#Carl Paoli

[marcogiovenale]

'utsanga' n.41 è in rete: numero speciale per i dieci anni della rivista

Utsanga 2014-2024, issue 41! www.utsanga.it Online il numero per i dieci anni di utsanga, con: Francesco Aprile, Cristiano Caggiula, Egidio Marullo, Ruggero Maggi, Anna Guillot, Anna Serra, Patrice Cazelles, Michael Betancourt, Silvio De Gracia, Demosthenes Agrafiotis, Almandrade Andrade, Christoph Benjamin Schulz, Alain Arias-Misson, Giovanni Fontana, Carla Bertola, Alberto Vitacchio, Fernando…

[agendaculturaldelima]

#ProyeccionDeVida

📣 Kino Cat / Cine Tulipán, presenta:

🎬 “DAGON, LA SECTA DEL MAR”

🔎 Género: Terror / Monstruos / Sectas / Serie B

⌛️ Duración: 94 minutos

✍️ Guion: Dennis Paoli

📕 La Sombra sobre Innsmouth: Howard Phillips Lovecraft (estados Unidos)

🎼 Música: Carles Cases

📷 Fotografía: Carlos Suárez

💥 Argumento: Paul y su novia Barbara están celebrando el éxito de su nueva empresa dot.com con su socio Howard y Vicki, su glamourosa esposa. Los cuatro están disfrutando de unas vacaciones en el barco de Howard, en la costa de Galicia. Inesperadamente, el barco choca contra un arrecife, quedando Vicki atrapada entre los restos. Mientras Howard se queda con ella, Paul y Barbara van al pueblo más cercano en busca de ayuda. Llegan a un decrépito y siniestro pueblo de pescadores llamado Imboca. Cuando Paul regresa al barco descubre con sorpresa que Howard y Vicki han desaparecido. Mientras tanto, Barbara es secuestrada en el hotel del pueblo. Al regresar, Paul es perseguido por los extraños habitantes del pueblo. Huyendo para salvar su vida, Paul descubre el oscuro secreto de Imboca: todos adoran a Dagon, un monstruoso dios del mar.

👥 Reparto: Ezra Godden (Paul Marsh), Raquel Meroño (Bárbara), Macarena Gómez (Uxía Cambarro), Francisco Rabal (Ezequiel), Birgit Bofarull (Vicki), Brendan Price (Howard), Ferran Lahoz (Sacerdote), Joan Minguell (Xavier Cambarro) y Alfredo Villa (Capitán Orfeo Ca).

📢 Dirección: Stuart Gordon

© Productoras: Fantastic Factory, Castelao Productions, Televisión de Galicia (TVG), Televisión de Galicia (TVG), Estudios Picasso & Vía Digital

🌎 Pais: España

📅 Año: 2001

📽 Proyección:

📆 Martes 08 de Octubre

🕖 7:30pm. 

🐈‍ El Gato Tulipán (Bajada de Baños 350 – Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

[redrusty66]

Soul Survivors (2001)

Discussing the 2001 Horror Sci-Fi Film : Soul Survivors (2001)

Starring :  Eliza Dushku, Casey Affleck, Wes Bentley, Melissa Sagemiller, Luke Wilson, Angela Featherstone, Carl Paoli, Barbara E. Robertson

Director :  Stephen Carpenter Writer : Stephen Carpenter My Score 6.4/10

IMDB : https://www.imdb.com/title/tt0218619/ Trailer : https://www.youtube.com/watch?v=9gLy7dks4GI

My IMDB : https://www.imdb.com/user/ur48636572 My Letterboxed : https://letterboxd.com/Redrusty66/ My Poetry : https://allpoetry.com/Redrusty66

#horror #review #supernatural #ghost  #film #reaction #film

[ironcrewathletics]

Carl Paoli | Student of People - Iron Crew Podcast Episode 36

Carl Paoli | Student of People – Iron Crew Podcast Episode 36

https://ironcrewathletics.files.wordpress.com/2019/04/episode-36-carl-paoli-student-of-people-41519-4.03-pm.mp3

Danny gets a chance to sit down with movement specialist, gymnastics guru, and communication expert, Carl Paoli!  Danny and Carl talk all things human movement, how to own your actions, and what makes Carl so great as an “in person” speaker.  Carl also shares some funny stories about…

[brianjoofans]

170410 RP @thebrianjoo Instagram: It was a pleasure to host my buddy @carlpaoli, while he came to visit and do a seminar at @4tpfitness it's never a dull moment when I'm hanging out with this guy... safe travels back to San Francisco, and I'll see you later this year in the states:). Miss you already brother! 제 친구 칼 파울리 한국에 있는 동안에 우리 집에서 생활 하면서 너무 즐거웠어요~ 너무 짧은 시간이었지만 그래도 같이 시간도 보내고 우리 체육관에서 세미나도 하게 되었고 언제나 좋은 기억밖에 없는 추억들 만들어서 너무 좋아요~ 이 사진은 공항으로 출발하기 전에 찍은 사진이지만 벌써부터 보고 싶은 내 친구... "안전하게 조심히 미국으로 돌아가고~ 니가 하는 일 모두 잘됐으면 좋겠고 그리고 너의 가족들 늘 행복했으면 좋겠어... 나 나중에 미국 갈 때 그때 다시 놀자 보고 싶다 친구야" #carlpaoli #칼피울리 #freestyleconnection #strikemovement#4TPfitness #CrossFit4TP #BrianJoo #브라이언 #reebok#reebokcrossfit #goruck #goruckgr2 #friendsforever https://instagram.com/p/BSsN3qeFJfk/

[yesterdaysanswers]

Qui Giovani, March 1972

translation:

Meet Emerson, Lake & Palmer during their last concert at the London Pavillon. On keyboards there is Keith Emerson, on drums Carl Palmer and on bass guitar Greg Lake.

History of one of the most prestigious bands in world pop music - The trio was formed just two years ago - They come from famous bands: Nice (Keith Emerson), King Crimson (Greg Lake) and Atomic Rooster (Carl Palmer) - A tour and a show on TV

ROME, March "Emerson, Lake & Palmer" will come to Italy in May. The news, now official, will certainly make happy the numerous Italian fans of the prestigious group considered among the best in the world. 

