Archive Architecture the Profeti in Patria - Cammini d’artista a Montecchio Emilia (Prophets in Homeland - Artist’s Ways in Montecchio Emilia) exhibition returns from November 6 whose sixth edition will be dedicated to the brothers Massimiliano G alliani (Montecchio Emilia 1983 - 2020) and Michelangelo Galliani (Montecchio Emilia Inaugurated in 2015 and supported in 2021 also by the contribution of the Emilia Romagna Region the Profeti in Patria project was strongly desired by the municipal administration to allow citizens to get to know and get in touch with artists working in the area.The exhibition will take place inside the Medieval Castle and Casa Cavezzi with a conspicuous selection of sculptures by Michelangelo Galliani and drawings graphic and pictorial works by Massimiliano Galliani Some of Michelangelo Galliani’s sculptures will also be placed outdoors in the symbolic places of Montecchio Emilia thus creating a path that will connect the two exhibition venues alludes to the natural predisposition of every artist to exceptionality and disproportionality “The decision to dedicate the 2021/2022 edition of Prophets in the Fatherland to the two artists Massimiliano and Michelangelo Galliani brothers in life but with paths in creative autonomy,” says Mayor Fausto Torelli “was born already at the time of my beginning of my mandate I had talked about it with both of them and the proposal was welcomed This union today takes on an even higher meaning that goes beyond artistic value and becomes life together that continues I am happy and proud to host this event dedicated to them and I join the entire citizenry in this heartfelt and warm embrace.” “Maximilian,” writes art critic Alberto Zanchetta The serpentine line of the drawing is erratic but at the same time circular destined to get lost and to recover endlessly; it happens in the water paths of the Life cycle and in the craquelures of The Roads of Time inspired by the masterpieces of Leonardo da Vinci and Rogier van der Weyden Maximilian conceived of drawing as a seismograph of thought; he did not just go along with the chiaroscuro rit[m]o of the sign to approximate and envelop the hatching so that the trompe-l’œil technique would correspond to a savory metalinguistic play Thus was born the series disegno E matita in which the working tool concurs to legitimize the subjects Michelangelo performs an intimate reworking of the elements that crowd the gaze and memory he reactivates the aesthetic experience of the ’fragment.’ His sculptures are aesthetic syntheses - heads legs - that achieve an evidence truer than the real The manipulation of marble offers our gaze a metaphor/metamorphosis of nature and man that is mixed with alchemical and cosmogonic references Michelangelo evokes processes of transformation that lead one to consider his sculptures as sublime[nal] bodies Bodies that perhaps do not belong to this world the Municipality of Montecchio Emilia has entered into an agreement with theCultural Association "ArtMacs," which was founded in Montecchio Emilia in December 2020 with the aim of protecting and spreading knowledge of Massimiliano Galliani’s artistic work supporting the birth of the Massimiliano Galliani Award for Drawing under 35 dedicated to drawing and emerging visual research Winner of the first edition-organized in partnership with the ArtVerona art fair-was the young Mexican artist Fernanda Carrillo In addition to the prize-purchase awarded by the Association the City committed to purchase an additional work by the artist and subsequently host a solo exhibition of her work at the exhibition spaces of Casa Cavezzi you can call +39 0522 861864/861861 or send an email to biblioteca@comune.montecchio-emilia.re.it DescriptionDate2018MuseumThe UffiziCollectionDepartment of Prints and DrawingsLocationDepositsTechniqueBlack pencil engraving on boardSize150x150 cm.InventoryGabinetto Disegni e Stampe no Omar Galliani reproduces his own profile for the first time depicting himself in contemplation of an immense and very deep sky dense with luminous constellations formed by figures that have recurred several times in his artistic career presented here as two faces of the same thought time passing by (the roses are indifferent to the transience of beauty The same elements were already present in the equally monumental triptych Nocturne acquired for the Collection of Prints and Drawings of the Uffizi in 2008 Galliani's hand guides our eye to the discovery of his own very personal planetarium (a sword a dragon...): these are references to precise life experiences visions: a dense and highly original repertoire to which the artist seems to turn here requesting both inspiration and protection at the same time (M The work is created using the rather tricky technique of graphite drawing and black ink on poplar board which has always been the artist's favourite combination Galliani works with great precision on the well-polished wooden surface creating successive layers of drawing in thin strokes and calibrated combinations of black and white The latter are also obtained with the aid of traditional Renaissance techniques such as pouncing resulting in refined and magnetic compositions poised between reality and imagination The artist donated the Self Portrait to the Uffizi Gallery in 2018 Troponin levels have been the traditional biomarker for diagnosis of MI for a number of years but greater sensitivity has been delivering improved results His team has found that the new assay offers increased precision and can