspired, lace up, hooked, and zip ups. Ladies, if you’re getting too toasty beneath the Tuscan sun, lose the jeans and wear your boots with a skirt or cute dress. To stylize, turn the tops of your boots down and show knee-high color socks. If your shoes have laces, don’t tie them to the top. If your boots are shorter, scrunch tall socks down for flare. And remember, don’t fret about scuffs; think of it as character building for your shoes. Boots are never limited by the season. Torn, faded and loved, boots are meant to be worn all year round.

STOMPING

GROUNDS

By Angela Neal MENSWEAR-INSPIRED BOOTS FOR LADIES HAVE BEEN ALL THE RAGE AROUND THE CITY FOR THE FRIGID TEMPERATURES. BUT DON’T PACK THEM AWAY WITH YOUR WINTER COATS - PAIR THEM WITH YOUR FAVORITE SKIRT, DRESS OR SHORTS BECAUSE THIS TREND IS HERE TO STAY.

Photos by Angela Neal

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FRUGAL FLORENCE

The Frugal Foreigner: Florence’s Free Art By Arthur Kozlovski

Now that we have been abroad for over a month, we have gone through a handful of museums, experiencing the works of Leonardo, Michelangelo, Botticelli and so on. However, some of us are tired of spending so much loot on all of these classic renaissance museums that charge the “willing tourist” a nominal fee. In this edition of the Frugal Foreigner, I have developed a concise guide on where to find the art we can afford. I have created a break down of a study abroad student’s artistic interests into 3 character types: The Traditionalist, the Name and Fame Dame, and the Humble Hunter. These titles will help you in deciding which of the many free art galleries are worth visiting while you spend the remainder of your time in Florence.Regardless of which character suites your best interests, there is a ton of free art to explore in Florence. Be sure to keep up with gallery calendars, for most places offer a few different exhibitions a month. And with every new exhibition comes an opening reception, filled with wine and cheese that Italians will always love. Enjoy the beauties of the free art scene here in Florence. Happy hunting, Frugalers!

The Traditionalist

The Name and Fame Dame

The Traditionalist – A true Traditionalist will never get enough of the historical renaissance art for which Florence is known. A preference for classical styles of painting, sculptures, and printmaking leaves this die-hard craving for more; however this can be costly with the amount of pay-to-see museums in Florence. So I send the traditionalist to a place away from the costly city center, to an area rich in old-school galleries and shops. One can find many of these conventional shops between the triangular area of Santa Maria Novella station, the Arno, and Stazione Leopolda (the former train station by Porta al Prato). Within this area, the Traditionalist will find the two conservative galleries; the Atelier Fine Art that offers first rate art oil paintings and reproductions, and the Galleria Antiquaria Chiavari, which displays traditional paintings, furniture and antiques from Florence’s lively past. Additionally, the Traditionalist will find interest in the smaller studios of artist Marsi, who paints landscapes reflecting upon motion and a cubism technique, as well as that of artist Marianini, who creates masterful works based on renaissance painting practice. Being time primary flourishing city during the Renaissance, Florence still offers rich historical art beyond the cost of any museum in its center.

The Name and Fame Dame – This art buff has no preference for a specific type of visual experience, but rather enjoys the up-and-coming, most-talked-about exhibits in the art scene. The Dame enjoys both the glamorous and gaudy side of art, being front and center at all of the newest exhibitions in Florence. Luckily, the Dame could achieve the lavish, pretentious life she dreams without spending a single cent. She is seen at the Strozzina on Thursdays between 6-11pm, for entrance to this center for contemporary culture is free. Additionally, this hoity-toity character appears at every champagne-boasting art reception in Florence, following the calendars of places such as the Ex3 Contemporary Art Center and the Frediano Farsetti Gallery (which had recently displayed a Warhol/De Chirico exhibit). The Dame will end her extravagant evenings at the Art Bar, making sure to grab a gorgeously sculpted drink during happy hour (6euro from 6-9pm, Mon & Wed). The fancy life of an art snob

Gallery of Atelier – Via del Porcellana, 63/r Galleria Antiquaria Chiavari: Via Montebello 16r Studio Art Marsi: Borgo Ognissanti, 63r Studio Elisa Marianini: Via della Procellana 39/r

CCC Strozzina: located at Palazzo degli Strozzi Ex3 Contemporary Art Center: Viale Donato Giannotti, 81 Galleria d’Arte Frediano Farsetti: Lungarno Guicciardini 21/23r The Art Bar: Via Del Moro 4/r

does not have to come at a high cost after all.

