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2011: OLD AND YOUNG

Provo for a while 'to write an account of days more or less credible 'past year, here in Raviscanina. Especially try to find, in the ultra-General, something really good that has happened to our community, and all without distinction. But I can not.

We should be satisfied that touch the nakedness in 2009 have not increased much. Cold comfort. But it is also true that have not been resolved, and they are always the same. The pharmacy is closed, the waste issue has not even been touched, the image of our city at the national level is now negative (see Striscia la Notizia first, then Sky Tg 24: I regret the timing of anonymity overall), and, as Even worse, the looming shadow of judicial situations very sharp, but of which this blog has and will always occupied a very marginal (we are not an attorney!). In the Palace

all is quiet: no news! The bad thing is that, alas, all is quiet even from the banks of what should essere l'opposizione, opposizione che riesce, ancora una volta, a irritare i propri militanti. Si dice che questo sia l'unico paese dove si parla peggio dell'opposizione che della maggioranza. Nulla di più vero, ma questo potrebbe anche essere uno spunto di riflessione: forse significa che a Raviscanina non tutti sono "pretoriani", e che anzi ci sia una grande voglia di alternativa, di proposte nuove e costruttive per il nostro paese, di opposizione, appunto.

La base richiede nuove organizzazioni dal basso, con i giovani, ma i decani del non/potere di minoranza fanno orecchie da mercante. Tra due anni ri-ri-ri-ri-ricandideranno alle massime cariche qualche ultrasessantenne consegnando, per l'ennesima volta, la vittoria agli avversari. What a strategy!

The joke is that, once again, on the other side will be dedicated to the young candidate for a renewal that, though obviously a facade, will propose new faces in the picture above the mayoral candidate, who will in all likelihood less than thirty-five years.

Closed brackets RaviscaninaVoceLibera wishes all readers a happy 2011! As it would be nice if we could, at least once, to organize a New Year's Eve together in the square! The pro-loco could think about for next year ... Maybe it would also reduce the tremendous explosion of barrels-a-times actual weapons and threatening all of which, as usual, nobody cares (A few days ago it was done literally blow up a box) * .

Best wishes and a special thanks goes also to our readers: we have now exceeded 7,000 visits, an incredible number for our little blog.

Good luck, and happy 2011!


Thurs.



* We refer, of course, nor to small rauda (harmless) or the fireworks New Year's Eve admired, appreciated and always spectacular. The reference is only to some rudimentary bombs here in Raviscanina, make and explode. As it was stated in the article, one of them has literally blow up a dumpster: pure vandalism, and real danger to the public. Because if someone, inadvertently, is nearby just before the explosion of the bomb would be the end of that box.

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BLOG I write ... Thought

Caro blog chi l'avrebbe detto?

When a few months ago I embarked on this adventure I never imagined I would become part of a world unknown to me .

during this journey I found a lot of time and we did not know (by the way ... ..) still do not know the meaning, or at least the slightly suggested, but one thing is certain. .... are now a "blogger" and I'll tell you, the thing I like, because through my "post" can I speak of the passions that I have always had the heart and, to me almost incredible, someone reads them well , so as at year-end financial statements are made and propositions for the future, in 2011 I'm still here, talking about decoupage, books, music and movies, but especially Emotions ....

GOOD 2011 DA "EMOTIONS A DECOUPAGE"

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TIZIANO A MILANO A PALAZZO MARINO



Un omaggio alla femminilità e al mistero della bellezza nel sensuale gioco degli specchi. Il capolavoro giovanile di Tiziano (Pieve di Cadore, 1480 – 1485 – Venezia, 1576) Donna allo Specchio (1515 ca.) giunge a Milano dal Museo del Louvre dove resterà in esposizione nella Sala Alessi di Palazzo Marino until the 6th of January 2011. A young woman from the conscious and innocent beauty in the simplicity of a gesture reveals the charm of her femininity. The woman dissolves the hair while looking at her reflection in the mirrors a passionate lover who gives her with devotion. An intimate scene is tinged with a subtle eroticism in which fans show their passion in your eyes. The mirror, an object much sought after and elegant, reflecting the nature of things, revealing the hidden aspects, the symbols that have been allocated in the course of centuries are related to the distorted images of the first reflecting surfaces that have helped create the legend of the reflection vice of the human soul. The white shirt Women's underwear is a revealing neckline part of an attractive symbol of voluptuousness, "brings the soul and heart, a sign of fertility and an offering of love, deductive recall" (Augusto Gentili). This is a work of light reading, without any allegorical veiling. The man is attracted by the long blond hair that caresses the woman with one hand while the other takes a small glass vial. The man is wrapped in a warm twilight while the woman is struck by a light that illuminates it, highlighting the soft and gentle gaze. The contemplation of beauty is explicitly erotic. The painting by Titian painting is sensual, soft, sensual, built on the points of shadow and light areas, a modern language that will inspire the Caravaggio painting. His figures exude a sensuality that it can be regarded as portraits of courtesans.