The credit for the exceptional tour of the "E. L. & P." is due to our television, which invited them to "Teatro 10", the broadcasting conducted by Mina and Alberto Lupo (see report on pages 32-33). In addition to "Teatro 10", Emerson, Lake & Palmer will record a "specialty" of about an hour, which will air after the nine episodes of "Teatro 10", probably on Tuesday, as part of a series of programs tentatively titled  "The guests of Teatro 10". Finally, the famous group will hold a still imprecise number of concerts in Rome, Bologna, perhaps Florence, Turin. If the police will give the authorization there will also be a show at the Palasport or Vigorelli in Milan. However, the exact dates have not been fixed. 

So far in Italy, Emerson Lake & Palmer are known and appreciated for what they have done in the recording studio, that is for their albums, precisely three LPs that have the following titles: "Emerson, Lake & Palmer”, "Tarkus" and the last "Pictures at an Exhibition". Some of you will be wondering why just three long-playing.  Very simple: despite having been very famous individually for years, Keith Emerson, Greg Lake and Carl Palmer have been together for less than two years. 

Keith Emerson, the pianist, somewhat the leader of the lineup; until 1970 he was one of the strengths of "Nice", a band that played classical music in a pop key. Greg Lake was the lead vocalist and guitarist of another famous band: King Crimson. Carl Palmer was the drummer of Atomic Rooster. Two years ago, while both Nice and King Crimson were engaged in some executions in San Francisco, Emerson and Lake met. Keith was rehearsing the "Moog" electronic instrument at the Fillmore in San Francisco when he suddenly realized he was being accompanied by a guitar - bass: it was Greg Lake. They played for more than two hours without exchanging a word. They have since become inseparable. 

Back in London, where they currently live, Emerson and Lake proposed that a mutual friend, Carl Palmer, join them. Thus were born the "Emerson, Lake & Palmer", a band that manages to make avant-garde music using classical, blues, jazz and rock. It is almost impossible to explain what "E. L. & P." play: it is necessary to listen to them, and especially live. Just what we will do in a few weeks.  

Franco Paoli

[chicagoindiecritics]

New from Jeff York on The Establishing Shot: APPRECIATING THE SUBLIME NASTINESS OF STUART GORDON’S “RE-ANIMATOR”

Original caricature by Jeff York of David Gale and Jeffrey Combs in RE-ANIMATOR (copyright 2020)

With the passing of filmmaker Stuart Gordon this past week, I was inspired to re-visit his darkly comic horror film RE-ANIMATOR. A loose adaptation of H. P. Lovecraft’s horror short Herbert West – Reanimator, Gordon made it his own by amping up the comedy and the grotesque in equal measures for a modern horror classic. When it came out in 1985, America was settling into a comfortable groove with a second term of the Reagan administration, a nationwide obsession with music videos on MTV, and a steadying economy. Gordon likely wanted to shake audiences out of its complacency, and he did just that with his hellzapoppin horror show.

The film was probably too controversial by half to be anything more than a qualified hit at the time, but nonetheless it still had quite an impact. Not only did it achieve instant cult status, and lead to a number of sequels, but it cemented Gordon’s artistic reputation as a provocateur and set his film career up to continue to shock and awe. (He’d already done a lot of similar things in Chicago with his Organic Theater Company where, among other things, he introduced the world to the equally edgy playwright David Mamet when he produced his first play entitled Sexual Perversity in Chicago.) 35 years later, the chills and laughs Gordon put out for the world to see in RE-ANIMATOR still stand tall, and if anything, the entire enterprise seems even more outrageous than it did when it opened during that comfy and conservative Reagan era.

The idea of reanimating corpses wasn’t exactly the edgiest subject for the horror genre. Mary Shelley’s Frankenstein, which helped start the genre back in 1818, was about that very idea. Nor was excessive violence and gore new to films or even TV shows in the genre. The Hammer horror films dumped buckets of blood all over the screen in the ’60s. THE NIGHT STALKER made-for-TV movie in 1972 pushed the boundaries of violence transmitting into people’s homes with its tale of a vampire on the loose in Las Vegas. And God knows that John Carpenter was raked over the coals by critics for the spectacularly graphic deaths in his remake of THE THING in 1982. RE-ANIMATOR didn’t do anything all that new by being excessively violent. What was novel about it was how viciously it was employed, and how glibly. It was gross, sure, but mostly, it was served with a sense of humor.

In a word, RE-ANIMATOR was nasty.

Nasty in tone, look, and physicality, not to mention its treatment of death, the medical community, patriarchal society, ingenues, and yes, the classic hero’s journey. It was a sniggering and snide middle finger to propriety, daring audiences to watch, laugh, and stay till the end of a film wall-to-wall with outrage. Some did, some didn’t. I had to chase after my date who walked out during it due to being so offended. I returned the next day to see it on my own. It was a very polarizing movie.

The story concerned a brilliant but certifiably cuckoo medical student named Herbert West (Jeffrey Combs) who has invented a reagent that can re-animate deceased bodies. He pulls his classmate and roommate Dan Cain (Bruce Abbott) into his twisted world when cat Rufus ends up dead by accident and West brings it back to life with his DayGlo green goop. Unfortunately, the lovable personality of the frisky feline doesn’t return as easily as his body. Instead, the sweet kitty’s personality is replaced by a savage and mutated one, a zombie-cat driven by bloodlust. As the two roomies dig deeper into experimentation with reanimation, human bodies start to pile up all over campus, all becoming as vicious as poor Rufus. It’s a film with a pretty sizable body count, one that ends with most of the cast dead, or at least dead for the moment. Dr. West’s formula glows in the dark in the final fade to black.

Combs gave one of the greatest horror film performances ever, a snide sociopath somewhere between Tony Perkins’ boyishness and Christopher Lee’s silken menace.  West was arrogant, tart-tongued, and incapable of even showing a speck of human empathy, By the end, he’s not become a better person one iota. Instead, he’s grown even more obsessed and dangerous. And he’s the lead. (Gordon was all but taunting Joseph Campbell, if not Robert McKee.)

Dan, while a cliched handsome hero in appearance, is little more than a feckless fool throughout. West all but leads him by the nose the entire time. Dan’s girlfriend Megan (Barbara Crampton) is introduced as a sweet, innocent girl and then promptly gets pulled into one humiliation after another. She’s bamboozled by Dan, has to watch her kind father, the dean of the school (Robert Samson), die and then turn into a vicious zombie. West treats her with derision, and the film’s villain Dr. Carl Hill (David Gale) will spend the entire hour and 45-minute running time trying to get into her pants. Today, they’d give her a Katniss Everdeen moment or two to counter such victimhood, but not in ’85.

