A solo recital of Coloratura soprano Kim Kyung-ran will be held Youngum Art Planning announced on the 31st that it will hold Kim Kyung-ran's solo concert "Love Like Birds" at Kumho Art Hall Yonsei in Seodaemun-gu Kim Kyung-ran will perform "The Butterfly's Song," "Song for Birds," "Bam Kkoe Tail," and "Bam Kkoe Tail and Rose." Kim Kyung-ran graduated from Busan Art High School and Chung-Ang University College of Music before graduating from the G Verdi National Conservatory of Music in Milan She won first place at the Isole Borromee International Competition in Verbania second place at the Arenzano Jupiter International Competition and second place at the Pietro Mongini International Competition Debuting as Zilda in the opera "Rigoletto," he completed a tour of six European countries with the Bulgarian Pazardjik Orchestra and has starred in operas such as "The Magic Flute" (Queen of the Night) "The Handmaid Who Became the Mistress" (Serpina) and "The Secret Box of the Soror Witch" (Choi Sol) He has been an oratorio performer for years performing at major Catholic churches in Europe with Paul Kuentz who is called the best conductor of French religious music He performed with a number of domestic and international orchestras including the Heart Chamber Orchestra and the United Philharmonic Orchestra Kim Kyung-ran received the 9th Korean Opera Awards for Women's New Personality and the Korean Youth Awards for Leader ※ This service is provided by machine translation tool Aurelio Gazzera was nominated Co-Adjutor Bishop of Bangasso Aurelio was born 27 May 1964 in Cuneo (Italy) and entered the OCD Minor Seminary of Arenzano in 1974 In 1979 he made his First Profession in our Genovese Province and then completed a year of formation in the Central Africa Republic Delegation He made his Solemn Profession on 11 October 1986 and was ordained priest 27 May 1989 After serving for a period as a Formator in the Arenzano Minor Seminary he began his mission in the Central Africa Republic He served in the following roles there:  Assistant in the Minor Seminary of Yole (1992-1994); Director of the Primary Sector of the same Seminary (1994-2003); Parish Priest of St.-Michel in Bozoum (2003-2020); Superior of the Delegation of the Central Africa Republic (2014-2020) Since 2003 he is responsible for Caritas in Bouar and since 2020 is responsible for Christians in the villages and Director of the School of Mechanics of Baoro Johannes Gorantla was nominated Bishop of Kurnool in India 11 February 1994 and Solemn Profession 2 April 2000 On 10 January 2002 he was ordained a priest He studied Theology at the Teresianum and was awarded a Licence in Sacred Scripture at the  Biblical Institute He got a Doctorate in Biblical Theology at the Gregorian University he had studied Philosophy at the Mahatma Gandhi University in Kerala Johannes was Superior of the Andhra Pradesh Commissariat and was the first Provincial of the new Province for the triennium 2011 to 2014 From July 2010 to July 2014 he was President of the Conference of Religious in Andhra Pradesh and an executive member of the National Conference of India He has served as Vice-President of Catholic Education and a member of the Biblical Commission and the Commission for Evangelization He was a Consultor of the Diocese of Khammam for 6 years and taught Sacred Scripture for 7 years in the “Jyothirbhavan” Institute of Theology and Spirituality Teresa’s Life into Telugu and has written 2 books Johannes was elected to the General Definitory and from 2021 he was Superior of the Missionary Seminary the Specialization Community of the Teresianum « Back Collecting design requires more than a great eye; it requires a trained eye, one that can discern not just the value and pleasing aesthetic of an object but its sentiment, its provenance and its revolutionary place in the canon. Since 2011, design historian Dr. Daniella Ohad has organized and hosted Collecting Design a biannual education program in partnership with the New York Chapter of the American Institute of Architects and design aficionados the chance to develop their own tastes for objet d’art furniture and more with guidance from some of the world’s top design experts Collecting Design is moving online and will be presented as a series of virtual study programs by global collectible design legends from three-generation Italian midcentury design dealer Rossella Colombari to American contemporary clay authority Jason Jacques who will lead a virtual audience in discovery education and critical analysis of collectible design from a variety of time periods and origins we spoke with five of those dealers and collectors about the enduring interest in their design eras of specialty and how the marketplace moves Rossella Colombari heads her eponymous Milan design gallery, Galleria Rossella Colombari which specializes in historic Italian design The influential dealer is well-known for her efforts in uncovering the works of Carlo Mollino an architect and designer who helped shape the legacy of midcentury Italian furniture and design objects Her Collecting Design: The Legends program “Midcentury Italian Design,” is on October 6 Cultured Magazine: Having come from a family of antique dealers how did you develop your interest in midcentury Italian furniture and why does it continue to fascinate you Rossella Colombari: It is curious that each member of my family has concentrated on a different time period My grandfather started dealing with the Renaissance while my father followed with the 18th and 19th centuries and French pieces mostly due to the fact that I grew up in Turin in the 1960s and 1970s the most active city in the contemporary art scene of the time thanks to the Arte Povera movement At the time there was a frenzy of innovation and I started buying objects that I would have liked to have created myself I continue my research in the 20th century with the same spirit of an antiques dealer CM: How have you seen tastes for midcentury Italian design change over the last five years RC: I believe that trends have a cyclical pattern Each century leaves the traces of its moment of glory Antiques stopped being the protagonist for collectors 20 years ago and the separation of concepts was highlighted: decorative objects intended for everyday use and the "work of art." This is also happening in 20th-century design: on one hand there are decorative objects linked to trends and on the other the so-called masterpieces furniture pieces which are immortal works of art CM: Who are the top designers that collectors are after and why Italy experienced a period of pure innovation and creativity: Gio Ponti Ettore Sottsass and Joe Colombo are just some of the names of architects who have written the history of architecture and of Italian design It was a creative period of great importance CM: What is unique about Italian designs from the midcentury RC: The difference between Italy and other countries in the midcentury is due to the Italian manufacturers of the time because in fact it was equally developed and fascinating but it was extremely tied to serial production for example with the pieces by Charles and Ray Eames for Herman Miller The difference is that Italian entrepreneurs of the time really allowed for experimentation thanks to the eccentric entrepreneurs and collectors who served as patrons and supported the inspiration of the architects who were often given "carte blanche" on projects A perfect example of such an entrepreneur was Adriano Olivetti Also indicative are the building plans by Marco