Titian had a deep bond with Milan and Philip II, son of Charles V, who was among its largest clients, primarily in the last years of his activities.


Following the French Revolution, the Woman in the mirror was confiscated by the Superintendent in Versailles with other one hundred twenty-five paintings and taken to the old Louvre in September 1792. "The painting is included in the Catalogue des objets dans la Galerie du Museum Contenus francais of 1793 as Titian's portrait of the lover."


Written by Antonella Colaninno


Milano, Palazzo Marino - Sala Alessi
from December 3, 2010
6 January 2011

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MUSEUM OF THE TWENTIETH CENTURY

The opening of the new Museum of the twentieth century dell'Arengario Palace in Milan leads to the conclusion long journey of searching for a permanent seat in the history of civic collections, offering its facilities to one of the most important collections of Italian art of the twentieth century. Dell'Arengario The renovation, which began in June 2007 and concluded in 2010. The competition for the redevelopment of the building was launched in 1999 and won in 2001 by the Group which has Rota operato su una superficie di 3500 mq a cui sono stati aggiunti i 2000 mq del secondo piano di Palazzo Reale. Un percorso dell’arte del Novecento che arricchisce le collezioni milanesi e offre ai visitatori la possibilità di ammirare tra le altre, alcune delle opere più significative delle avanguardie storiche. Il percorso museale inizia con l’opera il Quarto Stato (1898-1902) di G. Pelizza da Volpedo , un’opera che con i suoi grandi significati sociali si pone come emblema dei grandi cambiamenti di costume che hanno segnato la fine di un secolo e l’inizio di una nuova storia e di nuove sperimentazioni nei linguaggi dell’arte. Tante le opere in esposizione: dal Portrait of Paul Guillaume (1916) of Modigliani, austere and elegant in the synthesis of a soft plastic paradoxically emphasized by a line angular and irregular, the important section on the future with the sculpture Boccioni Unique Forms of Continuity space, researching a new way of conceiving the relationship between space and volume in the light of simultaneity and continuity of matter. The series of moods represents the dynamic perception of particular emotional states and responds to the dynamism of a law that involves completely true. A small room is dedicated to the work of Giorgio Morandi, alle sue straordinarie composizioni di oggetti uniti per assonanza di forme e di sfumature tonali. Al secondo piano una piccola sala ospita le sculture di Arturo Martini tra le quali l’opera dal titolo La Sete (1934) dai toni drammatici sia nella resa plastica che nella scelta di una pietra porosa. L’esposizione di opere prosegue con quegli artisti come Carlo Carrà e Felice Casorati che hanno lavorato al recupero della classicità e della monumentalità attraverso la ricerca dei valori formali e delle “suggestioni della metafisica”, tra naturalismo e intimismo. E ancora Filippo de Pisis con le sue inquietudini espresse attraverso uno stile vibrante, Lucio Fontana con il bronzo la Signorina seduta (1934), che evidenzia un plasticismo metafisico che si coniuga al valore cromatico, Fausto Melotti con le sue astrazioni geometriche in perfetta armonia nello spazio e  Osvaldo Licini con le sue intime composizioni tra poesia e razionalità. Como e Milano sono state anche le due città della ricerca dell’astrattismo in Italia negli anni trenta; un esempio è   l’installazione ambientale di Fontana Struttura al neon per la IX Triennale di Milano, 1951  (2011) that creates a synthesis of space and light. The third floor contains a room dedicated to Alberto Burri to his compositions and materials which combine painting and extra-pictorial materials in a continuous changing of creative experiences. The informal Ennio Morlotti with his sentimental naturalism and freedom of the signs of Carla Accardi representing the symbol of an arcane language and gestures fast. On the back wall of the solitary and sensual Rosa Black (1966) by Jannis , standard black-painted enamel on a light background, creative research that is oriented towards non-painting, to the flattening della forma che si smaterializza sino a diventare colore puro. L’arte come rivoluzione di pensiero, come riscoperta dell’ unicità dell’artista che trasmette il proprio pensiero nella materia in un rapporto diretto; l’arte è un’operazione concettuale che annulla qualsiasi procedimento creativo se non quello di dare nuovi significati alle cose. La ricerca di Piero Manzoni e del lavoro Merda d’artista del ’61 si orienta in questa direzione. Il Museo del Novecento ospita anche alcune opere di artisti del Gruppo T fondato a Milano nel 1958 tra cui quelle di Grazia Varisco e la Struttura tricroma del 1964 di Giovanni Anceschi, una combinazione four cubic elements in wood and metal with illuminated "a color additive synthesis and four mechanical motors, experiments on visual perception and movement in space. Still Luciano Fabro with his Cross, 1965 (2001) in stainless steel, a study on the habitability of the space and the sculpture as a form of minimalism and cancellation of plastic values. The last two rooms collect works of art by artists including poor Mario Merz and its Zebra (Fibonacci) of 1973, a stuffed animal and a sequence of twelve figures inspired by mathematician Leonardo Fibonacci of the '200 and the Law biological proliferation.

