Blending Newsletter November 2014

NOVEMBER-DECEMBER 2013

NEWSLETTER

ISSUE 7 - YEAR 4 | PALAZZI/FUA | NOVEMBER 2014

NOVEMBER CONFERENCE HIGHLIGHTS The Genius Loci: Florence and Galileo academic conference sponsored by FUA and SUNY Stony Brook and scheduled for November 7 and 8 holds in store a full two days of activities including panels, presentations, and exhibitions.

Several key features distinguish the 2014 edition: • The inauguration will be held at the Galileo Museum, with keynote speakers such as museum Vice Director Filippo Camerota.

• Out of the many conference supporters, 2014 also counts the Italian Ministry of Cultural Heritage and Activities.

by Blending Staff & Thomas Brownlees

• Fulbright scholar and FUA writer-inresidence Jessie Chaffee will present her work as an author within the framework of Florentine genius loci.

• The art exhibition Inner Cosmos will feature the work of Prof. Nicoletta Salomon. A second DIVA student exhibition rounds out the artistic programming of the conference.

• The November 8 afternoon panels

will place a special focus on entrepreneurial speakers.

The conference will be open to the public and free of charge. Based on the conference program pdf available online (www.fua.it), participants are kindly requested to

communicate which panels they wish to attend in order for the conference management to properly accommodate the audience. For any questions regarding the conference, please contact: tbrownlees@fua.it.

FULBRIGHT SCHOLAR Fulbright Scholar Jessie Chaffee is working with Florence University of the Arts as the writer-in-residence while conducting research for her novel.

Your Body Must Be Heard “Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies.”1 This is Hélène Cixous’s powerful call to action and it is one of the primary tenets driving my writing. I want to bring women to the text—their perspectives, their interior lives, their bodies. “Your body must be heard,” Cixous writes.

Perhaps this is why I am so drawn to the mystical saints, whose stories inhabit my novel.

In spite of their straining away from the flesh, their narratives are filled with the sensual, the visceral, the bodily. Some are remembered through the body—Santa Caterina’s mummified head stares out at pilgrims in Siena; Beata Ludovica Albertoni grips her marble breast in Bernini’s sculpture of the saint in ecstasy.

Others are remembered for the violence enacted upon their bodies—Santa Reparata was beheaded and burned alive; Santa Margherita cut down to the bone when whipping herself.

I am thinking about these women and their corporeality when I visit the Basilica of Santa Prassede in Rome. A painting in the high altar captures this early saint clutching what appears to be a heart but on closer inspection is the saturated sponge she used to mop up the blood of the 23 martyrs who preceded her.

A shrine holds a modern icon of Santa Prassede, her hands laced with blood. I am most interested in these realist renderings, but I still visit the church’s small side chapel, famous for its Byzantine mosaics, and it is there that I find myself hearing, again, Cixous’s words. Your body must be heard.

There is little warning of what awaits as I duck under the low door of the chapel of San Zeno, but as soon as I am inside, I am overwhelmed with color and light. Every surface is covered and images flecked in gold radiate from all sides, painting everything—the haloed saints, my own arms and hands—in a rose-gold glow. The layers cross and stack, undulating and giving startling depth to these otherwise flat figures. The doorways

by Jessie Chaffee Photos by the author

dance with swirling plants and animals. In each of the chapel’s four corners, tiled angels burst from the tops of pillars, their bodies belling out as they wrap around the ceiling’s vaults with arms upraised. I step out of the chapel and then back in and it is like stepping into sunlight. Bodily.

I wait until there is a loud thud as the coin-operated lights go out.

Only the gold tiles are visible, glinting. They are imperfectly cut and these oddities leap out. I can feel their rough texture, can feel the hand that cut them and placed them at off angles so that they catch this half-light in shifting hues. My eyes adjust and more fragments emerge—the head of a deer, a gilded edge of sandal, a partial face. I suddenly want to run my hand along these walls, feel the imperfections, feel the roughness on my palm as the glass edges cut in, feel the faces and bodies, read them like Braille.

But even if I were to stretch my arms up, mirroring the vaulted angels, I would grasp only empty air. This corporeal space is, like so much affecting art, in one moment tangible, visceral, and in the next just out of reach.

1 Cixous, Hélène. “The Laugh of the Medusa.” Signs 1.4 (1976): 875-893.

Left: Detail in the chapel of San Zeno depicting Santa Maria (center) with Santa Prassede (left) and Santa Pudenziana (right) Below: Interior of the chapel of San Zeno, lit

ART

CURATING ANDREA MANCINI Gallery and Exhibition Curating Experiential Learning students share their perspective of the first show they curated for artist Andrea Mancini. His show ran until October 14 at Ganzo. His studio, StudioD'Arte, can be visited at Via Cavour 166a, Florence.