RE-ANIMATOR is a film that at every beat of its story, exuded in its politically incorr ect attitude Gordon, and his fellow screenwriters Dennis Paoli and William J. Norris threw all the sacred cows out the window or against the wall. (Literally and figuratively, truly.) Rufus’ death is played for grisly laughs. So are all the human deaths. The story also ridicules people in mental institutions, padded cells, and morgues. The character of Megan’s father goes from a sweet, caring man to a drooling, lobotomized caricature in about 10 minutes. And to justify its adult rating, Megan ends up nude for a great deal of the third act. It should be noted too that the film has no problem lingering on Crampton’s comely figure either, including her pubic region. The film takes no prisoners and laughs all the way to the dank.

Most horror comedies tend to play more cute than cruel, like BEETLEJUICE, GHOSTBUSTERS, and ZOMBIELAND. RE-ANIMATOR, however, emphasizes humor that often plays as mean as the bloodletting. Nowhere is this more evident than in how Gordon treats the film’s villainous Dr. Hill. When West catches him trying to steal his reagent, he attacks him with a shovel, and then for good measure, decapitates him too. Still, Hill stays in the picture. The lascivious villain is reanimated and soon both his head in a pan, as well as his foot shorter body, are plotting more nastiness.

The film ends with a phantasm of violence and craziness, chock full of multiple corpses attacking and spraying blood and guts around like the top was left off of a Cuisinart. Yet, even that over-the-top ending cannot compete with the single most memorable set piece in the film. That is when Dr. Hill’s decapitated head tries to, ahem, give head to Megan as she’s strapped to the slab. (Thankfully, my girlfriend left before that scene!)

When the film was originally presented to the review board, it received an X rating because of such scenes, as well as its violence. Gordon trimmed some bits and pieces here and there to scale back such offenses, and thus ensured the video release of the film got an R rating that made it acceptable for Blockbuster and mom & pop stores nationwide. In rentals is where the film really took off and built its reputation that it enjoys today.

Gordon and his producer Brian Yuzna consciously went for the shock and delivered it in spades. They spent a considerable amount of their meager $900,000 budget on the gruesome makeup effects, ensuring that they were as disgusting and graphic as the photos they discovered in a forensics pathologist manual.  John Naulin, the film’s effects supervisor, said it was the bloodiest film he had ever worked on. In past horror films, he never used more than two gallons of blood. For RE-ANIMATOR, he used 24.

And, dare one say, it was bloody effective. By not pulling its punches, RE-ANIMATOR was true to Gordon’s vision of splitting skulls and being side-splitting too. And for such a brazen film, it’s got dozens of quotable quips, particularly those uttered by West. When he discovers the headless Hill trying to get it on with Megan, West admonishes the bad doctor. “I must say, Dr. Hill, I’m very disappointed in you. You steal the secret of life and death, and here you are trysting with a bubble-headed coed.” Snark like that is comedy gold. And it’s in a horror film.

It’s not everyone’s cup of tea, but then Gordon wasn’t interested in the status quo.

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[sayitaliano]

Seat Music Awards

(Sorry for being late.)

Yesterday (june 5th) and tonight (june 6th) nights on Rai1 at 8:30 P.M. (local time) you may (have) watch(ed) the Seat Music Awards 2019 (formerly Wind Music Awards), a huge show in which lot of artists usually play live on a stage in the Arena of Verona to celebrate their successful hits, album or live shows. The hosts will be Carlo Conti (Sanremo 2017) and Vanessa Incontrada (actress, host…). 

Here the list of the artists: Achille Lauro / Alberto Urso / Alessandra Amoroso / Anastasio / Anna Tatangelo / Annalisa / Antonello Venditti / Baby K / Benji & Fede / Biondo / Boomdabash / Carl Brave / Claudio Baglioni / Cristina D’Avena / Dark Polo Gang / Elisa / Emis Killa / Emma Muscat / Enrico Nigiotti / Ermal Meta / Ernia / Fabrizio Moro / Fiorella Mannoi / Francesco De Gregori / Francesco Gabbani / Francesco Renga / Fred De Palma / Gazzelle / Gigi D’Alessio / Gino Paoli / Giusy Ferreri / Gemitaiz / Guè Pequeno / Irama / J- Ax / Laura Pausini & Biagio Antonacci / Levante / Ligabue / Lo Stato sociale with Myss Keta / Loredana Berté / Luché / Maneskin / Mahmood / Marco Mengoni / Modà / Negrita / Nek / Paola Turci / Raf & Tozzi / Roberto Vecchioni / Ron / Salmo / Sfera Ebbasta / Takagi & Ketra / The Kolors & Elodie / Thegiornalisti / Ultimo / Il Volo. Mika will be the international guest.

-> here what you’ve lost yesterday evening (the artists who took part yesterday) (you can rewatch the show on Raiplay, also tonight’s show will be uploaded by tomorrow on that same page)

# on twitter

[jacquaeline]

List of Italian songs that remind me of Martino and Niccolò (so far)

1. Il cielo in una stanza, Gino Paoli

2. A mano a mano, Rino Gaetano

3. Pianeti, Ultimo

4. Vedi cara, Francesco Guccini

5. Sfiorivano le viole, Rino Gaetano

6. Pianto noisy, Carl Brave

7. La cura, Franco Battiato

8. Le barche, Calcutta

9. Sospesi, Colapesce

10. Gravità, Frah Quintale

11. Tubature, Giorgio Poi

12. Cascare nei tuoi occhi, Ultimo

13. Dev’essere così, Cesare Cremonini

14. Amore che vieni amore che vai, Fabrizio de André

15. Altrove, Eugenio in via di gioia

16. Sempre in due, Carl Brave x Franco126

17. Vorrei portarti via, Coez

18. L’anima non conta, The zen circus

19. Giudizi universali, Samuele Bersani

20. Occhiaie, Galeffi

21. La donna cannone, Francesco de Gregori

22. Vieni a vedere perché, Cesare Cremonini

23. Milano, Calcutta

24. Calabi-Yau, I Cani

[amy39h]

Read Book Free+Style: Maximize Sport and Life Performance with Four Basic Movements PDF -- Carl Paoli

Download Or Read PDF Free+Style: Maximize Sport and Life Performance with Four Basic Movements - Carl Paoli Free Full Pages Online With Audiobook.

