#Angela Compagnone

[theearthforce]

Our Amazing Physical Experience

We are spiritual beings having a physical experience, and our experience in this physical world has merits.

The physical world certainly puts a lot of constraints and inconvenience in our lives. For example, manifestations here are slow and require much effort; we are limited by time; we can't travel at will; we have to do a lot of work to sustain a healthy physical body. However, because of our limitations in this world, we can learn lessons, and experience beauty that may not be available in other worlds and dimensions:

1. Focus, Patience and determination A house has to be built brick by brick. A mountain has to be removed bit by bit. To achieve our goals, we learn to maintain our focus, be patient and practice determination.

2. Prioritization and planning Because time is limited, we have to decide wisely which tasks we need to do first. Because materials are limited, we have to figure out how to use and distribute them effectively. Thus, we learn how to prioritize, make plans and make decisions.

3. Precision and meticulousness Due to our inability to move at will in this world, humanity develops airplanes. An airliner requires millions of components assembled together with close-to-perfect precision in order for it to fly safely in the sky. Truly an art to build a craft to such details with tremendous precision!

4. Courage, strong will, and self-sacrificing It is not hard when one is Superman trying to save a person from a burning building, but it requires courage, strong will, and a self-sacrificing personality for a human to do so. We get to see and experience the beauty of a mortal executing something difficult, risky, or even seemingly impossible.

5. Faith and devotion When we can't foresee the future, it requires faith to make an important life decision, and both faith and devotion to keep it for years to come. It is particularly beautiful when one continues devoting themselves to an important cause or something higher than themselves despite all the physical situations seemingly going against it. It shows the true characters of a person.

Photo credit: Photo by Angela Compagnone on Unsplash (https://unsplash.com/photos/7-rUmLJK5Qo)

[alexlacquemanne]

Juillet MMXXIV

Films

Le Comte de Monte-Cristo (2024) d'Alexandre de La Patellière et Matthieu Delaporte avec Pierre Niney, Bastien Bouillon, Anaïs Demoustier, Anamaria Vartolomei, Laurent Lafitte, Pierfrancesco Favino, Patrick Mille, Vassili Schneider, Julien de Saint Jean et Julie de Bona

La Jalousie (1976) de Raymond Rouleau avec Daniel Gélin, Nicole Calfan, Jacques Toja, Annick Alane, Marc Eyraud, Anna Gaylor, Françoise Pages et Francis Lemaire

Maestro(s) (2022) de Bruno Chiche avec Yvan Attal, Pierre Arditi, Miou-Miou, Pascale Arbillot, Caroline Anglade, Nils Othenin-Girard et Caterina Murino

The Truman Show (1998) de Peter Weir avec Jim Carrey, Ed Harris, Laura Linney, Noah Emmerich, Natascha McElhone et Holland Taylor

Un crime dans la tête (The Manchurian Candidate) (1962) de John Frankenheimer avec Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury, James Gregory, Lloyd Corrigan et Leslie Parrish

French Connection (The French Connection) (1971) de William Friedkin avec Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bianco, Marcel Bozzuffi et Frédéric de Pasquale

To The Moon (Fly Me to the Moon) (2024) de Greg Berlanti avec Scarlett Johansson, Channing Tatum, Nick Dillenburg, Anna Garcia, Jim Rash, Noah Robbins, Colin Woodell et Christian Zuber

Le Gendarme de Saint-Tropez (1964) de Jean Girault avec Louis de Funès, Michel Galabru, Jean Lefebvre, Christian Marin, Guy Grosso, Michel Modo, Geneviève Grad, France Rumilly, Nicole Vervil et Claude Piéplu

La Marseillaise (1938) de Jean Renoir avec Pierre Renoir, Louis Jouvet, Lise Delamare, Andrex, Edmond Ardisson, Nadia Sibirskaïa, Jenny Hélia, Gaston Modot et Julien Carette

Un éléphant ça trompe énormément (1976) de Yves Robert avec Jean Rochefort, Claude Brasseur, Guy Bedos, Victor Lanoux, Danièle Delorme, Anny Duperey, Martine Sarcey et Marthe Villalonga

Le Gendarme à New York (1965) de Jean Girault avec Louis de Funès, Michel Galabru, Jean Lefebvre, Christian Marin, Guy Grosso, Michel Modo, Geneviève Grad et Alan Scott

Le Secret de Green Knowe (From Time to Time) (2009) de Julian Fellowes avec Alex Etel, Timothy Spall, Maggie Smith, Christopher Villiers, Pauline Collins, Eliza Bennett, Rachel Bell, Dominic West et Carice van Houten

Raoul Taburin (2018) de Pierre Godeau avec Benoît Poelvoorde, Édouard Baer, Suzanne Clément, Vincent Desagnat, Grégory Gadebois, Victor Assié et Timi-Joy Marbot

Nous irons tous au paradis (1977) de Yves Robert avec Jean Rochefort, Claude Brasseur, Guy Bedos, Victor Lanoux, Danièle Delorme, Marthe Villalonga, Jenny Arasse, Christophe Bourseiller et Josiane Balasko

Drôle de drame (1937) de Marcel Carné avec Françoise Rosay, Michel Simon, Louis Jouvet, Jean-Pierre Aumont, Nadine Vogel, Pierre Alcover et Jean-Louis Barrault

French Connection 2 (1975) de John Frankenheimer avec Gene Hackman, Fernando Rey, Bernard Fresson, Philippe Léotard, Ed Lauter, Charles Millot, Jean-Pierre Castaldi et Cathleen Nesbitt

Le Gendarme se marie (1968) de Jean Girault avec Louis de Funès, Michel Galabru, Jean Lefebvre, Christian Marin, Guy Grosso, Michel Modo, Geneviève Grad, Claude Gensac et Mario David

Totally Spies! le film (2009) de Pascal Jardin avec Claire Guyot, Fily Keita, Céline Mauge, Jean-Claude Donda, Karl Lagerfeld et Emmanuel Garijo

Séries

Maguy Saison 6

Quitte ou rouble - Séparation de survie - L'injuste prix - Une nièce rapportée - Une occase en moins - Météo et bas - Une Maude passagère - Bénévole d'essai - Tata poule - Des routes en déroute - Débat des eaux - L'ami gratteur - Pinceaux périlleux - Termite errant - Troubles de la télévision - Étrennes à la traîne - Mégarde à vue - Golf: heurts - Mépris de Rome - Le rappeur sur la ville - Jaloux y es-tu ? - Clochard abstrait - Affreux d'emploi - Un clown chasse l'autre - Adamo.. tus et bouche cousue - Passe-moi le recel - Fissures la corde raide - Écoutes que coûte - Le carton de la plaisanterie - Un fils à la patte - Mur… aïe ! - Désaccords de guitares - Une mage d'histoire - Compagnons d'alarmes - Despote au feu - Dernière cartouche au tableau - Des pots en dépôt

Affaires sensibles

17 et 18 septembre 1981 : dernière cigarette pour la guillotine - 1er février 2003, l’accident de la navette spatiale Columbia - Les Dix d’Hollywood, ou quand l’Amérique voyait rouge - Challenger 1986 : une catastrophe en plein ciel pour la fin d’un rêve "étoilé" - La tornade Michel Polac - John Lennon, mort d'un enfant du siècle - “Nous irons les buter jusque dans les chiottes” Russie, 1999, les attentats, la Tchétchénie et Poutine - Essais nucléaires dans le pacifique, un mensonge français - Péchiney : délit d'amitié, délit d'initiés

Le Coffre à Catch

#174 : William Regal champion en Angleterre? - #175 : CM Punk de retour à la ECW ! - #176 : Shelton vs Christian : un banger en préparation ! - #177 : Trent Baretta & Caylen Croft : les vrais Best Friends ! - #178 : TLC 2009 : Un Show Stealer ?

