In order for everything to go smoothly, the coaching team Marco Mori will have to win two of the three matches scheduled against Gallarate (game 1 on Sunday 11th at the PalaSprint, game 2 on Wednesday 14th in Lombardy and possible game 3 on Sunday 18th at the PalaSprint), otherwise they will have to face another round, the last one, of the playouts to avoid relegation. In the end it will be Gallarate the opponent of Ramirez and his teammates since the Lombards, tied in the standings with With wood despite the Piedmontese having to recover a match castelfiorentino on May 3rd, they have negative direct clashes (0-2) with the Turin team. Direct clashes that have also rewarded Cecina 5th on Turin 6ª e castelfiorentino 8th on Varese 9 ª. The pairings are as follows: Tarros Spezia (4) -Gallarate (11) Cecina (5) -With wood (10) Don Bosco Cross Turin (6) -Varese Campus (9) and GenoVa (7) -castelfiorentino (8) Playouts hard to digest by Danilo Caluri Tarros president: "To say they are poorly digested is an understatement; I just hope they last as long as necessary. We won both games against Gallarate but now we start again on equal terms and they are recovering their form and some players. Let's stay focused because in this type of match anything can happen". The MA*GA museum in Gallarate is hosting two separate but complementary exhibitions that will make design the star of the museum for the next five months. An excursus from the 1950s to the new generations of designers. Fuorisalone.it® is a project by Studiolabo S.r.l. via Palermo 1 20121 - Milan (Italy) Please enable JavaScript in your browser for better use of the website. In the 1970s, the economic and energy crisis, political difficulties, and the tensions of the Years of Lead led designers to reflect and develop a more essential language. A democratic design was born, made, as Enzo Mari thought, of self-construction kits, but also of revolutionary ideas in which utopia became the main feature. This is what happens with the poetic Metaphors of Ettore Sottsass immersed in dialogue with nature or with the Arte Povera works of Giulio Paolini or Alighiero Boetti. The HYPERDESIGN exhibition, curated by Chiara Alessi, represents the XXVII edition of the Gallarate Prize and focuses on design projects and processes from the zero years onward, emphasizing an image of a construction site in constant flux rather than a purely historical approach. In a context where design has become a mass profession, practices have progressed even in the absence of theories to support them, highlighting a renewed interest in the Italian craft tradition. In parallel, new companies are emerging as alternatives to the big historical design brands, offering more freedom for young designers to experiment. Among them, Odo Fioravanti is exhibiting chairs made from recycled polystyrene and scraps, highlighting the potential of reusing materials. "With this in mind, as a company it seemed natural, as part of our culture of sustainability, to make the heritage and know-how of a company with more than 70 years of history available to the Museum's public, and to continue to support the Museum's cultural activities in our area by supporting the Arts Pact," comments Luca Missoni, Artistic Director of the Missoni Archives and since 2017 President of the Friends of MA*GA Association. Tuesday, Wednesday, Thursday and Friday: 10 a.m.-6 p.m. | Saturday and Sunday: 11 a.m.-7 p.m. Special opening: Nov. 1, Dec. 8, Dec. 26, Jan. 6, 2025: hours 11 a.m. - 7 p.m. Extraordinary closures: Dec. 24, Dec. 25, Jan. 1, 2025 The project consists of two four-story blocks with two underground floors dedicated to the garage. Between the buildings, a public promenade connects the blocks and leads to a historical building that is incorporated into the complex. © Francesca Ióvene - fondaco studioWith information from DOMUS You'll now receive updates based on what you follow Personalize your stream and start following your favorite authors If you have done all of this and still can't find the email Get the best experience and stay connected to your community with our Spectrum News app. Learn More the matriarch of the iconic Italian fashion house that made colorful zigzag-patterned knitwear high fashion and helped launch Italian ready-to-wear Missoni SpA confirmed the death and planned a statement along with the family later an international spokesperson for the company in Milan Local officials offered condolences and recalled Missoni's ties to the small northern city of Gallarate where the Missoni brand was born in an artisan's shop in 1953 Missoni grew up in a family that owned a textile factory that produced shawls they founded their eponymous fashion house in Gallarate that would turn into a fashion dynasty with the couple's three children and their offspring involved in expanding the brand The Missonis got their first break in 1958 when the Rinascente department store commissioned 500 colorful vertically striped shirt dresses — the first to carry the Missoni label The Missonis first showed their collection in Milan in 1966 and the brand helped turn the city into a fashion mecca long had a reputation for wearability and for surviving many seasons of changing trends Family members were often the brand's best models wearing Missoni graphic creations in everyday life The founders turned over the business to their children in 1997 