The Humble Hunter The Humble Hunter – This art lover seeks all forms of art, appreciating works within small gallery spaces and on the streets alike. The Humble Hunter will travel through every corner of Florence searching for any and every type of art. This free spirit will enjoy stumbling upon the Galleria il Ponte Firenze, which currently harbors metal sculptures or enjoy a more interactive setting such as an institute or a personal studio space. The FAIR gallery, part of the Florence University of the Arts, showcases an exhibit whose theme is tied to the ground (The Floor Show). The humble hunter will find many chances to interact with art students at the gallery throughout the day. Also, the aforementioned studio space of artist Marsi offers paintings that incorporate concepts of movement and perception into landscapes. The artist himself will spark up an interesting conversation on the matter if one decides to visit this tiny, but interesting gallery. Although much love is given to professional gallery works, a subset of humble hunters, the “street smarts”, will flee these indoor spaces in search of a grander, freer form of art. Walking down the streets of Via Guelfa and Viale Pasquale Pacci, one will find an array of street and graffiti art that exemplifies the true meaning of expression through the use of stencils and spray paint. The Humble Hunter will also find the heart of Florentine graffiti world beneath the overpass near Piazza del Cure. For the Humble Hunter, the world itself is art gallery, harboring the greatest exhibit known to man. Galleria il Ponte Firenze: Via dei Mezzo 42 F_AIR Gallery: Via San Gallo 45/r Studio Marsi: Borgo Ognissanti 63r

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Afternoons in Florence

FACES + PLACES

By Lynn Golan

Florentines flock to Piazza Pitti’s “urban beach” as my friend Alex puts it. The long stretch of soft gravel is a perfect place for an afternoon lunch or a prolonged repose in the sun.

Photos by Lynn Golan

As we enter into warmer weather the area around the Duomo begins to get busier and more tourist packed. There is no better place to people watch and have a laugh at all the groups of tourists tripping over one another as they walk head faced upwards at the massive church.

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Florentine Faces

By Lynn Golan

Florence is a city that inspires creation and expression. Street art is a form of expression that enables people to directly interact with art and inserts it into our every day life- bringing it to a down to earth level.

These sneaky little men invading Florence’s “Do Not Enter” signs are a work of local artist, CLET. There is absolutely no way to miss seeing these around the city.

Tuscan Faces By Lynn Golan

Carnevale is a period when people celebrate life and indulge in pleasure. Nearby Viareggio, just over an hour away from Florence by Train, is famous for its floats over 30 feet tall and costumed dancers lining the streets as confetti and silly string flood the air. Viareggio trip hosted by the Student Life & Development department at FUA was an incredible experience like no other.

Street art in Florence is a prevalent force, the mischievous face of these odd creatures create an interesting dynamic between man and art.

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Community Service Inspires a New Creative Vision By Amy Tanzillo

Now that students have finally settled into their routines in Florence, they have begun to realize how far they have come from home. Many have also begun to comprehend how immensely inspiring this city can be, thanks to their active participation in the community through volunteering. That is not to say, however, that all community service experiences are alike, of course. The Palazzi community has several student volunteers utilizing their passion for the arts in specifically arts-related environments; this allows them to employ their arts expertise while consistently adding to their previous scholarship in the field. One such fruitful environment for our peers is that of Ars et Fides Firenze, the local chapter of the international association Ars et Fides. Ars et Fides is an international federation of volunteer tour guides operating in seven European countries and fifty individual cities. The federation bases its activity on the Charter of Angers (1988) in its attempt to revive the inspirational power of Christian teaching that has helped to mold the culture of Europe. As volunteers for Ars et Fides Firenze, tour guides of all backgrounds, age groups and disciplines, give free tours of the major churches in the Florence city center: Santa Maria del Fiore, Santa Croce, San Lorenzo, Santa Maria Novella, and Santa Trinita. Each day volunteers arrive to their assigned location and must elaborate to a group of strangers upon the historical background, religious ideas, and popular principles that have made churches like the Duomo cornerstones in spiritual and artistic life since their construction. Through their volunteer service, our peers from Palazzi have the challenging opportunity to explain why these churches are so exceptional to this day. One student who has the pleasure of working for Ars et Fides Firenze is Whitney Veloski, a Seattle University junior studying visual art and art history here. Veloski is highly active on her home campus in Seattle, participating in plays and sports, but since arriving in Florence, she has devoted her time to learning about the city and local culture through art. The Interdisciplinary Arts major says that coming to Florence for her study abroad experience was a no-brainer. However, her experience in Florence is decidedly different from what she had expected before coming to Italy. She attributes these gratifying differences to her service thus far for Ars et Fides Firenze. Her volunteer work “adds another dimension” to her study abroad experience, marrying her previous knowledge of art