WWE : les rivalités de légende Saison 2

Hulk Hogan vs. Roddy Piper - The Rock vs. John Cena - Steve Austin vs. Bret Hart - The Undertaker vs. Randy Orton - Steve Austin vs. Shawn Michaels - Brock Lesnar vs. Roman Reigns - The Undertaker vs. Mankind - Trish Stratus vs. Lita

The Durrells : une famille anglaise à Corfou Saison 1, 2

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Le Tour du monde en quatre-vingts jours

Episode 1 - Episode 2 - Episode 3

Totally Spies Saison 7

Attention : ceci n'est pas un test - Espionnes à l'ancienne - Alerte chat-pardeurs

Spectacles

Patate (1982) de Marcel Achard avec Pierre Mondy, Michel Duchaussoy, Marie Dubois, Pascale Audret, Clémentine Amouroux et Philippe Dehesdin

Imagine Dragons Chambord Live (2023)

Elvis: The Comeback Special (1968)

Nirvana: MTV Unplugged in New York (1993)

Les Pigeons (2022) de et avec Michel Leeb, et aussi Francis Huster, Chloé Lambert, Philippe Vieux

Livres

Batman : The Killing Joke d'Alan Moore et Brian Bolland

Red Skin, tome 1 : Welcome to America de Xavier Dorison et Terry Dodson

Red Skin, tome 2 : Jacky de Xavier Dorison et Terry Dodson

Le coureur et son ombre d'Olivier Haralambon

Détective Conan, tome 23 de Gôshô Aoyama

Détective Conan, tome 24 de Gôshô Aoyama

Conversations avec A d'Alex Lacquemanne

Kaamelott, tome 7 : Contre-attaque en Carmélide d'Alexandre Astier, Steven Dupré et Picksel

[jcmarchi]

From Useless Plastic Waste to Valuable Oil - Technology Org

New Post has been published on https://thedigitalinsider.com/from-useless-plastic-waste-to-valuable-oil-technology-org/

From Useless Plastic Waste to Valuable Oil - Technology Org

Researchers and business people have developed a new technology that can make oil from plastic waste that cannot be recycled. This oil can be used to make new plastic and other oil-based products. The technology was recently utilized in a new commercial facility in West Zealand, Denmark.

The research project RePlastic has focused on using pyrolysis for the chemical recycling of dirty and mixed plastic waste. Image credit: Angela Compagnone via Unsplash, free license

Do you ever wonder how much (or how little) of the plastic waste (packaging, containers, and milk cartons) you put in your recycling bin is actually recycled? The garbage truck transports it to a waste management facility for sorting and recycling. The ‘good’ plastic is recycled and the rest—which is either too dirty, mixed, or damaged for recycling—is incinerated.

In Denmark alone, around 370,000 tonnes of plastic waste is incinerated every year. According to the Danish Ministry of the Environment, plastic waste incineration makes up a significant portion of Denmark’s fossil-fuel carbon emissions. In other words, there is a huge green potential in developing new methods for recycling even more plastic waste than we do now.

Suppose we can also reduce the amount of non-renewable plastic waste. In that case, we can reduce the need for the non-renewable raw materials needed for plastic production—oil and natural gas. A group of DTU researchers have therefore investigated new possibilities for recycling our plastic waste in collaboration with Roskilde University and a number of industry partners. Their research project RePlastic has shown that a valuable oil can be produced from otherwise useless plastic waste through pyrolysis.

“I’m surprised at the great potential of pyrolysis technology for the most impure and mixed plastic fractions. This process can handle the plastic we have no other uses for. This enables us to bring end-of-life plastic back into the cycle and make it useful again,” says Anders Egede Daugaard, Associate Professor at DTU Chemical Engineering and head of the RePlastic project.

Plastic is not just plastic

To fully understand Anders Egede Daugaard’s enthusiasm, you need to understand the challenges of recycling and sorting plastic waste into different categories and fractions. The current number of different plastic types with different properties is incredibly high—just take a look at your own plastic waste, where you will find hard, soft, ductile, coloured, and transparent plastics. Plastic waste is generally divided into two categories: industrial and household. Industrial plastic waste is usually more uniform as it often consists of only one type of plastic, where both the additives and manufacturing process are known. Household waste, on the other hand, is more often a mixture of different types and grades of plastic. The plastic is then sorted into different fractions depending on properties and quality.

Because the chemical additives vary according to the properties of each plastic product, our plastic waste needs to be sorted before it can be recycled in a mechanical process that granulates, heats, and remoulds it into new plastic products. You cannot make new quality plastic from mixed plastic types because the melting point and additives differ and are often completely unknown.

In the RePlastic project, Associate Professor at DTU Anders Egede Daugaard and his team have assessed the potential of several plastic materials from the least valuable plastic fractions in our plastic waste. These fractions are where the majority of our household plastic waste ends up, along with industrial plastic waste that has already been recycled six or seven times and is therefore too worn out to be mechanically recycled again.

Pyrolysis creates new possibilities

The RePlastic project focused on using pyrolysis for chemical recycling. During the process, plastic waste is heated to high temperatures in a nitrogen-filled furnace, triggering a splitting of the chemical components of the plastic materials. Because there is no oxygen in the furnace, the plastic does not burn, but gasification occurs. The gas is then condensed into so-called pyrolysis oil, which can be used as an additive in fuel or new plastic products.

In the laboratories at DTU Chemical Engineering, researchers have been studying which plastic fractions can potentially be used for pyrolysis and how pure the plastic needs to be. The assessment of the purity required for the pyrolysis oil and its applications has been a key focal point for the project partners, as it is crucial to whether or not the technology can be commercialized.

The initial conclusion was that obtaining usable pyrolysis oil required a very clean system. This meant that the plastic waste had to be thoroughly sorted and cleaned before going in the pyrolysis furnace, and that the resulting pyrolysis oil subsequently had to be distilled and purified.

However, the RePlastic project shows that this is not actually necessary. The pyrolysis technology can handle the impurities in our mixed and dirty plastic waste.

Pyrolysis can transform plastic waste into an oil that can be used as an additive in the petrochemical industry where it can replace new crude oil. Image credit: DTU

From test reactor to industrial facility 

When RePlastic launched in January 2020, the goal was to form the basis for a technological solution that could be commercialized within a few years for the benefit of the green transition. The aim was to attract investors for the primary project partner, Waste Plastic Upcycling (WPU), which specializes in converting plastic waste into different types of oil that the industry can use in the production of new products.

Things have been moving really fast since then, because the technology is scalable and there is a demand for new technologies that can handle the different fractions of our plastic waste. Already during the research project, WPU has found investors, built an industrial pyrolysis facility, and hired employees. 

