#Paola Levi-Montalcini

[lamilanomagazine]

Asti: il lavoro buono, presentazione dei servizi al lavoro dedicati alle aziende

Asti: il lavoro buono, presentazione dei servizi al lavoro dedicati alle aziende. Il Comune di Asti e il Centro per l’impiego di Asti organizzano un incontro dedicato alle imprese e alle associazioni di categoria del territorio astigiano, per presentare i servizi al lavoro riservati loro. L’incontro si terrà venerdì 14 luglio 2023 dalle 14.30 alle 16.30 nella sede di UniASTISS, Polo universitario “Rita Levi Montalcini”, in piazzale Fabrizio De André. In particolare l’evento si focalizzerà sulle strategie per intercettare e raccogliere i nuovi fabbisogni di personale e valorizzare le risorse umane. I relatori presenteranno infatti le opportunità e gli strumenti che il territorio mette a disposizione grazie alla collaborazione in rete di servizi per il lavoro pubblici e privati, fornendo risposte commisurate al mutevole contesto del mercato del lavoro locale. Dopo gli interventi istituzionali del sindaco Maurizio Rasero e dell’assessore al Lavoro Mario Bovino del Comune di Asti, esperti del Centro per l’impiego di Asti suggeriranno come valorizzare le persone da inserire in impresa con percorsi di accompagnamento e interventi formativi. Inoltre rappresentanti dell’Ordine dei consulenti del lavoro di Asti forniranno un contributo tecnico e aziende del territorio porteranno la propria esperienza come case history. Le dichiarazioni: Elena Chiorino, assessore regionale all’Istruzione e merito, lavoro, formazione professionale, diritto allo studio universitario: “Abbiamo scelto di sviluppare una politica di supporto alle nostre imprese che sappia guardare al futuro e rispondere alle esigenze del territorio. Anche ad Asti è in funzione un sistema di servizi per l'impiego di carattere pubblico/privato con una rete di operatori accreditati che garantiscono prestazioni ordinarie definite dalla programmazione regionale. Una modalità che garantisce una formazione veloce quanto lo è il mercato globale per sostenere la competitività di tutta la filiera produttiva”. Maurizio Rasero, sindaco di Asti: “Le politiche pubbliche del lavoro devono essere connesse con le azioni delle politiche di sviluppo dei sistemi produttivi locali sia per accompagnare l’espansione della domanda (nel settore pubblico, nel settore privato e nel campo dell’auto-impiego) sia per favorire l’incontro della domanda-offerta. Il Comune di Asti lavora da sempre affinché i servizi pubblici sul territorio fungano anche da connettori tra le politiche del lavoro e dello sviluppo”. Mario Bovino, assessore al Lavoro di Asti: “Auspichiamo che vi sia partecipazione a questo importante momento di confronto poiché è necessario collaborare e fare rete per favorire il superamento delle difficoltà che impediscono una proficua partecipazione al mondo del lavoro”. Contatti Comune di Asti Paola Pozzebon, p.pozzebon@comune.asti.it, 0141 399530 Centro per l’impiego di Asti aziende.cpi.asti@agenziapiemontelavoro.it, 3341039512  ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[garadinervi]

Movimento Arte Concreta. Torino 1948-1957. Biglione, Carol Rama, Galvano, Levi Montalcini, Parisot, Scroppo, Text by Franco Fanelli, Carlina Galleria d’Arte, Torino, Edizioni Bora, 1996

[mayolfederico]

ventidue aprile

Richard Diebenkorn, Cityscape# 1, 1963

  Una fantasia

Ti dirò una cosa: ogni giorno la gente muore. E questo è solo l’inizio. Ogni giorno, nelle case funebri, nascono nuove vedove, nuovi orfani. Si siedono con le mani conserte, cercando di decidere sulla loro nuova vita.

