The title of the exhibition is inspired by a verse by Palestinian poet Refaat Alareer, who was killed in Gaza during an Israeli raid on the night of Dec. 6-7, 2023: “If I should die, let it be a tale.” A phrase that stands out, printed in full, on a large white sheet at the entrance to the trail. It is both a warning and an invitation: not to forget, to turn loss into testimony, death into active memory. Tugnoli’s images, a Washington Post photojournalist, thus come as a blow to the stomach but also as a space for reflection. Far from the rhetoric of reportage, the photographer builds a discourse around the theme of evidence: what is before the eyes and yet too often ignored or distorted. Children walking through rubble, women seeking normalcy amidst the siege, houses reduced to dust. Every shot bears witness, every shot resists oblivion. The concept of Sumud-the resilience and nonviolent resistance of the Palestinian people-finds space in a dedicated section, with a focus on children. In one room, the floor is covered with 14,000 river pebbles, one for each child killed in the recent war. It is a silent and touching tribute that speaks of absence, but also of care and memory. The exhibition closes with a reading room where the public can consult a selection of books and essays that have accompanied Francesca Recchia’s research. Also available is a fanzine that captures the political and cultural intent of the project, along with an unpublished map of the Palestinian territory, drawn by Diego Segatto, which makes visible the fragmentation imposed by occupation and shifting borders. Along the way, a number of QR codes provide access to additional digital content: verified social media posts that relate back to the themes addressed in the exhibition. A way to reconnect the experience of the visit to the current debate and the global network of information. Heavy rains also caused flooding and evacuation of some 1,000 people in the northern Italian region of Emilia-Romagna. In Central Europe, the receding waters revealed the scale of the destruction caused by exceptionally heavy rains that began a week ago. Czech Interior Minister Vit Rakusan said one more person was reported killed on Thursday in the country’s hard-hit northeast, bringing the death toll there to five. There were also seven deaths each in Poland and Romania, and five in Austria — with the overall death toll in the affected countries now at 24. Authorities deployed troops to help. In the northeastern Czech Republic, soldiers joined firefighters and other emergency crews to help with cleanup and recovery efforts. Army helicopters distributed humanitarian aid while soldiers were building temporary bridges in place of those swept away by floodwaters. World & Nation A low-pressure system crossing the region has unleashed record-high rains for days and was expected to affect Slovakia and Hungary later in the week Some 400 people remained in evacuation centers in the regional capital of Ostrava the Luznice River reached an extreme level but evacuation of 1,000 people in the town of Veseli nad Luznici was not necessary for the moment floodwaters continued to rise Thursday as authorities closed roads and rail stations water spilled over the city’s lower quays and threatened to reach tram and metro lines homes and restaurants near the riverbanks were inundated as officials and volunteers continued to place sandbags to reinforce levees including members of Hungary’s water authority and military Prime Minister Viktor Orbán said at a news conference Thursday morning Inmates from prisons were also mobilized to help fill sandbags World & Nation BERLIN — Germany dispatched thousands of soldiers Tuesday to help cities and towns cope with flooding from the rain-swollen Danube and other southern rivers — reinforcements that came a day after the Bavarian city of Passau saw its worst flooding since 1501. The Danube rose and by Thursday morning stood at 25.3 feet, approaching the 29.2-foot record set during major flooding in 2013. In southwestern Poland, the high waters reached the city of Wroclaw and the crest was expected to take many hours, even days, to pass, exerting pressure on the embankments. The water level on the Oder River just upstream from Wroclaw was 21 feet, some 6.5 feet above alarm levels but still significantly lower compared to the disastrous flooding in 1997. In two heavily affected towns — Stronie Slaskie and Ladek-Zdroj — tap water and power were restored, said Gen. Michal Kamieniecki, who was put in charge of the recovery operations there after an emotional appeal to Prime Minister Donald Tusk for help the day before by a young woman identified only as Katarzyna. As concerns mounted, Tusk invited von der Leyen to Wroclaw to see the situation firsthand. Government leaders from the Czech Republic, Slovakia and Austria were also to be part of the visit on Thursday. The death toll from flooding in Western Europe has climbed above 180 after rescue workers dug deeper into debris left by receding waters. In Italy, about a thousand residents were evacuated in Emilia-Romagna after it was hit by torrential rains and severe flooding overnight, authorities said Thursday. Rivers flooded in three of the region’s provinces — Ravenna, Bologna and Forlì-Cesena — as local mayors asked people to stay on the upper floors or leave their houses. Those areas had been already hit by devastating floods in May 2023, when more than 20 rivers overflowed, killing 17 people and causing billions of euros in damages. Italy’s vice minister for transport and infrastructure, Galeazzo Bignami, said at a news conference Thursday that two people were reported missing in Bagnocavallo in Ravenna province. At least 800 residents in Ravenna and almost 200 in Bologna province spent the night in shelters set up at schools and sports centers as local rivers overflowed. Train service was suspended and schools closed while residents have been advised to avoid travel and work from home where possible. Scislowska writes