“We’re experiencing a lot of interest in robust and financially attractive technologies such as WPU’s, both nationally and internationally. The fact that plastic waste doesn’t have to be treated before the pyrolysis process with us makes a big difference, both financially and in relation to the assessment of potential environmental impacts and resource consumption,” says Niels Bagge, CEO of WPU.

Because the pyrolysis technology minimizes the resource-intensive sorting and purification, the is a great potential for making the process more sustainable. However, exactly what role pyrolysis technology will play in our waste system in the future depends on many factors.

“Pyrolysis technology definitely has potential in terms of recycling some of the more difficult plastic waste. In the future, we need to make sure to take into account both the choice of materials in products, the management and processing of waste in the waste system, and reusing it for new raw materials for industries. Using pyrolysis for mixed plastic fractions can play an important role in the plastic cycle,” says former DTU Professor Thomas Fruergaard Astrup, who assessed the sustainability of plastic recycling and pyrolysis technology in the RePlastic project.

Source: DTU

You can offer your link to a page which is relevant to the topic of this post.

[roseshavethoughts]

Travel | Images of Dublin

#WanderlustWednesday Euro 2020 Host City - Dublin

This weeks Euro 2020 host city is Dublin, Ireland which will see three group games, one round of 16 games.

Alexandra Barka

Angela Compagnone

Asa Arts Photography

Blanca Villalobos

Caro Lehmann

Conor Luddy

Diogo Palhais

Flemming Fuchs

Henry Be

Louis Hansel Shotsoflouis

Lucas Miguel

Matteo Grando

Paul Costello

Tavis Beck

Thiago Rocha

[suspects]

Photo by Angela Compagnone 

[kaantt]

The Adventures of Sir Lancelot

Je viens de revoir la série The adventures of Sir Lancelot (diffusée entre 1956 et 1957). La série est l'une des premières à passer du noir et blanc à la couleur. Elle est composée de trente épisodes de 25min. C'est très intéressant de voir comment les Britanniques voient Lancelot dans les années 50 avec toutes les règles et les mœurs qui régissaient la télévision.

William Russell dans le rôle de Lancelot. William Russell est surtout connu pour son rôle d'Ian Chesterton dans la première série de Doctor Who (1963-1989) qui est le tout premier compagnon de la série (and one of my favs).

Les caractéristiques de cette version de Lancelot : Une destruction et une valorisation du personnage

Occultation de sa Romance avec Guenièvre. Ça s'explique par les codes du cinéma et de la télévision de l'époque. Ces deux médias étaient assez réticents à l'idée de montrer l'adultère. Ce qui amène un vrai problème pour l'évolution psychologique du personnage (aucune).

L'ajout de son écuyer Brian ~ destruction de l'image du chevalier solitaire. Mais j'adore Brian donc... Je m'avance pas trop là-dessus.

Disparition de son amitié avec Arthur pour se concentrer sur sa relation avec Merlin. La relation privilégiée ces deux personnages qui permet normalement de montrer les travers des deux chevaliers. Cette disparition fait apparaître le personnage de Lancelot comme nettement supérieur à Arthur car on ne le voit avoir des contacts qu'avec des personnages *mauvais* ou des *idiots* ~ Valorisation du personnage.

Personnage sans aucun défauts (sans même l'orgueil pourtant essentiel chez le personnage du "Chevalier de la charrette" de Chrétien de Troyes).

Ébauches de romances avec d'autres personnages féminins (comme Lady Angela). Lancelot n'est pas l'amoureux courtois dévoué à sa reine.

Personnage qui joue un rôle politique très important : négociation, surveillance du château, visites diplomatiques...

Présenté comme le chevalier le plus fort physiquement. Qui serait traditionnellement plutôt le rôle de Gauvain même si Lancelot est considéré dans la plupart des versions comme le meilleure chevalier. Mais il faut plutôt l’entendre ici dans le sens de “Chevalier le plus chevaleresque”.

Cependant Lancelot ne tue jamais ses ennemis principaux. Certains soldats meurent mais hors champs ou sans sang.

Le personnage de Lancelot apparaît ici glorifié d’un point de vue moral et physique (aptitudes au combat particulièrement développées) qui perd la psychologie tourmentée du personnage. Cependant, la série reste très divertissante. On peut la trouver en ligne mais sans sous-titres français.

Le contraste avec le Lancelot de Kaamelott est assez...

[hardsadness]

Bom Jesus Do Monte, Braga, Portugal Photo by Angela Compagnone

[genteyhogaressostenibles]

Es obvio que tenemos que reducir el consumo de plásticos para generar menos residuos y evitar que estos acaben en lugares no deseados como pueden ser los océanos.

Lee aquí el artículo: https://www.vidasostenible.org/los-mares-se-agotan-que-podemos-hacer/

Fotografía: Angela Compagnone en Unsplash

[rememberless]

Photo by Angela Compagnone

[je-suis-tombee-sur]

Godard nous fait lire

« Demandez France soir, Paris Presse, Le Monde ! Demandez Marie Claire ! »

Voici ce que hurle la bande son qui accompagne divers plans du film Une femme est une femme de Jean Luc Godard sorti en 1961. « Ce clin d’oeil fréquent à la presse est à noter dans les films où figure Belmondo», nous avait dit J.P Bouchard, un éditeur qui intervient pour nous donner des cours. Il nous avait précisé qu’on voyait très souvent l’acteur lire France soir, une activité typique dans les années 60 et récurrente dans les films de Godard. Néanmoins, je ne pensais pas que la lecture pouvait être à un tel point instrumentalisée pour traduire la pensée des personnages. C’est ce que je découvre dans ce long métrage.

Lire va permettre d’introduire l’intrigue du film. Angela, une jeune prostituée jouée par Anna Karina, se rend au kiosque où travaille son compagnon Émile, interprété par Jean-Claude Brialy. Faisant mine de flâner parmi les magazines, elle se saisit particulièrement du livre J’attends un enfant , sous le regard inquisiteur de ce dernier. Cette lecture est le début d’une dispute qui éclate tout au long du film entre le couple. Angela veut être mère. Émile refuse d’être père dans l’immédiat. 

Par le biais de la lecture, Godard illustre également la différenciation des genres à cette époque. En effet, des stéréotypes sont mis en évidence lorsqu’Émile tente de vendre un ouvrage de La Belle au bois dormant à deux jeunes garçons. Ces deux derniers déclinent en réclamant « quelque chose de plus sexy ». Une autre scène fait aussi émerger ces clichés lorsqu’une des stripteaseuses demande à Angela de lui acheter Paris soir pour y lire seulement l’horoscope. On peut donc noter une vision stéréotypée des femmes à travers lecture.

La mise en scène de la lecture permet de définir les rôles au sein du couple. Angela prépare le dîner pendant qu’Émile lit le journal au lieu de l’aider. Cette dernière lui fait d’ailleurs comprendre qu’il peut aussi participer aux tâches ménagères en lui lançant un balai dessus. Ce à quoi il répond en mimant jouer de la guitare avec l’objet. Il continue ensuite de lire son journal à table, ignorant la discussion que tente d’entretenir sa partenaire. Cette scène choque car elle sous-entend que la lecture est un outil pour entretenir le patriarcat et montrer que l’homme ne doit pas être dérangé. 