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by Mary-Madeleine de Regnauld de Bellescize, Sadie Sullivan, Haley Markham, Jennifer Kelly Hoskins Photos by Silvia Mancini

Andrea Mancini, a Florentine artist, held an exhibition at Ganzo on Wednesday the 24th of September. For this show, Mancini started a new collection inspired from Il Quarto Stato

by Pelizza la Volpeda, painted in 1890. This Italian painting

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NOVEMBER 2014

is known by all Italians as it represents hope for them all. Mancini's version is entitled Il Quarto Stato 2.0 in which he gives it his own contemporary twist. It is not easy having such a contemporary piece of art being accepted into a society that is used to being surrounded by works from Caravaggio, Da Vinci, or Titian.

While many artists are known for their slow, detailed process when painting, Mancini’s technique is much faster. He has fallen in love with the technique of la pittura leggera; this process requires that the artist paints rapidly, alla prima, and with light brush strokes. Mancini prefers this technique because it requires you to paint your first impression. His works vary from collections of paintings to fashion illustrations, books, landfills, and printmaking. Mancini says, “beauty and reality are not the same as beauty and a painting because for a painting you

extract a part of the beauty in real life.”

By this he means that a person may be surrounded by everyday objects and not see the beauty in them, but if you look closely, you can find a shadow or a source of light that makes our whole world beautiful. Mancini captures this in his paintings, such as his pittura leggera watercolor painting called Tires.

As students taking part of the Gallery Management and Exhibition Curating team at Florence University of the Arts, we felt the process of building an exhibition was challenging and rewarding in many ways. Not only was the exhibition successful, but also our relationship with Andrea Mancini flourished into a friendship. It was very rewarding to work alongside an Italian artist, and learn more about the culture, Italian art, and the spirit of the city of Florence. Curating can

PICASSO AT PALAZZO STROZZI

be stressful, yet throughout the past month, the team acquired skills of time management, prioritizing deadlines, and communication with the press office and graphic design team of FUA. Mancini was very easy to work with; he was inspirational and made us excited to help him prepare his show.

Initially, it was difficult figuring out where to put the paintings in the allotted space while preparing the exhibit. Taking into account the importance of lighting and space between the frames, the team worked with Mancini to perfect the final outcome. After our first experience at curating, we feel more prepared for upcoming shows and are excited for the relationships we will build outside our class and within our own team, including professor Giovanni Rossiello. We look forward to visiting Mancini again to see how his new project is coming along.

by Lindsey Hook of Hook'd On A Bite™ Photo by the author

Palazzo Strozzi got a facelift this past year, preparing for its newest exhibition: “Picasso and Spanish Modernity.”

This collection of works highlights those of Picasso as well as the artists he inspired such as Joan Miró and Salvador Dalí. But instead of simply showing works of art, the Strozzi staff has posted thought-provoking questions in each room, encouraging visitors to personalize their experience. The queries allow you to see each piece in a different way, and reading the posted responses gives perspective from all angles (and ages). “Is art still alive if no one is there to look at it?” “How can art help us to confront tragedy?” Such are the queries that are posed to stimulate visitors’ reactions. An answer may lie in one of the final rooms of the collection featuring the preparatory sketches of Picasso’s world-renowned “Guernica” as well as other works of that period. Dim lighting and gray

walls are accompanied by the dark works of Picasso, which were created during the Spanish Civil War in the late 1930s.

One is able to sense the almost tangible feelings of the suffering and agony of war radiating from the frames. The mood changes dramatically from excitedly viewing assorted sculptures, paintings, books, and even a 16mm film, and upholds the dramatic complexity of the entire adventure.

Want to experience this emotional art roller coaster for yourself? Be sure to purchase tickets online or at the Palazzo Strozzi ticket office, and leave with an experience all your own!

PALAZZO STROZZI Piazza Strozzi, Firenze until January 25th, 2015 - 10am-8pm daily until 11pm on Thursdays - tel +39 055 2645155

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ART & TOURISM

REVERSING THE ROLES OF TOURISM: ORSANMICHELE Living in a city like Florence, we are all too familiar with the small tour guides and their telescoping flags or brightly colored bandanas that lead throngs of tourists to the most historic sites. And while it's true that we may have even been in these groups when first arriving to the city or with our classes, we were never that oblivious.

