Almost two years after theflood that hit Romagna hard leaving a deep mark on the cities of Forlì the Dino Zoli Foundation in Forlì is proposing a new art project it will inaugurate L’Acqua del Duemila a solo exhibition by Turin-based artist Cosimo Veneziano (Moncalieri curated by Nadia Stefanel and Matteo Zauli in collaboration with the Carlo Zauli Museum The initiative was created in response to the dramatic flood of May 16 an event that changed the face of Romagna and urged the Dino Zoli Foundation to take action through art to stimulate a shared reflection on prevention land management and the value of collective memory is part of a broader project that the Foundation has initiated in the past two years promoting artistic research capable of generating debate involvement and awareness among the citizenry.“Water possesses an innate and extraordinary force,” says Nadia Stefanel The walls of homes are mute witnesses to these stories; they tell of objects pushed against them by the rushing force of floodwaters The trace left behind is not only a physical mark but a memory of times past that invites reflection on the subtle but vigorous power of nature [...] The white shadow drawn by Cosimo Veneziano leaves space for the memory of the objects in the houses before the flood and recounts a part of experience a continuous transition between materiality and immateriality The drawings are not only works of art but also a method of storytelling that interweaves the concept of permanence with that of transformation because they preserve the memory of what has been activating a silent dialogue between the visible and the invisible While water erases the tangible traces of lives lived it nonetheless incites us to look beyond the visible and preserve memories more resiliently we learn that true treasures do not reside only in material objects but rather in the invisible ties they cultivate between past and future Cosimo Veneziano’s installation is a collection of memorabilia lost in the flood when the devastating force of nature transforms that in a world where natural disasters are a sad reality floods prompt us to reflect on the transience of life and the intrinsic value of our memories.” who since 2022 has been carrying out a reflection on the morphology of the Italian landscape and in particular on the state of rivers was selected to give visual form to an event that is as traumatic as it is emblematic The artist therefore chose to work on the individual and collective memory of the people affected by the flood memories and objects that emerged from that tragedy to transform them into works that move between drawing L’Acqua del Duemila is mainly articulated in two installations conceived specifically for the spaces of the Dino Zoli Foundation and realized also thanks to the use of fabrics produced by Dino Zoli Textile confirming a close dialogue between art and business presents a series of silkscreen prints depicting animals and fragments of landscapes disrupted by the flood enriched by a plant pattern inspired by river plants which start from photographs taken in the affected places were subsequently treated by the artist with a pictorial intervention that employs soils collected precisely during the days of the emergency The result is a visual layering that blends document multisensory and deeply symbolic experience each representing an object lost or found during and after the flood The objects turn out to be fragments of existences silent witnesses of interrupted or transformed lives Their collection stems from direct encounters between Veneziano and the inhabitants of the affected areas turning into a great visual archive of what the water took away but what memory can restore The exhibition in Forli also represents the conclusion of a journey divided into three stages The first two stages of the project had been presented at the Mountain Museum in Turin and the Carlo Zauli Museum in Faenza Both sections will be presented again in this exhibition making the exhibition itinerary complete and coherent These works include a sculpture inspired by the iconography of the Fountain of the Po and five vases made with the historic Gino Geminiani workshop and turner Roberto Reali a tribute to Lucio Fontana’s ceramics and its value of formal innovation Also on display are two important contributions made on the occasion of the May 2023 flood The first is a photograph by Silvia Camporesi taken from the project Fragile Sublime which continues the dialogue between images and typical materials of the territory the result of a collaboration between Maurizio Cattelan and Pierpaolo Ferrari acquired by the Dino Zoli Foundation to help raise funds to support families affected by the disaster Please enable JS and disable any ad blocker In fact, the 4 victories of the Martino era are the only ones snatched away from home in the playoffs in the last 30 years in the second division. Now a new feat is needed: at least one, next Sunday or Tuesday 13, before defending the Palafiera. 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 A new strawberry variety has achieved notable success in Brazil The variety's genetics are of Italian origin having been selected in Verona as part of a joint initiative by the cooperative Apo Scaligera and the agricultural research institute CREA (Forlì The patent has also been extended to Chile explains that the Alpina 10 variety was developed through a collaborative effort between CREA and the University of Santa Caterina in Brazil (UDESC) "This collaborative project has been ongoing for many years The program involves evaluating Italian genetic material to verify its validity in Brazilian production areas a strawberry variety that is very popular in Brazil The Alpina 10 is characterized by its high productivity meaning it can differentiate flower buds independently of light hours a suitable habitat for this species was not identified; therefore the species demonstrated notable success in Brazil The bright color of this strawberry makes it highly attractive and its high productivity is of notable interest For more information:CREAForlì siteVia La Canapona, 1 bis47121, Forlì, Italy +39 0543 89428[email protected] FreshPublishers © 2005-2025 FreshPlaza.com Traditional fruit farming did not appeal to 24-year-old Matteo Babini from Forlì - a graduate in agriculture from Cesena's technical institute - yet he did not want to abandon the family farm The solution was to invest in new facilities and implement an aeroponic crop featuring a drip system so Matteo Babini inside the greenhouse with the vertical crop as I am still developing the cultivation technique I have created 2.40 meters high vertical walls with 13 staggered slots per column: six on one side and seven on the other The distance between the center of the walls is 1.80 meters."The greenhouse was built by Europrogress and some of the technology is Italian such as the fertigation dispenser (Nido) and an irrigation control unit (Scarabelli) while some elements come from abroad (a Swedish company for the plantlet slots) but I am heading towards the end of the season I have no intention of heating the greenhouse so I will cultivate until the end of November and then resume in March." The delivery pipe pushes water into the diffusers at the top of the column which is then collected via the return pipes so that it can be reused my vegetables and herbs go to restaurants and some retailers precisely because I want to fine-tune the cultivation technique saving as much water as possible and growing produce in a sustainable manner I place the vegetables in 80 to 120-gram open bags with different percentages between the vegetable types though at the moment they can only be picked up at the farm I will start production with larger quantities There is the possibility of expanding the cultivation walls both in height and in length." "I bought the ready-made plantlets at a nursery at first but now I skip this step and produce everything myself from the seeds We recycle 95% of water and we only use 10% of the soil Products are harvested according to demand in order to eliminate leftovers and waste." although I am convinced of the fact that such techniques can flank pushed me to innovate and look for alternatives For more informationAir Società AgricolaVia Michele Carioli, 2A47122 Forlì+39 345 9725516[email protected]www.airvertical.it FreshPublishers © 2005-2025 VerticalFarmDaily.com Parravicini 4,5: he plays 14 minutes in which he scores 8 points but also makes several errors both in attack and defense Cinciarini 4,5: He scores his first field goal with about 4 minutes left in the game He misses a lot of shots and struggles to make an impact he shoots accurately and gives his contribution both in attack and defense At the end of the game he scores a very important triple that officially closes the game Gaspardo 6+: the former Brindisi player loses a few too many balls and isn't very precise in his shots but still manages to give his contribution Perkovic 8+: he plays a great game from an offensive point of view and has an impact especially in the second half of the game breaking the opponents' legs with his baskets With his 19 points he is the MVP of the game Pasture 5,5: dominates the rebound fight and recovers 9 Del Chiaro 7: plays a great first half and has his say under the boards A bit in the shade in the second half of the game Sucker 6,5: he scores two triples and takes 7 rebounds Harper 7,5: good performance for the other ex of the day He comes back fully charged after the long break and makes the difference in both halves of the court 5 rebounds and 3 recovered balls in defense Coach Martin 6,5: pays for several points left on the iron in penetration and the 15 lost balls otherwise the gap in the final score would have been much wider even if in defense they were not very consistent Victory far from obvious and important in view of the play off Brown 4,5: He starts off very strong and scores 7 points in the first minutes of the match but fades away immediately after He returns to score his first field goal with