Cependant, lire est aussi un outil de rébellion féminine dans le film. Suite à la scène du repas où Angela demande à Émile de lui faire un enfant et où il refuse, la protagoniste peine à énoncer un discours engagé face au machisme qu’elle subit : « moi je trouve les femmes modernes qui veulent imiter les hommes. » Elle prend ensuite le journal pour ignorer à son tour son compagnon. La lecture lui permet d’exprimer son dédain. Elle se sert également d’un ouvrage pour lire une tirade théâtrale et la jouer seule face au spectateur : « tous les hommes sont menteurs, inconstants, faux, bavards et orgueilleux ». La pièce qu’elle lit est la traduction de son ressenti personnel. On comprend que ce n’est qu’un miroir d’elle-même lorsqu’elle récite « elle sort » tout en quittant elle aussi son appartement. 

La lecture est donc l’expression de ce que Angela ne parvient point à dire. Mais Émile va en faire de même. Une des scènes les plus absurdes du film est celle où le couple converse par le biais des titres des livres de leur bibliothèque. En effet, pour ne plus avoir à se parler, chacun va chercher un ouvrage en cachant une partie de la couverture pour insulter l’autre. Le livre Eva devient par exemple « Eva te faire foutre » qu’Émile rajoute à l’écrit. S’en suit alors une  dispute violente mais silencieuse; le spectateur lit lui même : « momie péruvienne », « bourreau », « filou » et « toutes les femmes au poteau ». Le procédé est à nouveau employé pour réconcilier les personnages en fin de film. Angela écrit « je t’aime » sur un livre et le lit à voix haute pour l’avouer à son amant. Grâce à la lecture, elle trouve donc le courage de se faire entendre au sein de son couple. Elle parvient même à obtenir une réponse favorable à sa requête initiale: avoir un enfant.

Image: Scènes du film Une femme est une femme de Jean Luc Godard avec Anna Karina et Jean-Claude Brialy, 1961

On peut interpréter Une femme est une femme de nombreuses façons. Godard ne dénonce pas le sexisme. Il nous montre seulement la place du texte dans nos sociétés et comment ce dernier peut devenir un outil de dialogue, voire de rébellion. Libres sont les femmes de s’en emparer. 

3025 caractères

09/10/2022

[cinemacinemas-fr]

Danton de Andrzej Wajda (1982) #Cinemannonce 326

Retrouvez la bande-annonce du film Danton ponctuée des secrets de tournage et d'anecdotes sur celui-ci. ■ Abonnez-vous sur YouTube ► https://goo.gl/dck70g ■ Suivez-moi sur Twitter ► https://goo.gl/IMyExb ■ Rejoignez-moi sur Facebook ► https://goo.gl/eWnGLq ■ Suivez-moi sur Instagram ► https://goo.gl/N7expq 🎥 Danton est un film franco-polonais réalisé par Andrzej Wajda, sorti en 1983. ✎ Inquiet de la nouvelle orientation imprimée à la révolution en 1793, Danton quitte sa retraite et regagne Paris. Il dénonce la "Terreur" qui règne sur la capitale et affronte son ancien compagnon de lutte, Robespierre... 🎬 Fiche technique ▬▬▬▬▬▬▬▬▬ Réalisation : Andrzej Wajda Musique : Jean Prodromidès Date de sortie : 12 janvier 1983 ☺ Distribution ▬▬▬▬▬▬▬ Gérard Depardieu, Wojciech Pszoniak, Anne Alvaro, Roland Blanche, Patrice Chéreau, Emmanuelle Debever, Krzysztof Globisz, Ronald Guttman, Angela Winkler, Serge Merlin, Alain Macé, Bogusław Linda, Roger Planchon, Marian Kociniak, Stéphane Jobert, Jacques Villeret, Wladimir Yordanoff ✎ Sources Wikipedia: https://ift.tt/34BPSV0 ✎ Sources AlloCiné: https://ift.tt/2hus8sx #GérardDepardieu #WojciechPszoniak #AnneAlvaro #RolandBlanche #PatriceChéreau #EmmanuelleDebever #KrzysztofGlobisz #RonaldGuttman #AngelaWinkler #SergeMerlin #AlainMacé #BogusławLinda #RogerPlanchon #MarianKociniak #StéphaneJobert #JacquesVilleret #WladimirYordanoff #AndrzejWajda #JeanClaudeCarrière #AgnieszkaHolland #BolesławMichałek #JacekGąsiorowski #YvonneSassinotdeNesle #JeanProdromidès https://youtu.be/15rq_F4oTQc

[mojejette]

29 Mars 2020 : 10 - 782 mots - L’Élu

C'était un jour comme les autres. Angela rentrait à la maison quand quelque chose d'inhabituel arriva, ce qui signifiait que finalement ce n'était peut-être pas un jour comme les autres. Elle ne réussit pas à ouvrir la porte d'entrée qui était bloquée. Par des plantes ! Des plantes qui avaient poussé dans tous les sens et qui envahissaient complètement le salon. Elle poussa fort contre la porte qui finit par s'ouvrir. Au milieu du salon, recouvert de plantes, allongé, probablement évanoui, se trouvait son petit frère de 13 ans, Charlie. Abasourdie, Angela se déplaça tant bien que mal jusqu'à Charlie, qu'elle secoua énergiquement par les épaules.

« Charlie ! Charlie ! Réveille-toi ! » Charlie secoua la tête et ouvrit le yeux.

« Qu- quoi ? Qu'est-ce qu'il s'est passé ? » demanda-t-il

« Aucune idée. » répondit Angela

Charlie se redressa et regarda autour de lui.

« Oh non. » dit-il « Depuis combien de temps je suis évanoui ? »

« Je sais pas, je viens de rentrer. »

« Oh non, oh non ! » Charlie commençait à paniquer « Cynthia a été enlevée ! Je dois la secourir ! »

« Quoi ? Cynthia, ta petite amie ? »

« C'est pas ma petite amie, » répliqua-t-il en rougissant « On est juste amis. »

« Si tu le dis. » Angela haussa les épaules « Mais si elle a été enlevée, on devrait appeler la police. »

« Non... »

« Pourquoi non ? »

« Elle a été enlevée par les Forces du Mal. Probablement pour faire pression sur moi. »

« Hein ? Pourquoi ça ferait pression sur toi d'enlever quelqu'un d'autre ? »

Charlie se gratta la tête et regarda le sol. « Ecoute, Angela, c'est un peu compliqué à expliquer mais pour faire simple, je suis l’Élu dans un combat entre le Bien et le Mal, et quand je vais au camp de vacances, en fait c'est un lieu secret d'entraînement pour les ados comme moi qui ont des pouvoirs magiques. J'ai le Sage Pouvoir de la Sauge. » Il ouvrit grand les bras pour montrer l'amas de plante qui avait recouvert le salon. « Je peux faire pousser toutes sortes de sauges ! »

Angela fit une moue sceptique. « Hmm... »

« C'est vrai ! »

« Admettons que je te crois... Le Sage Pouvoir de la Sauge ? C'est pas un peu nul comme pouvoir ? »

« Hey! »

« Et quel rapport avec Cynthia ? »

« Les Forces du Mal ont dû l'enlever pour que j'aille la secourir. C'est probablement un piège, mais je suis un héros, c'est mon devoir d’Élu de la secourir ! » Charlie regarda le mur avec détermination.