We have grown accustomed to giving groups stern looks as they take up entire sidewalks and block entire alleys.

Recently, however, the tables were turned and I found myself leading one of these throngs of people, if only for a moment.

The assignment was for an art history course that focuses on Renaissance

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Florence, it required up to ten minutes of presenting the statues of Orsanmichele, at Orsanmichele. Although every Art History course I have taken has required a research paper and presentation, they have always been confined to the classroom. At the Orsanmichele, the fourteen niches of statues wrap all the way around the large square frame of the grain market-cum-church and the physicality of presenting something so concrete was much different than a powerpoint. The ability to talk as we transitioned from one statue to another was foreign to me, and choosing the topic and how to present hundreds of years of information in a way that conformed with the building was also tough.

I decided on starting with the statue of St. Mark and going counterclockwise.

Keeping the presentation to only six

by Megan Seldon Photo by Neal Johnson

statues, I discussed the progression of Ghiberti and Donatello's styles from the International Gothic to the Renaissance.

As we transitioned from one statue to the next, our group was often separated.

Stretched into a single file as we tried to squeeze through other groups it was impossible to maintain constant contact with my audience. With an already short allotment of time to present so many statues, the transition period of physically getting from one subject matter to the next was becoming the biggest burden.

Used to moving from one topic to the next with the click of a button and even moving with ease through crowds as I had practiced and planned my presentation, I was limited to short rapid-fire bursts of information at each statue while with the class group. Because of this, my presentation may have lacked some depth, but the experience of seeing the works firsthand and interacting with them in a 3D space more than made up for the smaller points lost. When talking about the realism of Donatello's St. George compared to the over stylized facial features of Ghiberti's St. John the Baptist, it helps that you can see the way St. John's slit-like eyes wrap around the side of the figure's face and are able to stand in front of the niche of St. George from the exact place Donatello had intended for his developing one-point perspective.

Not only did the project allow for us to have the proper perspective to view the works, but it changed my perspective on the bandana-carrying guides of the city. Being a tour guide takes more work and practice than I might have thought. If I had any misguided feelings towards them previously because of the straggling tourists they lead, I have now learned to recognize the difference thanks to the reversal of roles that I briefly experienced.

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HOMETOWN TOURISM: THE DAVID

by Emily Pate

In a city packed full of tourists taking photographs and staring with wide eyes at Italy’s monuments, there are also those Florentines who aren’t quite so agog, but still let their gazes linger on the physical manifestations of their city’s history.

Photo by Emily Madigan

Rosanna Bari, a Florentine tour guide, feels a deep connection to the monuments she introduces to those newly come to her city. Even living surrounded by the monuments and works of art that people fly all the

way across the world to see, their cultural and personal significance is not diminished by repeated experience.

Signora Bari says that “each time is like the first time.” When she enters the city center, the hub of historical importance around which the modern city spins, she becomes a tourist herself.

The foreign tourists are not sources of annoyance, as might be expected, but points of pride. So too are the physical representations of Florence’s past that they come to see. Michelangelo’s David, a symbol used across the world to represent Florence, is not just a work of art to be amazed by, to take pictures with, and to send depictions of home in the form of postcards.

This sculpture is one of the monuments that Signora Bari calls “patrimonio,” or heritage. To her, it represents not only the perfection of the human body, but acts as a symbol of Florence itself. It is a part of her city’s history, sculpted by

her favorite artist as a symbol that lives on into the modern era.

Sharing a hometown with the David does not lessen the power it has upon those who view it. In fact, to those who share its city of birth, it becomes something more than an attraction or even a masterpiece to perform a modern day pilgrimage to see. It becomes an aspect of the city, a source of pride for those who, though not on postcards or in art history textbooks, are as much a part of Florence as the David is.

Photo by the author

FOOD & WINE

AUTHENTICALLY AGED We so often jump at the chance to taste the delicacies of the places we visit, but what about the opportunity to experience the process in which these world renowned goods are produced?

Through FUA’s educational field trip to Parma and Modena, students got an up-close look at how three of Italy’s most famous products are created.

We all know the terms prosciutto, balsamic, and parmesan, but where do they come from and why are they so good? All three of these have two things in common aging and authentication, and both contribute to unique, delicious flavors.

Emilia-Romagna, a northern region in Italy, is home to the cities of Reggio Emilia, Modena and Parma. This trio of cities provides the rest of the world with edibles that are consumed daily here in Italy. Parma is famous for its quality

by Lauren Fromin Photos by the author

prosciutto, Modena for its balsamic and Reggio Emilia for its parmesan - hence the name “Parmigiano Reggiano.”