six minutes left in the game He closes with 15 points but shoots a terrible 4/15 Laquintana 5,5: He often messes up the ball forces the conclusion and then gets nervous and gets a technical in the second quarter He scores 7 points but the errors committed in the management phase of the game are many Arletti 6-: once again he starts very well but then fades into the shadows during the match He only takes four shots but was quite accurate Of Cadia 5,5: his colleague in the department returns but in this game he had a lot of trouble under the boards he struggled to hold the opponents' tall players he is recovering after a long stop due to injury He plays 16 minutes and tries to play his game under the backboards In the last quarter of the game he misses two important points under the basket Phantom 6+: He plays 11 minutes of excellent quality scores two difficult baskets and does his part in defense as well Ogden 5: Brindisi really missed his contribution in the offensive phase even if it must be said that he doesn't receive many balls and very often has to create very difficult shots to score Radonjic 6+: returns to Forlì as an opponent His first points come in the last quarter of the game but he has a good defensive performance To understand the difficult game in Brindisi just note that with 7 he was the best player for Plus/minus Shoemaker 4: perhaps his worst performance since he arrived in Brindisi He never really gets into rhythm and forces the conclusion a lot (2/10 shooting) He's not in his evening and it shows when he also misses the two free throws (2/4) Coach Bucchi 5: He immediately gets a technical at the beginning of the second quarter of the game In this game he lacked a reference point on the offensive level and there were many distractions on defense Forlì lost 15 balls but Brindisi recovered just 5 The rebounds figure is also not to be underestimated given that Brindisi took 10 less than Forlì who was good at scoring points from second-shot opportunities email and website in this browser for the next time I comment Serie A1 Softball returns to the field to recover the first day of the championship while the second challenge will start 40 minutes after the conclusion of the first match Parma is looking for its first win of the season after the two defeats against Inox Team Saronno on the second day of the championship arrives at the series after the draw on the field of Rheavendors Caronno The teams that will take to the field will be those whose rosters are made up of registered athletes for the match on March 29 there could be several additions of players from the youth categories who have called up some girls from their Serie B/Under 19 who will probably be without Ilaria Cacciamani who left the field due to injury at the end of the second match on Saturday She only has a strong contusion to her right shoulder but her use is doubtful to ensure her full recovery given the next scheduled matches LA CLASSIFICA - LE STATISTICHE – LE FOTO (in continuo aggiornamento) -  TUTTO SULLA SERIE A1 SOFTBALL 2025 In the photo a play between Italposa Forlì and Rheavendors Caronno of the second day (Laura Massarenti) Reserved area Transparent Federation Privacy policy Copyright © 2022 FIBS (Federazione Italiana Baseball Softball) - Viale Tiziano 74 This work is licensed under the Creative Commons Attribution Non-Commercial - Share with same attribution 4.0 (CC BY-NC-SA) which is available on the Internet With the major exhibition The Portrait of the Artist the Fondazione Cassa dei Risparmi di Forlì and the Museo Civico San Domenico kick off the 2025 exhibition season the exhibition is a long journey among masterpieces that chronicles the evolution of the artist’s self-awareness in the history of art through the theme of the portrait andself-portrait.The self-portrait can be considered an existential signature: an indelible mark that becomes a trace translated into an image capable of defying time doubles himself: he is simultaneously the subject to be observed and the artist who observes an alter ego that is both a “self” and an “other.” Often what emerges is a mask: a representation that goes beyond the person From the Renaissance to the twentieth century the self-portrait is often placed in broader contexts mythological tales or historical representations This is what masters such as Giovanni Bellini up to Bill Viola and Chuck Close have done artists have portrayed themselves to reveal their inner selves and the deeper meaning of their art is enough to communicate the essence of a unique and personal style The self-portrait has always held an irresistible fascination because of its ability to replace entirely the person of whom it is a copy The image functions as a double of the subject a subject that runs through the history of art and literature and finds new interpretations in Freudian psychoanalysis one’s own image has been -- for every artist -- a challenge an exercise in deep analysis showing ideal aspirations and emotional expressions Allegory of vices and virtues,” thus explained the perspective from which this exhibition project was born Gianfranco Brunelli Director of Major Exhibitions at the San Domenico Civic Museum in Forlì SADDLE: Berdini 9, Nobile 4, Devoe 26, Davis 18, Benvenuti 12, Sperduto 2, Alessandrini 4, Moretti 2, Tanfoglio 9, Graziani, Ramponi. Coach Di Paolantonio. UNIEURO FORLI': Tavernelli 3, Perkovic 13, Harper 14, Gaspardo 4, Del Chiaro 4, Parravicini 12, Cinciarini 6, Pollone 5, Pascolo 6, Magro. Coach Martino. Referee: Marco Attard, Berlangieri and Centonza. It will still be Serie A2, for another year, and Cento is all happy. Davis with the triple, to respond to the first basket by Perkovic, but the best is yet to come. And Devoe pulls it out, limping in Cividale, decisive yesterday evening, with his best game by far in the red and white jersey, made of 26 points with 4 triples, the extra weapon with which Cento paves its way in the derby. Berdini, Davis and Devoe again, strike in sequence for the 23-17, which became 25-21 at the first gong. The main and largest indoor facility in Forlì is the venue for home games of the A2 team of Pallacanestro 2.015 but also a venue for concerts and shows of various kinds In the past it was simply called Palafiera But now the contract will expire sponsorship with the Forlì-based consumer electronics giant and so the Common has launched a call for proposals to find a new sponsorship to enhance the plant in terms of branding The duration of the new partnership would initially be two years, renewable for a maximum of another two years. Proposals must be sent via certified email (Pec) to the address [email protected] by 12pm on Monday 26 May. This choice is the first that, in terms of public visibility, affects the French company since the president of the basketball company Giancarlo Nicosanti is no longer also CEO of Unieuro (coinciding with the entry of the new ownership, at the end of January he retired). And it is the first test to verify whether the company with French capital still has the intention, desire and determination to support Forlì basketball. Meanwhile, Sports Councillor Kevin Bravi recalls that the Unieuro Arena has undergone work "to make the structure even more modern, safe and efficient. The Administration has started in June 2024, thanks to resources from the PNRR, a vast plan for the restructuring and modernisation of the electrical, air conditioning and seating systems, to be completed in 2025". A compendium of art history around the role of the self-portrait in the poetics of artists from the Ancient to the Twentieth Century: this is the intent of the new exhibition at the San Domenico Civic Museum in Forlì scheduled from February 23 to June 29 Directed by Gianfranco Brunelli and curated by Cristina Acidini which will run from the former Church of San Giacomo to the spacious rooms on the second floor once the library of the Convent of San Domenico celebrates the 20th anniversary of the major exhibitions promoted by the Fondazione Cassa dei Risparmi di Forlì in collaboration with the city administration The exhibition design and artistic direction were entrusted to Studio Lucchi & Biserni.Through a path from Antiquity to the 20th century the exhibition explores the self-portrait as a reference to the myth of Narcissus narrated by Ovid in the Metamorphoses: the reflection of Narcissus in the fountain becomes a metaphor for the artist’s self-image took up this image to define the visual arts as speculative arts and introduce the figure of the artist as an intellectual Alberti’s vision marks the beginning of the role of the artist in modernity in which the author hands down his image to posterity the self-portrait increasingly established itself as a means of expressing one’s talent and affirming the artist’s social role The exhibition opens precisely with the section The Myth of the Artist which features emblematic works such as Tintoretto ’s Narcissus at the Fountain (Galleria Colonna Paul Dubois ’ Narcissus (Musée d’Orsay) and an impressive tapestry by Corrado Cagli depicting Narcissus from the collection of the Senate of the Republic The aim is to investigate the theme of self-portraiture and the artist’s gradual rise to prominence in art history which brings together strongly evocative objects such as two Emblems of theatrical masks (10-50 A.D.) from the Etruscan Museum of Villa Giulia which were called persona in Latin because they were used to amplify the voice of actors (per-sonare) The section also includes engraved mirrors “In the Middle Ages there were no self-portraits,” explains curator Paola Refice portraits that the artist makes of himself within the work This apparent contradiction is based on the very role of art making Skilled and experienced as much as one likes His self-consciousness is destined to grow as his activity moves away from the sphere of the mechanical arts and into that of the liberal arts From the very beginning of this slow ascent who in medieval culture is the source of all representation of reality he dedicates his work to him by depicting himself