« Si j'utilise pas mes pouvoirs pour faire le bien qui le fera ? »

« Attends. » dit Angela « Déjà c'est quoi cette histoire d’Élu ? »

« Il y a eu une prophétie qu'un garçon de 13 ans avec un pouvoir sur la sauge sauverait le monde. »

« Wah, rien que ça ! »

« Hé ouais ! »

« Mais je comprends pas pourquoi tu demandes pas de l'aide à des adultes ? »

« Les sages du camp de vacances m'ont dit que c'était mon devoir d’Élu. Que je devais faire tout ça tout seul. » Charlie expliqua ça comme si c'était une évidence « Enfin pas tout à fait tout seuls, j'ai deux compagnons : Cynthia, qui est, euh, Cynthia, et Thomas, qui est fun et roux. »

Angela plissa les yeux. « Je... Je suis désolée mais c'est n'importe quoi. »

Elle se mit à rire. « Mon petit frère, l’Élu ? Qui doit sauver le monde ? » Entre deux rires, elle bafouilla : « Le Sage Pouvoir de la Sauge ! »

Charlie semblait outré « C'est très sérieux ! »

Angela essuya des larmes de rire. « Ecoute, je veux bien te croire, parce que le salon est envahi de plantes et qu'y a aucune explication logique à ��a. » Elle prit Charlie par les épaules et ajouta : «  Mais tu crois pas que tu devrais te calmer avec ces histoires de prophétie et d’Élu ? Pourquoi tu devrais tout faire tout seul ? Toute la communauté est là pour t'aider. On va chercher Cynthia et on la retrouvera. On va pas te laisser tout faire tout seul. »

« Vraiment ? » demanda-t-il, l'air appréhensif

« Bien sûr ! Il faut savoir déléguer. Rassure-toi, tout ira bien. »

Charlie regarda Angela. Il y avait peut-être du vrai dans ce qu'elle disait. Il poussa un soupir de soulagement et s'assit. Tout irait bien.

[ao3feed-inheritancecycle]

Slavery

read it on the AO3 at https://ift.tt/2TGfV6w

by LaMaisondeFeanor

Oromis et Glaedr ne se sont pas réfugiés à Ellesméra mais sur Vroengard et n'ont pas eu d'autre choix que de participer à la bataille. Oromis a été capturé par Galbatorix, qui a fait de lui son esclave et son compagnon. Un siècle après, qui formera Eragon ? Oromis parviendra-t-il à se libérer du roi ?

Words: 1236, Chapters: 1/?, Language: Français

Series: Part 1 of Slavery

Fandoms: The Inheritance Cycle - Christopher Paolini

Rating: Explicit

Warnings: Graphic Depictions Of Violence, Major Character Death, Rape/Non-Con, Underage

Categories: F/M, Gen, M/M

Characters: Oromis Thrándurin, Galbatorix (Inheritance Cycle), Glaedr, Shruikan, Vrael, Durza, The Twins (Inheritance Cycle), Morzan, Morzan's Dragon, Selena (Inheritance Cycle), Murtagh Morzansson, Brom (Inheritance Cycle), Saphira I (Inheritance Cycle), Eragon Shadeslayer, Saphira (Inheritance Cycle), Nasuada (Inheritance Cycle), Ajihad (Inheritance Cycle), Holcomb (Inheritance Cycle), Nelda (Inheritance Cycle), Ra'zacs, Urgal, Arya Dröttningu, Fírnen (Inheritance Cycle), Thorn (Inheritance Cycle), Queen Islanzadí, Evandar (Inheritance Cycle), Umaroth, Hrothgar (Inheritance Cycle), Orik (Inheritance Cycle), Roran Garrowson, Katrina (Inheritance Cycle), Sloan Aldensson, Angela (Inheritance Cycle), Solembum, Elva (Inheritance Cycle), Kialandí (Inheritance Cycle), Kialandí's Dragon, Formora (Inheritance Cycle), Formora's Dragon, Grimmr (Inheritance Cycle), Jeod Longshanks, Helen (Inheritance Cycle), Alanna (Inheritance Cycle), Albriech Horstsson, Anurin (Inheritance Cycle), Arva (Inheritance Cycle), Barst (Inheritance Cycle), Belgabad (Inheritance Cycle), Bid'Daum (Inheritance Cycle), Eragon I (Inheritance Cycle), Blagden (Inheritance Cycle), Cuaroc (Inheritance Cycle), Dellanir (Inheritance Cycle), Dusan (Inheritance Cycle), Enduriel (Inheritance Cycle), Enduriel's Dragon, Fäolin, Glenwing, Snowfire (Inheritance Cycle), Fiolr (Inheritance Cycle), Garzhvog, Blödhgarm (Inheritance Cycle), Gilderien (Inheritance Cycle), Heslant (Inheritance Cycle), Baldor Horstsson, Elain (Inheritance Cycle), Hvedra, Iormungr (Inheritance Cycle), Vervada (Inheritance Cycle), Irnstad (Inheritance Cycle), Laetrí (Inheritance Cycle), Jarnunvösk, Jörmundur, Maerzadí (Inheritance Cycle), Maud (Inheritance Cycle), Naudra (Inheritance Cycle), Rhunön, Vanir (Inheritance Cycle), Valdr (Inheritance Cycle), Wyrden (Inheritance Cycle), Thuviel (Inheritance Cycle)

Relationships: Oromis Thrándurin/Galbatorix, Oromis Thrándurin/Vrael, Galbatorix/Original Female Character(s), Murtagh Morzansson/Nasuada, Morzan/Selena, Brom/Selena, Oromis Thrándurin & Glaedr, Oromis Thrándurin & Murtagh Morzansson, Oromis Thrándurin & Nasuada, Arya Dröttningu/Eragon Shadeslayer, Roran Garrowson/Katrina, Roran Garrowson & Eragon Shadeslayer, Garrow/Marian (Inheritance Cycle), Sloan Aldensson/Ismira, Arya Dröttningu/Fäolin, Fírnen/Saphira, Hvedra/Orik (Inheritance Cycle), Jeod Longshanks/Helen, Iormungr/Vervada (Inheritance Cycle), Naudra/Fiolr (Inheritance Cycle), Eragon Shadeslayer/Wyrden

Additional Tags: Naegling, Urû'baen, Vroengard, Torture, Psychological Torture, Blood and Torture, Violence, BDSM, Slavery, Sexual Slavery, Stockholm Syndrome, Mpreg, Post Mpreg, Whipping, Chains, Angst, Angst and Hurt/Comfort, Hurt/Comfort, Emotional Hurt/Comfort, Fluff, Romantic Fluff, Love, Love Confessions, Dragons, Family, Friendship, Friends to Lovers, Alternate Universe - Canon Divergence, Alternate Universe - Almost Everyone Lives, Hope, Despair, Ellesméra, Master/Slave, Master/Pet

read it on the AO3 at https://ift.tt/2TGfV6w

[caveartfair]

The Tortured 136-Year History of Building Gaudí’s Sagrada Família

Exterior view of La Sagrada Familia, Barcelona. Photo by Danil Sorokin. Courtesy of Danil Sorokin.

