President Andrea Scarabelli: everything has changed in one year. "The path we took paid off, and it wasn't a given because we weren't the favourites. We started again with the people, with the group of players who, after the relegation, chose to stay, with the coach who took over halfway through the season last year, Louisito Reggiani, almost achieving a sensational salvation, and by sports director Gianluca Sbrocchi, a person we respect greatly". What were your goals at the beginning of the year? "Not to get first. We knew we had a playoff team, but only one wins and it's difficult. We have a beautiful group with good guys and we have intelligently overcome the various problems that go through the seasons". Was there a particular Sunday where you thought it might be a good year? "The home victory against Fellegara has certainly confirmed our value." "The fact that the boys from the Juniores also contributed fills us with pride: a goal from the young Davide Di Michele (2007) decided the cup final, and on Sunday another 2007, Cristiano Dallaglio, found the net. For us it is fundamental to bring the young players from the youth team into the first team: it is the football we would like to play". Have you already made decisions for next year? "We will talk to everyone, but starting with the coach I think there are no doubts: continuity is an objective". "On Sunday we did the bare minimum, but in the last round the entire youth sector will be involved. We would like, if possible, to have the kids enter with the teams, and then everyone in the stands with their families. At the end, a nice barbecue on the pitch, with Real Casina, the opponent on duty, also if they want to stop". "Showed off after the final whistle: it says 'Amazon First', a play on words. On the back, a plane ticket: from Second to First." A story of transnational solidarity through the ages a small town of around 9,000 people in the Italian region of Emilia-Romagna But this unlikely settlement has one claim to fame In the centre of the town sits a bust of Soviet leader Vladimir Lenin donated by the Soviet Embassy in Rome in 1970 it is one of the few — if not only — monuments to Lenin to be inaugurated in a public place in Western Europe during the Cold War The bust was made by factory workers in the Ukrainian city of Luhansk in 1922, thus also making it one of the few surviving busts of Lenin to have actually been manufactured during the Soviet leader’s lifetime. On 22 July 1942, the bust was stolen from Luhansk by Italian soldiers during Italy’s supportive invasion of the Soviet Union alongside Nazi Germany The bust followed the soldiers back to Italy and turned up in Tuscany after the War upon which it was returned to the Soviet Ambassador in Rome On 22 April 1970 — the centenary of Lenin’s birth — the bust was donated by the USSR Embassy to the town of Cavriago Since the founding of the Italian Socialist Party in 1892 the region of Emilia-Romagna has been a hotbed of left-wing activity debate was raging among members of the Italian Socialist Party in Cavriago between those who supported the actions of Lenin and Bolsheviks The Bolshevik current won out and published a motion supporting the pro-Lenin line of the national socialist paper Avanti and its editor Giacinto Menotti Serrati “for the incessant struggle they continually fight […] and for the approval of the program of the German Spartacists and the Soviet of Russia […] and applaud its leader Lenin for his tireless work fighting against the reactionary supporters of imperialism.” This communiqué from a small local Marxist group was published in the next day’s issue of Avanti! the copy seems to have ended up in Lenin’s possession and the story of a tiny Italian village supporting the Bolshevik struggle moved him so much that he mentioned it in a speech to the first congress of the Third Communist International in Moscow on 6 March 1919: we can rightly say that the Italian masses are for us that the Italian masses have understood what the Russian socialists are!” the village council of Cavriago approved a resolution to donate a large sum of money to the Soviet cause “Accepting the invocation of pain and hunger that the brothers of Russia throw to the world too foreign to the great misfortune moral assistance and encouragement to the Soviet proletarian government we resolve to grant a non-profit subsidy of no less than 500 lira.” A few months later the council was forced to dissolve under threats of fascist violence Following the seizure of power by Mussolini (ironically ushering in the period of fascist dictatorship in Cavriago that would last until Liberation Day on 25 April 1945 Cavriago was governed by an uninterrupted streak of Communist Party mayors which formed part of the historic ‘red belt’ of Italy alongside Tuscany to celebrate the centenary of Lenin’s birth and in honour of the village’s ‘historic’ link with the Soviet leader the municipality of Cavriago decided to name a square after him the USSR embassy in Rome donated the bust of Lenin which they had kept in their offices for the past 25 years due to persistent