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with new and surprising discoveries she could have only encountered while giving tours. She describes the complementary relationship between her community service and her academic studies, revealing “From my art expertise, I can add something extra to my tours, but then I can take what the Duomo has to offer and apply that to my studies as well… it’s really come full-circle.” Although she regrets not being able to practice her Italian more often, she welcomes the opportunity to learn from her audiences in other respects. Veloski recalls one such learning experience from an unabashed child who was unafraid of asking whatever question came to his mind. “There was this kid during one of my very first tours, when I was still a little unsure of what to do or say… who asked me all of the questions, like, ‘is this the church where the Medici where murdered?!’ My only response was ‘You know, I’ll have to look that up!’” These are the moments, Veloski says, that help her learn the most about the Duomo and about Florence’s history. Through her tours with Ars et Fides, Veloski has also grasped new ideas that she says have already influenced her own work, in both theory and practice. “I can take what I’ve learned and put that towards my own art. I’ll think about the context of how I want my art to be perceived… it’s more than paint on a canvas. Studying art in the context in which it was made helps me create art of my own for a specific context,” she said. Perhaps Veloski’s most insightful observation, though, is that having studied and volunteered in a vivid cultural and historical environment will inspire her to view the things she sees in her home context in a new light as well. “Something that I really miss here is the mountains,” she laughs. Veloski knows, though, that she might not have come to appreciate such things if it was not for the way her volunteer service has opened her eyes to appreciate context, in art and in her daily life. By early March, Veloski has already experienced the power of community service to inspire a poignant new avenue in her artistic, academic, and personal maturation.

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The Age of Environmental Revolution By Deshani Senewiratne

between mankind and the environment.” He believes that the environment is a great value for the nation and that all individuals should “take action to ensure a sustainable environment.” Environmental sustainability encourages reusing and recycling materials, but also promotes creativity and resourcefulness. Sergio Gatteschi, prominent expert for the Florence Energy Agency, believes that “Europe needs to do more with less.” He stated that “natural resources should be used in a balanced manner so that the demands of future generations are also met.” Our environment is still facing enormous obstacles that have the potential to seriously disrupt our future and the future of all living things on our planet. However, talk about the environment isn’t all doom and gloom. Recently, people are becoming more aware of being environmentally friendly and have become active in sustainable methods. Institutions are helping by integrating environmental concerns into all decision-making activities, and technology is moving faster to help ensure renewable gases. As future leaders of society, college students can start taking action in making a difference in the environment. There are many ways that students can begin to volunteer and help their community: reuse, reduce, and recycle. We must be conscious of how our environment will affect our future.

STUDENT VOICE

Photo by Alex Bryan

As individuals are becoming more active in making changes to their everyday lives, environmental awareness is becoming a widespread phenomenon. On Tuesday, February 28, The Robert F. Kennedy Foundation of Europe hosted their monthly Human Rights Tuesday Nights event at Caffe Letterario discussing the topic of environmental sustainability. The event was lead by environmental activists and scholars that discussed the challenges and solutions to environmental issues. Wangari Maathai, the spokesman for the night, introduced the importance of maintaining an energy efficient system to help balance and protect the environment. Francesca Brunetti, the renowned author of DentroL’energia: Il Metano si Racconta (Energy and History of Methane), advocated for the use of renewable gas in our daily lives and stated “80 percent of natural gases emitted account to our household.” Federico Garcea, the CEO of the non-profit organization Treedom, said, “There is a natural relationship