though Rosita remained involved in the Missoni home collection as the company celebrated its 60th anniversary The eldest Missoni son and the company's CEO died when a plane carrying him and five others disappeared off Venezuela It took six months to locate the plane wreckage in the seas off the South American country during which time patriarch Ottavio Missoni died the family sold a 41.2%-stake to the Italian investment fund FSI but maintained majority control of the house stepped down as creative director after 24 years There was no immediate word on funeral arrangements By submitting the above I agree to the privacy policy and terms of use of JTA.org Servi donated a Jewish family heirloom to Boston’s Museum of Fine Arts that his children had no idea even existed (JTA) — When Italo Servi donated an amulet that had been in his family for two centuries to Boston’s Museum of Fine Arts five years ago his children had no idea the object even existed Servi received the amulet from his mother during a visit home in 1949 while studying at the Massachusetts Institute of Technology the silver amulet containing parchment inscribed with a prayer that was passed down in Servi’s family for generations was hung over a baby’s crib to protect the newborn from illness raised a family and pursued a career as a metallurgist No one in the family knew anything about it until Servi gifted it to the MFA in 2016 “He was guarded about the things he did and didn’t talk about I never realized until 10 or 20 years ago the impact of the events of his life had on his personality and upbringing,” said his son 2 due to complications from COVID-19 at the age of 98 a town in central Italy known as “little Jerusalem” due to its well-established Jewish presence Servi celebrated his bar mitzvah in 1936 in Pitgliano’s historic synagogue after Italy passed a set of restrictive racial laws aimed largely at the country’s Jewish community Servi’s family fled — first to Milan and later to Recanati where they escaped deportation to Nazi death camps Servi and his family maintained lifelong contact with the Italians who helped him They were married for 63 years until her death in 2014 The couple were among the early founders of Temple Isaiah Servi did not discuss the hardships of his family’s wartime experience He wanted them to assimilate and grow up as normal New Englanders He was honest,” his granddaughter Amelia said in a eulogy four grandchildren and three great-grandchildren JTA has documented Jewish history in real-time for over a century Keep our journalism strong by joining us in supporting independent I accept the Privacy Policy. Color” Opens in the Label’s HometownThe new show charts the fashion house’s artistic inspiration “It’s an honor to see our work presented in an art museum and to witness Ottavio’s paintings and tapestries exhibited among the works of great contemporary masters,” says Rosita who at 83 serves as the creative director of Missoni Home mosaic-like tapestries Ottavio created in the 1980s and an installation by his son Luca that brings color to life with a forest of polychrome mesh tubes towering over vibrantly dyed bales of wool A special selection of 100 historical pieces from Missoni’s archive stand together in a rainbow whir of patchwork reflecting the abstractions of the 20th century art that fills the galleries which is on view from April 19 to November 8 it’s been a year-long project to express how significant the arts are for the language that I created in fashion with my husband On display in the exhibition is the Hall of Tapestries with pieces made by Ottavio Missoni in the 1980s 'My parents were both very passionate about art,' explains Angela Missoni Pictured are Ottavio's studies for his tapestries Courtesy of Fondazione Rosita e Ottavio Missoni 'Knowing everything I do about our archives it's painful knowing what's missing,' admits Angela Twentieth-century artists who inspired Rosita and Ottavio in the development of their vibrant patterns and signature graphic style are featured throughout the gallery Ottavio's paintings also hang in the exhibition 'Study for Homage to the Square: Still Remembered' by Josef Albers Courtesy of the Museum of Modern and Contemporary Art of Trento and Rovereto 'Spitz-rund (Pointed-Round)' by Wassily Kandinsky Galleria d’arte Moderna e Contemporanea Sonia Delaunay and Albers are a number of Italian artists Pictured is Fortunato Depero's double portrait of his futurist friend Filippo Tommaso Marinetti 'La ricerca del colore – 100 elementi' by Dadamaino VIEW GOOGLE MAPS escapism and design stories from around the world direct to your inbox MA*GA in Gallarate will experience more than a quarter-hour of celebrity MA*GA will host an anthological exhibition dedicated to Andy Warhol (Pittsburgh one of the absolute pinnacles of twentieth-century art and culture curated by Maurizio Vanni and Emma Zanella recounts the multifaceted and rich production of the father of American Pop Art who a figure who radically changed the way contemporary society was seen and perceived.The exhibition to emphasize how much his research is characterized by absolute versatility and the desire for transformation traces through more than 200 works (also from international institutions such as The Andy Warhol Museum in Pittsburgh and Ronald Nameth’s archive) Warhol’s entire creative universe from his early drawings