within it These are the figures we find in the carved slabs of amboes or illuminated codices in the fresco cycles of the Gothic age: not subjects of the work but a substantial part of the creative process.” the focus shifts to the face as an expression of the soul and vehicle of the divine The Middle Ages saw the invention of reflective glass (1250) which transformed the mirror into a powerful allegorical symbol the reflected face becomes charged with multiple meanings and generates allegories often with female subjects Mirror Virtue and Vanitas/Veritas sections works such as theAllegory of Prudence by Marcello Venusti and Donato Creti Titian ’s Venus and Jacob de Backer’s Venus and Love are exhibited “The consciousness of one’s inner identity passes through the contemplation of the self-image as seen reflected in the mirror: a mirror that in the symbolic language of Western philosophy and art either the instrument of a virtuous analysis or the ’deadly’ (the adjective is Petrarch’s) tool of a vain complacency,” explains curator Cristina Acidini referring to the theme of the mirror of Prudence and Vanity are represented in the exhibition The first is a virtue that scrutinizes itself in the mirror seeks in the mirror confirmation of its ephemeral physical beauty designates a type of ”still life“ that alludes to the brevity of life and pleasures The theme of the mirror returns in the self-portrait a special kind of portrait in which the artist represents himself and at the same time his social status a nucleus comes from the world’s most prestigious collection of self-portraits in the Uffizi Galleries in Florence.” The self-portrait then takes on new connotations in the section Ad acquistar nome divided between The Artist Narrative Subject and The Self-Image Among Illustrious Men artists began for the first time to include their faces in collective scenes often as witnesses or commentators on the moral significance of the work emancipating themselves from the role of mere artisans as in Giovanni Bellini’s Presentation in the Temple conveying existential and artistic reflections as in Parmigianino ’s Head of a Young Man with Hairstyle from the Fondazione Cariparma Art Collections and Sofonisba Anguissola ’s Self-Portrait with Spinet from the Museo e Real Bosco di Capodimonte the depiction of the artist in his or her working environment This theme is explored in the Transfigurations of the Artist section colloquial portrait there is also the theme of the pictor doctus On display here are Bernini’s first self-portrait in the form of a drawing Diego Velázquez ’s Portrait of Juan de Cordoba from the Capitoline Museums and Artemisia Gentileschi from the Palazzo Barberini the concept of mask and theatrical representation also became central to artists as explored in the section In the Great Theater of the World with works such as The Allegory of the Three Arts (Painting Music and Poetry) or Sirani ’s The Three Sisters and Salvator Rosa’sSelf-Portrait as a Warrior the self-portrait stands between ideality and history between the pursuit of the ideal beautiful and the irruption of the sublime as recounted in The Undecided Self-Portrait Between ideal beauty and the feeling of the sublime The artist goes in search of a perfect form but then discovers the irruption of the reality of history and the feeling of nature An example of this is the self-portrait of Anne Seymour Damer claiming a cultural heritage usually precluded to women “With the opening of the nineteenth century,” explains curator Fernando Mazzocca “it would be the two great protagonists of the birth and affirmation of modern neoclassical sculpture who would pursue - at one point entering into rivalry - a path of self-celebration entrusting their immortal glory to their deified self-portraits But the genre of the self-portrait would come into its own especially with the new Romantic temperament taking on an emblematic value in restoring the creative power as well as his role-sometimes conflicting-in a society that was changing punctuated with continuity throughout the course of a resounding career it would be Francesco Hayez-a protagonist of Italy’s historical Romanticism-who would demonstrate that he could manage including in his relations with patrons and power Max Klinger to Franz von Stuck-employed self-portraiture as a means of proudly claiming their place in society or as a tool for self-analysis by laying bare their most intimate dimension A radical change will occur in the twentieth century with the birth of the avant-garde movements and then in the climate of the return to order between the two wars when the self-portrait will take on the value of a programmatic declaration of the artist’s creative path who will endlessly vary the representation of himself reflecting in it the different moments of an extraordinary story.” Passions and History explores the romantic significance of the self-portrait elevating the artist to a solitary hero and prophet of art The generation between the end of the eighteenth century and the first thirty years of the nineteenth century is shown in a sequence of freeze-frame faces in a whirlwind of historical events and emotions a gallery of self-portraits that tell the story of the search for the self until the arrival of photography that will take over Here we find Gustave Moreau’s famous self-portrait “The period defined as fin-de-siècle suggests a cultural climate that covers both what is characteristic of many modern phenomena and the underlying ’state of mind’ that finds expression in them,” points out curator Francesco Parisi the devil and Medusa-like beauty occupy a central place in Symbolist iconography and the theme of the self-portrait also conforms to this inclination by playing a key role by offering artists new insights into representation such as the immutable tranquility of the skull In addition to the moralistic character model of Homo bulla est the image of the skull that often accompanies self-portraits becomes for Symbolist painters-even where concealed in the motif of closed eyes because of the similarity between sleep and death-a symbol of that vision through which the artist reveals the spiritual dimension behind the visible world.” the self-portrait becomes a tool for psychological and social investigation The section The Secret Language of Symbols includes works such as Emile Bernard’sSelf-Portrait with Yellow Turban Juana Romani ’sSelf-Portrait or Arnold Böcklin’s Medusa’s Head while the section Narcissus in the Mirror of the Twentieth Century features works such as Giacomo Balla ’s Self-Smorphia and Armando Spadini’s Self-Portrait with Armor The trauma of World War I marks a turning point: society becomes fragmented reflects on the nature of man and the world taking on the enigma as the interpretive cipher of the human And the Return to Order of the early Novecentists as in Sironi’s sullen Self-Portrait of 1908 seems to seek to regain that lost harmony between man and reality The exhibition closes with The Face and the Gaze which brings together modern interpretations of self-representation including Michelangelo Pistoletto ’s The Black Man and Mario Ceroli’s Self Portrait The work Ecstasy II from Marina Abramović ’s Eyes Closed series transforms the artist’s face into a symbol of universal suffering who by looking at himself in the mirror of water knew his own face Then came the selfie,” said Gianfranco Brunelli Director of Major Exhibitions at the Fondazione Cassa dei Risparmi di Forlì one’s own image has been for every artist a challenge an exercise in deep analysis that shows ideal aspirations and emotional expressions For info: www.mostremuseisandomenico.it Before the comeback that, three months later, was worth the sixth place: in the following fifteen championship games – almost an entire regular season round – Forlì has achieved eleven victories. A solid 73% of victories, which has led Cinciarini and his companions climbed five positions, despite competing against hungry and well-equipped opponents. THEUnieuro, now, he will have to immediately find the form of his best days, starting from race 1 of Cividale which, pending official confirmation, is scheduled for Sunday 11 May. It has been three days of waiting, with steps forward, steps back, dates proposed, but rejected, in short the challenge of the first round of the play in between Pesaro and Torino has all the hallmarks of a puzzle that has not yet been solved by the interpreters on the field. Let's take a step back and look at what's happening. Sunday at the end of the regular season and the official announcement of the standings and pairings, playoffs and play in, the problem of the date of the first round match between Pesaro and Turin immediately emerges. Vitrifrigo Arena is occupied these days by the Tecnocasa convention which ends on Saturday and which therefore could allow Pesaro to play at home only from Sunday. The red and whites are also drawing strength from what were the first dates on the organisation of the tournaments announced by Federation and then modified during the work and which indicated the play-in date as May 4th for the first round (later brought forward to today) and May 7th for the second (on paper brought forward to the 4th). A situation in full stalemate with the Fortitude, which is waiting to find out which of Pesaro and Turin will be its opponent in the next round. The club of president Stefano Tedeschi and the white and blue fans are waiting. The latest rumors - the official seal is missing - talk about the match between Pesaro and Torino on Saturday, in Forlì. Then playing, at PalaDozza, on Tuesday 6th. For now, just chatter and rumors. The Italian Renaissance left deep and indelible traces in the culture and art of Romagna a land capable of combining local tradition with national and international influences Among the protagonists of this artistic season Marco Palmezzano and Luca Longhi stand out for their ability to innovate and reinterpret the pictorial language of the period amid evocative landscapes and works of extraordinary beauty.Marco Palmezzano (Forlì 