shorten time points between serial measurements ‘Siemens High-Sensitivity Troponin I has these characteristics and is much better in terms of giving rapid information to the clinician than contemporary assays,’ Fasano confirmed and two bespoke laboratories in the smaller hospitals of Montecchio Emilia and Scandiano with evaluation of the assay conducted using the Siemens Atellica IM Analyser and ADVIA Centaur Immunoassay systems ‘We realised that the High-Sensitivity Troponin on both instruments could detect very low levels of troponin even in patients not having any cardiac symptoms and that is one of the characteristics of high sensitivity assay,’ Fasano explained ‘Around 70% of samples having non-detectable troponin with contemporary assays gave us a result that can be reported to clinicians  A further benefit was with Emergency Department clinicians able not only to rule-in MI  ‘Our clinicians were used to six-hour protocols to evaluate patients with suspected myocardial infarction,’ he said they can shorten this period and we have less requests for troponin because they can safely send patients home after three hours with results compatible with no myocardial infarction.’ This was aided by the High-Sensitivity Troponin I offering a clearer view on whether a patient has chronic or acute heart damage after MI Providing insights into new cardiac testing methods Director of the Institute of Laboratory Medicine at Munich’s German Heart Centre explained why biomarkers are a game changer in diagnostics Fasano concedes there were initial communication and education issues with senior clinicians in the change to High-Sensitivity Troponin I use once the evaluation was completed (in terms of giving the same results in values above or below 99 percentile) and its use introduced across all three platforms within the hospital system (serving 500,000 people) acceptance was widespread ‘An initial fear was that we were going to have an increased number of interventional cardiologic procedures after using the new assay having looked at the literature for the sample we know there is not an increase in the number of positive troponin The number of troponin above the 99th percentile is the same more or less between the contemporary assays and the high sensitivity assays.’ The blood test used to diagnose a heart attack (acute myocardial infarction) in patients admitted to hospital can be misleading warn researchers in a study published by The BMJ One key advantage has been in the care of women as the assay delivers a sex specific 99th percentile the myocardial damage in women was not well detected and managed because we used to have just one 99th percentile for both male and females.’  Siemens reports: ‘High-Sensitivity Troponin I is the latest addition to Siemens Healthineers’ cardiac menu to assist clinicians with diagnosis/treatment of chest pain patients through the quantitative measurement of cardiac troponin I in serum or plasma It allows clinicians to measure slight changes between serial troponin I values giving confidence in patient results at the low end of the assay range Dimension EXL and Dimension Vista TNIH assays can detect lower levels of troponin and smaller changes to a patient’s troponin levels Both Troponin I and Troponin T are released into the circulation at the time of injury following the same release pattern in the system cardiac Troponin I is slightly more differentiated from skeletal Troponin I than cardiac Troponin T is different from skeletal Troponin T.' Fasano is delighted with the performance of the Siemens High-Sensitivity Troponin I assay: ‘From a laboratory point of view it’s wonderful because it is very precise you can compare the  results day by day and they are more or less the same.’ A next step is to conduct an economic evaluation on the use of the assays compared to the number of troponins previously requested by the clinicians from the laboratory ‘We think there is less troponin now performed by the laboratory We would also like to know whether the patients who can go home safely experience a shorter period in the emergency department which is important for an institution.’ Clinical pathologist Tommaso Fasano MD heads the Biochemistry and Laboratory Automation Unit at Arcispedale Santa Maria Nuova Hospital he was a research fellow at the MRC Clinical Research Centre at Imperial College before studying the genetics of lipoprotein metabolism in the Biomedial Sciences department at the University of Modena and Reggio Emilia It’s widely known that more than 70% of today’s medical decisions involve the results of laboratory tests but the insights clinicians derive from these tests today may only be scratching the… Conventional CT imaging has reached its technical limitations: Resolution can only be improved by small margins and dose cannot be reduced significantly: Photon-counting technology enables drastic… For the Siemens Healthineers team developing new and ever higher performing computed tomographs is daily fare But when they introduced their most recent CT system an unusual sense of pride was… This website uses cookies to give our readers the best website experience. Please refer to our privacy policy to find out how we use cookies and how you can edit your preferences Welcome to the beta version of the new Women & Golf website Our web monkeys are still hard at work and welcome your feedback.   