vandalism and an attempted bombing the original bust was moved to the town hall and a copy was put in its place in the newly named Piazza Lenin Largely destroyed during WW2 and then rebuilt in an anodyne foggy demeanour typical of the towns and villages stranded in the middle of the Po Valley Piazza Lenin is today a large square surrounded by trees and glum modern houses the monumental sight of a Conad superstore rising in the distance Though the Communist Party effectively disintegrated in the early 90s the Cavriaghesi have continued to elect left-wing mayors and continue to celebrate the village’s radical during an epidemic of ‘weeping’ Madonna statues apparently inconsolable at the collapse of the Communist Party and general incompetence of the Italian parliamentary left In 2020, the village celebrated 50 years of Piazza Lenin with a series of events, including speeches by surviving partisans and a demonstration of the original bust, still kept in the village’s old town hall. Piazza Lenin has been a source of inspiration for many Italian musicians, such as the Reggio Emilia-based band Offlaga Disco Pax, whose song Piccola Pietroburgo (Little St Petersburg) is a tribute to Cavriago Cavriago’s website proudly states that people come from all over to see the bust of Lenin. Maybe it’s symbolic of a small town against the world mentality. Or a vindication of an ideology that has achieved hegemony in a local community. Or maybe it just shows that small acts of solidarity can really make a difference, and continue to reverberate decades later, even in this remote Italian selo Destinations Lifestyle Culture Happening Interviews Guest Posts Instagram Facebook Twitter LinkedIn YouTube Subscribe About Contact us Advertise with us Support us Privacy & cookie policy Terms & conditions Privacy Policy and in the website's Terms & Conditions Film adaptations of Giovannino Guareschi ’s books have given us the image of an Emilia somewhat stylized compared to the one that emerges from the texts but nonetheless truthful: an Emilia divided between hard work in the countryside the region that more than any other in Italy has taken communism seriously in its version with the flavor of lambrusco and gnocco fritto A communism taken so seriously that in the end for those who come to these lands and observe them with an analytical eye and without getting carried away Little has changed from the postwar period to the present: the people of Emilia are still among the most hospitable and generous people in Europe the spring evenings they spend between a polka and a mazurka in the dance halls at the edge of the fields are still alive and the villages in the rural areas are the same as they were in Guareschi’s time and have remained almost identical to how he described them Clusters of one- or at most two-story houses with the entrance on the edge of the main road and where you find everything within a hundred meters: the newsstand Only the belief in communism is not the same as it once was Ideology may still be alive in some people’s minds but naiveté has given way to resignation has known administrators who professed to be communist and leftist but did everything but serve the interests of the people they administered and had everything at heart but the interests of the citizens And these lands have also known heavy disillusionment if until a few decades ago practically all eligible voters went to the polls the overall turnout throughout the region was a paltry 37.70 percent: a tangible sign that politics is no longer a reference a tangible sign that even in these parts distrust has reached levels never seen before Those who govern this region today do so with not even 50 percent of the votes of a third of the voters it is not clear what or who he wants to represent We are in the countryside of the province of Reggio Emilia “the most pro-Soviet of the provinces of the American empire,” as Giovanni Lindo Ferretti had to call it a few years ago It has emerged in everyone’s eyes what Ferretti was sensing with his strong sarcasm still understood by few the pillars on which the cheerful Emilians based their existence Today there is a beautiful spring sun over Cavriago a village of farmers and workers about ten kilometers from the capital And in light of all that has been said so far the bust of Lenin that still makes a beautiful display in one of the town’s main squares cannot help but evoke a mixture of sympathy and nostalgia the bust today in Lenin Square is a copy: too many vicissitudes suffered by the original So many that the administration opted to shelter the bust in what was once the City Hall and is now the Cavriago Cultural Center specifically mentioned and praised Cavriago for its application of accomplished socialism but it is true that after the socialists won the elections in 1908 this little town unknown to most experienced important reforms: the administration was concerned with providing housing for the less well-off by building council houses education became a priority and elementary schools were built to break down illiteracy and the construction of an