1459 - 1539) is a central figure of the Romagna Renaissance he was able to develop his own artistic identity combining his master’s skill in perspective with influences from the Umbrian-Roman and Venetian schools Palmezzano left an extraordinary body of work is a perfect example of the synthesis of local tradition and stylistic innovation such as the Annunciation housed in the San Domenico Museums in Forlì show a remarkable sensitivity to spatial representation and the interaction between human figures and landscape Palmezzano created solemn and harmonious compositions often integrated with architectural elements that amplify the perspective depth of his works The medieval village of Dozza preserves Marco Palmezzano’s Madonna and Child Enthroned between St Margaret in the Church of Santa Maria Assunta The work depicts the Madonna seated on a throne in the center of the scene while supporting the Child standing on her lap depicted standing in a blue robe and pink cloak dressed in brown and holding a cross wrapped with a white ribbon on which is written while in the foreground is a polychrome marble floor This work of great artistic value was originally placed in a room of the sacristy and The painting is believed to have been made at the request of a parishioner From the Estimi records kept in the Historical Municipal Archives of Dozza it appears that Bernardi was a major landowner between 1450 and 1490 It is plausible that he commissioned the work for the church of his parish as a sign of religious devotion to the Virgin and St a village nestled in the hills of the Romagna Apennines the Church of Santa Maria degli Angeli or dell’Osservanza holds one of Marco Palmezzano’s masterpieces: the Madonna and Child Enthroned among Three Angels and Four Saints (1520) is a perfect example of the Sacred Conversation: at the center of a strict symmetry is the Virgin seated on a throne richly decorated with grotesques creating a dramatic effect that gives the Virgin an aura of royalty symmetrically arranged saints are portrayed in everyday attitudes: St Each figure is characterized by minute details which underscore Palmezzano’s narrative ability creates a sense of depth that amplifies the three-dimensional effect of the scene The lunette of Marco Palmezzano’s work The Eternal Father depicts God the Father described as an old man with a white beard divided into two locks The figure is surrounded by a host of cherubim and assumes a triangular shape symbolizing the Trinity also recalled by the gesture of the blessing hand with three raised fingers cleaned up in 1957 and presented in Forlì during an exhibition dedicated to the famous painter from Forlì In 2004 it was once again placed in its original position Collegiate Church of San Michele Arcangelo the Collegiate Church of San Michele Arcangelo is home to Palmezzano’s Adoration of the Magi a work that is characterized by its compositional balance the stateliness of the characters’ attitudes and its sumptuousness and decorative richness The altarpiece was commissioned in 1514 by the Naldi family and is distinguished by its compositional balance and chromatic vivacity At the center of the scene is the Blessed Virgin an elderly man with white hair and a long beard who kisses the Child’s foot while offering him a golden casket A cartouche with the author’s signature and date stands out on the casket: “Marchus Palmizanus pictor foroliviensis faciebat MCCCCCXIIII.” Baby Jesus turns a blessing gaze toward the other two Magi On the left side of the composition is glimpsed St a slightly stooped elderly man leaning on a staff Behind them rise the marble columns of a sumptuous building while a lively landscape unfolds in the background: hills impassable mountains and valleys animated by warriors on foot and horseback as well as camel caravans advancing in procession with the half-figure dispute of Jesus among the doctors The scene is dominated by the infant Jesus his arms spread wide in a red robe and green mantle The Pinacoteca Comunale in Faenza is a must-see for anyone who wants to learn more about Palmezzano’s work Among the most important works in the collection is the Madonna and Child Enthroned between St with the Eternal Father and cherubs in the lunette This is one of the highest achievements of Palmezzano’s early activity where the influence of the master Melozzo blends consistently with the experiences of the Venetian school are depicted with an elegance that reflects the influence of Venetian painting The landscape in the background is populated with symbolic scenes and is characterized by meticulous naturalistic description Other masterpieces housed here are the panels depicting St undoubtedly two fragments of the same polyptych wearing a white mitre decorated with precious gems set in gold He wears a red cope adorned with gold details over a dark robe and is concentrated in reading a book he holds in one hand And Archangel Raphael is depicted together with young Tobias portrayed at a younger age than in the biblical narrative The composition shows the influence of Venetian painting recognizable in the softness of the brushstroke Elements that testify to a mature and well-defined phase in Marco Palmezzano’s artistic style of which neither the commissioner nor ancient historical information is known contains the Blessed Virgin with Saints Augustine and Anthony of Padua depicted enthroned while breastfeeding the Child dominates the scene with a serene and maternal expression On her sides are Saints Augustine and Anthony of Padua: the former dressed as a bishop with a mitre on his head holds a voluminous book in his left hand and a pastoral staff in his right; the latter wears a Franciscan habit and holds a closed red book in his hand is the centerpiece of the Renaissance itinerary in Romagna Its churches and museums house an extraordinary collection of the artist’s works San Domenico Museum and Municipal Art Gallery The San Domenico Museum is a treasure trove of Renaissance treasures Among Palmezzano’s masterpieces are The Annunciation (1495-1497) which the artist painted after his trip to Venice for the Church of the Carmine painted around 1492 on the back wall of the apse of the church attached to the women’s convent of Santa Maria della Torre in Forlì This work is of crucial importance for understanding Palmezzano’s artistic evolution as it reflects the style and influences of his early phase The fresco is not only a significant masterpiece in the artist’s production but also represents the only known example of his work in the field of fresco painting the Glorificazione di sant’Antonio Abate in trono fra i santiGiovanni Battista e Sebastiano" (Pala Ostoli) The Communion of the Apostles painted in 1506 for the high altar of Forlì Cathedral and inaugurated on the occasion of Pope Julius II’s visit to the city (Oct The Pinacoteca also houses works by Luca Longhi and the large panel painting of the Madonna and Child Saint Catherine and Saint Ursula with the Virgins Walking through the alleys of the historic center one then comes across the House owned by Palmezzano and the Church of San Biagio inside which the artist’s Triptych is preserved The Abbey of San Mercuriale is one of the most significant places in Forli Palmezzano’s works preserved inside include the altarpiece of the Immaculate Conception and the Madonna and Child with Saints John the Evangelist and Catherine of Alexandria built in the second half of the 15th century is the Annunciation painted by Marco Palmezzano in 1533 this painting has a greater stylistic simplicity and an emphasis on the sacredness of the scene rather than on decorative details The Basilica of San Rufillo houses two works from Luca Longhi’s early phase including Madonna Enthroned with Child and Saints Valerian and Lucy and Madonna Enthroned with Child and Saints Ruffilo and Anthony of Padua Two works that are both part of the commission of Antonello Zampeschi The Madonna Enthroned with Child and Saints Valeriano and Lucia is the painter’s earliest known work and shows how the artist had already fixed a precise compositional scheme along with some fundamental stylistic elements one can see here his sentimental inclination Cesena offers a rich Renaissance artistic heritage well represented by the Pinacoteca Comunale (open upon request) and the Galleria dei Dipinti Antichi of the Fondazione Cassa di Risparmio di Cesena If the Pinacoteca houses works by Antonio Aleotti di Argenta a painter very close to the style of Marco Palmezzano an essential stop for those who want to delve into Renaissance art in Romagna that works by both Palmezzano and Luca Longhi can be found Santarcangelo di Romagna is home to the Museo Storico Archeologico (MUSAS) The museum’s collections include works ranging from the Middle Ages to the 19th century Among the great masterpieces housed here is a 16th-century panel by Luca Longhi at the Basilica Santuario di Santa Maria in Porto where in the right aisle you can admire the Madonna Assunta e santi by Francesco Longhi and at the MAR - Museo d’Arte della Città where a significant nucleus of works between the late 15th century and the first half of the 16th century is preserved: these include works by Marco Palmezzano (The Presentation in the Temple but also by Luca Longhi and his sons Francesco and Barbara along with the protagonists of the season of Raphaelism in Romagna The last of the season and perhaps also the last for mister D'Amore in red and blue. Imolese on stage today at 15pm Forlì, to challenge and compare themselves with the already promoted eleven of Miramari, author of a masterpiece with the red and whites, dominant and absolute rulers of a championship that has decreed the return of the Romagnoli among the professionals eight years after the last time. THEImolese has been coached by the 46-year-old since the beginning of the season Gianni Domenico D'Amore, who lines up the team with the classic 4-4-2, previously on the benches of Vis Pesaro and San Marino. The rossoblù are fresh from the 5-1 defeat to Zenith Prato, which extended the number of consecutive useful