  [*] Download PDF Visit Here => https://forsharedpdf.site/1628600209

[*] Read PDF Visit Here => https://forsharedpdf.site/1628600209

[docrotten]

FROM BEYOND (1986) – Episode 199 – Decades of Horror 1980s

“Well, how about the hard-on I got? Is there a statistical correlation for that too?” Will you calculate the standard deviation while you’re at it? Join your faithful Grue-Crew - Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr, along with special guest Ralph Miller - as they take a goo-filled trip to From Beyond (1986)!

Decades of Horror 1980s Episode 199 – From Beyond (1986)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A group of scientists have developed the Resonator, a machine which allows whoever is within range to see beyond normal perceptible reality. But when the experiment succeeds, they are immediately attacked by terrible life forms.

IMDb

  Director: Stuart Gordon

Writers: Dennis Paoli (screenplay); H.P. Lovecraft (short story); (adaptation by) Brian Yuzna, Stuart Gordon, & Dennis Paoli

Music: Richard Band

Cinematography: Mac Ahlberg

Production Design: Giovanni Natalucci

Selected Special Effects personnel: 

Mechanical and Makeup Imageries (MMI, John Carl Buechler), 

Ralph Miller III (animatronics)

Gino Crognale (modeler)

Mitch Devane (modeler)

Mark Shostrom Studio (Mark Shostrom), 

More Than Skin Deep (John Naulin), 

Doublin EFX (Anthony Doublin)

David Zen Mansley (designer and creator: resonator)

Selected Cast

Jeffrey Combs as Dr. Crawford Tillinghast

Barbara Crampton as Dr. Katherine McMichaels

Ted Sorel as Dr. Edward Pretorius

Ken Foree as Bubba Brownlee

Carolyn Purdy-Gordon as Dr. Bloch

Bunny Summers as Neighbor Lady

Bruce McGuire as Jordan Fields

From Beyond is Chad’s pick and the first time he saw it, he was flabbergasted by the special effects, the gore, and the goo! He still loves it today, adding that the pacing delivers one flabbergast right after another and the acting - Barbara Crampton, Jeffrey Combs, and Ken Foree - is great. Bill loves the great cast and the practical effects of From Beyond but laments how the color scheme hid some of the details of the monsters. In case you haven’t realized it by now, Crystal has a definite thing for Jeffrey Combs and Barbara Crampton. She also loves From Beyond’s memorable effects and the way the body horror progresses throughout the movie, becoming more and more gruesome. Jeff loves From Beyond too, agreeing with everyone on the excellence of the effects and the cast. Ralph, who worked on the “shrimp monster’s” animatronics for John Buechler’s MMI, loves Barabara Crampton’s impressive performance portraying her character’s arc. Ralph admits he’s a creature person and loves the creature designs as the special effects units do their best to materialize Lovecraft’s imaginings in From Beyond.  

Stuart Gordon, H.P. Lovecraft, Dennis Paoli, Brian Yuzna, Barbara Crampton, Jeffrey Combs, Ken Foree, Ted Sorel, and some of the best effects this side of The Thing! So what are you waiting for? As of this writing, From Beyond is available to stream from Tubi and PlutoTV and as PPV on Amazon and Vudu. 

This episode is a “double-tap” for From Beyond. Check out a previous 1980s Grue-Crew discussion on the film at Episode 129 of Decades Of Horror 1980s, 28 January 2018.

You can also check out our partial career overview of Ralph Miller’s special effects work in Episode 155 – Decades Of Horror 1980s, 7 May 2020. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. Next up is the podcast's landmark 200th episode. The subject film has been chosen by our listeners and viewers in polls on Patreon, YouTube, and Facebook, and will be Night of the Comet (1984)! You won’t want to miss the Decades of Horror 1980s Grue-Crew’s discussion of the film whose working title was Teenage Mutant Horror Comet Zombies. What else could you ask for from an 80s horror flick?

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans:  leave them a message or leave a comment on the gruesome Magazine Youtube channel, on the website or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com

Check out this episode!

[jeniussmartbooks]

[txt] Free+Style Maximize Sport and Life Performance with Four Basic Movements [R.E.A.D]

[txt] Free+Style: Maximize Sport and Life Performance with Four Basic Movements [R.E.A.D]

Free+Style: Maximize Sport and Life Performance with Four Basic Movements

[PDF] Download Free+Style: Maximize Sport and Life Performance with Four Basic Movements Ebook | READ ONLINE

Author : Carl Paoli Publisher : Victory Belt Publishing ISBN : 1628600209 Publication Date : 2014-7-15 Language : Pages : 432

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=1628600209

Free [epub]$$

Synopsis : [txt] Free+Style: Maximize Sport and Life Performance with Four Basic Movements [R.E.A.D]

Everyone cares about physical performance and the fitness industry offers an infinite number of solutions to improve it. But who has the best solution and how do we know if and how it will work for us?After over 15 years of training as an elite gymnast and over a decade of coaching, Coach Carl Paoli offers a fresh philosophy on training by connecting movement styles to fit your specific purpose, while also giving you a simple framework for mastering the basics of any human movement. Freestyle: Maximize Your Sport and Life Performance with Four Basic Movements is an interactive way to learn how the body is designed to move through space and how to interact with our constantly changing surroundings. Using this framework and four basic movements, Paoli will help you maximize your efforts in sport and life, regardless of specialty. Despite Carl's experience as an elite gymnast and a renowned CrossFit coach, this is not a book about gymnastics, CrossFit, or any specific fitness program. Rather, it is a unique take on how Carl studies and teaches human movement and how you can better understand how to move yourself. Carl is not going to teach you the specifics of a movement or sport; instead, he gives you a template that you can use to develop any specific movement. For example, instead of teaching you how to throw a baseball, this book teaches you a universal foundation that will help you further develop your pitching skills. Human movement is intuitive, but not always perfect. This book shows you how to: * Turn on and trust your intuition about movement * Use tools that help optimize imperfect movement * Tap into the universal movement patterns and progressions underlying all disciplines * Use Carl Paoli's movement framework to create roadmaps for your physical success * Learn what being strong really means Freestyle is a practical manual to develop human movement regardless of your discipline. It is equally applicable to veteran athletes, weekend warriors, fitness enthusiasts, people trying to pick up a new sport, and people who are simply curious about improving their health. By developing your awareness and learning to see across other disciplines, you can tailor any training regimen to meet your unique goals.