made forpublishing and fashion to the most important pop works where the main protagonists are celebrities which have become icons of a new way of living and consuming banal elements of everyday life elevated to contemporary icons The exhibition opens with a comparison between some private drawings and the first highly refined advertising sketches of the 1950s; it was precisely the advertising codes which had become the engine of social living and recognizability in the years when American industrial production was going full throttle that led the artist to a complete reversal of aesthetic From the very early 1960s Warhol began experimenting with the languages dragging them into his universe and reinventing them with an extremely recognizable stylistic signature in every field of expression and creative research in the serial production of silkscreen works On display will be Andy Warhol’s famous cycles such as Flowers portraits of celebrities such as Marilyn Monroe and the famous Ladies and Gentlemen series as well as a body of works and materials related to no less important Warhol productions such as those related to publishing and record cover graphics in addition to the best-known artist’s books biographical books written in the first person and designed entirely the catalogs of some of his personal exhibitions; his passion for print media also led him to found the famous and long-running Interview magazine The exhibition will interweave different narrative levels and lead the viewer to grasp the less obvious aspects of his work: The search for ever-changing identities that the artist wanted to give of himself; the eagerness to experiment with artistic languages that continually flow into one another; and the deep connection of his work with the worlds of music themes that will be greatly reflected in the exhibition also thanks to the collaboration with The Andy Warhol Museum in Pittsburgh for Silent Movie and Screen Tests and extraordinary excerpts ofAndy Warhol TV programming The exhibition project is made special and unique by the extensive section devoted to Warhol’s experimentation with and investigation of the process of filming and being filmed; on display in its entirety are Empire (1964) (8 hours and 5 minutes) the famous shot of theEmpire State Building from sunset to sunrise; Kiss (1963-1964) (58 minutes) sequencing of kisses exchanged by straight and same-sex couples; and four Screen Tests - Salvador Dali Lou Reed (Coke) and Edie Sedgwick - still camera shots made by pointing the camera at people who visited the Factory Also arriving on loan from the Pittsburgh Museum will be the five episodes of Andy Warhol’s Fifteen Minutes produced for the iconic Andy Warhol TV that aired from 1985 to 1987 and the three 1981 video clips for Saturday Night Live considered the pinnacles of Warholian television work This section will be further amplified at Porta di Milano - Milan Malpensa Airport with a large video wall dedicated to Andy Warhol TV and a spectacular installation inspired by Warhol’s best-known images Also on display for the first time in Italy is the extraordinary video installation by American photographer and filmmaker Ronald Nameth born of the performance Exploding Plastic Inevitable orchestrated by Warhol with the Velvet Underground and Nico From April 1966 to May of the following year with alternating success with audiences and critics in several American cities: from New York to Los Angeles from San Francisco to Chicago to Provincetown a true ante litteram media mix performance featured Warhol manipulating lights and images in the environment to experiment with and recreate an immersive psychedelic realm and the visual experiences of lysergic acid while the Velvet Underground and Nico performed live dressed completely in white serving as a moving medium for film and slide projections with various images and colors dedicated to the show and shot in June 1966 by Ronald Nameth on the occasion of the show’s presentation at Poor Richard ’s in Chicago takes the form of a multi-channel environmental and immersive projection and is the only complete source of documentation of the performance loaned exclusively to MA*GA by Ronald Nameth’s archive with the collaboration of MACBA in Barcelona Warhol’s personal and heartfelt relationship with music will also emerge from the record covers that the artist made since the 1950s and throughout his life from covers dedicated to classical music and Jazz of the 1940s and 1950s to the far more famous record covers of the Velvet Underground and Nico to name just a few well-known collaborations The exhibition design at MA*GA and Milan Malpensa Airport is by set designer Margherita Palli who counts collaborations with Milan’s Teatro alla Scala and the Venice Art Biennale The public will have the opportunity to explore the still topical themes of Warhol’s research accompanied by specific educational activities designed for the occasion by MA*GA’s educational department including guided tours All works in the exhibition and historical-critical essays by Maurizio Vanni and Marco Senaldi are published in the bilingual Italian-English catalog The exhibition is produced by MA*GA Museum and Spirale d’Idee (MI) in collaboration with the City of Gallarate sponsored by Regione Lombardia and supported by Ricola For all information, you can visit the official MA*GA website