Zanuso and Ignazio Gardella in Liguria as well as Gio Ponti’s Cathedral in Taranto There was a great desire to reinvent and innovate Italy What makes Italian midcentury design unique is precisely this spirit of creativity applied to research and design with vintage Jean Prouvé furniture installed Michael Boyd is a Southern California-based furniture, landscape, interior, and architectural designer, whose design and restoration work has been featured in books and magazines internationally. Boyd has created PLANEfurniture which has been accessioned into the permanent collections of SFMOMA and the UCSB Gebhard Architecture + Design Collection Boyd has restored historical architecture by many of the modernist masters: Oscar Niemeyer He regularly advises museums and institutions on modern architecture and design His Collecting Design: The Legends program “Eye of the Design Connoisseur,” is on October 20 CM: How do you collect for the eternal and not the ephemeral Michael Boyd: I have always been really skeptical about hype whether it hurts or helps the majority of the time It can be like the movie you heard too much about before you saw it Turns out that market-driven or critical build-up around a design or idea can really cloud the issue I'm on the hunt for universality and timelessness in design "The harder they come the harder they fall…” mostly The marketplace is reality so always good to be in sync however that is not the engine driving the fascination Designs that look really dated or arbitrary later seem like objects empty of soul When the hype dies down you are left with a (hopefully) simple idea I guess I have a classicist’s approach towards the avant-garde Only when everything else is stripped away can you truly evaluate a design object—free of background noise and trend-chatter Design objects almost become canonized as eternal when there are interesting answers or solutions to the questions: “This is amazing What is it doing?” The Prouvé Chaise Standard or a Hans Wegner Cowhorn chair are eternal preference changes have you seen in recent collecting MB: The best and rarest pieces will always be just that The push and pull between architecture-centric and decorative-dominated marketplaces has given way to an appealing reduction or blend (I hesitate to say compromise) a Lalanne sheep now looks architectural and right at home next to a Gerrit Rietveld chair which could easily be acting more like an abstract sculpture in an interior Decoration is no longer the sin that purists proclaimed but it is now very stringently judged for timeless merit which in the end is anybody’s guess and just speculation the micro-markets of Brazilian Modernist design or Japanese midcentury modern go up and down The work of the ebonsistes and French Art Deco masters have recently declined and newer work can be as desirable as vintage/museum quality As long as there is not "built-in collectibility engineered into the (newer) thing" it can be fine Everything goes full-circle and comes back around CM: How did you begin to build your own collection MB: I started at flea markets and secondhand shops and graduated to auction houses and galleries I read as much as I could about the history of modern design and tried to gauge where things of interest might turn up I was drawn to some proto-modernist design (as early as the 1851 Crystal Palace) then my interest rises as the 20th century unfolds but then my golden zone comes into view: post-World War II—my years of special interest in movies By 1968 I fall off a cliff and lose my way with postmodern design trends I never felt moved or amused by the inside jokes Whenever we travelled we went to museums and galleries and book stores and we educated ourselves about the context of “now”—what came before Going to Holland and France and Italy afforded different collecting possibilities than Los Angeles or New York (where I used to follow Andy Warhol around the 26th St Flea Market religiously—What did he just buy and put in his satchel When I first started seeing how Eames chairs made the connection(s) in different materials jumping from metal-to-rubber-to-wood or how Jean Prouvé bent sheet-steel pieces were made Today I still am on the same hunt for deep quality “atmosphere” in the way Peter Zumthor uses the word about architecture CM: What designers are inspiring you right now MB: Same cast of characters—Gerrit Rietveld we are always trying to suss out any stellar design—authorship is secondary A magical and transformative object speaks for itself and can be the work of an unknown or anonymous designer CM: Does the marketplace help your discovery process meaning that you try to be aware of the reality of market prices and auction results—Are they looking up or down or are they already going up or down that can happen too.) Are the pieces you are chasing blue chip It's fine to have emotional acquisitions but with limited physical space (and in the interest of clarity of narrative) it's best to stay with the best of the best an overlap between my interests and the marketplace It’s just like the movies or anything else and sometimes things that are unpopular should not be The point is the only thing we know about the market is that you cannot fight the market The treasure hunt is exciting but even more exhilarating is the knowledge and experience gained in living in and around these pieces I work for the resurrection of lost modernist design—a journey towards Armchair B3 by Marcel Breuer as featured in Galerie Ulrich Fiedler's 2019 exhibition "Bauhaus 100 Years: Workshops of Modernity." Gallerist Ulrich Fiedler heads his eponymous Berlin-based gallery, Galerie Ulrich Fiedler which specializes in modern German designs and their relatives “German Modernism and the Bauhaus,” is on October 27 CM: How did the short-lived Bauhaus movement make such a lasting impact in the history of design Ulrich Fiedler: I think it was something like a revolution which happened after the first world war he took the chance where everything was down to found this school with so many different people from different movements He brought together international people; he brought together people from totally different movements in the arts and architecture and I think he generated a kind of explosion in Weimar with this because people got together they had a lot of discussions and disputes a sad fact is that the closure due to the Nazi regime meant that all these people who were educated at the Bauhaus spread all over the world Japan because they came from everywhere and then they went back there because of Nazism This sad fact was one reason for its success because it was spread everywhere And what they created was a new idea of the world; they took away all the boundaries They had this idea that you can change people through design not just that they feel more comfortable but that they get less violence This was one plan to create a new world and they were very optimistic about it And now on the market what you have is like an archeological project: you find realized relics of this thought school just a small group of people bought or used the furniture This is the reason this material is so rare because it did not have the chance to spread It’s also the reason that Hitler came and destroyed it They had no chance to put things in production which they were dreaming of but they never did it It was more the idea that was spread over the world but the actual pieces They produced everything by hand but removed all traces of the handwork from the pieces They made a lookalike