[the-master-cylinder]

SUMMARY At University of Zurich Institute of Medicine in Switzerland, Herbert West brings his dead professor, Dr. Hans Gruber, back to life. There are horrific side-effects, however; as West explains, the dosage was too large. When accused of killing Gruber, West counters: “I gave him life!”

West arrives at Miskatonic University in New England in order to further his studies as a medical student. He rents a room from fellow medical student Dan Cain and converts the building’s basement into his own personal laboratory. West demonstrates his reanimating reagent to Dan by reanimating Dan’s dead cat Rufus. Dan’s fiancée Megan Halsey, daughter of the medical school’s dean, walks in on this experiment and is horrified. Dan tries to tell the dean about West’s success in reanimating the dead cat, but the dean does not believe him. When Dan insists, the dean infers that Dan and West have gone mad. Barred from the school, West and Dan sneak into the morgue to test the reagent on a human subject in an attempt to prove that the reagent works, and thereby salvage their medical careers. The corpse they inject comes back to life, but in a frenetic and violent zombie-like state. Dr. Halsey stumbles upon the scene and, despite attempts by both West and Dan to save him, he gets killed by the reanimated corpse, which West then kills with a bone-saw. Unfazed by the violence and excited at the prospect of working with a freshly dead specimen, West injects Dr. Halsey’s body with his reanimating reagent. Dr. Halsey returns to life, also in a psychotic, zombie-like state. Megan chances upon the scene, and is nearly hysterical. Meanwhile, Dan collapses in shock.

Dr. Halsey’s colleague Dr. Carl Hill, a professor and researcher at the hospital, takes charge of Dr. Halsey, whom he puts in a padded observation cell adjacent to his office. He carries out a surgical operation on him, lobotomizing him. During the course of this operation, he discovers that Dr. Halsey is not sick, but dead and reanimated. Dr. Hill goes to West’s basement lab and attempts to blackmail him into surrendering his reagent and notes, hoping to take credit for West’s discovery. West offers to demonstrate the reagent and puts a few drops of it onto a microscope slide with dead cat tissue. As Dr. Hill peers through the microscope at this slide, West clobbers him from behind with a shovel, and then decapitates him, snarling “plagiarist!” as he drives the blade of the shovel through Dr. Hill’s neck. West then reanimates Dr. Hill’s head and body separately. While West is questioning Dr. Hill’s head and taking notes, Dr. Hill’s body sneaks up behind him and knocks him unconscious. The body carries the head back to Dr. Hill’s office, with West’s reagent and notes.

In his re-animated state, Dr. Hill acquires the ability to control other re-animated corpses telepathically, after conducting brain surgery on them. He then directs Dr. Halsey to snatch Megan away from Dan. While being carried to the morgue by her reanimated father, Megan faints. When she arrives, Dr. Hill strips her naked and straps her unconscious body to a table. She regains consciousness as Hill begins to sexually abuse her, including touching her breasts and placing his bloody severed head between her legs. West and Dan track Halsey to the morgue. West distracts Dr. Hill while Dan frees Megan. Dr. Hill reveals that he has reanimated and lobotomized several corpses from the morgue, rendering them susceptible to mind control as Halsey is. However, Megan’s voice reawakens a protectiveness in her father, who then fights off the other corpses long enough for Dan and Megan to escape. In the ensuing chaos, West injects Dr. Hill’s body with a lethal overdose of the reagent. Dr. Hill’s body mutates rapidly and attacks West, who screams out to Dan to save his work before being pulled away by Dr. Hill’s mutated entrails.

Dan retrieves the satchel containing West’s reagent and notes. As Dan and Megan flee the morgue, one of the reanimated corpses attacks and strangles Megan. Dan takes her to the hospital emergency room and tries to revive her, but she is quite dead. In despair, he injects her with West’s reagent. As the scene fades to black, Megan, apparently revived, can be heard screaming.

DEVELOPMENT When thinking of the sort of person who would have written a movie as bloody and outlandish as The Re-Animator, one might not immediately think of someone who teaches literature at a New York college but that’s exactly what screenwriter Dennis Paoli does for a living when not working on film scripts. Paoli has worked on and off with Re-Animator director Stuart Gordon since their high school days in Chicago, collaborating on projects that have ranged from comedy skits to a stage version of the hero epic Beowolf. By the time Gordon and William Norris contacted Paoli about the idea of collaborating on a Lovecraft script, Paoli’s academic pursuits had primed him for a venture into the bizarre.

Paoli says that he was originally brought onto the project as “the Gothic consultant,” because at the time he was working on his PHD in 18th and 19th century Gothic fiction. Paoli found that his knowledge of this style of literature could be applied to the task of adapting that latter-day Gothic H.P. Lovecraft. “The Gothics’ Paoli says, ” were the first kind of novels written. It’s very strange what’s happened to them. On the one hand, when you say Gothics you think of these current formula romances, but in their time, the first Gothics were the experimental novels. They would try anything to tell a story. They strove for effect, to have an immediate and violent effect on the reader. So they were banned in many places. In the House of Commons in England they called for a stop to romances, especially Gothic romances, because they were believed to be corruptive-just the same argument you get today.”

The Gothic-style source material for The Re-Animator was a series of six grisly stories by Lovecraft revolving around the mad scientist Herbert West. In a quest to conquer death, West concocts a serum that can re-animate dead bodies. The serum produces macabre results and West spends six stories refining his ghastly experiment.

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At first The Re-Animator was envisioned as a series of 13 half-hour episodes to be produced for either syndicated or cable TV. Once an outline was drawn up, Paoli says that William Norris wrote the first half-hour pilot, but then the collaborators found that there seemed to be more interest in an hour show that might be included in an already existing anthology series. Paoli expanded the script to an hour, and then went on to expand it again to an hour and-a-half when prospects arose to produce the story as a feature film.