Authenticity is one of the two key factors for the production of these foods. There are only two consortia of multiple producers that make true traditional balsamic vinegar - one from Modena and the other in the nearby city of Reggio Emilia. From these associations comes three grades of balsamic: Aceto Balsamico Tradizionale in the European Union, which legally can only be described as authentic, traditional, artisan balsamic; commercial grade balsamic vinegars manufactured industrially; and condiment grade, which is usually a mix of the first two types. Regarding Parmigiano Reggiano, the legal term "protected designation of origin" (PDO) certifies the name of the cheese as authentic parmesan. This means no imitation cheese within the EU can be labeled Parmigiano Reggiano, only the products produced and certified in the Emilia-Romagna region can take the name. Similarly, Parma ham, or prosciutto di Parma, can 5

only be legally produced in the region of Parma with pigs born and bred only in Italy. The official Parma stamps of quality testing will prove this distinction and are found on the product.

Aging is the other key element of these three foods. The following describes the process in which each is made: Balsamic Vinegar The grapes found in this northern region are Lambrusco and Trebbiano grapes. Typically, the grapes are harvested and reduced to a "must" through a boiling process and through

aging the flavors ferment and concentrate. Depending the type of wood the product is stored in can determine the flavors found in the final result. On the EFT field trip, no barrel of vinegar was less than five years aged with one as old as 100 years! The longer the vinegar concentrates, the thicker and sweeter it becomes. These flavor differences can provide different uses for the vinegar. For instance, a spoonful of vinegar can be used as a natural digestive and the sweeter it is, the sweeter the products it pairs with can be - such as cheesecake and fruit. Generally, a younger balsamic is used as a topper to salads and as a dipping sauce for some cheeses.

Parmigiano Reggiano True Parmigiano Reggiano takes 365 days to produce.

This is due to the bacterial cultivation that can change the overall flavor. Due to its need to be monitored, the entire year is used to control the final result. Cows are milked for a specific amount of time and twice in a day. Once at the end of the day, where the milk will sit in a vat overnight and separate naturally to become partially skimmed, and once in the morning where the whole milk will be combined with the skimmed. Therefore, parmesan is 50% partial skim and 50% whole milk in each wheel. There are three age levels for the

cheese, 12, 24 and 36 months. Each wheel must meet critical requirements to pass the first stage of authentication early on in the aging process, while it is still soft and creamy. Once this step is approved, the wheels are placed in the aging room for a designated amount of time waiting to pass the second stage of quality testing. Again, depending the length of time aged, depends the usage of the parmesan, just like the balsamic. You can find this cheese offered cubed as an antipasto or grated on some of your favorite dishes, the rind can even be used to flavor soups and sauces which means the entire product gets used.

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Prosciutto The famous Italian ham is carefully manufactured in facilities throughout Parma. The worker at La Perla Salumificio, where we visited on the trip was actually a veterinarian, proving the care that goes into the process. He showed us the coolers where the ham is stored and aged once broken down into parts. Initially, they are stored for up to 15 days in one cooler and transferred by hanging conveyor belt to a second cooler where a salting process occurs. Several weeks later, they are transferred to the final cooler where they will finally be hung out to age in the open air of the facility for up to 18 months until they are tested for quality and taste. A filed horse bone

is used to prick the meat and test the scent to ensure the right methods are used in this aging process. Similar to the parmesan testing, there are two phases, once in the middle of the aging process - a stamp of approval - and a final certification before the sale of the product. This is marked by a crown with the word Parma in the middle.

Aging is a process that should not be taken for granted, at least not when it comes to our food. So the next time you get the satisfaction of enjoying one of these delicious products, acknowledge the care and labor that went in to providing you one of the most quality foods you can get your hands on.

SAN MINIATO TRUFFLE FESTIVAL Photo courtesy of www.everystockphoto.com

FUA PR Strategies students announce an unmissable event dedicated to the Tuscan white truffle.