A Mind is a Terrible Thing to Waste By Lindsey Pipkin

Walking around this great city of Florence, it is certainly impossible to miss the graffiti. In fact, sometimes it is distracting. That isn’t necessarily a bad thing. I have come across very aesthetically pleasing graffiti, and certainly I have seen the ordinary, vulgar scribbles. Despite all the graffiti I have seen, there is one work of art I particularly like. I walk by it every day on my route home. It is very simple, and isn’t too artsy. In fact, it may be more boring than much of the graffiti present in the city. Yet in its simplicity, there is a strong message: a mind is a terrible thing to waste, as the famous saying goes. Might that saying be cliché? Probably so, but it is so relevant to life. If we aren’t using our brains to learn things that open our eyes and our minds, opportunities have been

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missed and potential has been ignored. If we aren’t using them to better ourselves, the people in our lives, and even changes that are bigger than ourselves, what was the point in being born human? It certainly is not the easiest species to be. I personally would prefer the life of a house cat whose only responsibility is to sleep and be adorable, but that certainly isn’t as rewarding of a lifestyle. I want to put this mind to good use, and I want to fill it past capacity with information. Knowledge, however, isn’t enough; one must have the desire to use that knowledge and to share it. That is my goal in life, and I dare say, the goal of everyone in this life. Some people just don’t have the opportunities to do so, so the ones that are lucky enough need to do so. Otherwise, we are not doing our species justice. A mind is a terrible thing to waste, so make sure yours is not waiting to be put on the curb.

Photo by Lindsey Pipkin

FACULTY VOICE For this issue of Blending newsletter we are featuring a double faculty profile focusing on mafia issues.

Working Towards Freedom by Lindsey Pipkin

Professor Valentina Dolara is quite an activist outside of her job as a teacher. She is the instructor of a course on the mafia and the antimafia movement. Teaching is a way for her to spread information about the mafia and raise awareness about what can be done against them. “Information is the first thing. Education is actually something that is frightening the mafia a lot, because if people are able to think with their heads, it is less likely that they will be enrolled in the mafia because they know that they can have a better life,” Dolara said. “There is never enough information. It is a global problem, not just an Italian problem.” According to Dolara, there may not be as many sources about the mafia in other languages. Because of this, people develop an idea on what the mafia is like, mostly from inaccurate, glamorized Hollywood depictions. “I think there are a lot of stereotypes about the mafia,” she said. “Movies and these kinds of things are giving a certain portrait, so it is almost natural to have that image. Of course, movies are also enjoyable, but you also have to have a little bit more precise information.” Teaching has not been Dolara’s only method in raising awareness. She has been active in the antimafia movement since her time in university as a law student. What sparked

her activism was the assassinations of the two most famous judges who worked against the mafia, Giovanni Falcone and Paolo Borsellino. Because of the work they had done to prosecute mafiosi, they were murdered in May and July, respectively, of 1992. “In September [of 1992], we decided with another small group of people to form an organization in Florence to try to raise awareness about the mafia and speak out against them,” Dolara said. This organization thought it would be “more efficient” to grow from just the local level in Florence to be more on “the Italian scale”. Dolara participated in what is now known as Libera, which literally means “free,” and shows their aim to free people and society of the mafia. It was basically a network of associations that was constituted in 1995. The first thing they did was the collecting of signatures for a proposal to confiscate the assets of the mafia. This later resulted in the proposal becoming law. This was how Dolara started in her involvement in the antimafia movement and has since then been responsible for organizing conferences, meetings and events and has done work in Palermo. “It was a way to be active; a kind of social passion, because I thought it was one of the most unjust things that our society was facing, “ Dolara said. “I just felt that I needed to do something about this and I couldn’t be silent.” Dolara also works for the Dalai Lama in the Tibet Bureau in Geneva. While she once worked full-time, she now works for him part-time, whenever possible, serving anything from media liaisons to coordinating volunteers. In the Dalai Lama’s next visit to Austria in May, Dolara will be coordinating a translation. In class, she conveys her interest and passion for the subject of the antimafia movement despite her very sweet demeanor. Valentina Dolara has accomplished very much

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and is still working to do more good for society, and her actions can be an inspiration to everyone. “It’s a good way to act on what I believe,” Dolara said. “It’s a way to give free-will to your passions.”