Home | WorldSBK | Bulega switches to WorldSSP with Aruba Ducati in 2022 Nico Bulega is the first big-name rider to make the switch from Moto2 to the upgraded WorldSSP series for 2022 The Italian has signed to join the factor Aruba Ducati squad and will race a Panigale V2 under the new regultions Bulega was born in Montecchio Emilia on October 16 and begins racing in 2007 in the Italian Minibike Championship In 2011 he was Italian and European MiniGP Junior 50 champion in the following season he becomes Italian PreGP 125 champion while in 2013 he wins the PreGP 250 category championship In 2014 he took part to  the Spanish championship (CEV) finishing the season in sixth place; the same year he also participated in several CIV Moto3 races conquering the title in the last race in Valencia His debut in the Moto3 class of MotoGP came in 2015 in the Grand Prix of the Valencian Community with the SKY Racing Team VR46: it is with this team that he conquered the first podium  in 2016 Bulega moved in the Moto2 championship obtaining a best result of seventh place at Brno a solo show by Omar Galliani (Montecchio Emilia one of the best illustrators of recent years opened until May 13 and will continue until July 2 The exhibition is held at the Florentine venue of Tornabuoni Arte and is intended to be a powerful expression of symbols: right from its title the show brings back the terrible days of the first lockdown days of isolation and denied relationships Thus sixty drawings arrive in the exhibition sixty stills of an everyday life deprived of gestures of affection that make up a fresco created “between March and June 2020 when the lockdown distanced us in agonizing silence I searched for these images on the screens at home recording with a freeze frame the tiles of this large mosaic drawn in pencil on canvas They are the fragments of an everydayness orphaned of lips and breath of a latent darkness that has imposed itself in our daily life in a silent dramatic crescendo.”In Galliani’s drawings art is a way of giving back to people what the pandemic has denied them: physical contact “Observing the paintings,” writes Sonia Zampini who signs the introductory text of the exhibition’s catalog “how the rush of vision is declined in kisses reciprocities that arise as a response to thatanelity that forced separation has stifled In this way larte restores form to the negation that the product of the times has generated Artistic creation is itself born as a substitution of the real Galliani has taken up of reality not only the physiognomy but particularly the emotionalfflato that transcends it The artist highlighted the need and the importance of recovering that dimension of human communion that becomes physical expression a spontaneous and natural response to an urgency to a state of necessity at the moment when these demands are denied.” It is this necessity that drove Galliani to seek visions capable of describing contacts “turned his attention to our contemporary windows that look out onto the world such as the screens of the computer and the various devices pertaining to it inhabited by multitudes of images contrasted with the view that opened from the windows of our homes characterized by the deaf vision of anassence spilled onto empty streets In this observing Galliani researched and took stills depicting people who by their standing next to each other visually celebrate an ideal closeness.” “The multiple identities described by the succession of drawings,” Zampini concludes “were conceived by the artist to be read moon by moon like a great vision dinsieme that invests our gaze The works stand between reality and desire To better highlight this flow between two opposing conditions Galliani has rendered the subjects evanescent to the eye as if they were generated by the same ethereal nature of dreams stages a kind of dialectic of repetition there where a nape of the neck temple and more share the limit of their own form as they come into contact with their alter ego that stands next to them of a humanity spiritually united through the proximity of bodies creates a contiguous and continuous visual condition that generates a deployment seemingly capable of emotionally rejecting the possibility of detachment and estrangement.” “Now that the time of kisses and embraces is suspended between us and other desired bodies where the skin and the time of caresses has been interrupted a renewed caress that removes the time of absence and recasts desire for us,” observes the artist who concludes his reflection with a shareable wish: Fiat Lux Omar Galliani was born in Montecchio Emilia on October 30 He attended and graduated from the Academy of Fine Arts in Bologna with Concetto Pozzati He is invited to the first International Design Triennial in Nuremberg in 1979 the São Paulo Biennale in Brazil in 1981 and the Tokyo Biennale also in 1981 with the exhibition Aspects of Italian Art he exhibited at the Frankfurter Kunstverain the Kunstverain in Breghenz and in Vienna at the Hochschule für Angewandte Kunst In 1998 New York University dedicated a solo exhibition to him It is of the year 2000 the first solo exhibition Aurea in China at the Museum of the Central Academy of Fine Art which will be followed in 2003 by the invitation to the first Beijing Biennale won ex aequo with George Baselitz Subsequently invited to the 2005 Biennale he will continue his Chinese tour touching the cities of Shanghai This Chinese tour will then culminate with the 2007 exhibition Omar Galliani between East and West at the Fondazione Querini Stampalia in Venice as a special event of the Venice Biennale The Uffizi National Gallery in Florence in 2008 acquired