Poi vanno al cimitero, per alcune di loro è la prima volta. Hanno paura di piangere, a volte di non piangere.…

[douglashonorscollege]

Environment, Collaboration, and Perseverance: Rita Levi-Montalcini’s Success

history of science by Gabby Triana ⌂

Aristotle, Einstein, and Newton: these are a few names that emerge constantly in science education. The majority of noteworthy scientists studied in academia are the white, male ones, and while they much contributed to today’s scientific knowledge, there are important names that remain less known. Rita Levi-Montalcini (1909-2012) was an Italian, Jewish, female scientist who made a huge impact on neuroscience. Because of her identity, she faced difficulties throughout her life, but went on to discover the Nerve Growth Factor (NGF) which led to her winning the 1986 Nobel Prize in Physiology or Medicine. This raises the question, how was she able to achieve so highly during her time? Despite the tense social and political climate of the 20th century, Rita Levi-Montalcini managed to persevere, create and find work spaces, and to form professional relationships with key intellectuals, leading to her success in the scientific world.

Gender played a large role in Levi-Montalcini’s upbringing, and, moreover, her decision to enter the field of science. Born on April 22, 1909, Levi-Montalcini grew up in Turin, Italy in a family of mostly females, and artistic talents. Levi-Montalcini’s father, Adamo Levi, held very traditional gender views, as seen with his differing expectations for his children and household. For example, Adamo was very proud of one of his daughters, Paola, who possessed artistic abilities and showed great affection for him. However, with Levi-Montalcini’s brother, Gino, also an artist, Adamo felt disappointment, since he expected his son to follow his same career path in engineering. Moreover, like most households during the period following the Victorian era, Adamo was the leader of the family and his opinions often overruled Adele, Levi-Montalcini’s mother. Because of her disdain for the traditional, subordinate roles of women in society, along with her experience of a close family friend dying from cancer, Levi-Montalcini decided, around the age of 20, that she wished to study medicine. When she informed her father of her decision, he opposed the idea, arguing that such a vigorous education and career path were unfit for a female. However, he allowed her to enroll in medical school, and she thus began her scientific journey.[1]  

Professional mentors and colleagues, including professors Giuseppe Levi (1872-1965) and Viktor Hamburger (1900-2001), largely influenced Levi-Montalcini and her growth as a scientist. An exceptionally gifted classmate, Renato Dulbecco (1914-2012), would also become an important friend in Levi-Montalcini’s life. With Dulbecco, and several other classmates who later became Nobel Laureates, Levi-Montalcini studied at the Turin School of Medicine and held an internship with the highly-esteemed Levi (unrelated to Levi-Montalcini), who assigned her a topic on the processes behind the forming of intricacies of human fetus brains, which Levi-Montalcini deemed a near impossible topic.[2] Even others at the university agreed on the difficulty of the topic, but Levi-Montalcini persevered, until Levi finally insisted that she was not gifted with research. However, Levi-Montalcini was later assigned a more attainable topic, which allowed her to return to the good graces of Levi, and build a stronger mentor-mentee relationship. Under Levi’s instruction, she spent extensive time examining nervous tissue, learning techniques and information that she would later apply to her research on NGF.[3] Moreover, Levi-Montalcini’s time studying with Levi and other colleagues at the University of Turin served as one of the multiple factors that contributed to her success in science. After graduating, Levi-Montalcini came across a study published by Victor Hamburger, which provided inspiration for Levi-Montalcini’s work.[4] Her interest in Hamburger’s experiments with wing buds of chick embryos is crucial to her professional timeline, as this prompted the research that would lead to her discovery of NGF, the research that would continue even during Levi-Montalcini’s escape from Italy.

While small-scale environments, like universities and laboratories, influence a scientist’s work, Levi-Montalcini’s experience under a fascist regime demonstrates the impact of political environments. Soon after graduating from The University of Turin, Levi-Montalcini’s career was affected by the fascist regime of Benito Mussolini. While Levi-Montalcini did not practice Judaism, she still felt the danger of being born into a Jewish family. Starting in the late 1930s, racist statements and stories of attacks began appearing in newspapers. Levi-Montalcini suffered clearer consequences when a racist manifesto was published, which formed a series of decrees, including one that prohibited marriage between Aryan and Jewish citizens, and one that took away the rights of the Jewish citizens to attend and work in state schools.[5] Thus, Levi-Montalcini, in hopes of not putting herself and especially her Aryan coworkers in danger, left Turin and travelled to Brussels to continue her work there, per invitation by an institute director there. Though part of Levi-Montalcini’s decision stemmed from her wanting to protect herself and colleagues, her choice to leave also emphasizes her persistence with her research, even through a period of political turmoil, which would continue to worsen during Italy’s alliance with Germany.