results to six (three wins and as many draws) to certify the excellent end of the championship. The home and away performances of the Roosters' opponents tomorrow are almost balanced, with 24 points brought home from away matches thanks to six wins and as many draws against only four defeats (five at home). The defense of the Romagna cousin rossoblù was not exactly watertight, having been beaten 42 times in 33 matches. The forward line did much better, with 48 goals scored and occupying fourth place behind Forlì (73), Ravenna (64) and Tau Altopascio (52). The top scorer of theImolese è Simone Raffini, Cesena school where he made his debut in Serie B, scoring 13 goals and boasting a good curriculum in Serie C, with the Pordenone, Ravenna, Fermana and Paganese jerseys. Founded in 1919, Imolese, starting from the 1925-26 season, has shared 29 championships with Forlì between Serie C, D and Eccellenza. In the 57 direct clashes the balance is favorable to the Galletti with 29 victories, 17 draws and 11 defeats. In the first leg the goals of Petrelli and Farinelli sealed the 0-2 in favor of Forlì. Among the most famous players who wore the colours of the two teams are the midfielder Renato Luchitta, protagonist in Forlì during the era of president 'Vulcano' Bianchi, and the full-back Moreno Mannini who, after his debut with Imolese (1980-81) and the following season in Forlì, in C1, took off in football at the highest levels, winning the tricolour title with Vialli and Mancini's Sampdoria (1990-91) and also playing ten matches with the national team. For tomorrow's match, Mister Miramari will once again have strikers at his disposal Michael Trumpet, who has served his three-match suspension. On the other hand, midfielders Gaiola and Campagna will not be available, and probably also striker Macrì. Three key players that the medical staff expects to recover for the start of the scudetto group; new commitment that in the initial phase will see the Galletti on the field, between 11 and 18 May, in a three-way group with Samb and Livorno. At the end of the match, the Viale Roma club will celebrate with DJ music and a parade of the protagonists of the victorious season. the precious 12th-century Romanesque crucifix preserved in the Romagnola city’s cathedral is returning to its home This work of art depicts Jesus Christ alive on the cross with his eyes open and a royal crown on his head instead of the traditional crown of thorns The restoration was carried out by Carlotta Scardovi ’s SOS Art company in Bologna.Before its relocation to the Cathedral the Crucifix will be on public display in the Bishop’s Palace Hall of Honor The exhibition is open from July 22 to Aug This temporary exhibition offers a unique opportunity to admire up close a work that is an important example of Romanesque sacred art The Crucifix will be relocated to Forli Cathedral on Saturday on the Feast of the Exaltation of the Cross which also coincides with the fifth anniversary of Benedetta Bianchi Porro’s beatification This date will mark the return of the Crucifix to its traditional place allowing the faithful and visitors to contemplate it in its original location The Romanesque Crucifix in Forli Cathedral is particularly significant for its iconography Unlike traditional representations that show Christ suffering a theological interpretation that emphasizes resurrection and divine glory “It is,” explains Claudio Giannelli director of the diocesan Office for Ecclesiastical Cultural Heritage “a polychrome sculpture in carved wood with traces of polychrome and gilded decorations carried out by the SOS Art laboratory of Carlotta Scardovi of Bologna focused on cleaning the surface and consolidating the constituent layers of the work and on the subsequent aesthetic rearrangement in order to restore an overall unity of reading to the work.” Sep 19 (EFE).- Storm Boris’ passage through northern Italy has caused severe flooding in Emilia-Romagna region with more than 1,000 people evacuated overnight where the regional and civil protection alert has been elevated from orange to red More than 800 people were evacuated in Ravenna area They spent the night in shelters set up by the municipalities Mayors and local administrations have made appeals through all available channels urging residents to go to the highest floors of their buildings due to rising rivers Schools will remain closed on Thursday in the four provinces affected by the red alert – Bologna Rimini and Ravenna – and businesses have been advised to allow workers to stay at home Five railway lines have been suspended in the region The Senio river recorded levels above historic highs and during the night burst in Castel Bolognese (Ravenna) while the Marzeno and Lamone rivers in Faenza also overflowed into the streets Faenza Mayor Massimo Isola told Skytg24 that the Marzeno overflowed on the right bank He added they had to evacuate a dozen people with firefighters and around 100 people slept in a sports hall while about 10 were rescued by boat during the night “The situation is more serious than in 2023 The river has exploded,” said Modigliana (Forlì-Cesena) Mayor Jader Dardi whose municipality was devastated by countless landslides in May last year which could cause problems especially around the town of Lugo where residents were told to head to high floors with previsions such as water Various interventions have been carried out to help people in difficulty between the municipalities of Rocca San Casciano In race 1, the race reserved for the Italians, Bollate will have the full roster available: Cecchetti, Nicoli and Bigatton will find the Cacciamani/Comar duo on the platform; in the repeat, Johnson for the Forlì team will find themselves facing the Italian trio. The other matches: Macerata-Saronno, Caronno-Old Parma, Thunders Castelfranco-Rovigo, Collecchio-Pianoro (tomorrow). Meanwhile, on Thursday 1st May the recovery match between Caronno and Macerata was played, a match originally scheduled for the first day of the championship but postponed due to bad weather: two one-way matches, with Caronno closing both early (10-1 and 10-3 the final scores) and catching up with Pianoro in the standings behind Italposa. By 2024-09-19T22:56:00+01:00 Italy’s fresh produce business is on high alert again after widespread flooding once again covered large parts of the country’s northern and central regions In a grim echo of the floods that swamped large tracts of northern Italy in May 2023 this time it was excess rainfall from Cyclone Boris which inundated the country’s fresh produce heartland of Emilia-Romagna There are now major concerns about the viability of various crops due to be harvested soon like late stonefruit According to national agricultural union Coldiretti hundreds of farms in Emilia-Romagna as well as Marche to the south were affected by overflowing rivers vice-president of Confagricoltura Forlì-Cesena and Rimini described the situation as critical and called on regional officials to act “It is now clear that the territory needs to be maintained differently We understand that certain projects can require time but in the meantime some basic interventions at very least must be carried out,” he said “There is also concern for autumn fruit production in the next few hours the rainfall is expected to intensify so the extent of direct and indirect damage is destined to increase.” Thousands of hectares of vegetable production and orchards are understood to be under water And a number of warehouses and rural buildings have also flooded Confagricoltura said vegetable fields had been ruined while some vineyards had been left impassable and their harvests destroyed Senio and Lamone rivers reportedly submerged apple and pear orchards and inundated land planted with vegetables and cereals Some farms near Bologna were also affected a town near Ravenna that is home to the leading fresh produce grading tech provider Unitec was also particularly acute. Similarly in Bagnacavallo where prominent fruit exporter Granfrutta Zani is based several inhabitants were forced to seek refuge and await helicopter rescue on their own roofs local Confagricoltura leader Matteo Brunelli said the greatest damage had occurred in the triangular region cornered by Cesena and the coast towns of Cesenatico and Rimini the latest lettuce plantings are literally under water and other seedlings planted about ten days ago are almost submerged,” he explained “If the water recedes within 24 to 48 hours otherwise I can say goodbye to any hopes of a harvest and we are talking about a total of 200,000 seedlings.” president of Confagricoltura Bologna’s fruit and vegetable department suggested some of Emilia-Romagna’s late stonefruit crop might also be affected “There will probably be damage to the late plum of the Angeleno variety,” he noted “which in the next few days could develop rotten parts due to excessive humidity A similar situation could also occur for the late peaches still to be harvested but there are no particular problems for the Abate pears Site powered by Webvision Cloud At the Baltur Arena, after all, came the third defeat of the last four 'trips' of Antimo Martino's team. Since March 15, Forlì has fallen in Pesaro, Rieti and, then, in Cento. Only the away match at the home of the relegated Assigeco Piacenza has smiled on the red and whites. Since February 2 (blitz in Cantù), Forlì has only beaten teams from 14th place and below: Orzinuovi, Vigevano (these two with difficulty) and Piacenza. And on Sunday the thump was particularly strong: the final -19 was the heaviest defeat of the entire season, on par with the 82-63 suffered at the hands of Brindisi on October 13, 2024. But it was the fourth day of the first half of the season, without a foreigner, with the team's balance still to be found. Same score played in mid-March at the Vitrifrigo Arena in Pesaro. Another failed away direct clash. Martino's team was immediately surprised at the starting blocks (22-11 in the first fraction, then 56-32 immediately after the long break) without ever showing signs of awakening. In fact just like