for the Associated Press. AP writers Justin Spike in Budapest, Hungary; Karel Janicek in Prague; and Giada Zampano in Rome contributed to this report. Politics California Hollywood Inc. Subscribe for unlimited accessSite Map (TNND) — An image of a fish taking flight in unison with a bird and a frog in a bubble were among the top contenders but it was the image of a squirrel stuck in a tree that took the cake – or perhaps the acorn This year’s overall winner of the Nikon Comedy Wildlife Photography Awards is ‘Stuck Squirrel,’ by Milko Marchetti who captured a red squirrel diving headfirst into a tree trunk The photo was taken in the 'Podere Pantaleone' park in Bagnacavallo spotting and photographing squirrels in the area can be challenging but those in this park are “quite confident.” The winning shot shows the moment a squirrel enters a tree leaving only its legs visible and feet splayed at sharp right angles “I have taken several photos of squirrels in many situations but the shot I choose to participate in the Nikon Comedy Wildlife immediately struck me for the strange position assumed by the squirrel that seems to be stuck halfway in the hole in the tree,” Marchetti said it is the moment in which it is detaching the support on its hind legs and enters the hole” Marchetti said he knew he had to enter it into the competition when audiences at his photography clubs exploded in laughter upon seeing it Marchetti’s entry was selected from more than 9,000 entries into this year’s competition his prize includes a safari in the Masai Mara Kenya with Alex Walker’s Serian as well as a handmade trophy from Tanzania Other notable winners include Jose Miguel Gallego Molina who won the insects category with an image of a Flemish mantis displaying its wingspan who submitted four close-up images of a squirrel in silly Entries for next year’s competition will open in March 2025 People were seen climbing on roofs to escape the water as buildings collapsed in Traversara di Bagnacavallo The Italian emergency services carried out helicopter rescues after what one eyewitness said was 36 hours of rain Storm Boris had earlier swept across Poland ShareSaveMerz defeat 'an obstacle not a catastrophe'The man expected to be Germany's next foreign minister reacts after Friedrich Merz fell short in a parliamentary vote to be named chancellor. Why this Conclave means it's harder than ever to predict the next PopeThe BBC's religion editor Aleem Maqbool explains why it's so difficult to guess who will be the next pontiff. Watch: How the Vatican said goodbye to Pope FrancisHundreds of thousands of mourners gather in Rome to pay tribute to the late pontiff. People line the streets as Popemobile carries coffin through RomeThe Pope has chosen to be buried in a simple coffin at the church of Santa Maria Maggiore. Crowd applauds as coffin begins final journey The Pope is being laid to rest at the church of Santa Maria Maggiore in Rome. Pope Francis' coffin laid outside in St Peter's SquareThe pontiff's funeral is being held days after he died at the age of 88. Applause heard as Zelensky arrives for Pope Francis' funeralApplause heard as Zelensky arrives for Pope Francis' funeral US President Trump pays respects by Pope's coffinThousands have gathered in Rome to pay their respects to the late pontiff. Crowds gather in Rome ahead of Pope's funeralThe BBC's Sarah Rainsford says people from all over the world have gathered to pay their respects. Why Pope Francis won't be buried in the VaticanPope Francis will be buried in Rome's church of Santa Maria Maggiore, breaking a 100-year-old tradition. Pope mourners queue for 'chance to say goodbye'Pope Francis will remain lying in an open coffin until his funeral on Saturday Pope Francis's last public appearance on Easter SundayThe pontiff's last public appearance was for an Easter Sunday blessing at the Vatican's St Peter's Square. Watch moment Vladimir Putin announces 'Easter truce'It is unclear if Ukraine has accepted the terms or already discussed the plans for the pause in fighting with Russia. How BBC Verify investigated the seized homes of MariupolA look behind the investigation by BBC Verify's Olga Robinson and Christine Jeavans into the seized homes of Mariupol. Moment missile lands in Ukrainian city of SumyFootage shows moment missile lands in Ukrainian city of Sumy Moment parachutist left dangling on stadium roofVideo shows the moment a parachutist got caught on the roof of a stadium ahead of a rugby match. Pope Francis waves to crowd in first public appearance since leaving hospitalThe pontiff has not been seen in public since he left Rome's Gemelli hospital on 23 March, after undergoing treatment for pneumonia. Tariffs will 'drastically' impact global pharmaceutical supplyUS President Donald Trump is expected to announce a new round of tariffs later on Wednesday. Watch: Iceland volcano spews lava and smoke after eruptingPeople are being evacuated as a volcano erupts in south-west Iceland, threatening a town. In the other matches of group G, the fight to avoid the playouts or at least to have the best possible position is very heated. Marina has been relegated for some time, there are four teams at 33 points, Alfonsine, San Pancrazio, Modigliana and Sporting Predappio, as well as Carpena at 35 who are playing for the only place that is worth direct salvation. The others are safe. In group F, however, great victory for Virtus Faenza, 2-1 over Basca, but it will hardly be enough to avoid the playouts. By 2024-07-25T10:06:00+01:00 The new facility can handle thousands of fruits per hour one of Italy’s largest fresh produce suppliers highly automated packing line as it looks to capitalise on demand for premium-grade fruit across Europe which is a major supplier to supermarkets across the continent says an extensive refit of its Bagnacavallo facility near Ravenna will enable it to handle and pack delicate high-end products including premium pears and flat peaches and nectarines nectarines and pears require highly specialised