the triptych Nocturne for its collections In 2017 Uffizi Director Eike Schmidt commissioned him to paint a self-portrait for the official collection of the Vasari Corridor and inOctober 2018 the official presentation of the work was held in the Vasari Auditorium The exhibition is accompanied by a catalog with texts by Sonia Zampini, Omar Galliani and Roberto Mussapi, and can be visited at Tornabuoni Arte’s headquarters at Lungarno Cellini 3 in Florence. For more information you can visit Tornabuoni Arte’s website Sampdoria can confirm that Luca Cigarini – born in Montecchio Emilia Reggio Emilia on 20 June 1986 – has joined the club on a permanent deal Omar Galliani (Montecchio Emilia, 1954) pays tribute to Leonardo da Vinci (Vinci 1519) in the noble rooms of Bari’s Castello Svevo On the 500th anniversary of the death of one of the most representative figures of the Renaissance the great tradition of Italian drawing lives again in the works of Omar Galliani an artist appreciated internationally for his ability to bring the classical technique of “sfumato” to a monumental dimension.The exhibition titled Leonardesca and curated by Mariastella Margozzi is promoted by the Directorate of the Polo Museale della Puglia and the Vincenzo Maria Valente Music Foundation in partnership with Exprivia/Italtel with the support of Accademia di Belle Arti di Brera and the Southern Adriatic Sea Port System Authority “Leonardesque,” writes Mariastella Margozzi "not only because it is a tribute to the great genius of the Renaissance whose death marks the 500th anniversary of his death this year but Leonardoesque in the sense that from Leonardo da Vinci Galliani has always drawn inspiration for his skilful drawing style and hyper-naturalistic use of “sfumato.” The exercise of drawing and its being the absolute protagonist of the work is the transposition into contemporaneity of the unveiling of nature in the “design” of the artistic image It is the same path indicated by Leonardo that directed his art which therefore remains bound with deep roots in the womb of Italian art history and continues to represent in stylistic synthesis its essence measure (in the sense of balance) and the need to express the soul of the world." “The exhibition,” explains Omar Galliani imaginary features and some historical notes that from Milan takes us to Bari to which several possible features have been superimposed over time then transited in as many well-known works of the genius from Vinci Looking for a face in the multitude could be the activity of a detective or a difficult identikit The works I will exhibit in Bari belong to different periods of my work and have in common one face which will take place in the Federico II Hall A long corridor of the manor will feature the most impressive panel ever made in graphite presented in 2005 at theState Archives of Turin together with an original drawing by Leonardo da Vinci Eight unpublished works will also reconstruct the identikit of Bona Sforza which will be developed around a single subject plumbed in different postures of the face and the nape of the neck a reconnaissance through some of the Master’s early works made from details of faces or drawings taken from well-known Leonardo notebooks a well-known Italian fashion brand that last April 13 paraded at theHotel Excelsior in Rome on the occasion of the 30th edition of the Gala delle Margherite will present some precious sartorial garments signed by Omar Galliani and made by the Milanese maison on soft and elegant fabrics The Exhibition will be open until September 9 2019 with the same entrance ticket to the Castle and with the same access modes: from Wednesday to Monday with hours 8:30 a.m features critical texts by Nadia Stefanel and Mariastella Margozzi and a rich iconographic apparatus For all information you can send an email to pm-pug.castellosvevo@beniculturali.it or visit the official website of the Puglia Museum Pole Leonardesca #2 (2019; pencil on board and pastel A 48-year-old man dies in a car accident while returning from a barbecue with friends Montecchio Emilia was the scene of a dramatic road accident that led to the death of a 48-year-old man The accident occurred around 20.40:XNUMX pm on via Ungaretti a peripheral road in the town in the province of Reggio Emilia ending up in a field at the side of the road although he suffered medium-serious injuries but there was nothing that could be done for Michele Michele Lucchese was a die-hard fan of Reggiana where he spent every weekend to follow his favorite team he celebrated his birthday with his friends from the fan base who had organized a surprise for him with chants and banners Michele was at a barbecue with some fan friends with whom he was supposed to watch the Reggiana away match in Brescia The tragedy occurred when he returned home leaving an unfillable void among his loved ones and the sports community The authorities are currently investigating to reconstruct the dynamics of the accident and to determine any responsibilities The community of Montecchio Emilia is in shock for the loss of such a beloved and respected man who dedicated his life to his passion for football and his team Reggiana and its fans are already organizing initiatives to honor the memory of Michele a symbol of the passion for football that unites people Notizie.it is a newspaper registered with the Court of Milan n.68 on 01/03/2018 Impara come descrivere lo scopo dell'immagine (si apre in una nuova scheda) Lascia vuoto se l'immagine è puramente decorativa