Adapting Lovecraft to create a violent, Gothic effect on screen has its problems, says Paoli, which may account for the mediocrity of previous Lovecraft films. One problem, says Paoli, is that most of the author’s stories were written in the first person; in the case of the Herbert West stories, the narrator is Dan Cain, West’s reluctant assistant. “Most movies,” explains Paoli, “aren’t made that way. It’s very difficult to get across the first-person point of view unless you use a lot of voice-over narration, but then that distances you from the screen. You don’t get that immediate effect”

Another problem concerns the nature of Lovecraft’s horror. “Lovecraft’s people have seen something that has changed them, that has twisted them, that has ruined their lives or made them mad. In the stories, all you get is the reactions to the horror. You do get some descriptions, actually some quite vivid descriptions, but they’re always made more vivid by your own imagination. On film, you have to show these horrifying things, these things that the narrators see which make them mad, and you’re under the obligation, in a way, to make your audience mad. That is an awful obligation for a filmmaker.” In the past this has been an area in which Lovecraft pictures have really fallen apart. Anyone who has been subjected to the endless psychedelic shots from the point of view of the monster in The Dunwich Horror can attest to that. In The Re-Animator, though, the graphic horror is displayed-in spades. “Because we have reached a period now where you can be explicit, it allowed us to show these bloody events without cutting away or suggesting them off-camera. You have to take that excessive route,” adds Paoli.

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PRE-PRODUCTION Producer Brian Yuzna describes the original story and the way it was adapted to the screen. “H.P. Lovecraft’s story takes place at Miskatonic University at the turn of the century,” he says. “It has a very grisly, dark kind of feeling to it. The medical students there are digging up the dead and bringing the dead back to life. It goes on and on. It’s a kind of serial. These guys grow up and it just continues and continues.

The director selected for the project was Stuart Gordon, a theatrical director from Chicago who has written and produced some 25 plays including play versions of Sirens of Titan and Huckleberry Finn. He did a three-part science-fiction play to be performed on three consecutive nights, called Warp, which went on to Broadway and later became a comic book. He also directed the original version of the play E.R., which later became a television series starring Elliott Gould.

Yuzna describes Gordon as a “very talented guy and a real horror fanatic.” H.P. Lovecraft’s Re-Animator will mark his directorial film debut. Remarks Yuzna, “Stuart is such a talented director, though he had some trouble adapting to film because he really knew very little about the mechanics of filmmaking, but he’s an incredibly fast learner and he’s a very, very talented director of actors.” According to Yuzna, the production has aimed for “the sort of shock sensibility of an Evil Dead with the production values of, hopefully, The Howling.”

BEHIND THE SCENES/INTERVIEWS Robert Sampson, who plays Dean Halsey in the film, had some personal experience in what it’s like playing a zombie. He describes the film as “the most fun ! ever had going on to explain that it allowed him to indulge in the wildest fantasies I’ve ever had as a child, of scaring people, of doing all those things that I wasn’t allowed to see when I was a kid. I was not allowed to see the scary Frankenstein movies and all that stuff. My parents were afraid that it might do a number on me, so I would sneak out to go see them. And now I’ve had the opportunity to do one. I did a Twilight Zone and a One Step Beyond that were similar to this, but they weren’t as rich, as thought out.”

Halsey goes on to describe what happened when a corpse was injected with the re-agent. “They inject it at the base of the skull, and what it does is, it’s like sticking your finger in a light socket. You just go Ahhh! There isn’t any control. You turn into just this mad, re-animated thing.

“There’s a scene where I’m in a padded cell, and I have a strait jacket on, and my daughter doesn’t understand what’s happened to me. So she is standing there talking to this evil doctor standing behind this one-way mirror. It’s a mirror on my side and a window on his side, and he’s trying to seduce her. Heturns and looks and can’t find me at all. All of a sudden, I’m gone. But, as he’s making a move for her, I bang my head against the window. Now I don’t know why I’m doing this, but I still have a sense of feeling. The timing of it is so weird, because I just come up and bam!

“Stuart Gordon has this off-the-wall sense of humor that I didn’t even know was there until I went to see the first dailies. I was shocked by his macabre sense of humor, but it comes out of the reality of the situation. He has everybody playing it very serious, and the humor comes out of these seemingly normal people in this bizarre circumstances.”

“What this film is about is conquering death. I mean, Herbert West’s dream is something that all doctors have shared, and that is to prolong life as long as you possibly can. It used to be believed that when your heart stopped, you were dead. Now they have drugs like epinephrine which is an adrenaline derivative which can start the heart after it’s stopped. They use fibulators and electric shock to make the heart start again, so now the stopping of the heart does not necessarily mean you’re dead. Now what they’re calling death is defined as ‘brain death, which happens six to 12 minutes after the heart stops.

“West is trying to conquer brain death. What he is trying to do is prolong that six or 12 minutes as long as he possibly can so that a person who has died, even though their brain has never received any blood or oxygen, he can be brought back. His attitude is the same as any doctor’s, that it’s better to save a life even if it means the person is going to be debilitated, than to let the person die. Even if there is brain damage, it’s still better to have that person living than dead, so under that philosophy, his approach is medically correct.”

Gordon hopes that while watching these bizarre, bloody experiments, audiences will get involved with the film’s characters. “I’ve seen many horror films where you don’t care about anybody, and that to me sort of sinks the film. If you’re not afraid for someone, you’re not afraid. It’s important. I think that one of the things that we’ve really got going for us is that we really have some wonderful actors in this film who are giving spectacular performances. When things happen to them, I think the audience is going to really care, and they’re going to really feel bad about alot of it-and horrified.”

SPECIAL EFFECTS A tall order, to be sure, especially since the budget is estimated to be just under a million dollars, far less than most of the other competitors in the zombie-film field. But then, Yuzna expects Re-Animator to be an energetic film. Unlike most movie zombies, the living dead in this film are not slow, shambling creatures. The re-animating fluid Lovecraft imagined is a sort of super-adrenaline, and so the living dead are almost supercharged. In fact, one of the opening makeup effects, devised by John Buechler, is a Cronenbergian eye-popping caused by overdosing a corpse with too much of the serum.

While Buechler was called in to handle the exploding head, plus an articulated version of a re-animated decapitated noggin, and three special corpses in Dr. Hill’s zombie army, the main effects chores in the film were handled by Tony Doublin (mechanical) and John Naulin (makeup). Naulin has gone from managing the Shop of 1,000 Faces on the Universal Studios Tour to being manager of research and development at Don Post Studios for several years, and has since been teaching makeup and working on projects related to the entertainment industry including working on the Stilsuits for Dune. He headed a makeup crew which included Gerald Quist, John Criswell, Therese Shirley, Dana Ginzberg, Richard Davison, Jeff Seigal, Julie Manegers, Melonie Cleric and Richard McGuire.