To continue her studies, Levi-Montalcini created a small, private lab inside her bedroom in Brussels, representing the flexible definition of a lab, along with her nonstop dedication to scientific research. Not all important labs in history involved large, sterile spaces with scientists wearing white lab coats, but rather, unique environments that contributed to scientists’ work. . For scientists working in certain fields, namely chemistry, studying in a homemade space would likely be unworkable, given the safety hazards. However, since Levi-Montalcini did not require extensive materials and mainly worked with the incubation and examination of embryos, contributing to her focus in neuroscience, her lab worked well for her experiments. When preparing her space, “Rita obtained fertile eggs from a local farmer, kept them in a make-shift incubator, forged her own microsurgical instruments, and on completing the experiments removed and fixed the embryos for histological study, and then proceeded to eat the rest of the eggs!”[6] Levi-Montalcini’s family appears to have followed Levi-Montalcini to Brussels, since they were also escaping the threat of Nazism in Italy. They contributed to Levi-Montalcini’s new workspace: Gino built some of her equipment, and Adele ensured that people would not cause an interruption. The only other person who appears to have entered her homemade lab is Levi, who lived nearby and still kept in touch with Levi-Montalcini and her work. With the continuance of World War II, the anti-Semitism, and the eventual Nazi invasion of Belgium, Levi-Montalcini’s lab not only served as a place for her to continue working, but also appears to have been her sanctuary amidst the political chaos.

One of Levi-Montalcini’s breakthroughs in her NGF research occurred in the homemade laboratory, as a result of a key collaboration, and this breakthrough would set the rest of her professional career into trajectory. In the summer of 1941, Levi-Montalcini had not heard from Levi, afraid that he had been captured by Nazis, because he would not leave Belgium. He returned by the end of summer, after venturing across Germany, to Levi-Montalcini’s private lab.[7] The two continued their professional relationship, working together to continue their replication of Hamburger’s experiments on chick embryos. The homemade lab proved an effective space, as Levi-Montalcini and Levi discovered insightful information about the “absence of a trophic factor and not, as Hamburger had hypothesized, by an inductive one,” as a cause for the death of nerve cells in spinal ganglia of embryos.[8] Levi-Montalcini’s discovery demonstrates the importance of conversation within the scientific world; she was inspired by Hamburger’s work, which led her to conducting the same experiments, but obtaining new results. Furthermore, her collaboration with Levi, a more experienced scientist, likely aided in her findings and the subsequent publishing of their studies.

Reinforcing the importance of dialogue across scientists and publications, Levi-Montalcini received a life-changing invitation by Viktor Hamburger to work with him in his department at Washington University in the United States. She arrived in 1947, planning to only stay for a semester. Levi-Montalcini’s and Hamburger’s experience complemented each other, and Levi-Montalcini’s experience from working with Levi (i.e., the silver staining method) made a huge difference in the work they accomplished. According to Hamburger,

[Rita and I] came from entirely different backgrounds. I came from experimental and analytical embryology, of which Rita hadn’t the foggiest idea. ... Rita was a neurologist from medical school and knew the nervous system, of which I had only the foggiest idea. And she brought to St. Louis a most important tool, the silver staining method.[9]

This quote, from Hamburger, highlights the usefulness of interdisciplinary studies in science, while also reemphasizing how Levi-Montalcini’s education at the University of Turin would prove transformative in the steps leading up to the discovery of NGF. Levi-Montalcini ended up staying at Washington University longer than she expected, and while she and Hamburger published an article on their study of sensory ganglia, her research progress began slowing, which discouraged her and caused her to consult Dulbecco, her friend from the University of Turin, who encouraged her not to quit.[10] Levi-Montalcini listened to Dulbecco’s advice, and, soon after, she regained her confidence as she continued to make new discoveries and publish articles on research.