aqueduct was begun that could irrigate the land and quench the thirst of herds and people Work however has always been a constant here first in the fields and then in the factories: it has been said that Reggio Emilia is only a few kilometers away one of the natural industrial expansions of the capital and then met in the Case del Popolo (People’s Houses ) to get together to talk about politics moreover allowing us at Finestre Sull’Arte to discover an unsuspected bond that unites us inseparably with the people of Cavriaghe since we too have been saying for years that art must belong to everyone A citizen should be able to enjoy art whatever “his salary in spite of what happens in other cities in Italy Cavriago has an expenditure on culture that is around 10 percent of the municipal administration’s budget: as a percentage it is ten times what the state spends on culture and young people rest after a day’s work This is not a rhetorical postcard image: when we were in Cavriago in Lenin Square Probably facilitated by the fact that the square is a very short walk from the center It is very difficult today to look at Lenin’s bust for the ideals it embodies partly because Soviet communism soon abandoned the groove Lenin had traced Lenin too is associated with all the errors and horrors of the distorted applications of communism and partly because the drifts that communism can take has led many to look with distrust at this ideology So today the bust of Lenin in Cavriago appears almost as a nostalgic symbol of an era when Italians had a somewhat more naïve and certainly more straightforward approach to politics but looked forward to the future with confidence and when almost everyone was inflamed because they believed in an idea wanted nothing other than what we all hope for a little bit today in which the interests of honest citizens come first No volumeVolume 33%Volume 66%Full volumeMutedWhen walking through the northern Italian town of Cavriago Steps away from street signs commemorating anti-fascists Giacomo Matteotti and Antonio Gramsci — two recurring figures in the toponymy of Italian cities — there are also Tolstoy They mark a territory whose links to Russian literature are not immediately obvious to most visitors But this seemingly unremarkable town — with a population of fewer than 10,000 in the heart of the Emilia-Romagna region historically nicknamed “Emilia Rossa” (“Red Emilia”) for its high levels of support for the Communist Party — built bridges between the Soviet Union and Europe over the course of the 20th century that this history is most prominently on display Western Europe’s — last public bust of the Russian revolutionary Vladimir Ilyich Ulyanov run much deeper — back to the days of the Russian Revolution when the first link between Cavriago and the Soviet Union was established.Create a free account to continue reading Already a New Lines member? Log in here Create an account to access exclusive content My account Will be used in accordance with our Privacy Policy Derby atmosphere that also brings good luck to the Novellara who conquers the "Rinaldi" of Reggiolo in the English style, reconquering the First category after 15 years. For the boys of trainer Bruno Prandi, the former Zaniboni and the striker Brocchetta scored. Angry poker (4-2) of the Celtic Cavriago (for Cavriago pallonara it is the second championship won after the seal in Third of the cousins ​​of Sporting two weeks ago that cancels the same number of tumbles of last year) on Cerredolese stretched by Rispoli, Boretti, Riella and Dallaglio that mean immediate return to the upper floor for the black and greens of the coach Luisito Reggiani. For the locals Rivi and the striker Guido Guidetti shorten the distances. Virtus Libertas fell in Modena, defeated (0-1) by Corlo and joined in second place by FalkGalileo: on Sunday, ironically, the city derby of Cella will put the silver medal of group C up for grabs. The Falketti overcome (3-1) Povigliese thanks to a sprint start marked by the diagonal of Redo who grants the encore of a header on a corner of Iaquinta. The guests who shorten with the penalty of Signoriello, but at the end the new-entered Grotti nets with a flat from a cross of Arcuri. Allai's shot to the top of the table marks Guastalla's away win over Daino Santa Croce: a goal that keeps the play-off flame alight. A season in 5' for Atletic Progetto Montagna who almost took the lead, didn't win the corner and on the counterattack Boca Barco managed the lethal counterattack in the 90th minute with Muredda who sealed their salvation. Still in the running Campeginese beats (4-2) the Original Celtic Bohys condemning them to the first relegation in their history. For the locals double by Mungiguerra, singles by Frignani and Bettati inspired by a solo by Tagliavini; for the black and greens provisional draw signed by Sakho from eleven meters and by Obeng on a corner twenty minutes from the gong. Virtus Mandrio's feat stops San Prospero Correggio's winning streak at 11, stung in the 94th minute by Lambruschini's deflection on the second post; the yellow-greens thus secure