supply chains,” explains Agrintesa’s general manager Recent investment in new and better varieties has put packing facilities under pressure to be far more advanced Agrintesa’s member growers recently planted around 200ha of a branded flat nectarine called Ondine “This project is due for completion in 2025,” Moretti reveals production is estimated at approximately 6000 tonnes and this will be managed at our Bagnacavallo plant.” The installation is designed to boost efficiency and flexibility It will apparently be able to check and pack thousands of individual fruits per every hour and deliver guaranteed top quality for customers In partnership with technology provider Unitec Agrintesa says the facility is now equipped with the best technologies available on the market today These include a robotic bin and crate loading system that prevents damage to delicate newly arrived fruits by depositing them into water channels which carry them on to the next stage of handling Other advanced systems at the new plant include a Unical 10.0 sorter Unitec’s Peach Vision and Pear Vision external and internal grading machines automatic crate fillers that can select predetermined fruit sizes and three different types of packaging system “I believe the collaboration between Unitec and Agrintesa has created an innovative winning project,” comments Raffaele Benedetti “It’s a versatile plant that guarantees high efficiency and reliable classification of external and internal quality And it is able to process products such as flat peaches and pears which have very different characteristics and are extremely delicate Agrintesa’s fruit is marketed by its commerical partner Alegra which supplies major retail customers in Italy and abroad last year’s consumer trials of Ondine showed great promise “The 2024 peach and nectarine campaign is in full swing and we can count on good product availability and high quality,” he says we have seen the start of the first commercial campaign for Ondine flat nectarines after last year’s tests and they are increasingly making inroads into the hearts of consumers.” As one of just a few approved production partners across the globe Agrintesa’s investment in Ondine is based on a strategy that offers clients premium-quality fruit And the new plant in Bagnacavallo is set to be a key tool in delivering that quality Site powered by Webvision Cloud Sign up for our daily Newsletter and stay up to date with all the latest news You are receiving this pop-up because this is the first time you are visiting our site You are using software which is blocking our advertisements (adblocker) we are relying on revenues from our banners So please disable your adblocker and reload the page to continue using this site.Thanks specifically designed for the processing of peaches to guarantee the best possible packaging of these particularly delicate fruits while at the same time allowing the automation of the various stages thus reducing the need for human resources compared to traditional plants has invested in its plant in Bagnacavallo (Ravenna - Emilia Romagna) one of the most advanced production sites in the fruit and vegetable sector The new plant is equipped with the best technology available on the market today It is capable of handling very delicate fruit with non-uniform dimensions optimising all stages of processing through to final packaging nectarines and pears have always been among the most prestigious products of our members," says Agrintesa's General Manager "and are the expression of highly specialised supply chains that require constant investment in varietal innovation as in the case of the Ondine flat nectarine a project for which we have committed to planting around 200 hectares will be processed at our plant in Bagnacavallo and packaged in one of the most innovative and specific plants in Europe capable of handling and inspecting thousands of fruits per hour guaranteeing customers and consumers the quality they expect After an initial phase focused on the development of Ondine varieties and the acquisition of specific agronomic skills the aim of this important investment is to complete the project with the management and quality control of the product in the warehouse." "I believe that the collaboration between Unitec and Agrintesa has resulted in a rewarding and innovative project" says Raffaele Benedetti of Unitec (photo on the right) "a versatile plant that guarantees high efficiency and reliable external and internal quality classification which have very different characteristics and are extremely delicate." the containers and crates to be processed are handled by a robotic system that gently dumps them into the water avoiding collisions between the fruits and preserving their integrity The product is then processed by the UNICAL 10.0 grading machine which is equipped not only with the size and weight grading system but also with Unitec's innovative Peach Vision and Pear Vision quality classification systems which make it possible to analyse the colour and external and internal quality of each individual peach nectarine or pear with extreme reliability detecting any defects with extreme precision selecting them by degree of ripeness and thus guaranteeing a certain standard of quality The plant also uses a system of automatic crate fillers which allow some or all of the product to be pre-calibrated in crates guaranteeing greater versatility for different processes and facilitating the handling and packaging of the fruit thus greatly improving the efficiency of the entire process The innovative system is completed by its integration with three different types of packaging systems These have been specifically designed to handle different types of packaging with particular attention paid to the processing of the latter for flat nectarines The aim is to allow operators to focus on specific tasks The fruit is sold through the Alegra Group Agrintesa's business partner and reference point for the main national and international supermarket