industrial product but they are all made one by one You don’t see the hammer on the bent metal pieces it was all polished away which was a lot of work because they wanted that eventually a machine would do it a 100,000 times very cheap to sell and now these pieces are little icons which today they do re-editions but at the time they were rarities Sometimes I was able to find a very rare set of Breuer chairs but when I bought them and I put them side by side they all were different heights They look like an industrial product but people who made them changed one centimeter there one centimeter here cutting the tubes as they don’t care there were catalogues that gave measurements and at first I always took the measurements of the piece to authenticate it but they are so different There are some scholars that assume they are fake but it’s not this; it’s because they are handmade and everyone wanted to give the appearance of an industrial product The pieces that get produced now have a chance on the market today The designs are 100 years old and when they came on the market in the 90s people were consuming them like they were just designed after 80 years you start production and people are still liking it I think you won’t find that very often with other designers or designs because they came to something that was the start of modernity and the story is ongoing They are still relevant in architecture and fashion And it’s not like one style followed by another style it’s something which has influence everywhere I think it’s going to go on another 100 years it was this ethical approach to the process of designing something which has to be an instrument for a human being which is not taking his personality a lot of light and air and this is a continuing story CM: Was the multidisciplinary nature of the Bauhaus designers unique UF: You found multidisciplinary before but what they did that was unique was called pre-course or fore-course that every student has to go through general education despite their disciplines It was a year where they had to make mostly nonfunctional objects This is a unique approach; nobody had done that before we start already in the 19th century with the classicism of Friedrich Schinkel who was admired by Mies van der Rohe but I don't think it was a very national movement You have the same thing happening in England with the arts and crafts movement You have it in Vienna with the Wiener Werkstatte They are all connected and inspire each other It was the beginning of the International Style I wouldn't say that German design was something unique The political situation was the old feudalism destroyed and suddenly there was a big gap and Gropius just took the chance to get money for the school CM: Which modern German designers are current collectors most interested in and why Most of our clients come to the gallery and have never seen the pieces we have for sale The attraction is not the idea to use them but the idea to collect them where they can place them in their apartments Our collectors often have the idea to collect to later show their collections publicly I found a broken Mies van der Rohe chair on a container and I knew this chair from shop windows It was broken but it gave me a total fascination with this legendary chair in a first edition in a state of aging where it obviously had a very hard life This is something that I follow in all our gallery shows I try to show pieces that will talk to you and show you the beginning of an idea Sometimes it was not so perfect but it’s very charming when you see the solution now is easier or technological but this is one fascination which occupies me today Things that are used as decorative objects and you are collecting a fragment of a very important movement It’s not only a design process; it’s a technological process Fredrikson Stallard Armchair 'Species II' Red David Gill is a London-based contemporary design dealer and head of David Gill Gallery a duo known for intricate and fantastical designs that both push technological boundaries and the limits of handwork to create functional art CM: How do you and Patrik combine your respective backgrounds in ceramics and industrial design to create your designs Ian Stallard: It’s part of the way that we have always worked We were a bit odd in art school because our courses in industrial design tried to put people together because I think they wanted to push the ceramicists at Central Saint Martins into working in a more industrial way when you push people in one way they often go the other And Patrik and I have always worked in a way that we think is more like fine arts and that was never something that was right for us We almost would create thoughts and had different ideas about what our medium could be hand-making things is still very important to us We are probably going more and more toward hand-making works now We just really value that the hand of the artist is really old-fashioned The way Central Saint Martins is now set up is that all the disciplines are in one building Patrik Fredrikson: It’s something that me and Ian carry with us all the time We can do whatever we want as long as we can say why we are doing it we have to be comfortable saying like we’re moving to start making a body of work that is just paintings if we’ve got to do 25 paintings for a show in two year’s time we didn’t have a catalogue of work but also there was a lot of trial and error a couple of times things got bought by museums and then we moved towards what the heart was telling us to do more so than what the brain was telling us to do I think the pieces that we do for both us the heart beats stronger those are the pieces that are most successful Those are the pieces that people love and can really engage with Maybe the distinction between disciplines was conscripted by those that sell design and art Those are the ones who needed to put it in pockets And here we have Ian the sculptor and me the painter Making a monograph this year allowed us to better understand the links between our own work that might jog something and a lot of it is purely imagination or a combination of those to and it’s also an accumulation through the years because it can be something thought about or seen decades ago that it’s then when you see or think of something else the two clash together and you realize this idea is something that’s viable or something you need to do PF: It’s a little bit like what I was saying before where you build up your repertoire or body of work and then again It doesn’t come naturally to us because then we would create something that anyone who has a creative mind might create via a brief What we do is just build on the work that we’ve done already so it’s a continuous process of what we are doing That work couldn’t have been done ten years ago; it just never would have materialized Everything has its reason and when it should be brought out to be experienced by other people IS: The project that we did not for coronavirus was fantastic because we worked with ceramics we bought a new kiln and we just never had the time to do work with it the phone stopped ringing a bit and we just had a bit more time in the day And at the same time we started to work with clay We’ve been working together for so many years that it’s a constant collaborative experience It’s like two heads that we try to sync together and when we sync PF: I think something that always excites us is when our audience experiences our work It’s one of the most exciting things for us in terms of the