third place. Internal hara-kiri for Santos 1948 surprised by Rubiera and thus condemned to the play-out against Virtus Bagnolo: a lightning-fast counter-attack by Montorsi was unblocked, cancelled out by Carfagna's header, then in the second half Arleoni scored an assist from Carubbi, but the disaster was concocted in injury time with Lambruschini's equaliser and Fisic's counter-attack to overtake. In group D, United Albinea and Fellegara are celebrating with poker scores in view of the direct clash on Sunday at the "Nasi" with second place currently in the hands of the Albinetans at +3 points. The yellow-greens conquer Casina thanks to Sassi, the two-goal scorer Ferrante (decisive at 0-1 with a save on the line in a slide) and the euro-goal from 20 meters by Margini. Fellegara's task was much easier as they crushed Borzanese with doubles by Campani and Brusciano. At the bottom of the table, a vital success for Puianello who tamed (2-1) Roteglia thanks to Kokolari's shot to the top corner and Tessitori's touch; in the middle, Borrelli's provisional equaliser from the penalty spot. In the third category, the tandem Rivalta-Vetto continues to advance arm in arm, overtaking an increasingly troubled Cavriago into second place. A distracted and experimental Sporting Cavriago slips at home (2-3) with Fogliano thus defending eighth place thanks to Malagutti's free kick, Iardino's invention and Rinaldi's penalty. Redeghieri and Sonko are closing the gap for the leaders. The tourist card to discover what’s best in the city easily and cost effectively Home / Events / Exhibitions Email: museomusica@comune.bologna.it Site/minisite/other: https://www.museibologna.it/musica/ The museum is equipped with accessible bathrooms museomusica@comune.bologna.it https://www.museibologna.it/musica/ This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page CONTEMPORARY ART MAGAZINE SINCE 1980 More... If it is common to say that those who photograph in Italy are a bit of a son of Luigi Ghirri we need to set our compass in the direction of Reggio Emilia and precisely on the first floor of Palazzo dei Musei Civici The visitors will find themselves in front of over 260 photographs partial fruit of the activity of 36 authors with the same fil rouge of belonging: the original experience of investigation into the transformations of the Emilian territory carried out by Associazione Linea di Confine per la Fotografia Contemporanea has embodied one of the most significant public commission projects and that today is part of the deposit of the collection of Linea di Confine per la Fotografia Contemporanea in the Photo Library of the municipal Panizzi Library courtesy Associazione Linea di Confine per la Fotografia Contemporanea “On Borders/Sui Confini” is the title of this unmissable project that in the land and landscapes of Luigi Ghirri’s soul leads us by the hand into these images that capture a territory subject to profound profound urban Curated by personalities with a vast photographic curriculum such as William Guerrieri and Ilaria Campioli with the professional contribution of a sector archivist such as Monica Leoni the exhibition offers a very broad overview of subjects and poetics that enhance the traditional public-private synergy of the Emilian territory thus providing an example of a useful practice to replicate to point out that the exhibition is divided into nine sections to which are added the two precious areas dedicated to examples of archive and collection of the vast material of Linea di Confine acquired by the Municipality of Reggio Emilia promoter with the Museums and the Library of the exhibition Describing the 260 works on display in a critical contribution is certainly a tedious exercise for the reader and therefore we will try to make an overview (speaking of photographic terminology…) of the seven sections exhibited premising from the outset that the archive and the collection also offer essential insights to understand what lies behind a photographic project of substance and rigorous in theme and organization Among the activities of the association in the 90s of which we can see a summary in the first section of the exhibition workshops entrusted to Italian photographers such as Guido Guidi and Olivo Barbieri to Europeans such as Michael Schmidt and Americans such as Stephen Shore belonging to the “New Topographics” movement we can respectively cite the impulse to document the transformation of fragile places such as riverbeds and nearby banks (Guidi with his research on the floodplains of the Secchia river) and the luminosity that buildings of modest architectural quality can acquire (with Barbieri’s trip to Cavriago) Correggio was instead the conceptual theatre of Schmidt’s investigation while Shore retraced the footsteps of the ‘poor but beautiful’ of his compatriot Paul Strand who in Luzzara and together with Cesare Zavattini gave life four decades earlier to the project of valorising the subaltern classes stated that they are not places without human presence but rather anthropized but not identity-based The anthology of images in the second