chains "The 2024 campaign for peaches and nectarines is in full swing and can count on good product availability and high quality," says Enrico Bucchi for which Agrintesa is one of the few selected production partners authorised by the International Club The new processing plant in Bagnacavallo will make it possible to process this new product extremely efficiently guaranteeing the packaging of only the best fruit for an incomparable consumer experience." For more information: Coop AgrintesaVia G. Galilei, 1548018 Faenza (RA)Tel.: +39 0546.619111Email: [email protected]www.agrintesa.it Unitec GroupVia Prov.le Cotignola, 20/948022 Lugo (RA) - ItalyTel.: +39 0545 288884Email: [email protected]www.unitec-group.com FreshPublishers © 2005-2025 FreshPlaza.com At the moment only one match would be played semifinal of the playoff, that between Santa Sofia and Savarna, tied at 47 points but with the Forlì team ahead in the direct clashes and therefore, in the event of a tie at the end of the championship, they would be in third place. The fight at the bottom is very heated with many direct clashes still to be played. In group F, however, Virtus Faenza will be guests of Basca in San Giorgio di Piano with the Bolognese practically certain of the playoffs: the Manfredi must overtake Savena and Fly to avoid the playouts. First Category Program (29th matchday, 16,30:XNUMX p.m.). Group G: Bagnacavallo-S. Sofia, Carpena-Modigliana, Fosso Ghiaia-S. Vittore, Meldola-S. Pancrazio, Pianta-Only Sport Alfonsine, Savio-Savarna, Sp. Predappio-Real Fusignano, Vecchiazzano-Marina. Group F: Basca-Virtus Faenza, Cotignola-Fossolo, C. del Rio-Dozzese, Fontanelice-Funo, Libertas-Fly, Murri-Reno Molinella, Pontevecchio-P. Bubano, T. Pedagna-Savena. A man carries an inflatable dingy past flood-damaged debris after flooding in Faenza in the Emilia-Romagna region of northern Italy Photo: © Francesca Volpi/Bloomberg via Getty Images A true apocalypse of slime, death, homelessness and billions of euros' worth of damage: this is the situation in the Emilia-Romagna region of Italy, which is facing its worst flooding in a century. At least 13 people have died so far and more than 10,000 have been displaced. Currently, 42 municipalities in the region are affected by the flooding. Twenty-three rivers and streams have been flooded and large sections of the A14 motorway between Faenza and Forlì are under water, as are towns and cities including Cesena, Bagnacavallo, Savignano sul Rubicone, Santarcangelo di Romagna, Lugo and Ravenna. In the coastal cities of Rimini and Riccione the lidos that were ready for the start of the summer season have been completely devastated. For now, it is difficult to ascertain the damage to historical monuments. In Forlì, where homes and shops have been destroyed, the exhibition The Art of Fashion at the San Domenico Museums has been closed for three days, although the venue avoided any damage from the floods and heavy rain. All the museums in Faenza have been closed, including the Museum of Ceramics and Palazzo Milzetti. Elena Rossoni, the director of the Palazzo Milzetti, says the museum was “barely touched” by the water that reached Faenza’s historic centre. “We are monitoring the situation, but the water did not quite reach the museum,” she says. In Faenza, the heavy rain at the beginning of May had already caused extensive damage to the historic Bottega d'arte ceramica Gatti. In Bologna, a river of water was running along Via dell'Archiginnasio in front of the historic library and Palazzo Re Enzo yesterday. The Museo d'Arte Moderna di Bologna was closed on 17 and 18 May but due to reopen today. “This was decided by the head of the municipality's culture department to allow restoration activities after the emergency situations that had arisen in various parts of the city. Many employees worked from home,” says its director. Also in Bologna, the Genus Bononiae museums remained open but events were cancelled, including a presentation of a newly acquired painting, Ludovico Carracci's Holy Family with Saints John, Ursula and Matthias, which was planned for 18 May at the Pinacoteca Nazionale di Bologna. Also in the capital, libraries and some roads along the hills were closed due to the risk of landslides. news24 February 2020Mass museum shutdown in northern Italy—including Peggy Guggenheim Collection and Fondazione Prada—as coronavirus spreadsPublic and private institutions in Venice Milan and Turin will stay closed for at least a week as more than 200 cases of Covid-2019 are confirmed news24 May 2024Italy seizes Giuseppe Verdi's villa and plans to turn it into a museumThe 19th-century property where the Italian composer wrote 'La Traviata' Bagnacavallo ’s Museo Civ ico delle Cappuccine welcomes from September 23 sponsored by the Municipality of Bagnacavallo and organized by the Museo Civico delle Cappuccine and the Museum of Oriental Art in Venice The exhibition is part of the three-year program dedicated to Landscape.The exhibition strand promoted by the Civic Museum on the most important international artists who have masterfully expressed themselves through engraving adds a new stage moving from Europe to the Far East to tell the story of the ukiyo-e woodcut technique and some of the most important masters who devoted themselves to it: Hokusai and Hiroshige who also became well known in Europe when some of their works were an inspiration to the Impressionists and more generally to the artists who from the mid-19th century proved more open to the renewal of painting with the publication of Hokusai’s Thirty-six Views of Fuji and Hiroshige’s Fifty-three Stations of Tōkaidō the depiction of landscape took on a new importance The exhibition opens with a room devoted to Katsushika Hokusai Hokusai had enormous success even in his lifetime especially thanks to some of his most famous series including the aforementioned Thirty-six Views of Fuji which are documented here by a selection of the best-known images known including a version of A Great Wave