Visiting Tuscany is not complete without stopping by the town of San Miniato to celebrate the National Festival of the White Truffle, known by the locals as La Sagra del Tartufo Bianco. During the last three weekends of November the streets are filled with quaint stands selling all the trufflebased products you desire, from truffle oil, to sauces, salts and preserves. For those of you who are not drawn in by the rich, mouth-watering aroma of decadent white truffles there is also an abundance of exquisite wines, honey, fresh bread, meats and cheeses as well as entertainment. If you are lucky, you may even have the chance to try Pecorino cheese straight from the

town of Pienza. San Miniato is located between Pisa and Florence. The festival opens its doors to visitors on Saturdays and Sundays in November starting on

by Connor Nickerson, Danielle Weadock, Alexa Casavecchia, Kelsey Renee Norton, Gabbie Amontree, Hannah Osborne

the weekend of the 15th and lasts all day. Come and experience the finest flavors of Tuscany and make memories that will last a lifetime. Â

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TRAVEL

IS THE PRESENT AN ANTICIPATED MEMORY? “Magnifique,” says a French tourist watching the picture he just took. It took me a while to understand the abyssal meaning of what just happened.

There he was, turning his back to the Duomo, with his cell phone raised in the air and smiling like there was no tomorrow. He looked like he was there, but he wasn’t. In an indescribable way he was already days, months, decades in the future, sharing this moment

with his loved ones.

According to Daniel Kahneman, an Israeli-American psychologist, what we call “happiness” is in fact plural, it is a wide range of satisfactions comprising all of our different faces. Among those faces, the most important are the “experiencing self” and the “remembering self.”

The first type lives here, in the present, enjoying every single wonder the world has to offer in the most intense way. This person likes the view of Firenze from the Giardino di Boboli, the refreshing scent of the Ancient Pharmacy of Santa Maria Novella, or just the smile of an old artisan on the Oltrarno. Each second contains the whole universe and there is no time, no limitations, no continuity, and no tomorrow.

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So what will happen when the clock starts ticking again? Well then, you might want to see these beauties for more than another second. When taking a nap in the Parco Villa Fabbricotti or telling your story to a close friend, all you need are memories. Your “remembering self” is awake and can open this old book you didn’t even realize you were writing.

Every word you remember, every photo you took, and every souvenir you brought home is thrown on those precious pages.

You might have a hint now of what this selfie truly was. Instead of living intensely in the present and appreciating the real colors of the Duomo, this tourist was experiencing this moment as an “anticipated memory”. By hiding half of the building with his smiling face and applying filters on the picture, he distorted the reality, with an artistic aspiration. As the photographer, writer, and architect of his own memories, he is choosing the precise way he wants to share it in the future.

It seems unnatural, but today we have two different ways of enjoying our life, and each of us can make a choice. Some

by Geoffrey Poncelet Photos by the author

will decide to run through life while tasting every single delight it contains.

Never turning back and never looking too far, like a child playing in the living room pretending that the floor is lava.

However, others will prefer to shape the world as they want to see it, and share those portraits and landscapes

with friends, like a teenager decorating a room with favorite pictures, teddy bears and old presents.

Two approaches, two ways of enjoying life’s moments. Actually, the true secret might be to understand what the concept of “feelgoodism” means, and to reconcile the two selves who are playing the same game, with different rules.

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A PATH TO PEACE

Piazza Michelangelo is known to have the best view of the city. The panorama captures the whole heart of Florence; you won’t miss Forte Belvedere, Santa Croce, Ponte Vecchio, the Duomo, Palazzo Vecchio, the Bargello or the hills beyond.

There is no doubt that Piazza Michelangelo is a site worth seeing in a city worth visiting, but on Sept. 21, a cloudy afternoon, the most worthy site was the people.

As I walked up the zigzag path to the Piazza, I was curious to know what the distant, muffled microphone and synchronized cheers were above me. I picked up my pace and when I finally approached the top I was amazed at what was before me. Hundreds of people gathered in the center focused on a stage before them; different stands of organizations bordered around.

Against the overcast sky dozens of flags waved in the expressive wind.

There was an assortment of flags rainbows reading PACE or nonviolenza, the Sahrawi and Italian flag, and flags advocating equality associations. I came to the piazza to lookout over the city, but what I ended up seeing was so much more.

I weaved throughout the variety stands, among them were, the Union of University Students and the Network of High School Students, Auser, ARCI, Emergency, and CGIL. The two student union organizations bring students

together through support, equality and zeal for the future. Auser is a voluntary, social development that promotes active aging to grow the role of senior citizens in society. ARCI (Italian Cultural and Recreational Association) has about 1,115,000 members divided into local clubs that deal with various cultural topics.

Emergency is an independent and unbiased organization that provides free and high quality medical and surgical care to the victims of war, landmines and poverty. CGIL (Italian General Confederation of Labour) is the first trade union in Italy. There were countless stands like these, accompanied by vendors, food, music and the center stage.