section dedicated to the places and non-places of the Via Emilia in the early 2000s The photos on display are very interesting among which we mention an impressive and futuristic vision of the checkouts of a hypermarket opened in those years and the simple but not simplistic GPS coding of the photographs by Paola De Pietri that investigates a landscape apparently empty of references Olivo Barbieri also returns in the third section with a disturbing photo of the interiors of a car factory: using the selective focus technique the photographer exalts an epochal passage – that of the introduction of robotics – at the moment in which plants and decorations are visible in an environment increasingly empty of workers Counterbalancing Barbieri’s disorientation is a luminous story in broken images by William Guerrieri the investigation focuses on the doctor-patient relationship inside the now former Sant’Agostino-Estense Hospital in Modena Among the significant elements of this section entitled Places of Care there is the involuntarily predictive and very reflective one of how decisive this relationship would be starting from February 2020 the investigation into the construction of the Bologna-Milan high-speed railway line (2003-2009) and the impact of such a gigantic work on the landscape and territory numbered from one to thirteen and composed of a number of photographs equal to the number of the station composed of a single photograph that portrays a group of partisans who died during the Resistance is very interesting and investigates in depth how the relationship changes even between the road axes that existed before the construction of the railway line and those parallel to it from the “13 modi per perdere il treno” series The sixth section puts human relationships of proximity back at the center producing a quality narrative of one of the historical glories of the Emilia-Romagna region: welfare a collective story is born of some of the contexts in which public presence is more decisive than ever recreational activities and community centers The seventh and final section is single-authored: Paola De Pietri conducted some site inspections in the ceramics district brings together the web of relationships and flows that exist between raw materials human knowledge and skills and the physical man as creator The exhibition is accompanied by the elegant folder of the same name necessary for orienting oneself in the labyrinth of images and archive documents that occupy the nine sections into which the exhibition is divided and I feel obliged to thank writing because it drives my life I cultivate within me multitudes that lead me to investigate and deepen every cultural and creative expression always trying to be clear and documented in the contents Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" ASSOCIAZIONE JULIET – via Battisti 19/a – 34015 Muggia (TS) Juliet art magazine è pubblicata a cura dell’Associazione Juliet - direttore responsabile Alessio Curto autorizzazione del Tribunale di Trieste registro informatico C.F./P.IVA 00699740320 | c/c postale 12103347 | SWIFT UNCRIT M10MC | IBAN IT75C0200802242000005111867 | UNICREDIT Banca Trieste Virtus Bologna wins the Alfasigma Tournament The two-day tournament dedicated to the beginners’ category at the Palestra Porelli ended a very special weekend that will certainly remain in the hearts of all the young athletes entered the court for a photo with all the boys at the end of the match SG Fortitudo vs International Imola Basket: 54 – 38 Virtus Pallacanestro Bologna vs Scuola Basket Cavriago: 53 – 26 International Imola Basket vs Scuola Basket Cavriago: 28 – 25 Virtus Pallacanestro Bologna vs SG Fortitudo: 43 – 30 a space reserved for temporary projects dedicated to the artistic excellence of Emilia Romagna will host a retrospective until September 16 focusing on the multifaceted figure of Rosanna Chiessi collector and patron of events that between the ’70s and ’80 brought the most up-to-date international avant-garde research to Reggio Emilia with particular attention to the performative and behavioral field Born in 1934 by a family from Reggio Emilia she began to take an interest in contemporary art and between 1962 and 1965 she managed the gallery Il Portico with a friend where they exhibit some the main Italian artists of the second half of the twentieth century as Carlo Levi In 1968 she divorced from her husband Otello Montanari exponent of the Italian Communist Party and deputy in the III legislature of the Republic; a year later she met Joseph Beuys in Düsseldorf and she was struck by his ideas of freedom of expression and boundless creativity which would forever change her approach to life and art Since the ’70s in fact her house in Reggio Emilia and the cottage of Cavriago become the center of Italian irradiation of the Fluxus movement and an inexhaustible creative melting pot thanks to the strong and lasting friendly relations that Chiessi entertained with the prestigious artists she met abroad irresistibly attracted by her enthusiasm and unconditional welcoming capacity She was a tireless