There is controversy over the fact that Hamburger did not receive a Nobel Prize for the discovery of NGF, and the reason likely pertains to fact that he, for a time, began working at Cambridge, while Levi-Montalcini continued researching and publishing articles on her own.[11] Another key collaboration occurred in the 1950s, when Levi-Montalcini began working with Stanley Cohen (1922-present), a biochemist at Washington University. His expertise in biochemistry was needed to narrow down the ideas forming around NGF. Levi-Montalcini’s expertise was again complemented by another scientist’s expertise, similar to her working relationship with Hamburger. Levi-Montalcini and Cohen would meet constantly in his lab at Washington University, which Levi-Montalcini describes as “that room in front of a desk fitted in between a window, in the shade of a great tree, and lab benches covered with vials and test tubes.”[12] While nothing about the description particular stands out as superior or unusual compared to other labs of the time, it was in this lab and, sometimes, in Rita’s lab, that the official discovery of NGF and its uses occurred. While their persistence definitely aided in their findings, Levi-Montalcini and Cohen came across some information by mere accident:

While attempting to determine whether their ‘growth factor’ was a nucleic acid or a protein, they treated an extract from the tumor with snake venom that contained an abundance of phosphodiesterase, an enzyme that degrades nucleic acids … they observed that upon adding just a miniscule amount of poison to an active fraction of the sarcoma, the tumor substantially increased its capacity to make nerve tissue grow in vitro, and it produced much larger halos.

 … [T]hey discovered that the venom contains a large amount of NGF that functioned even in the absence of the tumor. Cohen then purified the NGF from the venom and determined that it was a protein.[13]

Thus, many factors, including chance, contributed to Levi-Montalcini’s discovery, rather than her individual intelligence alone. Her and Cohen’s space in Washington University, which she would not have held without the professional connection she built with Hamburger, likely contained more state-of-the-art equipment than what she had in her homemade lab. In addition, her collaboration and perseverance definitely improved the progress of her research.

Though Levi-Montalcini did not realize all of the implications of her research immediately, her findings on the nature and function of NGF have significant applications in neuroscience and medicine. Initially, however, NGF faced skepticism by the scientific community, because of “its unusual and almost extravagant deeds in living organisms.”[14] In her autobiography, she explains, “sensory nerve cells, other nerve cells in the central nervous system, and one cell line of the immune system as well depend on NGF for their differentiation and function.”[15] In a continuance of dialogue on NGF, that had been going on since Levi-Montalcini was first introduced to Hamburger’s experiments, other scientists learned about NGF and found uses that are in effect today. According to Aloe et al., evidence proves that NGF “possesses potential therapeutic properties on cells of the visual system, cutaneous cells and most likely on certain disorders of the central nervous system.”[16] Levi-Montalcini’s scientific research and discoveries have continued to impact neuroscience; currently, they are applied to therapeutics. Along with Levi-Montalcini’s contribution to science, her experience portrays the significant role of environments—laboratorial, social, and political—in the work of a scientist.