Last month, 136 years and seven months after its first stone was laid, the Sagrada Família basilica finally got its construction permits in order. It was just the latest hurdle for Catalan architect Antoni Gaudí’s spectacular Gesamtkunstwerk to overcome, to the tune of €36 million ($40.7 million) in payments to be made to the city of Barcelona over the next decade.

By the time the city has been fully paid back, the structure of the Sagrada Família will finally be complete—assuming, of course, that construction stays on track. The structure of the eye-popping temple is currently projected to be completed by 2026, in time to mark the centennial of Gaudí’s death, with detailing and interior work expected to take another four to six years. As of 2015, when that schedule was announced, and principal construction on the remaining six towers began, chief architect Jordi Faulí i Oller said the basilica was 70 percent complete.

This year, the Sagrada Família’s dramatic Passion façade was completed (it only took 64 years), and its tallest spire, the Tower of Jesus Christ—which will make it the tallest church in the world—began to rise. In other words, Gaudí’s magnum opus is finally beginning to resemble the scale models that have long teased the 10,000-plus daily visitors to the site. As construction on the Sagrada Família enters its home stretch, it finally seems safe to look back at some of the gravest challenges this temple (technically a “minor basilica,” per a 2010 dedication by Pope Benedict XVI) has faced since that first stone was laid on March 19, 1882.

Gaudí gets called up

La Sagrada Familia under construction, 1887. Photo by PHAS/UIG via Getty Images.

Gaudí was not the Sagrada Família’s original architect. When plans for the basilica were first conceived, Gaudí was in his early twenties and just starting out as an architect, without a finished building to his name.

The campaign for the temple was started in 1874 by Josep Maria Bocabella i Verdaguer, a devout Catholic and seller of religious books, who wanted a temple devoted to the Holy Family in Barcelona. In 1877, a religious organization that Bocabella founded hired Francisco de Paula del Villar y Lozano, the official architect of the Roman Catholic Archdiocese of Barcelona, to start drawing up plans. Del Villar proposed a neo-Gothic building, in keeping with the dominant tastes of the time, and in 1881, Bocabella’s association secured a parcel of land that, at the time, sat just outside of the official city limits of Barcelona. The following year, on Saint Joseph’s feast day, the first stone of del Villar’s Sagrada Família was laid.

It didn’t take long for Bocabella to fire del Villar. (They disagreed on details such as the width of the columns in the temple’s crypt.) Gaudí, now 31 years old and a rising figure in Catalonia’s architectural community, could have come to his attention through any number of mutual acquaintances. But popular myth has it that in a dream, Bocabella was rescued by a knight with red hair and facial features perfectly matching Gaudí’s. However, it came to be that when he was offered the job, in November 1883, Gaudí accepted.

Gaudí gets called all the way up

Exterior view of La Sagrada Familia, Barcelona. Photo by Angela Compagnone. Courtesy of Angela Compagnone.

Photo by Bernard Hermant. Courtesy of Bernard Hermant.

By the first decade of the 20th century, Gaudí had become one of Spain’s most respected—and sought-after—architects. While the Sagrada Família slowly began to rise, he was also working on major public and private commissions. But in the late summer of 1909, at age 57, he turned his full attention to the basilica.

That summer, Barcelona descended into chaos as anarchists and striking workers clashed with military and police forces across makeshift barricades erected in the streets. Amid the violence, which came to be known as the Semana Trágica, more than 50 religious buildings were torched, and three priests were killed. The Sagrada Família, however, was spared; in the midst of the riots, a strike committee even held a meeting there, as art historian Gijs van Hensbergen recounts in his book The Sagrada Família: The Astonishing Story of Gaudí’s Unfinished Masterpiece (2017).

Over the next 15 years, Gaudí became increasingly ascetic and monk-like in his singular devotion to the Sagrada Família. In 1925, the first of its spectacular bell towers was completed—it would be the only one finished in Gaudí’s lifetime. On June 7th of the following year, on his way from the construction site to confession at a nearby church, Gaudí was struck by a tram. He died three days later, at 73 years old. On June 12, 1926, he was buried in the chapel of Our Lady of Mount Carmel in the Sagrada Família crypt.

After Gaudí’s death, Domènec Sugrañes—one of his closest assistants—took the helm. Over the next decade, Sugrañes oversaw the completion of the remaining three bell towers over the dazzling Nativity façade and its Faith portico. Ten years after the loss of the Sagrada Família’s visionary architect, the project would face a much bigger challenge.

Anarchists in the crypt

Interior view of La Sagrada Familia, Barcelona. Photo by Eleonora Abasi. Courtesy of Eleonora Abasi.

In July 1936, a nationalist military coup was launched from Spanish Morocco, setting off the Spanish Civil War. In Barcelona, anarchist labor unions quickly seized control of the city. Churches and other religious buildings were among the most popular targets in the celebratory violence that followed, and this time, the Sagrada Família did not escape unscathed.

On July 20th, members of the Federación Anarquista Ibérica (FAI) torched the temple’s provisional school, laid waste to Gaudí’s former studio—destroying countless drawings, photographs, plans, and other papers—smashed the construction site’s model and sculpture studios, and set fire to the crypt. The vandals also smashed the lid of Gaudí’s tomb. The FAI rebels returned later that day with dynamite, intending to obliterate the Nativity façade. For whatever reason, they did not go through with their plan, and the Sagrada Família was left severely damaged, but standing. In the final pages of his Homage to Catalonia (1938), novelist George Orwell—evidently not a Gaudí fan—alluded to the failed dynamiting with some regret.

“I went to have a look at the cathedral—a modern cathedral and one of the most hideous buildings in the world,” he wrote. “Unlike most of the churches in Barcelona it was not damaged during the revolution—it was spared because of its ‘artistic value,’ people said. I think the Anarchists showed bad taste in not blowing it up when they had the chance.”

While the damage to the building may not have been irreparable, the Sagrada Família’s community was terrorized and decimated. All in all, amid the anti-Catholic violence of the Spanish Civil War, 12 people involved in the operation and construction of Gaudí’s building were killed, according to van Hensbergen. And a little over two years after the outbreak of the Civil War, Sugrañes died. He was just 59, and many blamed his death on the despair brought on by the bleak outlook for the Sagrada Família.

In March 1939, less than two months after Franco’s victorious troops had marched into Barcelona, Francesc de Paula Quintana was named the Sagrada Família’s new chief architect. An assistant to both Gaudí and Sugrañes, he’d spend most of the following decade repairing the extensive damage wrought during the Civil War and plotting a course forward.

Low rumblings and high praise

Photo by Illustra Ciencia, via Flickr.

In the 1950s and ’60s, just as the global architecture community began to recognize the genius of Gaudí’s work—which had begun to fall out of favor in Catalonia in the 1920s—Spain became an increasingly popular tourist destination. In 1955, a year after the foundation work for the church’s Passion façade began, the basilica’s first public fundraising drive was terrifically successful. More than seven decades after its first stone was laid, Gaudí’s masterwork was moving forward again.

The building’s progress and increasingly global profile also made it a target for critics. On January 9, 1965, the Catalan paper La Vanguardia published a letter signed by an international coterie of artists, architects, and intellectuals—including Le Corbusier, Alvar Aalto, Joan Miró, and Antoni Tàpies—calling for work on the building to be put on hold. The letter deemed continued work on Gaudí’s project a bastardization of the architect’s original vision, bemoaning the idea that one would continue an artist’s unfinished work after his death. Nevertheless, work continued, and towers and visitor numbers continued to rise.