creation of it It’s not actually complete until you view it or sit in it or put your wine glass onto the table Then you have a certain experience tied to that piece Also when we name our work it’s very abstract titles because what I might see in my head when I look at this piece is not necessarily what you would see and there’s no right or wrong in that to blur the distinction between art and design IS: Function isn’t the most important thing but it is important We make sure that it works but it looks like we haven’t We make it function but not make the function detract from the sculpture PF: It our opinion if you look at these pieces they are beautiful as sculptural objects but then you have this layer that is completely off that were you to sit in it our Species sofa is a beautiful sculpture on its own but then function isn’t a byproduct We hand-carve the Species sofas from huge blocks of foam You can’t use any tools; it has to be done by hand But then also you can’t upholster it because it’s too complex so we’ve had to find this really high-tech way of upholstering it but the method of construction is totally archaic and it’s that combination of being craft and technological endeavor to create something which has never existed before and something that people can really respond to much more than if it was just on a plinth at a museum to just look at PF: Talking about the Species is a really good example It takes a special person to appreciate it for what it is It’s not that I’m saying that I’m sure if it sat in a museum and people were allowed to sit in that would be amazing because I think we would open a lot of people’s eyes as to where furniture moves into sculpture into fine art and the other way around A lot of these institutions are there to educate people so that would be really exciting When a museum is buying our work we always ask IS: You forget what level they go to to conserve which is great that they do When we first sold the sofa to the Victoria & Albert museum well I use a vacuum cleaner and they were just floored Probably the last time it was like this would have been the 18th century where furniture there was no hierarchy one above the other Or go back further to the Renaissance where the ultimate work of art was a tapestry Having a tapestry then was like having a private jet And so it changes throughout history and what has happened in recent history was we had modernism in the 20th century that drove such a wedge between design in terms of form and function and contemporary art They really diverged and I guess what we are seeing at our stage is bringing them back together again and working in the multidisciplinary nature of the 18th century It was perfectly normal then for a painter to be an architect or a garden designer It wasn’t looked at as a strange thing like it was in the 20th century we almost look down on it where in fact these disciplines feed each other PF: Because we don’t put disciplinary labels on ourselves it means that I can paint but I will question what I would do when I am painting You still have to have artistic integrity where you only do it if it is of value to somebody else you look at it and the painting needs to say something to you in a more psychological way akin to the way you might feel when you sit on a sofa IS: As well as reevaluation of what art can be it’s also reevaluating what furniture can be because the idea of modernism was the democratization of high design which is ironic because the early Bauhaus pieces were extremely expensive Now when you have mass market furniture we have to evaluate is that good Because our grandparents’ generation would have saved up and bought an expensive dining table and when that table got damaged they would repair it and later in life resold it or passed it down they were objects to be cherished for the greater part of your life the disposable nature of furniture particularly when people say it is environmentally friendly because it is made of bamboo but a rainforest was cut down to grow that bamboo and in one year the piece ends up on the street to a landfill Our furniture is very expensive but it will last your lifetime and beyond CM: I think this trend has helped you to be better understood in your want to work in a multidisciplinary and undefined way we were criticized by the press for being elitists and they were glorifying mass produced furniture companies I think your generation now values the things that my parents’ generation valued There is something really fantastic about that If you go out and find yourself a dining table at the flea market IS: It’s that kind of way of thinking that going to a flea market is so much better than going to a big chain store PF: It’s just more ethical in terms of the future of design We really need to think sustainable about what we are buying what we are using and how we are disposing of it The same sofa we were just talking about is plastic it’s polyurethane so it’s not the kindest material for the plant; it’s a hazardous material but we are making maybe three of them The problem with plastic is single-use plastic PF: We are part of a much bigger industry and we are trying to put a point across IS: Even if not everyone can afford what you make the principles behind it trickle down into non-luxury spheres Installation view from "Les Lalanne" at Ben Brown Fine Arts Having begun his career with ten years of experience in the contemporary department at auctioneer Sotheby's, Ben Brown now heads Ben Brown Fine Arts a London-based gallery that he founded in 2004 He deals contemporary design and art as well as 20th-century Italian works CM: The work of Les Lalanne is imbued with whimsy What is so enduring about these fantastical pieces Ben Brown: The works of Les Lalanne are timeless transcending any boundaries between art and design Their work truly spans decades of modernism: Claude and François-Xavier were neighbors with Brancusi social luminaries and the art world up until Claude’s recent passing at the age of 93 Their work has always been sought after and seamlessly fits into all periods of art history and collecting looking just as comfortable in a traditional home of Old Master paintings as in a contemporary collection—they are truly classic Perhaps it is the Lalannes’ dedicated reference to nature—to animals flora and fauna—and their unabashed embracing of fantasy and folly that makes their work so iconic and enduring CM: How do the styles of François-Xavier and Claude differ BB: François-Xavier and Claude shared a studio and exhibited together throughout their careers and even created wonderful collaborative pieces together yet there is an evident distinction between their styles Claude’s work has a more sinuous and ethereal form often incorporating examples of the natural world into the work François-Xavier’s pieces tend to have more of a masculine gravity of form and exhibit functional ingenuity from his iconic sheep to his elaborate desks and bars often in the form of monumental animals such as rhinoceros CM: How do François-Xavier’s works marry function and fantasy BB: Both François-Xavier and Claude felt strongly that art should be part of everyday life François-Xavier was particularly interested in imbuing his works with clever mechanisms and utility of form From incorporating a safe or fireplace into the belly of a large ape to transforming a mouflon or rhinoceros into a writing desk to splaying open a hippopotamus or a grasshopper into a full service bar have these sculptures developed an almost cult-like following