Works Cited [1] Rita Levi-Montalcini, In Praise of Imperfection (New York: Basic Books, Inc., 1988), 14-40. zzz [2] Rita Levi-Montalcini, In Praise of Imperfection, 57. [3] Rita Levi-Montalcini, In Praise of Imperfection, 60. [4] W. Maxwell Cowan, “Viktor Hamburger and Rita Levi-Montalcini: The Path to the Discovery of Nerve Growth Factor,” Annual Review of Neuroscience 24, no. 1 (2001): 556, https://doi.org/10.1146/annurev.neuro.24.1.551. [5] Rita Levi-Montalcini, In Praise of Imperfection, 80-84. [6] W. Maxwell Cowan, “Viktor Hamburger and Rita Levi-Montalcini: The Path to the Discovery of Nerve Growth Factor,” 565. [7] Rita Levi-Montalcini, In Praise of Imperfection, 93. [8] Rita Levi-Montalcini, In Praise of Imperfection, 94. [9] W. Maxwell Cowan, “Viktor Hamburger and Rita Levi-Montalcini: The Path to the Discovery of Nerve Growth Factor,” 566. [10] Ana Cecilia Rodríguez de Romo, “Chance, Creativity, and the Discovery of the Nerve Growth Factor,” Journal of the History of the Neurosciences 16, no. 3 (2007): 273, https://doi.org/10.1080/09647040500536558. [11] Ana Cecilia Rodríguez de Romo, “Chance, Creativity, and the Discovery of the Nerve Growth Factor,” 275. [12] Rita Levi-Montalcini, In Praise of Imperfection, 162. [13] Ana Cecilia Rodríguez de Romo, “Chance, Creativity, and the Discovery of the Nerve Growth Factor,” 276. [14] Rita Levi-Montalcini, “The Nerve Growth Factor 35 Years Later,” Science 237, no. 4819 (1987): 1157, https://www-jstor-org.ezp.lib.cwu.edu/stable/1699511. [15] Rita Levi-Montalcini, In Praise of Imperfection, 168. [16] Luigi Aloe et al., “Nerve Growth Factor: A Focus on Neuroscience and Therapy,” Current Neuropharmacology 13, no. 3 (2015): 300, https://doi.org/10.2174/1570159X13666150403231920.

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[artintown]

2018 Retrospettiva: la galleria Studio Farnese

Nel 2018, 50mo anniversario del Sessantotto, AlbumArte ha accolto il nostro progetto dedicato alla riscoperta dell’archivio, fino a quel momento inedito, della galleria Studio Farnese. Attraverso incontri e interventi di architetti, artisti e critici, grazie ad AlbumArte abbiamo coinvolto il pubblico nel dialogo tra arte e architettura perpetuato dalla galleria dal 1968 in poi, oltre alla realizzazione di una piccola retrospettiva con le opere di Federico Brook, Sara Campesan, Attilio Lunardi, Antonio Niero, Claude e Nicole Parent, Osvaldo Romberg, Oscar Savio, Nicholas Schoeffer.

Lo spazio, fondato nel 1969 da Maria Di Lella Alfani (1917-2006) era dinamico ed eterogeneo e si apriva a scambi intellettuali tra protagonisti di diverse discipline. Maria Di Lella Alfani visse tra Roma e Parigi, dove risiedette per quattordici anni, e durante quell’esperienza rimase affascinata dalle possibilità estetiche, dalle illusioni ottiche e dal concept avanguardistico delle opere presentate in occasione della mostra “Le Mouvement” allestita nel 1955, nella sua galleria di Parigi, dall’intelligente e innovativa Denise René (1913-2012), alla quale si deve la consacrazione dell’arte cinetica. Recependo l’interesse polivalente dell’arte cinetica ad accogliere i condizionamenti della scienza e di altre discipline, Maria Di Lella Alfani, si propose di realizzare nella sua galleria “incontri interdisciplinari tra artisti, architetti, critici, psichiatri, biologi e musicisti”, per la preparazione dei quali, intrattiene un fitto scambio  epistolare e intellettuale con Denise Renè  fino ad inaugurare la galleria Studio Farnese, il 7 febbraio del 1969, con una mostra su Nicholas Schoffer, artista che vinse il Gran Premio della critica alla Biennale di Venezia del 1968. La mostra ebbe grande risonanza mediatica e fu ripresa da gran parte della stampa quotidiana e televisiva dell’epoca italiana ed estera.

La concezione del fenomeno artistico inquadrato nella dimensione urbana, guiderà i passi successivi della programmazione della galleria, in particolare nelle mostre in cui sceglierà di accostare i progetti di architettura alle opere di artisti plastici contemporanei, come fu nel caso delle mostre dedicate a Paola Levi Montalcini, Paolo Portoghesi e Vittorio Gigliotti (1969),Saverio Busiri Vici e Attilio Lunardi (1970); Igino Legnaghi e Tommaso e Gilberto Valle (1970) e il coinvolgimento di Bruno Munari in un’esposizione del 1969 e la collaborazione con l’Industria Ceramica C.A.V.A. Nel 1972 la galleria chiuderà per motivi che non sono emersi, nonostante l’attento e partecipato interesse ricevuto da architetti, artisti, istituzioni e personaggi del panorama artistico romano.