off Kanagawa perhaps the world’s best-known ukiyo-e work which was so beloved and reproduced in such large numbers that it wore out the woodwork and forced publishers to make new wooden matrices on Hokusai’s original drawing in order to pull new originals the narrative focuses mainly on the work of Ando Hiroshige who equaled Hokusai himself in skill and fame and with whose work an almost direct comparison can be seen thanks to the series also dedicated by him to Japan’s famous iconic volcano in addition to other well-known series by Hiroshige the main part of the exhibition is devoted to the depiction of Tōkaidō : the Tōkaidō road which connected the shōgun’s capital was the main route of travel and trade in ancient Japan For many artists it was the cue to depict views and landscapes celebrating the natural beauty of their country for Hiroshige himself it was one of the favorite subjects on which he tried his hand several times even to depict the same stations years apart and in the exhibition it will be possible to admire several series dedicated to this subject: from the first version in horizontal ōban format from the two-brush version to the parallel one The exhibition concludes with a room devoted to Hiroshige II heir of the master and his successor in the Utagawa school including two important triptychs and a number of original volumes containing the complete series inrō and a precious kimono decorated with ukiyo-e-inspired images to emphasize how much landscape imagery influenced Japanese culture through Hiroshige’s work realized thanks to the invaluable collaboration of the Museum of Oriental Art in Venice and the loan of generous collectors is accompanied by a catalog that includes photographs of all the works on display and texts by Davide Caroli director of the Museo Civico delle Cappuccine in Bagnacavallo; Marta Boscolo Marchi director of the Museum of Oriental Art in Venice; and Marco Fagioli among the leading scholars of Japanese printmakers in collaboration with the Ravenna-based Ascig association which will allow visitors to explore different aspects of Japanese culture on a regular basis: from specific guided tours dedicated to themes related to the exhibition to other highly engaging experiences such as the traditional Tea Ceremony The exhibition is open to the public on Tuesdays and Wednesdays from 3 to 6 p.m. For information: www.museocivicobagnacavallo.it Image: Katsushika Hokusai, Ejiri in Suruga Province, from the series 36 Views of Mount Fuji (c. 1829-1833; polychrome woodcut; private collection) Connecting decision makers to a dynamic network of information, people and ideas, Bloomberg quickly and accurately delivers business and financial information, news and insight around the world Europe’s climate losses have increased by 2.9% a year from 2009 to 2023 The biggest climate change danger in Italy is flooding as happened in Bagnacavallo (above) last year.  2024 at 6:00 AM ESTBookmarkSaveStarting Jan every company in Italy must buy insurance to protect its assets from floods landslides and other natural hazards that have become more common thanks to global warming It’s the latest sign of Europe’s rising anxiety about climate change its climate losses have increased by 2.9% a year from 2009 to 2023 according to the European Environment Agency This year alone saw epic wildfires in Greece a crippling drought in Sicily and costly floods in the UK MAGMA presents the sixth edition of ELEMENTI conceived in 2020 with the intention of creating an immersive performative dimension within natural and iconic landscapes of high emotional power that characterize the Romagna region ELEMENTI once again invites the public to discover a series of extraordinary en plein air stages between Ravenna Faenza and Bagnara di Romagna with a series of low environmental impact events based on the natural specificities of each location The 2025 edition of ELEMENTI confirms its interdisciplinary format aimed at the multisensory dissemination of heterogeneous forms of contemporary artistic expression with a calendar of twelve site-specific performative performances spread over 7 days.The calendar of performance events - as always free of charge - will see the involvement of young emerging talents and established artists on the international scene an improvisational performance that interweaves dance and sound and will see dancers Chikako Kaido Kristin Shuster and Antonio Stella interact with percussionists Enrico Malatesta and Le Quan Ninh Event by reservation at riservaree@gmail.com theEx Convento diSan Francesco in Bagnacavallo will host a live performance by young emerging Portuguese artist Inês Malheiro and live performances by English artist Memotone the wooded area of Villa Emaldi in Faenza becomes the stage for two live performances: Lamina a sound project by artist Clarice Calvo-Pinsolle and Scottish experimental musician Sholto Dobie who will perform using self-produced instruments This will be followed by DJ sets and listening selections by Gaspare Caliri a trained semiologist and co-founder of CUBE (Centro Universitario Bolognese di Etnosemiotica) and Kilowatt based at Circolo Kayak in Cervia but involving areas of the Pineta and Salina Elementi proposes a participatory and performative journey between sound and movement curated by the multidisciplinary artist Canedicoda This will be followed by two live performances by emerging French artists Megabasse with an ambient solo on double-handled guitar a multi-instrumentalist who explores electronics the salt dunes of Cervia’s Salina Hague become the “lunar” backdrop for a sunset live performance by Brussels-based young emerging Mexican artist Vica Pacheco in a dialogue between sound the picturesque Rocca di Bagnara di Romagna will be the setting for a live concert by Antonina Nowacka guided tours of the Pietro Mascagni Museum will be organized with the activation of the museum’s piano through a site-specific performative intervention by Giovanni Battista de Pol Event by reservation at