I wandered alone, but I was far from it. Groups of people, families, couples,

COMMUNITY

by Blaine Weiss Photos by the author

police, the young and old, friends, and curious tourists were all bound together by this gathering of peace. The speakers were presenting in Italian and the translation came from within; the only language spoken was love. This gathering wasn’t a rally, protest, or cry for attention, it was a celebration of life. It was selfless movement, an open community welcomed to and by all.

As I wrapped around the piazza one last time before I headed home, I looked out at the postcard view and couldn’t help but smile. Behind me I could still sense the effortless movement of the flags in the warm breeze and two strangers shaking hands in the comforts of hope. Italy struck me by surprise that Sunday afternoon and as I take with me the sense of love I experienced that day, the city continues to surprise me.

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ITALY’S IMMIGRATION PROBLEM

by Joslyn Matthews Photo by Mikaela Fortuny

Picking up everything to start a new life with better opportunities in a foreign country, is an age-old concept and is often considered a necessary step to improve one's future.

However, Italy has been struggling with this idea in the form of the goals of thousands of immigrants who arrive on its shores every month.

This past year alone, more than 100,000 migrants arrived in Italy by sea, many coming from countries in Northern Africa such as Libya and Eritrea.

Migrants usually travel by boat, an unsafe yet common method due to the close proximity of the African coast to the small Italian island of Lampedusa. These passages are fraught with danger; just last October a boat sunk off the coast of the island, killing 366 people.

In response to this tragedy, Italy began what was initially a temporary emergency rescue operation called Mare Nostrum that allows the Navy to ensure safe arrival for migrants risking their lives on the sea. The operation costs the country €9 million a month, putting further strain on an already weak economy.

The European Union has stepped in to assist Italy by establishing Operation Triton, which will go into effect in November. The operation has an estimated budget of €2.9 million and, to prevent further accidents, will assist with patrolling the Mediterranean sea near Italy’s coast for vessels carrying migrants.

Remedying the issue of undocumented immigrants is not as simple as deportation. According to the Dublin

Regulation, a law enacted by the EU in 2003, immigrants seeking asylum are required to stay in the first country where they are processed which makes Italy responsible for those who arrive.

Many of these migrants are fleeing unstable situations in their home country and are seeking safety, but concerns among Italian citizens include the legal status of these immigrants and whether they will have the ability to contribute to the country.

LOCAL VOICE

A CITY AT ARM'S LENGTH Brittany Hernandez gathered the reflections of a Florentine local involved in the art world.

The following is what Ms. S shares about her Florence.

I forget that my Florence is so important; that it is filled with many historically significant monuments. I know and love this city as though it were a member of my family, as if we shared the same blood in our veins; and yet, I take her for granted and neglect her history.

I would like to blame this stage of my life on my oversight, but I know it is my own doing. Why would I spend my 10

day free from work - a part of my life that takes much of my patience and energy - and go to a museum? Many people like to think they can go into one of our museums, spend a day there and come out having truly appreciated all of the artwork. This is impossible!

You could spend a month living in the Uffizi and still leave without having understood all the pieces. Art requires energy to not just see the image, but also its texture; to sense the emotion of the artist and the subject; to ponder the color story and its significance.

It can be considered its own job to appreciate art. Florence is my city.

I tell myself I will go next month to

by Brittany Hernandez Photo by Emily Madigan

this museum or that gallery and I never make the time. I would rather go to another city and see something new. I find myself appreciating the parts of Florence that most tourists are not lined up to see. I admire the churches, big and small alike. Much like an elderly person, they have lived a long life, greeted many people, dealt with much conflict, offered peace and refuge to a hurt soul, and have built up good character.

Yes, the Uffizi offers all genres and time periods of art that have the potential to appeal to many people. And there are certain pockets in the Palazzo Vecchio - that do not often attract

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the hordes of tourists - I remember I enjoyed seeing when I worked there. I was responsible for using ancient keys to lock up all the rooms; I took the time in my younger years to look and see what was before me. There was a time when I would go to Palazzo Strozzi to see the art exhibitions; now, my idea of a sight to be seen is the Lungarno. At any point in the day this path along the river is my favorite walk. It is on this walk, which I make before and after work, that I consider all of these buildings that surround me. How could something built so long ago be considered beautiful even today? How are they all still

standing? There are buildings made with present day technologies, which aren’t made to last. These do! To me that shows the strength of my city and I cannot help but understand why the tourists flock to my big village. I say big village because it's a community.