Nel clima dell’orientamento italiano di accogliere artisti e correnti internazionali, il tentativo messo in atto da Maria Di Lella Alfani, che ne applicava anche il metodo innovativo, gallerista donna, nella difficile Roma di quegli anni, rimane una testimonianza rara, fino a questo momento non ancora ricordata e approfondita L’intento è di coinvolgere il pubblico attraverso incontri e interventi di architetti, artisti e critici, volti ad approfondire la tematica del dialogo tra arte e architettura perpetuato dalla galleria agli inizi degli anni ’70. Favorendo la scoperta di una narrazione storico-artistica unica e produttiva orientata all’interdisciplinarietà delle arti, s’intende testimoniare come una donna, gallerista, affascinata dalle proposte internazionali, fosse stata in grado di garantire, nonostante la brevità dell’esperienza dello Studio Farnese, una visione sperimentale e alternativa delle avanguardie artistiche nella Roma della transavanguardia e dell’arte concettuale.

AlbumArte, attento ai fermenti artistici e intellettuali e al coraggio delle donne, è orgoglioso di accogiere questa proposta dei giovani curatori Vittoria de Pietra e Federico Alfani, di Studio Pivot che comprenderà per due giorni una mostra retrospettiva con le opere di Federico Brook, Sara Campesan, Attilio Lunardi,Antonio Niero, Claude e Nicole Parent, Osvaldo Romberg, Oscar Savio e Nicholas Schoeffer. Inoltre attraverso incontri e interventi di architetti, artisti e critici, Studio Pivot e AlbumArte coinvolgeranno il pubblico nel dialogo tra arte e architettura perpetuato dalla galleria in quegli anni.

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AGENDA

Mercoledì 23 e Giovedì 24 Maggio 2018 - Talk h 16.00 – 18.30 Una serie di interventi di approfondimento di esperti, invitati a celebrare il 50esimo anniversario del concepimento della galleria - Apertura Mostra h 18.30 – 21.30

Mercoledì 23 maggio dalle ore 18.30 opening della mostra La galleria Studio Farnese: il segno dell’arte cinetica e il rapporto tra arte, architettura e industria nella Roma del ‘68 Artisti esposti: Federico Brook, Sara Campesan, Attilio Lunardi, Antonio Niero, Claude e Nicole Parent, Osvaldo Romberg, Oscar Savio, Nicholas Schoeffer.

CALENDARIO INTERVENTI

Mercoledì 23 maggio, a raccontare la trama inedita della vita di Studio Farnese interverranno gli architetti Emanuela Valle (Studio Valle 3.0) e Jacopo Costanzo (Warhouse of Architecture and Research), per proporre una contestualizzazione storica dell’attività dello Studio Farnese e approfondire il contatto tra architettura, design e l’industria avvenuto in occasione del progetto CAVA.

Giovedì 24 maggio, grazie alla presenza di Carolina Brook (curatrice e storica dell’arte, Rosa Jijón (segretario culturale IILA | Organizzazione internazionale italo-latino americana), e Iacopo Ceni (Istituto della Enciclopedia Italiana Treccani), ci si focalizzerà sull’approccio artistico della galleria, eviscerando in particolare il rapporto tra arte e architettura in America Latina, e si discuterà infine su quale sia stata l’eredità lasciata dalle sperimentazioni di quegli anni e come sia stata raccolta dalla contemporaneità.