Over the ensuing decades, steadily rising visitor numbers provided plentiful funding for construction. In 2005, the Sagrada Família was designated a World Heritage Site by UNESCO, but a couple of years later, a new project threatened to bring everything crashing down.

In 2007, the Spanish government announced plans to bore a 39-foot-wide high-speed train tunnel under Barcelona, passing near the foundations of the Sagrada Família. Jordi Bonet i Armengol, the director of construction on the temple at the time, warned that creating the tunnel “could prove fatal” to Gaudí’s building, causing “irreversible damage,” and that vibrations caused by the regular passage of high-speed trains beneath the building could cause fissures and loosen tiles from its walls.

In response, special provisions were made to reduce the tunnel’s possible impact on the Sagrada Família. Construction on the tunnel began in 2010, and trains began rolling through it three years later—to date, no damage has been reported.

A few weeks after the tunnel-boring machine passed under the Sagrada Família’s foundations, Pope Benedict XVI consecrated the temple. On November 7, 2010, the pope told those assembled for the service: “I have been moved above all by Gaudí’s confidence when, in the face of many difficulties, filled with trust in providence, he would exclaim, ‘Saint Joseph will finish this church.’”

While, at times, it has seemed that it would take a miracle to finish the Sagrada Família, it may indeed come down to the willpower of one very determined saint. And, as luck would have it, Gaudí’s candidacy for sainthood is gathering momentum.

from Artsy News

[retegenova]

  “FRAGILE – handle with care”

III Edizione

    “FRAGILE / handle with care” – III Edizione Collettiva d’arte contemporanea a cura di Benedetta Spagnuolo

Visitabile dal: 7 al 20 Luglio 2018

Vernissage: 6 Luglio H. 18:00/20:00 – ingresso libero fino ad esaurimento posti

Museoteatro della Commenda di Prè, II piano

Piazza della Commenda, Genova

  Venerdì 6 Luglio alle ore 18.00 inaugura la III Edizione della Collettiva d’arte contemporanea “FRAGILE – handle with care” a cura di Benedetta Spagnuolo al Museoteatro della Commenda di Prè di Genova.

La prestigiosa location medioevale accoglie 36 artisti da tutta Italia che si confrontano sul tema della fragilità, con opere di fotografia, pittura, installazione, grafica e video. Insieme al Curatore partecipa:  Maurizio Daccà, Consigliere Mu.MA. Per il vernissage: video di Jessica Iapino, Chiara Scarfò, Davies Zambotti.

  Artisti in mostra:  Pinuccia Alì, Tiziano Bonanni, Patrizia Bonardi, Giusy Burdi, Lorella Cerquetti,  Anna Compagnone, Roberta Conti, Alessandro Cosentino, Nicoletta Cossa, Sergio D’Antonio, Arcangela Di Fede, Ilaria Finetti, Luca Giacobbe, Gilda & Bodha, Daniela Giuliani, Chiara Guidotto, Massimiliano Manenti, Cristina Mantisi, Angela Martinelli, Stefania Milazzo, Valerio Murri, Federico Pisciotta, Valentina Porcelli, Viviana Rasulo, Mariella Relini, Dorian Rex, Susi Ricauda Aimonino, Federica Rossi, Emilia Ruggiero, Umberto Salmeri, Daniela Sandroni, Rosetta Tronconi, Lara Viani

Mostra organizzata da Artisti Italiani – arti visive e promozione, in collaborazione con Mu.MA, Associazione Promotori Musei del Mare e della Navigazione e  Cooperativa Solidarietà e lavoro.  Ingresso libero fino ad esaurimento posti all’inaugurazione, visitabile fino al 20 Luglio 2018.

  L’organizzazione “Artisti Italiani – arti visive e promozione” ama da sempre il confronto con spazi suggestivi e interessanti; pur essendo amanti del “white cube”, del contenitore asettico che evidenzi l’opera con neutralità, quando realizziamo eventi collettivi con tematiche particolari preferiamo lasciarci suggestionare dalla forza innata e dal carattere delle location che crediamo possano essere un valore aggiunto per l’intero progetto. In questo caso abbiamo scelto la Commenda di Prè, non solo per il contrasto che si crea tra le stanze medioevali di questo complesso e le opere contemporanee, ma anche per gli stimolanti cortocircuiti tra le energie emanate da questi ambienti, con la loro storia e tracce ben delineate, e le opere di artisti che non possono non assorbire e “nutrirsi”, convivendo con un indubbio arricchimento emotivo ed etico.

  Radicale è oggi l’estensione dei concetti di fragilità: abitualmente si trova sui dizionari come indice di scarsa consistenza, di gracilità e di debolezza, di precarietà e di instabilità, identificando la fragilità in quella che è la sua linea d’ombra. Ma il concetto di fragilità si estende per noi oltre i dizionari e arriva a toccare interrogativi legati alla sensibilità, delicatezza, vulnerabilità e incertezza umana, dilemmi e attese dell’esistenza.

E’ da qui che parte questo percorso, non solo espositivo, ma interiore, dove gli artisti mostrano agli sguardi più sensibili le proprie “Fragilità”, un invito a muoversi tra gli animi più variegati, dove proprio l’artista pone il visitatore a farsi giudice dinnanzi a qualcosa che di per sé non si caratterizza né come problema né come risorsa, ma, più semplicemente, come uno stato o un limite della materia e degli esseri viventi. Passeremo dalla fragilità dell’imballaggio di un’opera alla fragilità intima di un pensiero, da un dialogo dove la persona fragile dovrà essere “maneggiata con cura”. Fragile è la narrazione dell’Io, le paure, il coraggio; fragile è la rappresentazione di ciò che sarà “interpretato”.

  Ci domanderemo in che modo mostriamo le nostre fragilità di fronte ad opere che esprimono lo stesso concetto, ci chiederemo se la fragilità oggi non è solo sintomo di debolezza interiore ma anche potenza nel mostrarsi limpidi agli occhi di tutti senza troppi perché.

Una tematica che sconfina nell’ assolutezza.

Fragile è il doppio gioco che oscilla tra verità e finzione.

  Eugenio Borgna a tal proposito scrive:

  “Come definire la fragilità nella sua radice fenomenologica? Fragile è una cosa (una situazione) che facilmente si rompe, e fragile è un equilibrio psichico (un equilibrio emozionale) che facilmente si frantuma, ma fragile è anche una cosa che non può essere se non fragile: questo essendo il suo destino.

La linea della fragilità è una linea oscillante e zigzagante che lambisce e unisce aree tematiche diverse: talora, almeno apparentemente, le une lontane dalle altre.

Sono fragili, e si rompono facilmente, non solo quelle che sono le nostre emozioni e le nostre ragioni di vita, le nostre speranze e le nostre inquietudini, le nostre tristezze e i nostri slanci del cuore;

ma sono fragili, e si dissolvono facilmente, anche le nostre parole: le parole con cui vorremmo aiutare chi sta male e le parole che desidereremmo dagli altri quando siamo noi a stare male. Sono fragili, sono vulnerabili, esperienze di vita alle quali talora nemmeno pensiamo, come sono le esperienze della timidezza e della gioia, del sorriso e delle lacrime, del silenzio e della speranza, della vita mistica.”