among certain collectors BB: Claude and François-Xavier’s work is absolutely inimitable and iconic—they have formed a category of their own without competition or comparison and collectors are always looking for the rare and unique and naturally attract the attention of anyone involved in aesthetics from fashion designers such as Yves Saint Laurent and Tom Ford to architects and designers such as Peter Marino The serial format of sculptures and the fact that many of their pieces are exhibited outdoors means that the Lalannes’ classic imagery of apples and sheep and cabbages We have seen great prices achieved for their work particularly as their production has ceased All of these factors have helped develop a cult-like following of their work over the years that will only continue to grow Register for Collecting Design: The Legends here. Sign up to our newsletter for the latest arts and culture updates a perfect sprint - at least for one man and his team In the final six-hundred metres of Wednesday's hot and sticky finish in Arenzano stage seven winner Edvald Boasson Hagen couldn't have delivered his equally precocious teammate a better lead-out and when the current world-best sprinter took over pressing his hands hard into the handlebar drops and simultaneously engaging his stubby Mark Cavendish left no one guessing who would win "I got a good position by my team at the start [of the Turchino Pass There were guys going backwards but it was okay; it's amazing how deep you can go when you can smell the finish...Actually I didn't need to go deeper - I was floating," said Cavendish this victory - his third including the opening team time trial - must be the sweetest of the Giro "I was happy when I won on Sunday [in Milan]..I guess two's better than one," Cavendish said in typically deadpan response Not all was as happy as this year's Milano-Sanremo champion and his Team Columbia-Highroad squad who were jumping with joy after their fifth trick of the Centenary Giro Third-placed Alessandro Petacchi of LPR Brakes-Farnese Vini claimed certain riders were not following "the correct code of sprinting ethics" - possibly referring to his run being impeded by certain members of Tyler Farrar's Garmin-Slipstream team (though not naming any names) the American finishing one spot ahead of the dual stage winner from La Spezia but that is how it goes sometimes," Farrar told Cyclingnews Mark [Cavendish] just flat-out beat me today The guys took care of me over the climb and did all they could It was hard with guys attacking in the last kilometres We tried to hold it [together] to a lot later," Farrar said of their teams' slight tweak in tactics When Cyclingnews got a chance to ask Cavendish about what may or may not have happened It happened behind me," he said in a frustrated tone Farrar's getting close - does ‘Cav' feel he'll soon be challenged by the American What utter confidence this man has right now it'll be on: 60.6 kilometres of suffering against the clock in the scenic surrounds of Cinque Terre equating to more than one and a half hours' time trialing and packed with two climbs over 1,100 metres' elevation and a pair of dare-devil descents The big question is what the classifica generale will look like after Stage 12 Rogers and Menchov within a few seconds," said the maglia rosa of Danilo Di Luca who made a point of informing the press that he's worn the hot pink tunic for more days than any current rider I will use the normal [road] bike and time trial bar extensions." if Di Luca keeps the maglia rosa after Thursday's stage is 75 percent of his second Giro victory in the bag but there are four very difficult stages after and a crisis one day is always possible - it can happen to anyone But maybe after Blockhaus [stage 17] or Vesuvius [stage 19] I can say I've won the Giro with some certainty," he said A brief transfer from Wednesday's finish in Pinerolo found the 188 remaining riders gathered in Turin's Piazza Castello for the eleventh stage of the Centenary Giro Chris Horner was the significant omission - particularly in terms of Levi Leipheimer's chances of donning the final maglia rosa; the Astana "warrior" as Johan Bruyneel affectionately calls him injuring his knee after crashing on a descent the previous stage and tearing a muscle in the back of his knee The host city of the 2006 Winter Olympics it may have been but on this sun-soaked late morning in far-eastern Italy there was not a speck of frost to be found in this city located on the left bank of the Po River which also happens to be the headquarters of Italian car maker Fiat Lance Armstrong chose the confines of the Astana bus until just before the départ réel 214 kilometres was no walk in the park - but compared to the previous day that knocked the stuffing out of a more than one general classification rider Wednesday's leg to the outskirts of Genova was relatively mild on paper The bumpy flatlands saw a multicultural escape form 65 kilometres into the race Spain's Gustavo Cesar Veloso (Xacobeo Galicia) Australian Cameron Meyer (Garmin-Slipstream) Ukrainian Dmytro Grabovskyy (ISD) and local lad Alessandro Donati (Acqua & Sapone) the four that got away Though unlike previous breakaways in this Giro their day coming to a close shortly after the 100km mark A handful of clicks later and not too long after Levi Leipheimer's uneventful spill that only cost him a few abrasions (though his evening shower will certainly sting) Cesar Veloso's teammate Vladimir Isaichev of Xacobeo Galicia was the next to try his luck Being fifth from the wooden spoon on general classification the young pro was free to ride solo for the time being quickly amassing a six-minute-plus lead 90 kilometres from the finish Isaichev's advantage topped out around 20 kilometres later with a 7:30 buffer But with so few sprinters' stages on offer teams with one or two such riders - Garmin-Slipstream LPR Brakes and Quick Step those doing the work - came to the fore and initiated the inevitable chase-down Lampre's Marco Marzano shot out of the chase pack 45 kilometres out the Russian dead as the bugs on the windscreen of the Cyclingnews car at the Giro who continue to discover it's not healthy to meet a glass windshield at 140 km/h as Astana controlled the intact peloton on the Passo del Turchino the summit of the day's only climb coming after 194.3 kilometres With such high-speed pace-setting by this team shrouded in mystery and led on the descent by Armstrong ­sprinting in at the head of the peloton after another perfect lead-out by his Columbia- Highroad team On the finish line in Arenzano the 23-year-old Briton was a length clear of America's Tyler Farrar who inflicted a rare defeat on Cavendish on stage two It was Cavendish's fourth stage win in the race having taken two stages on his first attempt last year After yesterday's Alpine leg today's 11th stage allowed the overall favourites a breather of sorts at least until 20km to go and the climb of the Passo del Turchino the seven-times Tour de France champion Lance Armstrong and his Astana team ramped up the pace in a bid to string the bunch out but Cavendish and the other ­sprinters held on to remain in ­contention at the finish Tomorrow sees a potentially decisive 60km time-trial with Italy's Danilo Di Luca ­facing a difficult task in defending his pink leader's jersey against an expected assault from Astana's Levi Leipheimer Garmin-Slipstream's Bradley Wiggins has said that he will go "full gas" in the stage in order to gauge his form ahead of the Tour de France Tomorrow could be ­Cavendish's penultimate day on the Giro He is expected to withdraw after Friday's stage to Florence – another that should suit him – in order to begin preparations for the Tour Tomorrow night sees the launch of Tour Series with the first of 10 town-­centre ­circuit races to be held throughout England over the next two months with a field that includes the Olympic medallists Chris Newton and Ed Clancy COTERIE is taking place at the Javits Center from September 19-September 21 the Italian Trade Agency is bringing the best of the nation to town with 70 made in Italy 70 set to showcase at the event let’s meet some of the ready to wear labels to obsess over… Mazzarelli has honed and perfected its tailoring excellence and sartorial charm to craft the finest mens shirts Every single design combines generations-long skill and quality fabrics for timeless and elegant silhouettes Queen Moda’s has always stayed true to its sun-kissed heritage featuring luxury beachwear that will instantly transport you to a tropical paradise or high-quality womens and menswear label committed to maintaining clean designs and Italian craftsmanship excellence With bold patterns and undeniably chic silhouettes and tailored along the tradition of Italian design excellence any and all of Goodmatch’s offering is ideal for on-the-go errands and grabbing un aperitivo alike Giovanna Nicolai pieces are delightfully bold there is no denying the joyful aura of this contemporary label this long standing womenswear brand has made it its mission to outfit its customer base in its chicest designs while maintaining a low environmental impact Michela Gaiofatto has strived to deliver styles that not only empower women but also maintain a fiercely femme aesthetic and an eco-conscious manufacturing practice Looking to perfect your holiday wardrobe for your next getaway from its hand-painted cashmere sweaters to its luxurious linens the Arenzano-based label Ploumanac’h is your one-stop-shop for any and all resortwear fashion-forward garb that will make you do a double-take is kind of what De Santis does best the luxury label has mastered avant-garde style and perfectly elegant couture for both men and women sustainable practices and the celebration of women are paramount in the construction of his clothing What began with crafting collections from recycled materials has now evolved into an internationally-recognized label specializing in seductive pieces perfect for a gala or a night out Subscribe to our newsletter and follow us on Facebook and Instagram to stay up to date on all the latest fashion news and juicy industry gossip Freya Drohan is The Daily's fashion director; overseeing digital industry and news coverage as well as luxury fashion market content for the various print editions Follow her on Instagram and Twitter @freyadro document.getElementById("comment").setAttribute( "id" "ade904c1f1eded81883928fdcabe30b6" );document.getElementById("d628b68082").setAttribute( "id" and website in this browser for the next time I comment GET OUR HAUTEST STORIES DELIVERED TO YOUR INBOX THE 2009 MILAN SAN REMO ON THE PASSO TURCHINO Rockfall on route of Milan-San Remo this morning leads to 9km detour on a motorway The route of Milan-San Remo has been altered to bypass a large landslide that has blocked the road just after the Turchino climb in Arenzano Police and race organisers worked together to try and come up with a suitable detour for the race A statement issued by the race director said: "Due to a landslide on the Milan-San Remo original race course in between Genova Voltri and Arenzano the Race Direction together with the Police Support Officer decided to divert the race onto the A10 highway entering in Genova Voltri and exiting in Arenzano to rejoin the original course This detour is now officially part of the race course." The riders will take a nine-kilometre detour using a stretch of the A10 motorway which bumps the total distance up from 291km to 295km Thank you for reading 20 articles this month* Join now for unlimited access Enjoy your first month for just £1 / $1 / €1 *Read 5 free articles per month without a subscription Try first month for just £1 / $1 / €1 following a brave battle with a cancer-related illness an exceptional person to work with - his presence is sorely missed.  Route speculation includes Cipressa and Poggio climbs possible event dates and Women's WorldTour calendar under discussion organisers could move ahead with implementing their plans for the race next week the Primavera Rosa was held from 1999 to 2005 It followed the final 118km of the men's race and also included the Cipressa and Poggio RCS Sport recently took over the long-standing Giro d'Italia Women on a four-year contract that begins this year and ends in 2027.  Around the time of that announcement speculation grew about the organisation also relaunching a women's Milan-San Remo in 2024 and possibly a women's Il Lombardia in the future They are the only two Monuments that do not currently include a women's race The women's peloton competes at the other three Monuments; Flanders Classics' Tour of Flanders and ASO's Paris-Roubaix and Liège-Bastogne-Liège. Only one rider has won all three, with Lizzie Deignan winning the Tour of Flanders in 2016 Liège-Bastogne-Liège in 2020 and Paris-Roubaix in 2021.  It is speculated that the Milan-San Remo women's race route could begin in Genoa and end in San Remo Bellino suggested that the route could start further west along the coast from Arenzano to San Remo The Trofeo Alfredo Binda a long-standing top-tier one-day women's race It is currently held the day after the men's Milan-San Remo so the addition of a women's Milan-San Remo held on the same weekend could require a reshuffling of the spring Women's WorldTour calendar Although HLN reported that RCS Sport could request the women's and men's Milan-San Remo events be held on the same day it could be a logistical challenge to host two Women's WorldTour one-day events on the same weekend HLN also reports that a meeting of the Professional Cycling Council (PPC) is scheduled with the UCI to discuss the Women's WorldTour calendar and the potential of adding a women's Milan-San Remo Kirsten has a background in Kinesiology and Health Science She has been involved in cycling from the community and grassroots level to professional cycling's biggest races She began her sports journalism career with Cyclingnews as a North American Correspondent in 2006 Kirsten became Women's Editor – overseeing the content strategy race coverage and growth of women's professional cycling – before becoming Deputy Editor in 2023 Flower Riviera Palms Riviera Genoa and surroundings Portofino and the Tigullio The Cinque Terre Gulf of Poets The great Carnival celebration arrives in Liguria: here are the carnivals you can’t miss Here are the most beautiful Ligurian parties until February 25 It is the biggest and most extensive carnival in Liguria an entire city will be taken over by masks for a month of uninterrupted celebrations January 29th at 2:45 pm in Piazza Italia with the Ceremony of the Keys Delivery by the mayor to the official masks: Puè Pepin there’s an appointment in Piazza Massena at 3:00 pm for the Children’s Carnival the splendid location of the Riviera delle Palme awaits you for the parade of the floats of the villages of Loano the Palio dei Comuni will conclude the Carnival celebrations on Sunday Info and updates on: https://www.visitloano.it/en/ https://www.arenzanoturismo.it/en/calendario-eventi/46-carnevale-dei-ragazzi-di-arenzano/ Rapallo is