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SCHEDA INFORMATIVA E INFO STAMPA

Mostra: La galleria Studio Farnese: il segno dell’arte cinetica e il rapporto tra arte, architettura e industria nella Roma del ‘68 Opere di: Federico Brook, Sara Campesan, Attilio Lunardi, Antonio Niero, Claude Parent, Nicole Parent, Osvaldo Romberg, Oscar Savio, Nicolas Schoeffer Curatori: Federico Alfani, Vittoria de Petra Sede: AlbumArte, Via Flaminia 122, Roma Inaugurazione: 23 maggio ore 16.00 Apertura al pubblico: fino al 24 maggio 2018 – ingresso gratuito Orari: talk dalle ore 16.00 alle ore 18.30, apertura mostra dalle 18.30 alle 21.30 Patrocinio: IILA | Organizzazione internazionale italo-latino americana

[the-blackboard-the-bb]

Galleria Studio Farnese’s Archive (2018)

Albumarte (Rome), May 2018

As a consequence of an interesting study about the historical archive of the roman gallery Studio Farnese (1969-1975), together with Federico Alfani who holds with care part of the collection, we displayed at Albumarte original pieces, documents and never shown projects by Nicolas Schoeffer, Bruno Munari, Paola Levi Montalcini, Paolo Portoghesi e Vittorio Gigliotti, Saverio Busiri Vici e Attilio Lunardi, Igino Legnaghi e Tommaso, Gilberto Valle and more.

The gallery was founded and directed by Maria Di Lella Alfani, a strong italian women with a french background. She was mostly interested in the cinetic art, especially once she met Denise Renè in Paris. 

Thanks to Albumarte, we had the opportunity to welcome Carolina Brook, Rosa Jijon (Cultural Secretariat at IILA, Italo Latin American International Organization) and Iacopo Costanzo (Warehouse of Architecture).

Click here to know more about the project and here about Studio Farnese’s story.

[calabriawebtvcom]

Amantea, la "RaGi" al convegno Fidapa con ospite Piera Levi-Montalcini

New Post has been published on https://calabriawebtv.com/amantea-la-ragi-al-convegno-fidapa-con-ospite-piera-levi-montalcini/

Amantea, la "RaGi" al convegno Fidapa con ospite Piera Levi-Montalcini

Iniziativa in programma il 28 aprile: si parlerà di empatia, di intelligenza emotiva e di leadership. La RaGi porterà la propria esperienza a contatto con le persone con demenze

  Piera Levi-Montalcini, presidente dell’Associazione Levi-Montalcini e nipote della scienziata Rita Levi-Montalcini cui è dedicata l’associazione, parteciperà al convegno dal titolo “Intelligenza emotiva. Leadership empatica” in programma domenica 28 aprile, dalle ore 10,00, presso l’hotel “La Tonnara” di Amantea, in provincia di Cosenza.

Al convegno, promosso dalla Fidapa distretto sud-ovest Campania e Calabria presieduto da Giuseppina Porchia, ci sarà tra gli altri la presidente della “Ra. Gi.” onlus di Catanzaro, Elena Sodano. Che porterà l’esperienza della sua associazione, specializzata nella cura delle persone con demenze.

Un’esperienza basata sugli aspetti relazionali, sociali, del prendersi cura e sulla centralità del contatto corporeo per la costruzione di nuovi canali di comunicazione secondo il metodo Teci, la “Terapia espressiva, corporea, integrata” messa a punto da Sodano con l’obiettivo di migliorare il più possibile la qualità di vita delle persone con Alzheimer, Parkinson o con altre forme di demenza.

Introdurrà e modererà i lavori la presidente della Fidapa “Federazione italiana donna arti professioni affari” distretto sud-ovest, Giuseppina Porchia. A seguire, i saluti della presidente Fidapa sezione di Amantea, Franca Santelli, di Piera Levi-Montalcini e della presidente nazionale Fidapa, Caterina Mazzella.

In programma gli interventi della dirigente dell’istituto comprensivo “Francesco Bruno” di Paola, Sandra Grossi, della responsabile dell’unità di neurologia del presidio ospedaliero di Lamezia Terme (Asp di Catanzaro), Caterina Ermio, di Tiziana Nardi, esperta di processi formativi ed educativi in età adulta, della presidente “Ra. Gi.”, Elena Sodano, e di Eufemia Ippolito, avvocato e past president nazionale Fidapa. Le conclusioni saranno a cura della presidente nazionale Fidapa, Caterina Mazzella.