Scritto da Antonella Colaninno

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MERRY CHRISTMAS! ZERO VOTE



"I will honor Christmas in my heart and I will try to keep it with me all year" (Charles Dickens).

RaviscaninaVoceLibera wishes Merry Christmas to all readers!

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Christmas

If one day you will hear in peace with yourself and with others;

know if you believe in humanity and still see the good things of life,

shouts of joy because that day is Christmas for you too.

Romano Battaglia

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Raviscanina again on national television. Sky Tg 24 in day of 7 / 12 spent on investigating the large depth Legambiente and Civil Protection called "risk Ecosystem 2010" on the "monitoring the activities of municipal governments for the mitigation of landslide risk."

The report (available in full at this link: http://risorse.legambiente.it/docs/ecosistema_rischio_2010_definitivo.0000002058.pdf ) consider two fundamental aspects: the percentage of natural hazards but also the ability of cities to "mitigate" this risk by adopting the most appropriate countermeasures. These corrective measures, explained in detail in chapter three of the above-mentioned report, ranging from the perimeters of sensitive areas to advanced forms of monitoring through a series of other important measures such as relocation, good management of the territory and, last but not least, the correct information citizens.

At the end of the report was then compiled an overall ranking of cities , with its score. From zero to ten, just like at school. Topped the list with 9.5, you place Senigallia, which also won a major national award.

But then, you say, if he won Senigallia, because Sky has about us? Simple, because Raviscanina in the long ranks of the Italian cities, has succeeded in the titanic undertaking to get zero points! 's right: according to the major organs of environmental protection at national level, Raviscanina, along with seven others, is the largest city in default of Italy! But we read an excerpt

Journal: "The other side of the coin is represented by eight municipalities that get a report card on heavy zero: two in Sicily, one in Emilia Romagna, two and two in Calabria Campania. In common Bolognetta (Pa), Ravanusa (Ag), Coriano (Rn), and St. Robert Fiumara (RC), Paupisi (Bn) and Raviscanina (Ce) This is a heavy urbanization of areas exposed to the danger of landslides and floods and has not been initiated activities aimed at mitigating risk or from the point of view of maintenance of the territory, nor in the activation of a proper system of municipal civil protection ".

In a nutshell, we un0 between the towns most at risk of floods and related disasters here and no one bothers to tell him. He cares for Sky Italy (world vision) for a whole day that continues to deliver services and insights on the topic but no one here knows nothing! And, as we inform Legambiente and the Civil Defence, nobody does anything.

the leaders who have led this Raviscanina abyss is shameful and unclean Many thanks.


Thurs.