the Mart in Rovereto inaugurated its new permanent exhibition the exhibition space is now twice the size of the previous layout: more than 400 works divided into 14 thematic-chronological sections tell the story of the Mart’s great artistic heritage.Over the course of 2025 the remounting of the collections will be further enriched with three new educational stations: interactive environments designed to foster relationships and transform the experience with art these stations represent the evolution of the Baby Mart project which began with the opening of the museum the Mart was the first Italian museum to dedicate a room to the autonomy of the public and to the needs of the little ones the new stations will not be separate spaces but will integrate directly into the exhibition itinerary encouraging a more relaxed and informal interaction with the works of art The three thematic stages will be dedicated to vision The design is entrusted to the studio normalearchitettura° with the involvement of artists and female artists These spaces are in addition to the Mart Relax an existing area where visitors can take a break The Mart wants to be attentive to the needs of everyone: from children to neurodivergent people from the elderly to anyone who needs a moment of pause to read or simply reflect before continuing their visit.Investing in non-publics and accessibilityThe year 2025 will also mark the completion of two major two-year projects dedicated to audience expansion and cultural accessibility The museum has chosen to invest in non-publics A major collaborative project between the Mart in Rovereto and two prestigious European museums-the Boijmans in Rotterdam and the Mumok in Vienna-will be completed in the spring Funded by the European Creative Europe program (2021-2027) the program granted the three museums a total of 180,000 euros (60,000 euros each) to invest in non-publics and the local area The activities included three residencies for work exchange and comparison (November 2023 in Rotterdam In order to foster the dissemination of virtuous practices and the involvement of their territories each museum collaborated with local partners: those of the Mart were the Free Academy of Fine Arts of Brescia (Rovereto branch) and the Office for Human Theatre association A program of a dozen activities and events aimed at developing new audiences and the relationship between young people and the museum was developed in Rovereto Next event: March 20 and 21 in Rotterdam for the concluding seminar Increasingly committed to growth and inclusion the Mart continues to consolidate its role as a cultural hub serving the community aiming to make modern and contemporary art an accessible experience for all the museum has embarked on an important path of innovation and renewal linked to the National Recovery and Resilience Plan To encourage the active participation of people with disabilities the program was carried out with the involvement of a number of social cooperatives in the area Four of the five interventions included in the call are already completed: drafting and adoption of the PEBA; digital accessibility and website enhancement; vertical and horizontal pathways; and staff training The objective: inclusive museum pathways is nearing completion the Mart is launching new initiatives to learn more about its audiences and improve the visitor experience through the use of technology and collaboration with research centers and companies along with five other European cultural institutions of the European call for proposals Recharge Next including European cultural and academic institutions the program aims to identify effective means of diversifying the economic revenues of cultural institutions Ways of Perception gives continuity to the survey initiated by the Mart on mindfulness meditation and yoga experiences in the museum The project expands by intercepting the most current studies on so-called “altered states of consciousness” to develop prototypes that allow visitors to interact with art also through a perceptual The next few months will see the co-conception testing and evaluation phases of new participatory methodologies The project is carried out with the support of Professor Nicola De Pisapia Department of Psychology and Cognitive Science the third class address “Modeling and Digital Fabrication Technician” of MaDe - Manufacturing Design Institute in Rovereto and two local companies selected thanks to the consultancy of Trentino Sviluppo: Level Up srl and Bookelot srl Thanks to the scientific and technological support of the partners the Mart aims to enhance approaches to the enjoyment of works of art exploiting technology to foster innovative and interactive experiences Ways of Perception puts into practice the Living Lab methodology dynamic spaces of co-creation in which different stakeholders collaborate to conceive funded by the Fondazione Caritro in collaboration with Oriente Occidente aims to improve the visitor experience through iBeacon technology which collects data on audience movement within the museum By analyzing dwell time in front of artworks or captions it will be possible to optimize future layouts and improve communication with visitors The project also includes immersive experiences that encourage a more dynamic enjoyment of museum spaces or exploring the relationship with the architecture and works in a way that goes beyond just viewing Confirmed for 2025 are the W on Sunday and Other Paintings projects (in collaboration with the S Chiara Cultural Services Center and the Nuovo Cineforum Rovereto) as well as the association with Oriente Occidente The museum will continue to participate in local initiatives and enrich the cultural offerings of the area the Mart will participate for the first time in the Educa Immagine festival organized and produced by the Trentino Film Commission workshops and activities for adult audiences and schools