email riservaree@gmail.com Cervia’s North Pier will be the stage for a dawn concert and installation of Renato Grieco ’s (KNN) Pungilingua project The sixth edition of ELEMENTI is made possible thanks to the contribution of the Fondazione del Monte theUnion of Municipalities of Lower Romagna and the Municipality of Bagnacavallo; in collaboration with the Emilia Romagna Region the Municipality of Ravenna and the MAR Museum For all information, you can visit the official MAGMA website Pictured: farmyard of the Cervia salt marsh the faculty of the Department of Design and Architecture Fundamentals and students of the Department of Design and Architecture Fundamentals – Anna Skytska Yana Shtets and of the Department of Architectural Constructions – Kateryna Horbatiuk and Iryna Tabaka visited the Ecomuseo Delle Erbe Palustri The event took place as part of the large-scale Emergency Design project organized in cooperation with Vitaukr.italia under the guidance of master Luigi Barangani (one of the last masters of straw weaving from Romagna) learned and mastered the basic techniques and materials used in weaving The young designers could use noble and biodegradable materials to support circular economy projects and received certificates of theoretical knowledge and practical skills in creating designer products using straw and reed weaving there was a meeting between Ukrainian and Italian participants of the Emergency Design – Design Rebuild Life project of the Milano Makers association where both countries exchanged their experiences The participants from Ukraine visited the International Museum of Ceramics the mosaic workshop in Ravenna and gave an interview on Radio Sonora The scientific and practical works in the field of Design were presented at the international scientific seminar held at the Ecomuseo Delle Erbe Palustri The participants shared best practices and experiences in the field of education and science that contributed to the development of professional skills and personal traits as well as outlined ways of expanding cooperation with international partners E-mail: coffice@lpnu.ua which is none other than the aforementioned ancient monastery to be admired by as many people as they wish But how did a Dürer masterpiece come to be in a modest monastery in the Ravenna area and why has it now been kept for fifty years at the Magnani Rocca Foundation in Mamiano di Traversetolo The return of the Madonna of the Patronage to Bagnacavallo made it possible to take stock of the situation regarding up-to-date knowledge and critical contributions on the painting The Capuchin nuns remembered that they had always guarded and venerated that Beata Vergine del Patrocinio but in reality it was an asset that had arrived there through one of their sisters from one cloistered convent to another cloistered convent: it was Don Antonio Savioli who in the course of his research to discover the true provenance of the table read in the book Campione delle monache di Bagnacavallo: “La Madre Sr Gertrude Canattieri Religious Claressa of the suppressed Monastery of Cotigniola entered our Convent there May 13 1822 at the age of 73 years [...] She brought a beautiful image of the Blessed Virgin of great price which Image was of her Founders of the Convent of Cottigniola and it shows itself miraculous in the recourse we make to her in our needs.” The convent mentioned in the annotation was the cloistered convent of the nuns of Santa Chiara in Cotignola whose foundresses were Sister Dorotea Felice Certani and Sister Giovanna Maria Scapuccini In the Lives of the Venerable Blessed Saints and Servants of God of the Diocese of Faenza collected by Romoaldo Maria Magnani in 1742 it is found that Sister Dorothea was “most devout of the B.Virgin she was many hours in prayer: And she had a vision of it one day through this one ”A manuscript Life of Sister Dorothy was also found in the Convent of St Clare in Ravenna compiled by a Poor Clare who intrigued by the biography of the nun without having had the opportunity to know her personally gathered news from the older sisters who had known her Here we read that “she had as a gift from her Lord Father a beautiful image of this Virgin” before which “the good Mother was kneeling many hours a day” for the “graces she desired both for her as well as for her Daughters and their relatives”; but above all we have news that the sacred image “brought her from Ravenna to our Monastery.” Documents attest that Sister Dorotea entered the cloister in 1621 with a balance of scudi 500 made by her father and according to the regulations for becoming a nun in the Monastery of St had been obliged to bring with her a painting depicting a sacred image probably precisely Our Lady of the Patronage but he was also an artistic-literary patron: he founded theAccademia dei Selvaggi in which artists such as Guido Reni or the Carracci participated so owning paintings was not complicated for him; perhaps he had purchased the Madonna del Patrocinio on the Bolognese art market or perhaps in Venice through entrepreneurs who traded for luxury manufactures since many members of Sister Dorothea’s family were monks or nuns it is known that when Dürer arrived in Venice in 1506 the artist communicated in a letter addressed to his friend Willibald Pirckheimer in Nuremberg that he had sold five of his six small panels of which all trace has been lost the Dürerian masterpiece arrived in the Monastery of the Capuchins in Bagnacavallo thanks to Sister Gertrude Canattieri of the Cotignola monastery ten years after Monsignor Antonio Savioli discovered that it was a painting by the Nuremberg master Some priests who frequented the convent had learned of the existence of the small panel began to ask the nuns for a good photograph of the work in 1958: the year before the nuns had distributed the first photographic images of it to the faithful the live meeting between Savioli and the work took place in September 1959 The painting had also been targeted by Antonio Corbara honorary