BASKETBALL GALLARATE: Bettanti 3, Bloise 12, Orlandi 18, Fedeli 8, Chiapparini 10, Antonelli n/a, Golino, Molteni 6, Redaelli 2, Chinellato 6, Genovese 9. Coach Morganti, (TL: 11/13, T2: 12/36, T3: 13/33). TARROS SPICE: Pettinaroli 7, Manto, Ramirez 6, Gogishvili, Merlo 21, Loschi 22, Morciano 13, Steffanini n/o, Tedeschi 2, Dias 14. Coach Mori. (TL: 15/24, T2: 26/41, T3: 6/29). Referees: Michele Bavera from Desio and Fabrizio Pittatore from Turin. The important thing was to come out unscathed, and it was not a given, from this difficult field and continue in their pursuit of third place and therefore Olimpia Firenze: the last 4 games of the play-out were decisive. On Sunday Tarros hosts Crocetta Torino while Florence hosts Campus Varese. MA*GA in Gallarate will host a retrospective dedicated to Dadamaino (Edoarda Emilia Maino; Milan one of the major protagonists of theavant-garde of the second half of the 20th century realized in collaboration with theDadamaino Archive with the support of Galleria Arte Martinelli(Lodi the milestones of the Milanese artist’s career starting from the debut of his research on monochrome painting and the spatial surface of the canvas which took place at the Prisma Gallery in 1959 the year in which Dadamaino abandoned informal to adopt those abstract formulations that would characterize his entire creative evolution.The exhibition begins with the important Volumi cycle monochrome canvases opened on large perforations It was in 1959 that the first Volume was presented in the group show Woman in Contemporary Art at the Brera Gallery in Milan which immediately revealed the influence of Lucio Fontana on Dadamaino’s work and conceptual and aesthetic reflections The first section of the exhibition places the Volumi series in dialogue with works from the MA*GA collection by Lucio Fontana The visual counterpoint highlights the importance for Dadamaino’s research of frequenting the avant-garde cohort that was concentrated at Brera in the transition between the 1950s and 1960s Dadamaino exhibited at the Azimut gallery in Milan where in addition to the founders Enrico Castellani and Piero Manzoni he met the protagonists of a significant tranche of what can well be considered “the new artistic conception,” as the second issue of the magazine “Azimuth” titled Dadamaino’s affirmation on the Italian art scene continued in the 1960s with the 1962 group show Arte Programmata at Galleria La Cavana in Trieste which defined his transition from spatial research on the carved canvas to a study of color and sign as an optical visual element Success also came at the international level when Dadamaino was invited to exhibit at the Nul exhibition at the Stedelijk Museum in Amsterdam in 1962 which brought together great exponents of visual research such as Arman The initiative at MA*GA follows the chronological development of Dadamaino’s research with the cycle on which the artist focuses between 1963 and 1965: these are the kinetic optical objects and drawings that are the result of his encounters with the artists of François Morellet’s GRAV (Groupe de Recherche d’Art Visuel) with whom he participated in the Nouvelle Tendance exhibitions in this exhibition Dadamaino’s works dialogue with the protagonists of optical and visual research present in the MA*GA Museum’s collection: Grazia Varisco Gianni Colombo ’s 1967 Spazio elastico environment will be reintroduced to the public after restoration The exhibition then flows into the mature years of Dadamaino’s poetics where the installation of papers of various formats entitled I fatti della vita (The Facts of Life) stands out first proposed by Galleria Grossetti in Milan in 1979 and later in the solo show at the Venice Biennale in 1980 The exhibition is completed with canvases with letters from the Alphabet of the Mind and the gigantic work The Movement of Things on which Dadamaino’s “writing” takes place and which was presented in a solo room at the XLIV Venice Biennale in 1990 edited by Flaminio Gualdoni with texts by Flaminio Gualdoni and Emma Zanella The exhibition is realized with the contribution of Regione Lombardia as part of the Italia 2050 project As part of MA*GA’s institutional activity the exhibition is supported as main partner by Ricola Saporiti Italia; special partner: Banca Generali Private; partner: Lamberti; supporter: Camal - le vie del cotone Dadamaino (Edoarda Emilia Maino) was born in Milan in 1930 and then returned to Milan at the end of the war Edoarda attended the Liceo Classico and later the School of Applied Art for Industry at the Castello Sforzesco Her training took place through her frequentation of the Milanese avant-garde which had as its meeting point the Bar Giamaica in Brera: she was especially close to Piero Manzoni In the 1960s her work experiences a phase of important internationalization with strong tangencies with the research groups Nul Nouvelle Tendance and GRAV (Groupe de Recherche d’Art Visuel) In the 1970s numerous solo exhibitions and appearances at group shows in Museums and institutional spaces in Italy and abroad In 1980 he is present with a solo room at the XXXIX Venice Art Biennale curated by V in 1990 he will again have a solo room at the XLIV Venice Art Biennale curated by L On April 13 Dadamaino dies in Milan after a period of illness His ashes rest in the small cemetery of La Maddalena this move enables it