also caught up in the Carnival spirit: on Sunday there will be a masked parade with the Trampi-matti followed by the Magic Family Show at the Chiosco della Musica at 3:30 pm The Carnival of Cairo Montenotte is primarily a children’s party and all her Court await you in Piazza della Vittoria on Sunday He is the official mask of the Valbormida Carnival many splendid and original masks are also expected with lots and lots of confetti Info and updates: nuvarindercaste@gmail.com There is a carnival party that has no equal in Liguria tied to traditions that date back centuries It’s the Carnival of the Beautiful and the Ugly in Suvero di Rocchetta Vara Tradition dictates that the boys dress up in the same costumes used by their fathers and grandfathers in the past: the Beautiful wear clothes with bright and flowery colors They wear hats covered with the same fabric and their faces are painted black or covered with “bautte,” masks with dark and grim features They wear cowbells tied around their waists They parade through the streets of the village While the host prepares refreshments to appease them the Beautiful make the women of the family dance while the Ugly play jokes and pranks on everyone Guests and co-stars of this edition of the most unique Carnival in Liguria will be the fascinating “S’Urtzu e Sos Bardianos” from Sardinia and “Alfagor Krampus” from Merano Info and updates on: https://www.facebook.com/carnevaledisuvero e/o https://www.carnevaledisuvero.it/ someone started celebrating Carnival just like they do in Rio de Janeiro: with lots of floats and joy This gave rise to one of the longest-standing Carnivals in Liguria and one of the most enjoyable: in the 1980s all eight floats from various neighborhoods would gather in the “Smiles Hangar” to set up their creations together “i Marmessi,” “i De longu i stessi,” “i Periferici,” “i Perdigiurni,” “Quelli da Sciumaia,” “Goliardi Dianesi,” “gli Amixi de Sanbertumè,” and “i Foa de testa” have been parading through the city during Carnival the celebrations will officially begin on Saturday the day of the finale of the 74th Sanremo Festival with an imitation of the famous Sanremo stage dedicated “Carnevale si Ama” will indeed be the title of the 2024 event organized with the patronage of the Municipality by the Famia Dianese Association which on February 18th will dedicate “Carnevale dei Bimbi” to the little ones and the awarding of the best “Baby Mask” awaits families for a day of fun Not to be missed from 2 pm to 6 pm is also the traditional parade of allegorical floats with masked groups it starts with the shivers of the 2nd Pumpkin Challenge polenta and wine will be served by the Alpine Group and the Sailor Group of Moneglia the colors and joy of the 29th edition of the Pumpkin Carnival will enliven the village during the Grand Parade of masks the eagerly awaited awarding of the most beautiful masks There will be eight categories in competition: Best float If you think you have what it takes to bring home at least one of the highly coveted titles hurry to register for Carnival by February 10th Info on: https://www.prolocomoneglia.it e/o https://www.facebook.com/ProLocoMoneglia Stai già fantasticando su un viaggio in Liguria?Trasforma la tua fantasia in realtà e pianifica la tua prossima vacanza Are you already fantasising about a trip to Liguria?Turn your dream into reality and plan your next holiday Are you already fantasising about a trip to Liguria Turn your dream into reality and plan your next holiday Stai già fantasticando su un viaggio in Liguria Trasforma la tua fantasia in realtà e pianifica la tua prossima vacanza Dichiarazione di accessibilità Accessibility statement Amministrazione trasparente fino al 28.02.2025 Transparent administration until 28.02.2025 Amministrazione trasparente dal 01.03.2025 Transparent administration from 01.03.2025 PagoPA A landslide along the course has caused Milan-San Remo race organisers Large boulders tumbled on to the road near Arenzano roughly 130km into the race route on Saturday morning Spring weather for Milan-San Remo contenders but officials have “decided to divert the race onto the A10 highway This detour is now officially part of the race course,” according to the official announcement Continued risk of falling boulders caused the change The incident took place well before the race was due to pass but several cars were involved.  The Tyrrhenian Cycle Route is a series of safe cycling paths in Liguria running from Ventimiglia to Sarzana and spanning almost 460 km along the region’s coastline Browse the map of the Tyrrhenian Cycle Route on the Geoportal of the Ligurian Regional Authorities Read up on all cycling activities on Liguria Be Active Armidale Stud flexed its muscle as a powerhouse of the Tasmanian bloodstock industry at Monday's Magic Millions Tasmanian Yearling Sale when it once again sold the top lot and ended the day as the highest-grossing vendor the Carrick-based farm was crowned leading vendor by gross and sold the top lot at the popular auction but in 2023 all but four of Armidale 26-strong draft sold for a combined $954,000 a colt by the stud's resident stallion Needs Further topped the sale when he sold to Brett Howard's Randwick Bloodstock on behalf of Star Thoroughbreds for $145,000 The colt is out of Not A Single Doubt mare Arenzano and is a brother to exciting three-year-old Durazzo who will debut for Barry Campbell at Launceston on Wednesday It was the highest price paid for a yearling by Mystic Journey's sire and Armidale's Managing Director David Whishaw said it was a significant result for his farm "He's gone to a great home and a great judge and he'll race in the purple and white of Star Thoroughbreds," Whishaw said "They raced the mother and they've got the full brother that's won three trials "We had some very strong interest in him and there were three of them all playing north of $100,000 so for him to bring that money is outstanding "He was a lovely colt and the talk of the sale is that he would've stood up anywhere in Australia "We've had a rollercoaster ride but there are definitely some horses that have sold really well to some great stables and great judges "Some of those have exceeded expectations but there are probably a few that we've given away and there's a bit of bleeding there." WATCH: Whishaw chats about the 2024 Magic Millions Tasmanian Yearling Sale Astana team manager Johan Bruyneel is hoping that Levi Leipheimer can do a ride in Thursday's decisive Giro d'Italia time trial and perhaps take the pink jersey despite crashing at speed during the stage to Arenzano Bruyneel also predicted that Armstrong could do well and perhaps even be a contender ?I think both (Levi and Lance) are going to be good the best time trialist in the world this year, ?Levi hasn?t lost a single time trial this year it?s a lot of climbing and for him the crash today was not a good thing Levi has a good chance of winning the time trial. ?I don?t want to make a prognostic about Lance but I expect him to be in the front I don?t know if that?s top five or top three or seventh or eighth Bruyneel knows that the time trial will be one of the hardest even raced in modern times It?s one of the longest time trials everyone will have done The speed will be low because it?s a hard course It will be a one and a half hours of time trialing That?s new for everybody and not a lot of people have done such a long time triaI ?You cannot start too fast then slow at the end It?ll be better to start slow and speed up at the end I think the winner is going to be