Per saperne di più sull’Associazione Levi-Montalcini è possibile consultare il sito http://www.levimontalcini.eu/

[adrianomontanaroalessandria]

La panchina dove è morto Andrea Soldi prenderà il suo nome, un’area pedonale dedicata alle vittime dell’immigrazione a Torino

La Commissione toponomastica del Comune di Torino ha deciso in mattinata di intitolare a Rita Levi Montalcini, alla sorella Paola e al fratello Gino il piazzale compreso tra corso Massimo d’Azeglio ed i viali Medaglie d’oro, Ceppi e Boiardo. Mentre la pittrice Paola è deceduta nel 2000 e Gino, architetto, nel 1974, Rita, premio Nobel … L'articolo La panchina dove è morto Andrea Soldi... Per il contenuto completo visitate il sito https://ift.tt/1tIiUMZ

da Quotidiano Piemontese - Home Page https://ift.tt/2uHnFvp via Adriano Montanaro - Alessandria

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The Unexpected Subject – 1978 Art And Feminism In Italy, Flash Art, Milano, 2019 [Exhibition: Curated by Marco Scotini and Raffaella Perna, FM Centro per l'Arte Contemporanea, Milano, April 4 – May 26, 2019]. Cover Art: Mirella Bentivoglio, Ti amo, (silkscreen on cardboard), Self-published, 1971 [© Mirella Bentivoglio]

Exhibited artists: Marina Abramović, Carla Accardi, Paola Agosti, Bundi Alberti, Annalisa Alloatti, Liliana Barchiesi, Mirella Bentivoglio, Valentina Berardinone, Cathy Berberian, Renate Bertlmann, Tomaso Binga, Irma Blank, Diane Bond, Marcella Campagnano, Françoise Canal, Lisetta Carmi, Paula Claire, Mercedes Cuman, Dadamaino, Betty Danon, Hanne Darboven, Agnese De Donato, Jole De Freitas, Agnes Denes, Chiara Diamantini, Neide Dias de Sá, Lia Drei, Anna Esposito, Amelia Etlinger, Maria Ferrero Gussago, Giosetta Fioroni, Simone Forti, Rimma Gerlovina, Natal'ja Sergeevna Gončarova, Nicole Gravier, Pat Grimshaw, Bohumila Grögerová, Gruppo Femminista "Immagine" (Silvia Cibaldi, Milli Gandini, Clemen Parrocchetti, Mariuccia Secol, Mariagrazia Sironi), Gruppo "Donne/Immagine/Creatività" (Mathelda Balatresi, Ela Caroli, Rosa Panaro, Bruna Sarno, Anna Trapani), Gruppo XX (Mathelda Balatresi, Antonietta Casiello, Rosa Panaro, Mimma Sardella), Nedda Guidi, Elisabetta Gut, Micheline Hachette, Ana Hatherly, Rebecca Horn, Sanja Iveković, Joan Jonas, Annalies Klophaus, Janina Kraupe, Ketty La Rocca, Katalin Ladik, Maria Lai, Liliana Landi, Sveva Lanza, Paola Levi Montalcini, Natalia LL, Lucia Marcucci, Paola Mattioli, Libera Mazzoleni, Gisella Meo, Marisa Merz, Annabella Miscuglio, Verita Monselles, Adriana Monti, Aurelia Munõz, Giulia Niccolai, Anna Oberto, Stephanie Oursler, Anésia Pacheco e Chaves, Anna Paci, Gina Pane, Giulio Paolini, Jennifer Pike Cobbing, Marguerite Pinney, Bogdanka Poznanović, Betty Radin, Carol Rama, Regina, Cloti Ricciardi, Giovanna Sandri, Suzanne Santoro, Mira Schendel, Carolee Schneemann, Greta Schödl, Eleanor Schott, Berty Skuber, Mary Ellen Solt, Wendy Stone, Chima Sunada, Salette Tavares, Biljana Tomić, Silvia Truppi, VALIE EXPORT, Patrizia Vicinelli, Jacqueline Vodoz, Gisela von Frankenberg, Simona Weller, Francine Widmer, Francesca Woodman