to "maintain direct control over its value chain guaranteeing the transparency and traceability of materials and manufacturing processes," says the company in a brief press release helping to preserve "the know-how of a leading Italian manufacturer of fine yarns," by using historic Caperdoni knitting machines After the social housing project built ten years ago on the Giudecca island in Venice Álvaro Siza recently completed his second work in Italy designed in partnership with COR Arquitectos This is a residential complex with 20 apartments comprising two four-storey buildings connected by green spaces and a large rectangular court With its rationalist façades clad in light-coloured travertine the new block stands out from the diverse urban context of the local neighbourhood At the same time it blends naturally into it thanks to the special attention paid to the street fronts (with entrance portals which themselves look like miniature works of architecture) and the public walkways at ground-floor level which give a certain porosity to the site allowing the public to cross it All the apartments have windows on two sides and large terraces and are designed in relation to the direction in which they face for optimum thermal efficiency and to make the most of natural ventilation The elaborate yet restrained design of the complex calls to mind the work of 20th-century Milan architects like Asnago and website in this browser for the next time I comment Abitare.it e Style.corriere.it rifiutando tutti i cookie di profilazione ad eccezione di quelli tecnici necessari Naviga il sito di Abitare.it con pubblicità profilata e senza abbonarti By subscribing you will reject all but technical cookies on Iodonna.it By clicking "accept" you will allow to process your personal data by us and third parties and be able to browse Abitare.it website without a subscription The MA*GA Museum is hosting the first solo exhibition by the artist of the Ukrainian origins Oksana Mas to be held in an Italian museum The museum has worked on this project with the Heritage Art Foundation with the aim of showcasing the studies of an artist who has carefully worked around themes associated with the history of Italian art and culture.The central idea behind the exhibition is that a city is a space that projects art This city is revealed via a series of paintings and installations that open a dialogue with works from the museum’s collection developing a space of dialogue among different cultures who curated the exhibition with Kristina Krasnyanskaya emphasised that:“We can draw a comparison between the works of Oksana Mas and the aesthetical vision of some of the fathers of 20th century critique who in their urban writings reached the same aesthetical emotion contrary to the most common positivist mentality even though they had started from very different premises they viewed the polis as a work of art that meets metaphysical needs rather than widespread network of roads the work of Oksana Mas appears as an expression of values that are without doubt similar to this metaphysical model as in the black-and-white counterpoints her attempt to go beyond the unbending metaphysical models is undeniable by using a more current system of relations negative/positive effects and continual flow.” Kristina Krasnyanskaya commented on the project: “The "Spiritual cities" exhibition is dedicated to landmarks in the global research of individual person modern society and their interconnections undertaken by Oksana Mas While conceiving this showcase Oksana questioned herself and the audience “What are spiritual grounds of modern society Is there a room for transformation to a modern individual How does technical progress shape our minds and our future?” The world is changing fast and Oksana suggests to evaluate the vector of these shifts through artistic optics” In 201l she represented Ukraine at 54th Biennale di Venezia In 2012 Oksana Mas won the Independent Critics Prize at 65th Locarno International Film Festival Among her recent exhibitions stand out solo shows in ArtFactory Istanbul (2015); Kasteev State Museum of Art “MAS” in the Moscow Museum of Modern Art (2008) and group shows such as Women and Art Biennale at Sharjah Art Museum (2014) and in 2013 in Venice at Istituto Veneto di Scienze Arti e Lettere on occasion of the exhibition Glasstress and Modus R Art Basel Miami non-commercial program(2006) Her works are part of the collection of: Moscow Museum of Modern Art The dialogue with twentieth-century European art The creativity and entrepreneurial spirit of a great Italian fashion house The extraordinary culture and brilliance of its two founders These are the themes of the exhibition that MA*GA of Gallarate (VA) is dedicating in the city that they chose in 1953 for their home and first artisan workshop the success and international recognition won by the Missonis in the fields of textile design and fashion stand as one of the most accredited voices of the Made in Italy label representing the value of a geographical territory and testifying to the brand's capacity for generating languages and connections with the greatest modern and contemporary artists the spaces of which will themselves be designed as works of environmental art is organised into different narrative registers that outline the main characteristics of the brilliance of the Missonis it reveals