a combination between a real time trial specialist and a climber and the one who has the best of those two qualities will win the time trial. That sound like a perfect description of Bradley Wiggins to us Stage 11: Cavendish romps to second Giro stage win Stage nine: Cavendish blitzes rivals to win in Milan Stage eight: Siutsou makes it two in a row for Columbia-Highroad Stage seven: Boasson Hagen takes treacherous stage Stage six: Scarponi wins longest stage with big break Stage five: Menchov wins mountain battle as Di Luca grabs the pink jersey Stage four: Di Luca denies Soler on the line; Lovkvist takes pink jersey Stage three: Cavendish loses pink jersey after being caught behind late crash Stage two: Petacchi denies Cavendish the stage win Stage one: Cavendish in pink as Columbia prove their point to Garmin Stage 11 photo gallery Stage 10 photo gallery Stage nine photo gallery Stage eight photo gallery Stage seven photo gallery Stage six photo gallery Stage five photo gallery Stage four photo gallery Stage three photo gallery Stage two photo gallery Stage one photo gallery Desktop wallpaper photos Cavendish: 'Today brought back memories of San Remo' (stage 11) Armstrong and Basso say sorry for Giro protest Riders stage go-slow protest during Giro stage in Milan Boasson Hagen celebrates his birthday early Astana riders wear faded kit in protest over unpaid wages Wiggins: 'I can't keep smashing away on the climbs' Armstrong after Giro stage 5: 'That was hard' Armstrong happy with stage four performance Giro could be last race for Armstrong's team Petacchi claims he didn't know of Cavendish crash Cavendish struggles to find consolation in pink jersey Petacchi: I've been working out how to beat Cav Cavendish out to topple Garmin in Giro team time trial Cycling Weekly's Giro d'Italia top ten prediction Armstrong overshadows overall favourites at Giro presentation Armstrong confident of finding new sponsor for Astana Garmin Slipstream kitted out for Giro opener Cummings and Thomas not selected for Giro d'Italia Cavendish tests Giro form at Tour of Romandie David Millar confirms he's riding in 2009 Giro Bennati to take on Cavendish in Giro 2009 sprints Evans and Silence-Lotto disagree on Giro 2009 ride Tuttosport reveals 2009 Giro d'Italia route Dolce & Gabbana design new Giro jersey British riders to have led the grand tours Brits in the Tours: From Robinson to Cavendish Giro d'Italia 2008 coverage index - race reports Giro 2008: The final word on this year's race Giro d'Italia 2008: Rest day review (May 27) Giro d'Italia 2008: Rest day review (May 19) Follow Cycling Weekly on Twitter>> Cycling Weekly and its team of expert journalists brings cyclists in-depth reviews extensive coverage of both professional and domestic racing as well as fitness advice and 'brew a cuppa and put your feet up' features Cycling Weekly serves its audience across a range of platforms from good old-fashioned print to online journalism “Jesus Is Number One!” shouts deejay priest Fr Roberto Fiscer as he lines up the latest number by Lady Gaga for parishioners gathered at a beach resort in northwestern Italy In Fr Fiscer’s unique way of spreading the gospels he proclaims over throbbing disco music: “I have a message for you that comes straight from heaven: without Jesus there is no future sports a lemon yellow T-shirt emblazoned with an image of the Virgin Mary and child and the words: “You are my river of love.” the priest rewards his admirers with the latest hit by Italian singer Jovanotti Dorothy Norwood’s Shake the Devil Off or Britney Spears’s 123 “I alternate the classics that you hear in nightclubs with remixed religious music,” Fr Fischer said Jesus reaches their hearts,” said the priest who was a cruise ship entertainer before going to seminary at age 23 held each Wednesday at Arenzano’s San Pietro resort since mid-June “Some people here in Arenzano find it bizarre but it’s really a great thing because these evenings bring together children families – and that’s what’s most important,” said Patrizia Rossi who turned up in a multi-coloured dress with her son Filippo in tow he’s a super person who’s a lot of fun,” said Filippo “Believing in God doesn’t mean you have to be sad,” said Fr Fiscer who says his mission is to “find young sheep who have lost their way by meeting them on their own ground” Friends who work in area holiday camps help Fr Fiscer by organising line dances such as the 1995 craze La Macarena for the dozens of revellers making the event seem at times more like a gym class Alcoholic drinks are available at a nearby bar but the participants tend to prefer sodas and ice cream “If you knew how much the Virgin Mary loved you you would weep with joy,” Fr Fiscer shouts Fr Fiscer got the go-ahead for the weekly shindig from Mgr Angelo Bagnasco the influential archbishop of Genoa who also heads the Italian Catholic Church While dancing and music dominate the unusual event Father Jan is available for confession over there behind the sun umbrellas,” Fr Fiscer says between two numbers doles out absolution to those who approach him on the beach chairs please register for free or log in to your account Gerald Ciolek sprinted to victory in an epic edition of Milan-San Remo that will live long in the memory after being blighted by heavy snow Please enable JS and disable any ad blocker Many of us are very familiar with the event of a coronation of religious images This is called the canonical coronation and these events are done to acknowledge the Marian and Christological images which have significant roles in fostering the faith of many people I would like to introduce to you the four canonically-crowned images of the Señor Santo Niño and their backstories May these stories help you in your journey of faith and foster all that love and devotion to the Child Jesus.  This statue of the Infant Jesus dates back from the fifteenth century is a wood carving that was made in Jerusalem by a Franciscan friar through the use of the Gethsemane olive tree The miraculous image was forcibly thrown in the sea during a storm upon the friar’s return to Rome but miraculously arrived in the port of Livorno devotion to the Santo Bambino de Aracoeli began when a replica was enshrined at the Parish of Our Lady of the Assumption in Maragondon His feast is celebrated every May 2.  The image was donated by Marquise Delphina Gavotti of Savona replacing the picture of the Infant Jesus of Prague  brought by the Carmelite order on September 25 The feast of the image is celebrated every September 01 and various miracles have been reported by pilgrims.  and parishes dedicated to the Bambino Gesu de Arenzano in the Philippines Some Filipinos are members of the Pious Association of the Bambino Gesu de Arenzano The statue of the Holy Infant of Prague was modeled by a pious friar inspired by a vision It was once owned by the Pernstein family and given to the Carmelite Monastery in Prague by Polyxena of Lobkowicz in 1629 The infant Jesus is said to have appeared to Father Cyril with notable shrines at the Abbey of Our Lady in Montserrat in Manila and the Chapel-shrine of the Holy Infant in Matina The first religious figure in the Philippines brought by Ferdinand Magellan was given to Humaymay (baptized as Queen Juana) the image was initially attempted to be destroyed by natives but eventually venerated as a deity.  The Santo Niño de Cebu’s devotion was instrumental in spreading Christianity across the Philippines with replicas venerated in Batangas Δdocument.getElementById( "ak_js_1" ).setAttribute( "value"