Unlike the simple gray pallor that the undead have in many flicks, Re-Animator has some rather colorful zombies. John Naulin describes how this look came about. “Stuart, the director, had some disgusting shots brought out from the Cook County morgue of all kinds of different lividities and different corpses. We sat down with that and with a book of forsenic pathology, and picked about eight or nine special colors that are not normally available with the makeups that we were using, and we had the makeup lab mix up some custom colors for us,” he said. “The corpses in this film will reflect how a corpse actually looks once the blood has settled in the body.” (After death, gravity causes blood to pool in the lowest portions of the body which in turn creates a variety of odd skin tones.)

When we ask Naulin how he would describe the effects in this film, he replies, “Moist. This is the bloodiest film 1 have ever worked on. I’ve been mixing up the blood on this film, and in the past I don’t think I ever used more than a couple of gallons of blood on a single film, but on this one, when we’re done, we’ll have used 24 gallons.

“So far the stuff looks real good. We had some of our crewmembers that couldn’t make it through some of the screenings, let’s put it that way. What especially got them was the scene where David Gale, who plays the zombiefied Dr. Hill, gets his head cut off with a shovel. I don’t think this has ever been done where somebody, on camera, has a shovel shoved through a live actor’s head and there’s a live body that is still moving and kicking, and then the head rolls off, and it’s still moving.”

The headless Dr. Hill zombie was the biggest challenge in the film. Explains Naulin, “Most times somebody loses their head in a film, you see maybe a 100 frames of it and it’s gone. We’ve got to carry 50 pages of it.” The effect was achieved a number of ways, most of which were designed by Tony Doublin. Doublin explains that the problem wasn’t “so much the body being headless, but the fact that you always run into the problem of what you do with the nine or 10 inches you lose when you lose somebody’s head. If you go up with the shoulders, the crotch and the arms become all distorted, and all the proportions go to hell. I’d seen The Dark where this guy’s head was pulled off, and it looked like a midget in a fiberglass body, but it didn’t stumble around quite as badly. Each scene we had to use a different technique! One technique that proved quite effective was building an upper torso that an actor could bend over and stick his head through so that his head appeared to be the head that the walking corpse was carrying around.

To keep Hill’s head alive, it frequently sits in a pan of blood to get its blood supply replenished. This required numerous scenes where David Gale had to sit with his head sticking up into a bloody pan while blood dribbled down the cracks in the opening. While this effect proved simple to do, it was quite un comfortable for the actor. Well, nobody said Hollywood was all glamour.

The big climax necessitated the most work. The various undead in Dr. Hill’s zombie army had to be made up, plus effects rigged not only for Dr. Hill, but also exploding veins (caused by an overdose of the serum) and burn effects. In addition, there were Buechler’s three special corpses: one of a motorcycle accident victim who looked like he skid for awhile; a failed operation that had been stuck in a body bag without the doctors bothering to remove the hospital tubes or put his guts back into his abdomen; and a third corpse, nicknamed “Gesundheit,” which was supposedly the victim of a close range shotgun blast at the back of his head which blew off the front of his face and left a gaping orifice which has hardened and dried.

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 CAST/CREW Directed Stuart Gordon

Produced Brian Yuzna

Screenplay Dennis Paoli William J. Norris Stuart Gordon

Based on “Herbert West–Reanimator” by H. P. Lovecraft

Jeffrey Combs as Herbert West Bruce Abbott as Dan Cain Barbara Crampton as Megan Halsey David Gale as Dr. Carl Hill Robert Sampson as Dean Alan Halsey Al Berry as Dr. Hans Gruber Carolyn Purdy-Gordon as Dr. Harrod Ian Patrick Williams as the Swiss Professor Gerry Black as Mace Peter Kent as Melvin the Re-Animated Craig Reed as the One Arm Man Corpse a.k.a. the Burn Victim

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Fangoria#61 Fangoria#46 Fangoria#50 Delirium#01 Cinefantastique v15n04

Re-Animator (1985) Retrospective SUMMARY At University of Zurich Institute of Medicine in Switzerland, Herbert West brings his dead professor, Dr.

[bongianimuseum]

#GlobalViralEmergency / Fate Presto L’arte tra scienza, natura e tecnologia

SPAZIO OPHEN VIRTUAL ART GALLERY

“#GlobalViralEmergency / Fate Presto”

L’arte tra scienza, natura e tecnologia

a cura di Sandro Bongiani

con la collaborazione di Ruggero Maggi e Giuseppe Denti

Da lunedì  30 marzo a sabato 13 giugno 2020

 “La vita non è altro che un incessante e temporaneo succedersi di presenze e di azioni  in attesa di una possibile catarsi o di un prossimo dissolversi” Giovanni  Bonanno.

S’inaugura  lunedì 30 marzo, alle ore 18.00, la mostra collettiva internazionale ad invito a cura di Sandro Bongiani dal titolo: “#GlobalViralEmergency / Fate Presto”, una mostra nata in soli 20 giorni con la partecipazione di 72 artisti contemporanei invitati che si sono confrontati da diverse latitudini del globo sul problema della pandemia planetaria da COVID-19,  mettendo in mostra le contraddizioni dell’attuale società dei consumi e dei valori calpestati.  