in Cento. The disadvantage remained stable around -20 for the entire duration of the challenge and Forlì closed at -13. But now the Basketball 2.015 will no longer be able to make mistakes away from home. In the first round of the playoffs, the home field advantage in favor of Cividale does not allow discounts. Game 1 and game 2 of the series will be played in Friuli - where the Forlì team lost in their championship debut - and qualification for the semifinals will depend on at least one away win. At this point in the season, there is no right of reply. the Fondazione Cassa dei Risparmi di Forlì in collaboration with the Municipality of Forlì focuses on artist portraits: from February 22 to June 29 the rooms of the Museo Civico San Domenico in Forlì will host the exhibition The Portrait of the Artist featuring more than 300 works by major artists such as Titian Warhol and many others.The first to mirror himself and recognize his own face was Narcissus who by looking at himself in the mirror of water came to know his own face The self-portrait is not just a reproduction: it is an investigation of identity it is not necessary to portray oneself entirely; a face or a foot is enough from the seventeenth to the twentieth century The self-portrait is a reflection on identity the artist’s portrait is an existential autograph; the self-portrait is an attempt to stop time and leave a lasting trace At stake is access to the playoff in the best possible position and, if possible, without falling into the Dantean circle of the play-ins, where at least on paper it is still possible to end up if Bologna were to stumble in the challenges against Forlì, Rimini and Livorno, thus favoring the pursuers. The group that acquired the majority share of the company will be composed of Simone Canali, an entrepreneur in the sector of electronic security and video surveillance systems; Luigi Leoni, an entrepreneur with experience in the nautical, fashion and consumer goods sectors; Filippo Santolini, an architect and local public administrator (in the Meldola council); and finally, Raffaele Casadei, a past as a coach and sports director as well as a reference figure for volleyball in Romagna. "We are enthusiastic about this challenge - the new majority shareholders say in chorus - and grateful for the opportunity that has been given to us. It was easy to find each other and share our ideas with the historical part of the company: the bond that unites us is the love for this sport and the ambition to make the Forlì men's volleyball movement a point of reference again". Clear ideas and straight thoughts, with a great desire to do. "We will work hard in different directions, with an eye on young people and their psychological and physical well-being - concludes the note from the new management -, to bring the first team back to national levels and create value, including social, for the city". The new social positions will be appointed soon, but the group has already been working for weeks to adapt the corporate structure in view of the next sports season. In the meantime, given the stop to sporting events ordered by CONI for tomorrow, the day on which the funeral of Pope Francis will be held, the match of Querzoli, already safe with three rounds to spare, on the pitch of bottom club Romagna Banca Bellaria Igea Marina has been postponed: it will be played on Wednesday 30 (21 pm). Is the selfie the end point that closes the circle of the self-portrait as it has developed since the very attractive but also very false idea that an artist is hidden in every man has sought answers to the question by investigating the different “faces” of the problem in the voluminous essay Visus published by Einaudi a few weeks ago had called ours a “facial society,” which the most important living scholar of images took as a landing place for a “history of the face”(Faces does nothing but produce “masks of masks.” This way of seeing the face for eighteenth-century Venetians generated “larvae,” theEidolon of the Greeks or the ghost or shadow of someone (Longhi dusted off the memory of this by inventing the dialogue between Caravaggio to Tiepolo and it is clear who is the creator of larvae).The exhibition that the San Domenico Museums have recently opened (until June 29) dedicated to The Artist’s Portrait “from Narcissus to the Selfie,” aims precisely to show how this particular gaze has changed along more than two thousand years of history Seeing oneself in the mirror of water constituted perhaps the first landing place for self-awareness the point of greatest advancement in self-image is in the “seeing oneself seeing oneself” that Proust attributes to Monsieur Teste seeing himself sleeping Seeing ourselves and being aware that we are looking at ourselves: two different and complementary moments We are reminded of Leon Battista Alberti’s Narcissus as the terminus a quo for the artist’s look at himself But is Narcissus really the prototype of the self-portrait Tintoretto does not stop there; the source is the medium of a subjectivity that is seen in nature; while Corrado Cagli’s Narcissus in the exposed tapestry of the Senate of the Republic seems to reflect himself more in Gauguin than in himself and has little’has to do with self-portraiture; even the Narcissus until recently recognized to be by Caravaggio but in recent decades attributed to Spadarino and now on display in the Roman exhibition devoted to Merisi makes the laurel-crowned self-portrait the swaggering declaration of her achieved fame as a great painter But not everyone likes to portray himself: Casorati claimed he never painted his own portrait And there are artists who have studied themselves all their lives of whom four etchings are exhibited in Forlì; or Chardin (not exhibited) have enclosed their secret in the transformations of their faces over time As may be the one of Giulio Aristide Sartorio from 1905 on horseback and with a tiger at his feet; or the surreal one of Léon Frédéric from 1881 where objects collaborate to define the “face” of the artist The comparison between the self-portraits of Thorvaldsen and Canova is a challenge on the ability to make oneself an icon of different styles and different historical relevance The “contemplation of the self-image” that Cristina Acidini hides beneath the surface the different motives that move the artist: it may be precisely the desire to represent oneself among illustrious figures - the adjective Divine belongs to artists since modern times: see Raphael or Michelangelo - or as witnesses: Caravaggio represents himself in this way in the Martyrdom of St Matthew or the Taking of Christ in the Garden where he even holds the lantern that illuminates the scene in the Borghese’s David where Goliath’s head is his j’accuse as both culprit and victim self-portraiture and autobiography are married in a kind of simultaneously physiognomic and abstract manifestation of the self see the two very different self-portraits of Giacomo Balla the self-portrait becomes the projection of the self that the artist seeks as a way of being in the world: Marina Abramovic’s triptych Ecstasy II is more an ironic mask than a confession of interiority Submerged by Bill Viola is a painful apnea One question remains: the Gianadda Foundation has recently opened a retrospective devoted to Bacon entitled Présence humaine that displays six self-portraits among the many the painter painted To David Sylvester who asked him why he was so taken with self-portraits Bacon replied that around him people were dying like flies and he had no choice but to paint himself was almost a psychological makeup (more so of himself) Like the actor when in the dressing room he removes his makeup and for an instant his face is a “monstrous” mask in Forli did they not think of exhibiting even a self-portrait of Bacon But in fact there is not even Giacometti’s two contemporary artists among the most evocative regarding the genre are missing Edward Colombo, at the 'Calbi' Forlì played the thirteenth symphony. "An important result, which certifies our winning mentality. Satisfaction in sport leads to nothing". As a goalkeeper for the Sammarinese national team, what effect did it have on you to challenge the Titano? "A great feeling, I'm only sorry I couldn't meet two of my teammates who are out injured, to whom I wish the best and, above all, salvation because they deserve it." Aside from Passewe's sporadic initiatives, it was a relatively quiet afternoon. "Mine was a purely management match, except for a few high exits." What made you give up on the flashy platinum look sported by some of your teammates for the leap to Serie C? "Let's say I didn't want to give in to temptation... (laughs)". Second appearance against Forlì: did you expect to find more space? "When I signed in November I knew perfectly well that I would struggle to play, but I think I still made my contribution. Even from outside." Let's take a step back: what prompted you to embrace the Galletto cause? "The trust that the club gave me, after a difficult period in which I had been inactive, and the coach's playing style, which helped me from many points of view." Did Grandpa Antonio, former defender for Forlì in Serie C in the 60s, approve of the choice? "He was very happy, first of all because I had found a team, after being unattached for almost three months, and then because since he lives in Forlì he could come and see me." "Before being a great goalkeeper, he is a good boy, with a great desire to work to improve himself. He played a great championship and I wish him the best for his future and his career." Although still young, you have already acquired some experience in Serie C: how high is the step that separates the pros from the amateurs? "There are certainly differences, on a technical level and in terms of intensity, but not so marked. However, having played in D in group H with Cavese and this year in D with Forlì, I think I can say that the quality of the best fourth division teams is very close to that of the C teams". "There's still one game left to complete the championship, then