the extremely close tie between their creativity and art a characteristic that makes the brand all but unique in the world of international fashion curated by Luciano Caramel and Emma Zanella is the fruit of joint collaboration between the City of Gallarate with contributions and support from the Region of Lombardy - Office of Culture the Province of Varese and the Chamber of Commerce of Varese and the participation of the Gallerie d’Italia - Piazza Scala (Milan) The exhibition is also part of the Grand Tour EXPO project a video installation by the artist Ali Kazma that interprets the work of the 'Missoni House' the Turkish artist focuses on the approach used by the Missonis for the company's entire production cycle emphasising the happy marriage between artisan knowledge and the search for the most advanced design The exhibition then shifts to an analysis of the cultural roots that influenced the Missonis' choices in terms of design This section focuses on abstract and aniconic European art from the first half of the twentieth century material and shape are also the fulcra around which the Missonis' never-ending research revolves This theme is explored in a major installation of clothing designed and set-up especially for the exhibition and MA*GA by the Missonis themselves and entirely dedicated to the fascination and glamour of the fashion house's history-making pieces The final section of the exhibition explores the relationship between the creative thought of Ottavio Missoni and contemporary Italian art pictorial works and tapestries placed in dialogue with works by Mario Ballocco The exhibition is accompanied by a catalogue published by Rizzoli and edited by Luciano Caramel and Emma Zanella and complemented by a rich calendar of events and educational programmes il MA*GA di Gallarate ospita due mostre che raccontano la storia e il futuro del design italiano Gallarate becomes a meeting point for the historical excellence and innovative drive of new generations focusing on the interplay between art and design rather than just the object itself Two exhibits guide visitors through this journey of understanding pays tribute to the rich tradition of Italian design from the 1950s to 2000 this exhibition draws inspiration from a project by Philippe Daverio which offered a deep dive into the MA*GA collections and key figures in Italian design It retraces the dialogue between visual arts and design in the post-war period celebrating an era of relentless innovation and experimentation the exhibition explores how design has responded to various cultural From iconic objects like Gio Ponti chairs and Bruno Munari lamps to reflections on the relationship between objects and space during the economic boom the exhibition provides an in-depth look at the evolution of expressive design languages “HYPERDESIGN” explores contemporary design and its developments from 2000 onwards focusing on crucial themes of today such as sustainability this exhibit is described as a “work in progress” showcasing the transition of design into new practices and technologies “The new millennium began with a euphoria for widely accessible production tools and design’s adventure into uncharted territories breaking traditional boundaries of expertise “We aim to tell the story of this hyperdesign possible presents—with a focus not only on what and how Among the showcased designers are figures like Odo Fioravanti who innovate with natural polymers and biodegradable materials New millennium design also explores the potential of open-source technologies with projects like Arduino which embodies the new frontier of collaborative design is designed to go beyond the traditional museum format becoming an interactive and dynamic space that engages visitors in the creative process The works and projects are displayed within an installation featuring architectural elements like metal tubes and floating floors emphasizing the concept of ever-evolving design the museum offers a rich program of talks and conferences to explore historical and contemporary design themes These events invite the public to reflect on the connections between the past and future of design through the lens of Italian tradition which continues to influence the international landscape The largest diffusion magazine in the luxury & design world Shenae Grimes of “90210” wore a black Vera Wang wedding gown to marry British model Josh Beech on Friday at a Tudor manor outside London. [Us Weekly] Dennis Rodman showed up at the Brea Mall on Saturday, suprising Kylie and Kendall Jenner, who were making an apperance to launch their latest collection for PacSun. [Los Angeles Times] Kenneth Battelle, often called the first celebrity hairdresser, died Sunday at age 86 in Wappingers Falls, N.Y. He rose to fame in the mid-20th century, creating coifs for clients who included Marilyn Monroe, Jacqueline Kennedy, Audrey Hepburn, Brooke Astor, Judy Garland, Lucille Ball and Lucille Ball. [New York Times] CK Calvin Klein is getting a new name: Calvin Klein, on a platinum label. The change will start rolling out this fall with watches. [WWD] Ottavio Missoni dies at 92 PHOTOS: Ottavio Missoni and his iconic designs Giorgio Armani’s niece Roberta has star power of her own Entertainment & Arts Lifestyle Subscribe for unlimited accessSite Map Madonna della Speranza church, Gallarate, Italy The church is one in