government inspector for mobile works of art in Romagna “Do they know the value the work has It is extraordinary that such a piece is there it is a case of unprecedented rarity,” adding that “it would be advisable that they do not authorize anyone to reproduce or publish it.” In addition Corbara asked to be allowed to see the work up close in order to draw up the ministerial card to later report to Superintendent Cesare Gnudi The work ’s card and the publication of the first study on the painting in the January 1961 issue of the Bollettino Diocesano di Faenza: here the attribution to Albrecht Dürer appears for the first time attributable to the German master’s second Italian period which is reported for the first time through the present card will certainly be the object of study by critics and historians,” it reads; and after describing the painting the painter among the Lombards of the Leonardo diaspora Longhi to discover the hand of the great Dürer a name pronounced by him and as if blown under the impulse of a disturbing intuition.” Indeed in July 1961 Roberto Longhi’s unpublished text dedicated to Dürer ’s Madonnain Bagnacavallo came out in Paragone Arte where the Nuremberg master’s authorship was confirmed This incredible discovery soon caused quite a few problems special permission was needed to go and admire the painting were the custodians of a work of inestimable economic value and in addition the latter did not know how to respond to the numerous requests that came to them from all over Italy and abroad There was an imminent need to make the work accessible to the public and if at first a possible restoration was thought of absolutely within the monastery so as not to make the painting leave that location ministerial officials convinced Savioli that it was necessary to think about a safe transfer to a suitably equipped laboratory: in Gnudi’s opinion the nuns also presented the idea of selling the work aware that the Bagnacavallo monastery was in a state of decay and that they were willing to move to another location; with the sale of the work Gnudi was totally opposed to the sale to a third party mainly as a matter of cultural heritage protection and appealed to the law that required the minister’s authorization in order to sell a protected property belonging to a church institution Optimal condition was to find a buyer agreeable to the General Directorate for Antiquities and Fine Arts who could give guarantees of preservation and public enjoyment of the work: a condition that arose in 1966 a musicologist and collector from Reggio Emilia visited the Madonna del Patrocinio for the first time in an interested way Often the same ministerial officials in charge of the protection of the artistic heritage fully supported Magnani’s desire to “save and recover to Italy masterpieces threatened by obscure destinies,” partly because of the fact that the latter provided guarantees of subsequent devolution to the state or public enjoyment of the works even overcoming the unexpected ending of the nuns’ surprising refusal to give the painting to him demanded a reproduction of theDürer masterpiece as faithful as possible to the original the people of Bagnacavallo reacted worried about the loss of the painting: the municipal administration did not want the painting to be transferred to another town commenting that there was a Museo Civico in Bagnacavallo that could have housed it but in fact the museum existed only on paper but simply a room set up in the local library unsuitable for housing a work by Dürer The panel left town in secrecy in February 1969 to reach Rome where it underwent a delicate restoration at theIstituto Centrale del Restauro to restore it to its original state Of restorations the work had undergone substantially two “one,” Longhi wrote in his essay “perhaps intended to remedy the effects of an old burn includes the entire lock of hair falling to the right of the Virgin’s face and for the remarkable skill of execution shows that it was conducted by a hand ’philologically’ trained and therefore not before the century of the ’’Enlightenment’’; the other by providing to disguise certain parts of the Child shows that it was induced by post-Tridentine moralistic scruples.” So in addition to the consolidation and cleaning of the surface they intervened by removing thepictorial integration on the lock of the Madonna’shair made in all likelihood between the 18th and 19th centuries following a candle burn and the small loincloth added in the late 16th century to the Child for moral reasons It is a work of extraordinary value and beauty and Antonio Savioli was already aware of it when he first described it in the Diocesan Bulletin of Faenza: "Iconography of Mater Christi The holy Child holds a small strawberry branch in his right hand and clings to her left hand as if to secure his own balance he is all naked except for the loincloth that is a late addition The Virgin looks softly and almost contemplates the divine Son The blue mantle folded over the head leaves the white cap sheathing the opulent braid visible by a nineteenth-century engraver was interpreted as a window and the monochrome flourish as the terminal decoration of a parapet one sees a wall of bricks bound by white lime the bottom is occupied by a wooden frame or cornice pillar The main light diffuses from a source on the left with an incidence of 45° to the plane of the painting." Savioli associates it with the iconography of Mater Christi a reflection and devotion to the pain that Mary experienced in experiencing the passion and death of her Son The Child’s small left hand clinging to the Mother’s hand hints at the latter’s tragic thoughts prefiguring her son’s hand being pierced by the nail of the Passion but other elements hint at this: the dark color of the Virgin’s mantle suggests mourning; her gaze is tender and sweet toward the Child but at the same time it is sad and melancholy; and again the Child interrupts his play with the sprig of red strawberries to search