we'll have to play the Poule Scudetto. There will be time to meet and talk about the future. Now I just want to finish the season well, maybe even winning the tricolor". To achieve this, Cinciarini and his teammates will 'only' need to snatch the two points from Baltur Arena. By winning, the results of the direct contenders Cividale and Rieti would be irrelevant, since theUnieuro would close at 48 and the other two, in the best case scenario, at 46. And in the event of a defeat in Cento? At that point we will have to keep an eye on the Friulians (in Orzinuovi) and the Sabines (in Piacenza, already relegated). A 'double' defeat of the two rivals would make us sleep soundly for the fourth place in Forlì's colours. The success of just one of the two, however, would make Forlì close in fifth place; if both Cividale and Rieti were to triumph, it would even be sixth place, given the 0-4 in direct clashes. Then watch out for Torino and Fortitudo, the last two contenders for the 'throne'. The Piedmontese, particularly strong, can finish seventh at 42 points with Verona and Effe, who is busy in Livorno. A new Emilia-Romagna derby with the Bolognese, between fourth and seventh place, can only happen in the case of a two-way finish, at 42, with the yellow and blues in the Tezenis jersey. A complicated fit in any case: basically all of them should lose with the exception of Fortitudo. The cards would obviously be reshuffled if Unieuro were to finish its regular season in fifth or sixth place (without home field advantage). In this scenario, it would draw, respectively, the sixth or fifth in the class. Therefore, in all likelihood, one between Cividale and Rieti, with a potentially more complicated path also in the continuation of the playoffs. Forlì, however, has its destiny in its own hands. A victory in Cento would really make everything easier. All this thanks to the great availability of all the Forlì components involved: the Municipality in particular with the sports councilor Kevin Bravi the managers of Pallacanestro Forlì and the police commissioner Claudio Mastromattei who initially said no but then managed in record time to create the conditions to give the ok Tomorrow morning (Friday 2 May) Vuelle will communicate everything regarding the ticket sales the red and white club had to exclude a whole series of solutions: PalaCampanara up to the Cento paradox: yesterday (Wednesday) Vuelle had in fact made official the choice to play in Cento the police headquarters refused (due to the events that occurred after the championship match) "Carpegna Ham Basket Pesaro – received communication from the Italian Basketball Federation (FIP) - informs that the match of the 1st round of Play-in against Reale Mutua Torino will be played on Saturday 3 May at 19:00 at the Unieuro Arena in Forlì (FC) The Company is working to organize and manage all the logistical aspects related to the match All the details regarding ticket sales and the media accreditation procedure will be communicated as soon as possible Despite the events of the last few days and the new date of the match with Torino differ from the initial schedule the Company underlines the importance of the result achieved which guarantees the correct execution of the event and encourages the participation of the Pesaro public The Club thanks the Forlì Basketball Company 2.015 for the availability and organizational support provided to ensure the success of the event" Robin Srl Company subject to the management and coordination of Monref CONTEMPORARY ART MAGAZINE SINCE 1980 More... Contemporary art enthusiasts who frequent fairs and major international exhibitions will certainly have noticed how many artists today are dedicated to the recovery (in person or by proxy) of artisanal techniques once linked to a strictly feminine and domestic sphere Fabrics can have an affective and emotional value when they preserve the traces of those who owned or worked them or become artistic material even without their utilitarian nature being modified by specific interventions In some cases their use is motivated exclusively by aesthetic intentions linked to chromatic or material values in other cases it is connected to the investigation of specific social themes in particular anti-colonialist or gender topics View of the exhibition “Exploratory textures: a journey through the tapestry” Systematic studies on this peculiar niche of contemporary artistic production are very rare but it is well known that the textile medium has long been an expressive form in its own right capable of instilling new ideas for research in the poetics of artists normally dedicated to other techniques or of exclusively characterizing the expressive style of some The exhibition “TRAME ESPLORATIVE: un viaggio attraverso l’arazzo” (Exploratory textures: a journey through the tapestry ) curated by Nadia Stefanel at the Dino Zoli Foundation in Forlì which offers the public a broad and documented review of the art of tapestry in Italy from the 1950s to the present day constitutes a precious piece of a desirable reconnaissance on the subject yet to come The event is part of a broader patronage program by the Dino Zoli Textile company aimed at encouraging the contamination between industrial production and art which already has to its credit prestigious collaborations with artists under its belt the most recent of which are with Elena Bellantoni and Silvia Camporesi The exhibition itinerary of the current show is divided into two thematic sections one historical and one dedicated to more recent experiments The first traces the close dialogue between artists and artisans established between the 1950s and 1990s by four excellent Italian manufacturers (Esino Lario in Lecco Arazzeria Pennese in Penne and Studio Pratha in Sarule) and a prestigious French factory (Ateliers Pinton in Felletin) through a targeted selection of tapestries designed by some of the most important masters from the second half of the twentieth century follows the double thread of mapping the different visual declinations of abstract language and their translation from the pure dimensionality of painting to the material three-dimensionality of tapestry in which the stylistic characterizations of the various authors intersect inextricably with those derived from the production processes developed by each manufacturer the duplicity of the status of the tapestry clearly emerges as for all works resulting from the artists’ trespassing into fields in which they benefit from the creative expertise of other professionals both the stylistic imprint of the artist and the “trademark” of a certain workshop being equally decisive for their recognisability The translation of the artists’ visions into another medium also involves a process of interpretation and synthesis of their languages ​​that offers the observer an interesting opportunity to delve deeper into their decisive characteristics we highlight “La scala d’oro” (1975) by Afro an evocative mental landscape inspired by the grand staircase leading to the Doge’s apartment at the Palazzo Ducale in Venice where the black areas so characteristic of his production (here shaped to allude to the profile of a gondola) stand out against a bright and vibrant golden background surprising for having been made with a material that we are used to imagining as compact and opaque Another noteworthy piece is the tapestry entitled “Focus” (1976) by Luigi Veronesi where the textile medium proves particularly versatile in suggesting how the transparent overlapping of geometric figures implies an intersection of planes with an intrinsic (albeit infinitesimal) thickness evocative of the conceptual spatiality investigated by the artist to conclude this brief and entirely subjective examination of the historicized section the large hand-woven wool tapestry by Alexander Calder entitled “Mes oignons” (1971) Here the floating two-dimensional forms that reproduce the patterns of plant growth intersect with each other revealing the sculptural quality of the graphic layout particularly evident in the passage of the blue shoot through a tortuous black stream a recurring motif in other paintings by the artist “Carpet #62 – None of us is perfect” Courtesy Galleria FPAC Francesco Pantaleone the philological approach gives way to a freer sampling of tapestries and carpets in contemporary artistic production in most cases no longer animated by the intent to transpose a graphic or pictorial image into the textile medium with the greatest possible fidelity but the result of an integrated design that starts from the material and evocative potential of the chosen fabric The artworks by Armida Gandini and Loredana Longo are emblematic in this perspective both based on the reworking of used oriental carpets and inspired by a conception of the carpet as a mobile good in its easy transportability In the first case the artist evokes the unstable and constantly changing reality of migrants by cutting out from the carpets wandering silhouettes taken from the great classics of art history is a vehicle for the diffusion of critical messages towards capitalist and globalized society The series of small tapestries entitled “Reverie” by Elena El Asmar in which dotted patterns bordering on abstraction suggest an idea of ​​a diaphragm between the real world and the dream state triggered by the observation of the reflections of light on the glass of her window overlooking the Tuscan countryside seems to challenge the natural opacity of the fabric the installation of tapestries made in Flanders by Maurizio Donzelli is also very suggestive which enlivens the space with a plastic play of projections and recesses in which decorative elements taken from medieval and Renaissance painting become imaginative portals of access to a fairy-tale and multidimensional world 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 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 UNIEURO: Tavernelli 3, Parkovic 8, Harper 15, Gaspardo 2, Del Chiaro 11; Magro 2, Cinciarini 9, Pascolo 4, Pollone 8, Parravicini 5, Errede n/a, Sanviti