You do not need a car to get around.

You can walk across a bridge to the Di

là d'Arno to find the heart and true spirit of the long withstanding Firenze. There may be less lights than in a metropolitan city, but there you will find shops owned for generations by the same family; there are artisans crafting jewelry or doing metal work, preserving an art that has run like blood through the city's past and on into the present genealogy.

There is much that I need to remember to appreciate about my city and take the time to see. There is also much to be loved outside of a typical guided tour of the city. Find the pulse of the city that most resonates with you and follow it.

THE PRIDE OF A FLORENTINE

by Laura Tressel Photo by Matthew Shegog

Marco Biagiotti, a 26-year-old student going on lawyer, has been in a committed relationship with Florence since birth. He has traveled to other parts of the world, including Spain and England, but always finds himself returning to Florence.

I sat down with Marco to try to understand this passion for his city of birth.

L: As a local, do you visit the Uffizi or Accademia Galleries regularly? What’s your opinion of them?

M: I haven’t been for about 15 years. They took us there for school, elementary or high school, but I have only been back to the Uffizi once since I was 15. It’s hard to get inside because the lines are so long. Also, when you live in a city such as Florence, you start to care more about seeing what is outside the city and forget about the treasures it has inside.

L: How do you feel about Michelangelo’s David?

M: I feel proud! The David is one of the most important masterpieces in the history of mankind, and it was created here by a Tuscan genius and preserved by the Medici family.

It is an amazing thing we have to call our own. Whenever I go to see the original, I feel an emotion…it’s like electricity running through my body.

L: That’s beautiful. If you feel so strongly about David, I can’t imagine what you feel for Florence itself. What’s it like living in a city with so much history, and where so many people from around the world want to visit?

M: Florence is the best city in the world. I feel so much pride for it. Even if they don’t always show it on the outside, every Florentine is aware of how unique and amazing their city is. We can be snobby sometimes, but it is only because we believe in Florence’s greatness.

L: I’m starting to believe it myself. Is there anything else you want to say about the city or its monuments?

M: Just this one thing: If you ask anyone here where they wish they could have been born, if it could’ve been anywhere in the world, they would answer, “Florence.” It is as simple as that.

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FOREVER IN FLORENCE, FOREVER A TOURIST

The first time I saw him he was heading down Via Ghibellina.

I had only been in Florence for a few days and they had consisted of me bumping into innocent people because my eyes were focused not on the street ahead of me but up above where people were hanging out of their windows conversing with one another and hanging laundry out to dry.

There were too many places to look at all at once and I was completely overwhelmed.

Therefore the fact that this particular man caught my eye completely took me aback. It was the look on his face. His smile was so big that it was almost bigger than his face. I glanced sideways to see who he was smiling at, for he was looking way beyond me, but when I turned to see who he was looking at I realized he was not smiling at anything in particular. What I was 12

most confused about was that he was smiling even as he was caught behind a massive tour group. He did not seem phased by the commotion like I would be if I were in his position. How could someone be smiling when they cannot even make it down the sidewalk of the street they live on? I pondered what I had just seen but quickly let it go and entered back into the trance Florence had set over me.

Days later, I was seated at a local restaurant, and there he was again, standing right in front of me with the same smile on his face. He introduced himself as Alberto. I had to ask him about that one day I saw him smiling on the street even though he was completely surrounded by noisy and obnoxious tourists.

“Alberto, I just have to ask you something. Why do you smile when you walk down a street that is bursting with tourists and visitors? Does it bother you that you live in a city oozing with tourism? Do you ever go to touristy spots like the David or the Duomo?” He

by Kelly Laske Photo by Blending Staff

grinned as I threw a million questions at him all at once. He looked up at the ceiling and his brows creased, as if he was unsure of why he was smiling so brightly that one time. “You know, no one has ever asked me that question before. And to be honest, I never even knew I smiled so often when I walked down the street. I think that smile shows what Florence does to me. I have lived here my entire life, yet I cannot seem to get used to the way it makes me feel. I do not care if there are tourists outside my door every day. I am not a selfish person… I want everyone to feel the way I do when I walk down the streets. I am a tourist myself. I visit the David once a year and I walk up to Piazza Michelangelo every Sunday morning. I enjoy seeing the reactions of people who are visiting for the first time because they are getting the opportunity to feel the way I do and have felt for my entire life. I know the feeling will never get old.

Florence makes me smile every single day for reasons that I can’t even explain or understand myself.”