traveler and discoverer of talents and she found her true vocation in the most vital and free artistic expressions In 1971 she founded the publishing house Pari & Dispari specialized in the production of artist multiples at low prices (whose double-key logo was conceived by Corrado Costa and Giulio Bizzarri) to finance the artists she hosted and to disseminate their work also outside the closed circuits of the art system that all the protagonists involved remember as a big party “choreographed” by Rosanna there are 54 photo albums that document the activities and performances carried out since the beginning in 1968 to the latest initiatives in 2015 which Chiessi at the end of her activity had rearranged and filed with autographic captions was donated by her daughter Laura to the Municipality of Reggio Emilia and it is now kept in the Panizzi Library that has digitized the documents to make them freely available on internet MAMbo pays tribute to the ability of Chiessi to get in tune with the artists without losing her autonomy of judgment and her intuition in identifying new trends in art without being influenced by fashion with an exhibition that brings together works documents and symbolic objects to recreate the climate of experimentation of those years At the center of the room we find the large wooden round table from Cavriago around which artists from different currents gathered at dinner to design and create together and which also served as a stage for improvised performances in front of an audience On the table there is a deck of Piacentine Cards the first edition produced by Pari & Dispari which was presented at the Venice Biennale in ’72 a world map edited by Valerio Miroglio in the same year in the center of which there is a large continent called “Terra di Rosanna” and the dirty colored shoes used by Shozo Shimamoto in a performance at Palazzo Magnani in 2011 dominated by a large canvas by the Japanese master is dedicated to the research of the Gutai group to whom Chiessi had approached in the early 2000s fascinated by the exaltation of the physicality of the materials and the bodily actions with which the movement rethought the pictorial gesture on which we find Joseph Beuys’ overcoat and the chair used by Geoff Hendricks in a performance at the Basel Fair in 1975 is reserved for researches focused on music and sound with works by Giuseppe Chiari Rosanna’s relationship with the Fluxus artists was very close and in 1977 at the Dante theater of Cavriago the first Italian concert of the movement was performed thanks to her mediation (with pieces by George Brecht George Maciunas and Robert Watts) whose onlookers recall that the musicians of the orchestra descended into the audience to link the spectators to their chairs The intent of Chiessi was to involve the places and its inhabitants in the continuous flow of actions attempts and situations that constituted the most extreme testimonies of the art of that particular generation in which she loved to immerse her life She did not always succeed and if for the next two years she organized the “International Art Trends” festival in Cavriago then she was forced to suspend due to the misunderstanding and hostility of the inhabitants as it was always her great concern not to have managed to have her collection acquired by the Municipality of Reggio Emilia Another important line of collaboration linked her to the exponents of Viennese Actionism of which we see on display a large map of Prinzdendorf: in 1974 just to attend a spectacular 24-hour theatrical action by the Austrian artist in his castle near Vienna friends and collectors from Reggio Emilia to share this experience with them had the idea of photographing from the rear the means of transporting goods that he encountered along the road before overtaking them The adventure of Cavriago (1977-1988) was a creative workshop whose results were presented in the most important fairs of the period moved to Capri where she began to collaborate with the heirs of Curzio Malaparte organizing events in the writer’s home in which artists from all over the world could stay and create works inspired by the environment Thus the legendary season of relations and artistic vitality was closed for the Emilian province which the exhibition reconstructs with a sensitive and passionate narrative 1973 cartella con carte da ؞6Mizioni Pari&Dispari Reggio Emilia Archivio Pari&Dispari foto Claudio Corghi Conz Archivio Pari&Dispari foto Claudio Corghi 292x385cm Archivio Pari&Dispari foto Claudio Corghi 67x49cm pubblicata dall’artista dalla versione del 1975 collezione privata foto Marco Borciani Ritratto di Rosanna Chiessi e Urs Lüthi Capri Graduated in art history at DAMS in Bologna she specialized in Siena with Enrico Crispolti Curious and attentive to the becoming of the contemporary she believes in the power of art to make life more interesting and she loves to explore its latest trends through dialogue with artists She considers writing a form of reasoning and analysis that reconstructs the connection between the artist’s creative path and the surrounding context