n/a. Coach Martino. FORTITUDO FLATS SERVICE BOLOGNA: Fantinelli 12, Bolpin 5, Mian 6, Gabriel 12, Freeman 16; Panni 3, Cusin 3, Battistini 1, Menalo ne, Bonfiglioli ne, Ferrucci Morandi ne. Coach Caja. Notes: partials 11-11, 27-30, 51-47. Two-pointers: Forlì 10/24; Strength 17/36. Three-pointers: 10/30; 5/29. Free throws: 17/24; 9/19. Rebounds: 42; 44. La Fortitude falls to Forlì, suffers the third consecutive defeat and sinks into the play in zone. On the day that crowns Udine, winner of the regular season and promoted to Serie A with 2 rounds to spare, Attilio Caja's Fortitudo falls in the derby at the Unieuro Arena. The absence of Aradori, which adds to those of Vencato and Sabatini, is felt, on an evening in which Mian and Gabriel remain silent. At 23' it's already a perfect tie at 32-32. The negative moment of the Effe continues with the home team that arrives at 40-32 at 24' with a partial of 21-2. At the end of the fraction Mian and Gabriel are finally seen and the Effe goes back to 51-47, but the inertia is all for Forlì that reaches the maximum advantage 62-49 at 34' sending the Flats Service to -13 and then manages the final without great trouble. The unstoppable team of mister Alessandro Miramari, with one day to go, is travelling at the incredible pace of 2,54 points per game (2.545 to be precise). An average that will rise to 2,56 in the event of a victory on Sunday against Imolese and which in the meantime has ended up crushing the resistance of the ambitious Ravenna which, after the 3-2 suffered at the hands of the Galletti at the Morgagni stadium, has now fallen to ten points behind. In the nine groups of the D series there is no team that has 84 points like Forlì, not even in those with 19 or 20 teams, where even more matches are played. Behind the roosters we find Bra with 78 points (group A with 19 teams), with 78 points, then Dolomiti Bellunesi (group C with 20) and Siracusa (group I with 18) with 75 points. Broadening the gaze to all the other national championships, therefore to the professional ones of Serie A, B and C (for a total with the D of 207 teams), that incredible 2.54 average does not find any comparison in this case either, not even one that comes close. In Serie A for example, Napoli, now leader with 74 points in 34 games, boasts an average of 2.18. Sassuolo did better, alone first in the Serie B standings, with a pace of 2.29 per game, due to the 78 points collected in 34 games. Even the top teams in the three groups of Serie C are travelling at considerable distances from the extraordinary average of the super Forlì. Padova, at the top of Group A, has an average points of 2.26; then Avellino (C) and Virtus Entella (B) with 2.21 and 2.18 points per game respectively. To close the team's record series, Forlì, with 73 goals, boasts the best attack in Serie D (together with Livorno), while with 20 goals conceded the red and white back line is in third place in the entire category behind Siracusa, beaten 15 times, and Sambenedettese, with 19. FAENZA: Cavallari 8, Morelli 16, Calderoni (L1), Alberti 20, Goni n/o, Melandri n/o, Benedetti 4, Gorini n/o, Guardigli, Gallegati, Bertoni, Francesconi, Maines 3, Ramponi (L2). Coach: Polo FORLI': Bortolato 1, Montini 14, Strocchi, Michielutti black, Ratti 6, Richard (L1), Torelli (L2), Zuffi black, Gallo, Simpson 8, Bertaccini 9, Altini, Simoncelli 1. Coach: Focchi Notes. Faenza. Points in service: 6; Batting errors: 7; Walls: 4; Points conceded in serve: 2. Forli. Points in service: 2; Batting errors: 9; Walls: 6; Points conceded in serve: 6. In the last 18 games played, the red and whites have prevailed in the third set on nine occasions (half). Sometimes also placing important and decisive breaks for the final result: four in a row and five of the last six, a figure that follows that of the games won. Curiosity: considering Forlì's path from the beginning of the season to today in the other three partials, we see that Forlì is at -15 in the first quarters, wins the second fraction by a clear +81 and has a positive difference even for the final quarters alone of +46. In short, it is the case to say that, as the field has shown, in the last few weeks the numbers are starting to add up. Other verdicts: Cantù, despite struggling, won in Avellino (76-82 the final score) and Forlì will no longer be able to reach her in standings in third place. It is at -2, but the direct clashes reward the Brianza team with a very tight +1 difference in baskets. Acqua San Bernardo can still threaten Rimini's second place: it will have to overcome Vigevano and hope for a double tumble of the Adriatic team between Bologna and Nardò. The same fate will befall Pesaro (82-84 defeat with Udine) and Avellino, defeated 76-82 with Cantù. They are all at 38 points, -2 from the group formed by Fortitudo, Milan (stumbled 84-94 with Livorno) and a Turin that continues to win (93-83 with Piacenza). Results: Cividale-Cento 83-75, Nardò-Orzinuovi 103-83, Pesaro-Udine 82-84, Avellino-Cantù 76-82, Rieti-Cremona 69-67, Turin-Piacenza 93-83, Vigevano-Verona 94-90, Forlì-Brindisi 78-70, Milan-Livorno 84-94, Bologna-Rimini tomorrow at 20.45 pm. Ranking: Udine 58; Rimini 50*; Cantù 48; Forlì 46; Rieti and Cividale 44; Verona 42; Bologna*, Milan and Turin 40; Avellino, Pesaro and Brindisi 38; Orzinuovi 32; Cento 28; Livorno and Cremona 26; Vigevano 24; Nardò 22; Piacenza 14. Next round (Sunday 27 April, 18.30 pm): Cantù-Vigevano, Udine-Turin, Cento-Forlì, Verona-Pesaro, Cremona-Avellino, Livorno-Bologna, Orzinuovi-Cividale, Piacenza-Rieti, Brindisi-Milan, Rimini-Nardò. In the spaces of the Dino Zoli Foundation in Forlì the first solo exhibition of Francesca Fini (Rome proposed as a prologue to Ibrida - International Festival of Intermediate Arts scheduled in Forlì from September 19 to 22 is underway."After last year’s exhibition dedicated to pre-cinema machines and Virgilio Villoresi’s animations we move on to the interaction between human and technology with a total artist like Francesca Fini who ranges from performance art to artificial intelligence," explain Francesca Leoni and Davide Mastrangelo “Fini has participated several times in Ibrida with works and performances He also created the image of the 2024 edition of the Festival.” “The relationship between the human and technology are at the center of this exhibition,” they add "which consolidates the collaboration between Ibrida Festival and the Dino Zoli Foundation and introduces the theme of this year’s Festival: Artificial Reality Creating synergies with other institutions allows us to grow together and give the territory cultural activities of another level The one with the Foundation has allowed us to broaden our horizons and bring to Forlì leading artists from the digital and technological art scene." “The proposal of BODY (S)CUL(P)TURE by Ibrida was immediately accepted by the Dino Zoli Foundation for that ability of the artist to mix the human and the artificial the organic and the synthetic in his creative making,” says Nadia Stefanel "A path that affects the entire Dino Zoli Group of which the Foundation is the cultural soul which is characterizing every field of analysis in both scientific and creative fields Francesca Fini is an intermediary artist who has always moved into the territory of the contemporary where the arts hybridize Her projects often address issues related to the relationship between public and private space but also reflect on societal influences on gender issues and the distortion in the perception of beauty produced by the market and mainstream media she has presented her work at MACRO Asilo and MAXXI in Rome the Schusev State Museum of Architecture in Moscow the Satyajit Ray Film and Television Institute in Calcutta and many other international museums and institutions The exhibition will be accompanied by a catalog containing a critical introduction by the curator a conversation with the artist and information about his multifaceted production The exhibition is produced by Vertov Project and PubliOne Società Benefit in collaboration with the Dino Zoli Foundation and is curated by moving image historian Bruno Di Marino For all information, you can visit the official website of Ibrida - International Festival of Intermedia Arts. The tournament is held under the patronage of the Municipality of Forlì and the Dino Amadori Association. Forlì would mathematically be in the playoffs even if it lost against Brindisi, provided that the two teams that would be condemned to the play-in today would have two defeats: Milan and Fortitudo, both at home, respectively against Livorno and Rimini. With these two, it is favored in the event of a draw: 2-0 against Milan and 1-1 with Fortitudo, with whom on Sunday it overturned the -5 of the first leg by winning by 9. By the way, the eventuality that would send Forlì to the play-in is precisely a maxi tie at 5 or 6 teams at 44 points, due to direct clashes. But Forlì should go 0/2 from here to the end of the season. In any case, there are important positions at stake, arriving third would give the Forlì team the right to have the advantage of a possible home tie in the quarterfinals and semifinals. While finishing in fourth place (or fifth) would mean enjoying this advantage only in the first round. Finishing sixth or seventh would never grant it. The club from Viale Corridoni, since its foundation in 2015 and therefore considering all the championship clashes between A2 and B, boasts an external record that is nothing short of enviable. In eight away games played overall, the Forlì team has achieved six successes against only two missteps. Of the latter, only one has reached the second division, from 2018 onwards, in the five matches played in Emilia. To the positive precedents we could add hundred as a neutral ground: that of the Super Cup in the fall of 2020. Unieuro beat Torino and Udine and reached the first final in its history, where, without Terrence Roderick due to injury, they bowed to Scafati. In any case, an excellent calling card to present themselves on Sunday afternoon in front of Di Paolantonio's team.