Breaking Silence with Sara Ceccarelli by Rachel Cala

The barista asks Sara Ceccarelli in frantic Italian what she is being interviewed about. “la Mafia,” she responds, curious to see what reaction it would warrant. “Dica a quella ragazza che la mafia non esiste,” he responds in an unmistakably southern dialect. Tell that girl that the Mafia doesn’t exist. There lies the proof that it indeed does exist, and Ceccarelli recalls what it was like growing up as a girl from central Italy, and what the presence of the Mafia meant to her. “I was born with the Mafia; all my life it has been there.” Comfortably seated at a bar in Florence with an aromatic cappuccino in front of you, the presence of the mafia is generally the last thing on one’s mind. But it is here, as Ceccarelli is recalling her past, and the mafia is alive. It is a luxury for some fortunate countries that they don’t have to raise their children in fear. People can hope that the example of justice set for the youth is not overshadowed by corruption. In Italy, the people have had and continue to struggle in their fight against the Mafia. Ceccarelli was born in central Italy in a town called Cortona. Although she wasn’t in the thick of mafia activity, she remembers how it changed her life. “I am lucky,” she said recalling the blessing of being raised in central Italy. She was 10 years old watching the news that covered the brutal murder of Giovane Falcone, one of the two prosecuting attorneys that were killed after the Maxi Trial that attempted to defeat Mafia powerhouses in Sicily. Two short months later, Paolo Borsellino was also assassinated and Ceccarelli had to relive the horror. It was a Sunday and she was with her family. “I turned off the TV, shocked, crying… To see men like Borsellino and Falcone die was horrible.” She acknowledges that region and generation have a huge effect on how the Mafia is perceived. She has southern and Sicilian friends that suffered a lot. “Younger people are rebelling; they are not as scared as the older generations that just kept quiet.” She attributes the silence to fear and lack of awareness of the atrocities committed by the mafia. She feels that her elders thought “it was destiny to live with corruption.” “Sensibility is changing, people are more aware,” she said. Ceccarelli believes people need to start talking, primarily today’s youth that have more power than they know to break the cycle. This concept is easier said than done

when authority figures that could stop the Mafia are fickle and corrupt. Mass media is not free and neglects to expose the realities of the Mafia, all the while portraying a stable Italy. Though Mafiosi arrests may be in the news, they fail to portray the thriving sistema that still lurks in the shadows. “If the government is corrupt, if the media is not free, how can you save Italy? But all Italians hope,” she said. To solve the problem, Ceccarelli believes the government needs to step in and take action. By creating job opportunities in the south, less people will be sucked into Mafia activity. She saw the effects with her own eyes when she visited Naples, which she describes as “buried in trash.” The Mafia even controls the garbage in the south which is one of the many ways they dominate everyday life. The existence of poverty, thievery, and counterfeit money shocked Ceccarelli. “That is a place where a man will kill you for your bag.” She believes the Mafia is moving northward due to their domination of the construction business. Protection money called pizzo or tangente is used by the mafia to buy into public office, further extending their reach and domination into the lives of all. The growth of the Mafia has a direct relationship with the inaction of the government. Ceccarelli believes the Mafia is having a detrimental effect on culture, systematically picking it apart and weakening it. “Kids go to the Mafia instead of going to school,” Ceccarelli said. The sadness she feels as a teacher is evident, but she has not lost faith in the youth. What disturbs her most is the garbage, and waste that is dangerously disposed of by the Mafia that infiltrates the once fertile and clean soils of Italy. “In the center of Italy, the produce comes from the south. It is dangerous,” Ceccarelli said. Although Ceccarelli says she hasn’t had a conversation about the Mafia in over two years (that is how infrequently it is discussed in Italy), she includes it in her curriculum because it is undoubtedly a part of the culture here. Ceccarelli says it is scary how much control the Mafia has, linking themselves with the Chinese Mafia in order to assert dominance over production. She says it can be seen in all parts of Italy, even the counterfeit products that are sold in the streets here are quite possibly from the counterfeit factories owned by the Mafia in the south. This submerged economy is sucking the life out of the legitimate Italian economy, and nepotism and corruption are still thriving. Ceccarelli says the next generation is always better off than the last, with an abundance of information that is useful to fight against the Mafia. Perhaps evoking thought and conversation about this sensitive subject will help spread the word, and inevitably break the cycle of mafia activity in Italy. Ceccarelli is connecting with those she believes to be the most important players in this battle against the system. By educating, and hopefully by mobilizing the powerful force that is the youth, Italy will see some changes.