 Non è la prima volta che gli artisti prendono posizione in prima persona  riguardo i problemi esistenziali politici e sociali, ciascuno lo ha fatto con le proprie sensazioni contrastanti, mettendo in luce l’essenza problematica e vera del nostro esistere, nella convinzione di poter essere in qualche modo ancora utile a questa precaria società. Quello che noi stiamo vivendo con l’emergenza risulta molto complesso e quando mai difficile da cancellare. Oggi, l’intero pianeta si trova, impegnato in questa lotta contro il tempo, di come risolvere questa catastrofe che di colpo si è presentata all’orizzonte, che di fatto ha cambiato le nostre abitudini, la nostra percezione del mondo e di come progettare il prossimo futuro. Tutto non sarà più come prima, la vita, la cultura, l’arte e ciò che abbiamo attorno dovranno per forza di cose cambiare e rimodularsi per essere ancora credibili. Per essere partecipi e attivi a questo disastro planetario noi del Bongiani Ophen Art Museum di Salerno abbiamo attivato in soli venti giorni un progetto on-line di Net Art con una mostra interattiva virtuale visibile 24 ore su 24 in tutte le parti del mondo, sia per sollecitare la politica, la finanza, l’intera collettività e anche lo stesso mondo dell’arte ad un sussulto di orgoglio alla ricerca di una qualsiasi forma di riscatto e di rinascita. In questa sofferta condizione di disagio collettivo l’unica cosa importante che potevamo fare, utilizzando la rete di Internet, è stato chiedere agli artisti cosa pensavano dell’attuale  situazione, dello stato di isolamento collettivo e globale in cui ci siamo improvvisamente ritrovati. Dopo questa catastrofe, con tutte le gallerie e gli spazi culturali chiusi, questa è di fatto l’unica mostra possibile e realizzabile in tutto il pianeta terra. In mostra sono presenti in forma digitale gran parte delle ricerche artistiche in atto, un campionario significativo di riflessioni dell’attuale panorama dell’arte al di fuori da strategie precostituite e mercantili del già assuefatto sistema ufficiale dell’arte. Insomma, l’altra faccia nascosta della medaglia con le conseguenti dissonanze reattive e divergenti di diversi artisti non uniformati rispetto alle convinzioni di comodo che il sistema culturale e ufficiale dell’arte, in tutti i modi possibili, ha deciso da lungo tempo di celare e di lasciare volutamente fuori dalla porta.

Lo abbiamo fatto utilizzando, come sempre, la nostra importante piattaforma virtuale no-profit tutta italiana di arte contemporanea che da oltre dieci anni gestiamo, una realtà sperimentale altamente efficiente degna di essere considerata tra le poche e più interessanti startup presenti in tutto il mondo del web. Non una occasionale improvvisazione da web come fanno  oggi le gallerie ufficiali dell’arte che, di colpo, hanno riversato i contenuti del proprio lavoro nel web ben sapendo di aver poca competenza a tal proposito. Di fatto, siamo forse l’unica galleria, seppur virtuale, in grado di attivare oggi proposte ad ampio respiro.  Tutto ciò ci rende fiduciosi  permettendoci di fare cultura no-profit con un serio e ragionato programma di eventi, facendo conoscere gli artisti e l’arte contemporanea nel mondo senza alcun interesse speculativo e commerciale. La tecnologia per lungo tempo  osteggiata e considerata la rovina del nostro tempo, oggi ci viene in soccorso,  la ritroviamo  amica e partecipe in questa condizione di isolamento e di disagio sociale facendoci sentire  con internet e i diversi social più vicini in questo malaugurato e insopportabile isolamento diffuso. Come giustamente avverte Christian Caliandro in una sua annotazione “e difficile pensare che, al termine dell’emergenza, tutto tornerà come prima,” Tutto non sarà uguale a prima. E’ sicuro che da questa emergenza, da ora in poi, ogni cosa non sarà più come un tempo, dipenderà ovviamente da noi, da quello che sapremo fare per ritrovare la voglia di sopravvivenza e forse di rinascita da questo immane e problematico calvario collettivo. Che sia la nostra, davvero, di buon auspicio a una possibile e probabile rinascita del genere umano. Sandro Bongiani

  Artisti presenti: Adolfina De Stefani  ITALIA I Alberto Vitacchio  ITALIA I Alessandra Angelini ITALIA I Alessandra  Finzi  ITALIA I Alexander Limarev RUSSIA I Alfonso Caccavale ITALIA I Anna Boschi ITALIA I Antonio Sassu ITALIA I Bruno Cassaglia ITALIA I Calogero Barba ITALIA I Carl T. Chew USA I Carla Bertola ITALIA I Cinzia Farina ITALIA I Claudio Grandinetti ITALIA I Claudio Parentela ITALIA I Claudio Romeo  ITALIA I Coco Gordon USA I Emilio Morandi ITALIA I Enzo Patti ITALIA I Ernesto Terlizzi ITALIA I Fernando Aguiar PORTOGALLO  I Filippo Panseca ITALIA I Francesco Aprile ITALIA I Franco Di Pede ITALIA I Franco Panella ITALIA I Gabi Minedi ITALIA I Gennaro Ippolito ITALIA I Gianni Marussi ITALIA I Giovanna Donnarumma ITALIA I Giovanni Bonanno ITALIA I Giovanni Fontana ITALIA I Giovanni Rubino ITALIA I Giuseppe  Denti  ITALIA I  Guido Capuano ITALIA I Ina Ripari  ITALIA I Ivana Frida Ferraro ITALIA I Jack Seiei GIAPPONE I James  Felter CANADA I John M. Bennett USA I John Held  USA I Jose Molina SPAGNA I Kiki Franceschi ITALIA I  Lamberto Caravita  ITALIA I Lamberto Pignotti ITALIA I Lars Schumacher GERMANIA I Leonor Arnao  ARGENTINA I Linda Paoli ITALIA I Luc Fierens  BELGIO I Lucia Spagnuolo ITALIA I Luisa Bergamini ITALIA I Maria Credidio ITALIA I Mariano Bellarosa ITALIA I Maribel Martinez  ARGENTINA I Mauro Molinari ITALIA I Maya Lopez Muro  ARGENTINA I Natale Cuciniello ITALIA I Oronzo Liuzzi  ITALIA  I  Paolo Gubinelli  ITALIA I Paolo Scirpa ITALIA I Patrizio Maria  ITALIA I Pier Roberto Bassi ITALIA I Patrizia Tictac GERMANIA I Rachelline Centomo MESSICO I RCBz USA I Reid Wood USA I  Rosalie  Gancie USA I Ruggero Maggi ITALIA I Ryosuke Cohen GIAPPONE I Serse Luigetti ITALIA I Teo De Palma  ITALIA I Virgilia Milici  ITALIA I Vittore Baroni ITALIA.

 SPAZIO OPHEN VIRTUAL ART GALLERY

#GlobalViralEmergency / Fate Presto

L’arte tra scienza, natura e tecnologia

Inaugurazione: lunedì 30 marzo 2020, ore 18.00

Via S. Calenda, 105/D  - Salerno,  Tel/Fax 0895648159

Archivio Ophen Virtual Art   2937380225

e-mail: bongianimuseum@gmail.com

Web Gallery: http://www.collezionebongianiartmuseum.it

Orario continuato tutti i giorni dalle 00.00 alle 24.00

#GLOBALVIRALEMERGENCY

 #GlobalViralEmergencyFatePresto

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