in vain with his gaze for his mother’s eyes Dürer has managed to condense the tenderness between the Virgin and Child and the Passion of Christ leading our minds to the revelations of St whenever Mary looked at her son and saw his hands and feet because her foreboding thoughts led her to the sufferings and death on the cross the Madonna of the Patronage absorbs Nordic elements and Italian elements into a single work: an aspect that has been debated regarding the identification of the period of the work’s creation confirmed the painting’s association with Dürer’s second Italian journey between 1505 and 1507 arguing that the master had reached his maturity and thus was more conscious inassimilating Italian formalisms and recovering the art of his Nordic origins other critics argued that the work dated to his first Italian sojourn asserting an earlier encounter with the Italian Renaissance many of the examples of Italian artists that Longhi cites in his essay hark back to the 1590s: “The layout dl divine group is of Bellinian and Antonelloesque cut [...] A calm with almost no heteroclite strokes; a very sweet oval in the Mother; a vivacity but regulated and almost of calm gymnastic exercise in the body of the Child that approximates to the Vicentine Montagna: an artist whom Dürer may have seen on his way down from the Trento Alp before setting out for Venice”; and after a few lines he comments that “the Virgin’s cap which has just been said to be Montagna-like descends to cover almost the entire forehead in the guise of a northern ’béguine’ monk’s blindfold as Dürer had insistently used in engravings prior to the second journey The domed shoulders of the great and noble Italian bodies become narrow and missing; the shining copper-stranded hair spreads out in an asymmetry that is incomprehensible to us with no longer any relation to Italian syntax.” However he concludes by stating that “this deliberate contradiction even in linguistic mixture is of such subtle engagement that Dürer can only have experienced it in the years of his second Italian journey between 1505 and 1507 comparing the Madonna del Patrocinio with other works of the late 15th century the work’s pyramidal composition suggests the motif of the seated Madonna looking out from a low parapet typical of theMantegna and Bellini circles such as Giovanni Bellini ’s Madonna of the Red Cherubs (Venice The backward flap of the dark mantle on the Virgin’s head harks back to many Madonnas of the 1490s by Cima da Conegliano (Conegliano such as the Madonna and Child in the Petit Palais in Paris 1523) used to depict the central fold dividing the Virgin’s white bonnet in half a motif of Nordic origin that in fact Dürer often used in his Madonnas including the Washington Haller Madonna of about 1498 Savioli had already noted the “northern syntax of the figure of the Virgin,” and indeed the face of the Virgin in the Madonna del Patrocinio reflects a late Gothic model from southern Germany: the oval contour of the face the small mouth; these are features found in the works of Martin Schongauer (Colmar one of them being the Madonna and Child with Parrot made by burin between 1470 and 1475 a Verrocchio model had been recognized: a drawing by Dürer preserved in the Louvre and dated 1495 testifies to his knowledge with respect to a model attributable to Lorenzo di Credi (Florence one of Verrocchio ’s most notable pupils (Florence And a sheet dating from about 1495 kept in the Gabinetto dei Disegni e delle Stampe at the Uffizi on which the Nuremberg master had practiced some studies of Italian Renaissance art reveals precisely in the lower left corner of the sheet a small seated Baby Jesus taken from a prototype by Verrocchio or Lorenzo di Credi The small Baby Jesus turns out to be very similar to the Child depicted in the Madonna of the Patronage although the artist modified it to fit the particular iconography of the painting: the Child’s left hand joins that of his mother and his other hand clasps a sprig of red strawberries It is a painting that reveals much deeper iconographic and sacred meanings than the mere depiction of a Virgin and Child the deep connection that this work had with a prayerful environment such as that of the Monastery of the Capuchin Poor Clares of Bagnacavallo it has returned to be admired by all in its full splendor mostly along the Via Emilia and in the Ravenna area It is the extension of the strong hailstorm that struck much of Emilia Romagna on Saturday 23 June 2019 Bagnacavallo were those most affected with very large hailstones (up to 8 centimeters in diameter) and wind so strong as to destroy some protection systems Picture from Sansepolcro by Cinzia Rosa Spina (Meteo Pedemontana Forlivese) the damages are enormous - explains Davide Marconi from Apofruit - especially on pears fruits have holes so large as to make them useless Even in Nonantola the situation is the same A wide area is very affected in the Modena province Damages in the Ravenna area are confirmed by Giancarlo Minguzzi Bagnacavallo and neighboring municipalities we had reports of serious damage Picture by Gianfranco Rambelli from Bagnacavallo "A lot of damage has been recorded in the whole Romagna region," says Danilo Misirocchi while in the Rimini area there were violent downpours." Picture by Gianfranco Rambelli from Bagnacavallo We can try to understand what consequences there will be on the crops after the last violent thunderstorms were already in trouble due to higher temperatures and the too dry weather in June." this didn't make any sense," says Loris Babbini "As the rain on Saturday the 23rd risked causing cracking in cherries the late ones on which we rely on to revive the season I hope that the damages are not too strong Picture Icegreen by Emilia Romagna Weather 124 violent hailstorms have been detected in Italy so far almost twice as many as those recorded in the same period last year (+88%) View upcoming auction estimates and receive personalized email alerts for the artists you follow