NEWSLETTER

NOVEMBER 2014

FACES & PLACES

ONE MAN'S TRASH IS ANOTHER MAN'S TREASURE The second Sunday of every month is my favorite Sunday. Santo Spirito is home to a buzzing flea market as shoppers crowd the square with empty bellies, curious eyes, and an adventurous spirit. Walking around the market once isn't enough though because you're guaranteed to find something different each time. You'll find an assortment of things — books so old you can smell their history; vintage clothing dating back to the 50's, 60's, and 70's; antique jewelry, knick-knacks, paintings, and posters. Walking one step into the square is like stepping 30 years into the past. Antique dealers come from near and far, gathering monthly, to show off their items.

I was enamored by the countless postcards dating back to the 30's; the majority of them torn and wrinkled, faded or

by Blaine Weiss Photos by the author

water damaged. But it was those characteristics that made them all the more worthy. The uniqueness of each postcard wasn't the picture on the front, but the words on the back.

The postcards had already been written, sent, and delivered, these once personal letters now collectors' items being sold to the public.

What makes a flea market differ from others however, is the location. Santo Spirito is a place of character, local beauty, and simplicity. The energy of Santo Spirito weaves methodically throughout the different vendors who align the square.

Often it's too easy to have fun, relax, and search for your perfect treasure and every second Sunday of the month you'll find me out there along with many others, time traveling.

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Santo Spirito Restaurant Tip

by Danielle Iannetta

Photo by Matthew Shegog

If you are looking for a great place to eat or even hang out, Santo Spirito is the perfect spot. It is a lively and charming square, constantly filled with locals and laughter. Most nights, you will find the church steps packed with people hanging out, dancers in the square, or musicians serenading. After a month of having small talk with the employees and living above RISTORANTE RICCHI, I finally sat down and ate dinner there at the outdoor patio. Ricchi is known especially for its seafood dishes, but I enjoyed the mezzaluna pasta and a glass of red house wine. The dish consists of half-moon (mezzaluna)-shaped pasta, filled with pecorino cheese and the freshest tomatoes, topped with melted parmesan and basil. The restaurants that line the square have some of the best food you will find in Florence, and it is a definite must-try!

BRIDGING THE GAP: PONTE SANTA TRINITA

14

by Danielle Iannetta Photos by Emily Madigan

NEWSLETTER

NOVEMBER 2014

One of the most popular sights to see in Florence is the historical Ponte Vecchio known for its gorgeous gold shops, but what many don’t know is that another bridge to see for Ponte Vecchio views and spend time on is Ponte Santa Trinita. This is the bridge where you can get a full, panoramic view of the Ponte Vecchio, but more importantly it holds hundreds of years of history. Named Santa Trinita in honor of the divine Holy Trinity, this bridge represents one of the oldest elliptic arch bridges in the world. It was constructed between 1566-1569 with three arches and four statues of the seasons lining the corner which today bear battle wounds from World War II. Ponte Santa Trinita put up a strong fight

in the war, finally crumbling after three attempts to knock it down and the remains of the bridge and statues were found in the Arno and used to rebuild it to look identical to Ammannati’s original.

Ponte Santa Trinita is a great place to enjoy the Arno and whether you stop by Gelateria Santa Trinita and get some of the best gelato in town or simply go for a stroll, it’s the perfect spot to relax. Any day of the week, locals can be found on the bridge, listening to music, laughing with friends, and gazing at the view. Stop by to enjoy the sunrise or sunset over the river, people watch during the day, or have a low cost and enjoyable night.

15

BLENDING NEWSLETTER

REDAZIONE / MASTHEAD

Supplemento di / Supplement to Blending Magazine

Direttore Responsabile /

Reg. Trib. di Firenze n째 5844 del 29 luglio 2011

Editor in chief

Anno 4 - Numero 7 - Novembre 2014

Matteo Brogi

Year 4 - Issue 7 - November 2014 Caporedattore / Editore / Publisher

Editorial Director

Florence Campus per INGORDA Editore

Grace Joh

Via Alfonso La Mamora, 39 50121 Firenze

Coordinamento Editoriale / Managing Editor

Sede editoriale /

Federico Cagnucci

Blending is a newsletter created

Editorial Headquarters

with and for students of Florence

Corso Tintori, 21

Redazione testi / Copy Editor

University of the Arts, the academic

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Lauren Fromin, Stephanie Fuchs,

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Tel. 055-0332745

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the Student Life Department and

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For information contact:

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Redazione fotografica / Photo Editor Matthew Shegog

www.palazziflorence.com www.fua.it