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Let’s Get Physical!

STUDENT LIFE DEPT.

By Rebecca Cokeley

Here at Palazzi, the faculty has made a great effort to accommodate the students with different activities that suit our diverse interests. Whether you enjoy cooking, have a particular appreciation for art, or want to learn more about the Italian language, there is a program here for you. Even when you simply want to break a sweat, Palazzi opens its doors at La Palestra, offering much more than a treadmill and bench press. The mini gym can be a great experience, but it can also be a little intimidating. Like some, I’m not always necessarily comfortable or thrilled about going to the gym. Too often, I find myself aimlessly walking around from machine to machine, awkwardly trying to figure out how it works. Eventually, I get frustrated or embarrassed and ditch my brilliant idea of going to the gym at all. However, I’ve always loved to work out, just by different means. For this reason, two other students and I have agreed to give instructional classes during the week at La Palestra, reaching out to those who want to try something different. New to the studio repertoire are two dance classes and an abs and glute workout class, offering different ways to get physical in Florence. Lauren DeStefano, 21, studies Italian Language at Stony Brook University in New York. Lauren believes dancing can make anyone feel good, no matter how you go about doing it. Though this is her first time leading a dance class, Lauren has been studying dance since she was six. Through her many years in the studio, she has enjoyed a combination of hip-hop, jazz, kick line and lyrical. Because of her expertise, Lauren was asked to teach “Jazz Time” at La Palestra, an introduction to jazz technique. She happily accepted and hopes she can inspire the students to develop a liking for dance, just as she has over the years. Lauren’s goal is essentially to introduce her students to another world of both working out and self-expression. Like Lauren, I believe that dance is a form of communication through one of the most important god-given features: your body. Studying Art History, I am also 21 and a Stony Brook student. Like many young girls, my parents enrolled me in the typical ballet and tap classes at age three. From there, I’ve been fortunate to grow fluent in jazz, hip-hop, and contemporary; dancing in pre-game performances for the New York Knicks, and half-time shows for the New York Liberty basketball teams. At La Palestra, I agreed to teach an advanced jazz class, “All That Jazz”, because well, to state the obvious: I love to dance. Joining Lauren’s mission of spreading the love, I simply ask you to give it

Photo of Rebecca Cokeley, courtesy of Rachel Cala

a solid chance. Lauren DeStefano explains, “...its not a competition class or a recital class...its just something that everyone can enjoy doing even if you don’t have a dance background. Its always fun to learn something new.” Finally, there’s Vanessa Pellegrino, 20, leading a gutclenching/abdominal class that will prepare you for the almighty bikini season. Studying Fashion Merchandising at the State University of New York at Oneonta, Vanessa has taught an abdominal class back at school twice a week for the past year. Needless to say, she’s no amateur. She expects students to gain a new perspective on abdominal and glute conditioning, hoping they can add it to their usual exercise routine. Her washboard abs are proof you will definitely burn your bellies and bottoms into tip-top shape. You may wake up the following morning tender, but over time, achieve a totally toned body. The classes we offer at La Palestra are meant to serve you in ways a traditional work out regimen can’t. In just an hour-long class during the week, we hope to demonstrate other ways to get in shape, move your body, and enjoy your time at the gym. We invite all students to join us for our classes: “Jazz Time”, Mondays 3:30pm-4:30pm; “All That Jazz”, Mondays 7:00pm-8:00pm; “Abs and Glutes”, Wednesdays 3:00pm-4:00pm.