      “ARTISTI ITALIANI – arti visive e promozione” di Benedetta Spagnuolo è un’ organizzazione che si occupa della promozione delle arti visive e contemporanee, di tutti gli aspetti promozionali e curatoriali dell’arte, dalla comunicazione web all’organizzazione di eventi espositivi. valorizza, in modo particolare, gli artisti italiani che operano su tutto il territorio nazionale ed internazionale.

  Il Museoteatro della Commenda di Prè, fa parte dell’antico complesso dell’Ospitale della Commenda, un gioiello medioevale di singolare bellezza, segnalato nelle guide internazionali. Fu costruito nel 1180 come luogo di assistenza a pellegrini e crociati che si recavano o tornavano dalla Terrasanta.

  Orario Museoteatro della Commenda di Prè:

Martedì H. 14:00/17:00 – Mercoledì H. 10:00/17:00

Da Giovedì a Domenica e Festivi H. 10:00/19:00 – Lunedì chiuso

Biglietto per il museo: Intero € 5 – Ridotto € 3

Info: biglietteriacommenda@muma.genova.it

+39 010 5573681

    CONTATTI

    ARTISTI ITALIANI-arti visive e promozione

www.artistiitaliani.wix.com/artistiitaliani 

  Ufficio Stampa Costa Edutainment spa

  Mu.MA – Istituzione Musei del Mare e delle Migrazioni

www.museidigenova.it/content/muma Referente: Marina Mannucci

Assistente Presidente Mu.MA- Comunicazione

www.muma.genova.it

  Cooperativa Battelieri del Porto di Genova

NetParade.it

Quezzi.it

AlfaRecovery.com

Comuni-italiani.it

Il Secolo XIX

CentroRicambiCucine.it

Contatti

Stefano Brizzante

Impianti Elettrici

Informatica Servizi

Edilizia

Il Secolo XIX

MusicforPeace Che Festival

MusicforPeace Programma 29 maggio

Programma eventi Genova Celebra Colombo

Genova Celebra Colombo

Venerdì 06.07 ore 18 Commenda di Prè: mostra “”FRAGILE – handle with care” III edizione   “FRAGILE - handle with care” III Edizione     “FRAGILE / handle with care” - III Edizione Collettiva d’arte contemporanea a cura di Benedetta Spagnuolo…

[mariannapignatelli]

4 MAGGIO AL FORMIA FILM FESTIVAL 

NOI CONTRO TUTTE LE VIOLENZE 

FORMIA FILM FESTIVAL: AL VIA ALLA 4° EDIZIONE DAL 3 AL 5 MAGGIO 2018 Cinema, musica, arte, letteratura, emozioni, incontri e riflessioni nel cuore della Riviera d'Ulisse. Il direttore artistico nonché fondatore Daniele Urciuolo in collaborazione con l'Associazione Alfiere Productions danno il via alla 4°edizione del Formia Film Festival dal 3 al 5 maggio 2018, coordinato con Roberta Nardi, organizzatrice e giornalista, e Cateno Piazza vicepresidente del Festival. Il Formia Film Festival è in partnership con Save the Children, organizzazione internazionale che dal 1919 lotta per salvare la vita dei bambini. Al fine di creare un'esperienza formativa per i giovani studenti del Golfo di Gaeta sono stati coinvolti - per le proiezioni mattutine - gli Istituti Comprensivi di Formia, Gaeta, Fondi, Itri e S.S.Cosma e Damiano. Tante sono le novità di quest’anno. Prima tra tutte la collaborazione tra Alfiere productions e l’Ass. Controtempo. Da quest’anno – infatti – anche il Formia Film Festival ha la sua area ospitalità dedicata agli addetti ai lavori: IL...lounge, sarà curata dallo chef gourmet Ciro De Simone con il supporto dell’Istituto alberghiero di Formia. L’organizzazione de IL...lounge è gestita dall’associazione Controtempo, presieduta da Simona de Melas ed Elena Foti. Tanti saranno gli omaggi; si ricorderà Christian Oz Repici, Gianluca Petrazzi e ci sarà anche un omaggio al grande Paolo Villaggio con un premio alla carriera che sarà consegnato all'attrice Milena Vukotic, compagna di set dell'attore scomparso lo scorso anno. Il momento sarà coordinato dal regista Aldo Manfredi e dalla conduttrice televisiva Angela Achilli. Il docufilm  NOI CONTRO TUTTE LE VIOLENZE di Marianna Pignatelli e Mario Compagnone prodotto da Sound art Capodimonte e da Roma Produzione Eventi partecipa venerdì 4 maggio fuori concorso. Il docufilm è stato girato tra Gravina in Puglia e Napoli. I protagonisti principali sono Grazia Pignatelli e Mario Compagnone. A proposito di musica, una delle novità di questo 2018 è l'introduzione del Premio Soundtrack alla migliore colonna sonora tra le opere in gara, con una giuria composta da: Olimpio e Glauco Di Mambro, dal Maestro Umberto Scipione, ai quali si aggiunge Giordano Carnevale. La GiuriaTecnica è composta da Adelmo Togliani, sceneggiatore, attore, regista, produttore di Roma (Presidente), Lucianna De Falco, attrice di Ischia (Vicepresidente), Cristina Puccinelli (sceneggiatrice, attrice e regista di Lucca), Roberto Conforti costumista e scenografo anch’egli toscano e Michele Fofi - presidente Civitanova Film Festival. Protagonista della serata di apertura, il 3 maggio, la poliedrica attrice, performer ed influencer Diana Del Bufalo. Tra gli ospiti della serata conclusiva sabato 5 maggio invece l'attrice argentina Maria Clara Alonso, nota al grande pubblico per la serie Disney “Violetta”; a lei il compito di presentare il Teaser di “Insane Love” di Eitan Pitignani con Filippo Gattuso. Tra gli ospiti anche Stella Egitto, Luigi Fedele, Mirko Frezza, Fabio Boga, Alice Bellagamba, Antonia Liskova, Christian Marazziti, Giovanni Virgilio, Giuseppe Alessio Nuzzo, Eitan Pitignani, Emiliano Marsili, Gaby Mudingay, Luigi Gaglione, Martina Catalfamo, Jun Ichikawa, Alfio Consoli e tanti altri. La conduzione del festival è affidata ad Andrea Fico e Fabiola Dalla Chiara, mentre le inviate sono Chiara Verrico e Maria Concetta Valente. Tra i collaboratori Simone Bracci, Emanuele Rauco, Andrea Refuto, Natale Pulito. Saranno presenti al Festival anche Michele Fazzitta, Carlotta Calmarini, Ilaria Fioravanti, Giuseppe Di Monte, Michele Spanò, Francesca Surace, Delia Di Ciocco, Matteo De Buono e Valerio Vanzani. Tra i libri che saranno presentati al festival “Terra Mia” di Claudio Poggi e Daniele Sanzone, “La Poetica del male” di Simone Bracci, il romanzo “Vorrei che fosse già domani” di Miriam Candurro e Massimo Cacciapuoti e “Arilli di melograno”, opera prima di Enrichetta Glave, The Freak editori.