a series of 40 captured by Milan-based Stefan Giftthaler, who decided to supplement the day job of fashion show and style magazine shoots with the more contemplative exercise of recording the city’s modernist churches. Giftthaler tells me that Milan, in the country’s industrial heartland, was widely bombed during the war, so there were a lot to choose from. Latest articlesRIBAJ Spec: Architecture for Housing and Residential Development Webinar20 May 2025SpecRIBAJ Spec: Architecture for Housing and Residential Development Webinar Chelsea Waterfront integrates public realm and affordable housing to hold out the possibility of an inclusive future Baillie Baillie Architects used contemporary techniques while drawing inspiration from local traditions Sign up to receive regular briefings, updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com Sign up to receive regular briefings, updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com Sign up to receive regular briefings, updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com This website is using a security service to protect itself from online attacks. The action you just performed triggered the security solution. 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SaveSave this storySaveGetty1/5Native ShareCrowds outside Gallarate’s Basilica Getty2/5Native ShareLuca and Angela Missoni outside the Basilica Getty3/5Native ShareRosita and Angela Missoni Getty4/5Native ShareThe coffin of Ottavio Missoni is carried into the Basilica Getty5/5Native ShareVogue Italia editor Franca with daughter Carla Sozzani We meet Florina Cazacu in a local coffee bar in Gallarate It is near the schools and in the early afternoon of a typical Friday; a lot of mums are waiting for their children to finish school Florina recalls her father’s history 15 years ago; it is a very long dialogue about that episode taken by her and her sister to settle down right in the city where her father arrived in the end of the ’90 and where they live their daily life today “Many people connect Gallarate to this episode but we can demonstrate that this city can be remembered for other things” said Florina “It is not only the city where my father was exploited and where he died but it has also become my and my daughter’s city For me it is an authentic way to redeem the image of the city She displays us a series of photos about a family birthday about Ion during a mountain trip near the city where he usually went for a walk; the colour photo Florina Cazacu and Dario Fo will exhibit in national preview the book “un uomo bruciato vivo- storia di Ion Cazacu” in Gallarate on Wednesday 13th of May The exhibition will take place at “Teatro del popolo” in collaboration with Fillea Cgil at 5:30 p.m The story starts with the arrival of Ion in Italy (it was not his first work experience abroad) “My father had come to Italy in 1997 We spent that Christmas and New Year’s Eve together then he came back to Italy in January” Three months later Ion was assaulted: how did you know about the fact “He used to call us at Sunday and he called us the Sunday before too It happened on a Tuesday evening and we knew about the fact only on Friday; on March 17th at 5 pm the wife of one of his colleagues knocked on our door She told my mother to wait for a call which concerned my father and the call would come from her husband and not from my father She talked about a rift with his boss but we understood that something more had happened When we got out of school we saw my mother and her brother who lived 150 km apart: both of them were crying” The door bell kept on ringing but we could not see what was happening She told me my father was a victim of the madness of his boss My father sometimes talked about him and always in a good way He brought us some presents and one panettone ( traditional cake from Milan) for Christmas I could accept the fact that he had died because of a boiler explosion but when I understood that he was a victim of an other person My father always described Italy as a wonderful and democratic  country where rights and work were guaranteed” He had never said that he was living in a two-room apartment of 40 square meters  with other 11 people I don’t want to confuse a killer with a whole country” I have always had a particular feeling with my father while my sister was closer to my mother When you are 17 you see your father as the perfect man Accedi o registrati per commentare questo articolo L'email è richiesta ma non verrà mostrata ai visitatori Il contenuto di questo commento esprime il pensiero dell'autore e non rappresenta la linea editoriale di VareseNews.it I messaggi inclusi nei commenti non sono testi giornalistici ma post inviati dai singoli lettori che possono essere automaticamente pubblicati senza filtro preventivo I commenti che includano uno o più link a siti esterni verranno rimossi in automatico dal sistema Non sei registrato? 