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PALAZZI EVENTS For the weeks of April 2-14 Signups may be required for activities. Please contact studentservices@florencecampus.it for more info. Ganzo Aperitivo does not require reservation, for dinner it is highly recommended (Call 055 241076). Monday, April 2 Italian lecture series at sQuola, 12:00-13:00pm Jazz Time Intro Class at the Palestra, 3:30-4:30pm Wine Club at Ganzo: Sancerre and Sauvignon, 6:007:00pm Tuesday, April 3 Italian film series at sQuola, 12:00-13:00pm Hip Hop Class at the Palestra, 6:30-7:30pm Sports: Meet Rufina Pro Soccer Team, 6:30-8:30pm Wednesday, April 4 Abs & Glutes Class at the Palestra, 3:00-4:00pm AperiArt at Ganzo, 6:00-10:00pm Thursday, April 5 Flow Yoga Class at the Palestra, 11:30am-12:30am Abs & Legs Class at the Palestra, 4:00-5:00pm Guest Chef Dinner Event at Ganzo, 8:30-10:30pm Cibovision: Food & TV in Via Guelfa, 8:45pm Friday, April 6 Arty Fridays visit to Biagiotti Gallery, meet at F_AIR at 2:30pm

Saturday, April 7 Brunch at Ganzo, 12:00-3:00pm MON APRIL 8 - Easter Monday, NO ACTIVITIES Tuesday, April 10 Italian film series at sQuola, 12:00-13:00pm Ganzo Tea at Ganzo, 4:00-6:00pm Hip Hop Class at the Palestra, 6:30-7:30pm Sports Night, 8:45-10:00pm Wednesday, April 11 Abs & Glutes Class at the Palestra, 3:00-4:00pm AperiGanzo for Oxfam at Ganzo, 6:00-10:00pm Thursday, April 12 Departure for Sicily EFT Field Trip Flow Yoga Class at the Palestra, 11:30am-12:30am Abs & Legs Class at the Palestra, 4:00-5:00pm Apicius Student Menu Dinner Event at Ganzo, 8:3010:30pm Blending meeting in Magliabechi, 8:30-10:15pm Friday, April 13 Arty Fridays gallery visit with Alberto Mommarelli, meet at F_AIR at 2:30pm Saturday, April 14 Musing Music Club: Beyond the Opera Scene, 11:30am1:00pm Brunch at Ganzo, 12:00-3:00pm Benefit Dinner Event with Tinaia Art Therapy Center at Ganzo, 8:30-10:30pm

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AFLORENCE

DO’S & DONT’S BY BLENDING STAFF A

DON’T

VISIT A NON-BOBOLI GARDEN

Florence offers a variety of green spaces from the Cascine Park to the Bardini Gardens, the Horticulture Garden and Orto Botanico.

TRY CONTEMPORARY ITALIAN CUISINE

Tasting traditional flavors is a must, see how contemporary chefs reinvent them today at restaurants such as Osteria Io Personale e Ora d’Aria.

EXPERIENCE MUSIC/THEATER

Don’t leave Florence without an experience at La Pergola, Teatro Verdi or Teatro Comunale.

MISS OUT ON SEASONAL CUISINE Stop by the outdoor markets to see what’s fresh now.

FORGET ABOUT YOUR ITALIAN CLASSES Yes, it’s mid-semester, but what you learn in Italian class can be applied everyday until the last day of the semester.

STAY WITHIN THE WALLS The greater area of Florence extends well beyond the ancient walls. Just beyond them you’ll find larger and more economic supermarkets and incredible views such as those seen from Fiesole.

Blending Newsletter

Supplemento di Blending Magazine reg. Trib. di Firenze n° 5844 del 29 luglio 2011 Anno 2 - Numero 2 - Marzo 2012

Editore

Florence Campus per INGORDA Editore Via Alfonso La Mamora 39, 50121 Firenze

Redazione

Corso Tintori 21, 50121 Firenze Tel. 055-0332745 Stampato in proprio

Blending Masthead

Editor-in-Chief: Matteo Brogi - Senior Editors: Grace Joh, Rebecca Valpy - Copy Editing: Lindsey Pipkin, Amy Tanzillo Layout Editor: Angela Neal Blending is a monthly newsletter created with and for Palazzi FAIE students, in collaboration with the Student Services Department of Palazzi. For information contact grace.joh@palazziflorence.com www.palazziflorence.com

Final Thoughts... FUA student Christian Weeks’s haiku-like poem arrives almost eerily on time with the arrival of the spring season and thus mosquitoes, another breed of stingers that buzz about the city during warmer months.