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Clicca qui " + _localizedStrings.redirect_overlay_title + " " + _localizedStrings.redirect_overlay_text + " large ex-industrial areas or smaller buildings: in 2010 between Gallarate and surroundings there was the ghost of the “Last Mohicans” A dreaded anarchist group that wanted to set up a social center but which also claimed the contestation of urban planning choices: they wanted a space to “reflect about the theme of the exploitation of the territory” at a Carnival parade they also invented a desecrating and chaotic allegorical chariot of the city of cement Beyond the way in which the problem was raised what happened to the buildings that had been occupied in fact – the sudden occupations and the evictions started a bit of a debate regarding the future of those useless places that are the brownfields left in degradation waiting for the right moment for investment a quadrature in the circle of different real-estate interests let’s start from the former FS workshops of Gallarate where the occupation was “lightning” The sheds (partly historical buildings dating back to 1905) were abandoned for thirteen years the large complex has also become a makeshift home: there have been countless evictions The variant of the center-left Pgt of Gallarate had hypothesized a repurposing of the area with different functions (while stopping the construction on “virgin” terrains) but the intention clashed with the times of the owner which also in other contexts have shown that they want to maximize the gain on their properties (acquired a century ago the FS also semi-demolished the interiors of some buildings of the complex to make them “uninhabitable” for the homeless In the variant route hypothesized by the center-right the importance of the “regeneration” of disused railway areas is reiterated there was a meeting of Legambiente with the participation of the real estate managers of the FS Group but for now there is still no concrete hypothesis This time moving into a different context: the village of Cardano al Campo where they occupied a large building overlooking the hill once a luxurious ballroom and then a dance-room This was to be place where they remained the longest and their final eviction from the place took the combined efforts of dozens of agents The building was well known to the locals (the “San Pedar” used to be a popular meeting spot once) and stands in an area – the side of the hill facing towards the moor and Malpensa – full of abandoned buildings and unkept gardens Many people in that neighbourhood had frowned at the prospect of having punk concerts held at their doorstep but others had harboured hope that the occupation of the building could have led to the end of the state of abandon of the area: more than in the ideals of the revolution some of the locals hoped in the liberation from the pests living in the weed-infested gardens in his role of town mayor as he was at the time of the facts reminded the local population that the owner of the building had a recovering plan for it the “case” created some friction  inside the ranks of the moderate left wing government of the town: the leading majority although declaring itself in disagreement with the methods employed wrote that the occupation of the building raised “a wide range of questions and problems” on “areas dedicated to young people the overbuilding not only in Cardano but in the whole area surrounding Gallarate.” (In Cardano were already erected many building which are now still vacant) After six years nothing has changed as confirmed by the words of the current mayor nothing serious but enough to reveal that the area has degraded a bit.” After a weak attempt to re-enter the “san Pedar” at the end of October the last occupation of the “hot 2010” happened in December and was immediately stopped in its track by the police and town authorities and resulting in charges brought up against twenty-one people In that instance the anarchists occupied the former Stere manufactory on the access-route to Cardano from Gallarate The factory consists in a wide block including both houses and office buildings standing in front of the warehouses The place is still a brownfield site today and nothing has changed which is visible from the outside something important but invisible has since happened to the former Stere industrial site: the situation used to be frozen because of a lawsuit for bankruptcy opened by the Busto Arsizio tribunal but in February 2018 was sold at an auction to a local estate agency “We have already get together for a meeting they will present to us a project which we will consider from an urban standpoint,” says mayor Bellona “The Territorial Management Plan includes a housing development half reserved for the free building industry and half reserved for partnership or social housing The terms for this are however still to be defined.” The acquisition of the former Stere is still to be confirmed but – regardless of what to do with it in the future – there is without a doubt a positive aspect: “We have been told that their first step would be to removal of all the asbestos concrete The paradox in common with all the building that were occupied is that all three of them are sited in areas relatively close to the town centres of either Gallarate or Cardano which are still waiting for a requalification plan even after both town went through years of urban growth with all new district built on once undeveloped areas in the town outskirts And where the “Mohicans” had the revolution as an objective a problem which could be solved with mere moderate reforms stands unchallenged: allow the cities and towns to grow without occupying more land solving environmental problems and building a more sustainable city such things could already be considered revolutionary