the festival aims to raise public awareness of the importance of visual education delving into the museum’s identity issues and the languages of contemporaneity The 2025 exhibition calendar confirms the direction of recent years dialogues between different eras and big names in art an experimental and workshop project in collaboration with the University of Trento the first exhibitions will open on March 8 with two shows dedicated to the Luigi Ferro and Vincenzo Paolillo collections accompanied by a focus on the career of sculptor Marco Ferri From April 12 come the major spring exhibitions with an international scope: the new photographic project by Sebastião Salgado in collaboration with MUSE and the Trento Film Festival; the first major Italian monographic exhibition dedicated to the painter Li Yongzheng; and an unprecedented comparison between the modern painters Pyke Koch and Cagnaccio di San Pietro.Spring will close with a solo exhibition of fashion photographer Daniele Tamagni from May 17 at the Galleria Civica in Trento the Mart anticipates that from July 12 it will host the exhibition Trentino And then the double solo exhibition of artists Nebojša Despotović and Barbara De Vivi at the Galleria Civica in Trento.As always the exhibition program will be enriched by research projects at the Archivio del ’900 and in-depth focuses at the Casa d’Arte Futurista Depero [tgdcta items=”1″ id=”170460″] Luca Nardi has won three of his last five matches Nardi lost his opening match against Blanchet in straight sets Luca won his opening round match against Fonio in three sets Nardi was dominant from the very start of the match and ended up winning the match in easy straight sets Prihodko is the big underdog in this matchup and we believe that he will continue in that fashion Prihodko covering the games handicap is a value bet Value bet/ the best odds: Oleg Prihodko +4.5 games handicap @1.73 @bet365 [tgdcta items=”1″ id=”170468″] Francesco Maestrelli has won three of his last five matches Maestrelli failed to qualify for the main-draw tournament Maestrelli upset Herbert in the first round Maestrelli defeated Agwi after spending almost three hours on the court and he is looking fit on the court yet again We believe that he is way more talented than Maestrelli Prizmic covering the games handicap is a value bet Value bet/ the best odds: Dino Prizmic -3.5 games handicap @1.83 @bet365 [tgdcta items=”1″ id=”170466″] Main Photo Credit: Mike Frey-USA TODAY Sports Last Word On Sports is back with more action in our best bets column It promises to be an exciting opening day of WTA Rome action ATP Masters 1000 Rome 1/64-Finals Diallo – Giron: Time TBA H2H: first meeting Gabriel Diallo has won four of his last five matches It is their first title on the ATP Challenger Tour as a team Picture by TATA Open MaharashtraBy Ali Asgar NalwalaParis 2024 Olympian N Sriram Balaji and his fellow Indian partner Rithvik Bollipalli won the men’s doubles title at the Citta' Di Rovereto 2024 on the ATP Challenger Tour in Italy on Saturday defeated second-seeded French tennis player Theo Arribage and his Portuguese partner Francisco Cabral 6-3 12-10 in the final that lasted for one hour and 20 minutes This was Rithvik Bollipalli’s second title on the ATP Challenger Tour having won the crown at the Almaty Open in Kazakhstan last month with Arjun Kadhe With the momentum on their side, Theo Arribage and Francisco Cabral were poised to win the title with a 9-7 lead. However, Balaji and Bollipalli saved two match points before converting their own on the first attempt to win their maiden ATP Challenger Tour title as a pair. Earlier at the Citta' Di Rovereto 2024, Sriram Balaji and Rithvik Bollipalli defeated the unseeded pair of Daniel Masur and Alexey Vatutin 6-4, 6-3 to kickstart their campaign in the round of 16. Balaji and Bollipalli then strolled past the local pairing of Filippo Romano and Stefano Travaglia with a 6-3, 6-2 scoreline before receiving a walkover in the semi-finals. Martín Landaluce added another victory in the Challenger Rovereto 2024 progressed in the main draw of the Italian tournament after defeating Kyrian Jacquet with a score of 6-2 and 7-5 in 1 hour and 23 minutes of play Martín will face another French player in the quarterfinals This news is an automatic translation. You can read the original news, Landaluce avanza con paso firme en el Challenger de Rovereto Interested in being part of the Dana team and making an impact on the mobility world Our people are located throughout the world Explore how Dana is accelerating technology Nestled among the vineyards of the famous Dolomite mountains and nearby the captivating Lake Garda in the north of Italy lies the Dana Rovereto Technology Center — partnering with those who think without limits to deliver novel we put agility and passion at the heart of everything we do — driving research and development activities in the field of automotive mechatronic systems (mechanics With half of the team qualified to PhD-level we leverage decades of experience in mechatronics Our Rovereto facility comprises a modern and environmentally-friendly 1,800sqm structure distributed across three floors with offices We pride ourselves in developing solutions powered by insight into megatrends in electrification This means creating prototype vehicles and novel outcomes that aim to verify and validate innovative electrification concepts Our goal is to be recognized as true technology partners rather than simply as components suppliers A relentless focus on total systems thinking has shaped several collaborations with leading Off-Highway customers including Hinowa This means delivering mobile drivetrain solutions for construction as well as motion systems for a wide variety of mobile and stationary industrial applications These customized solutions support vehicles and machines with both conventional and electrified power sources and are designed to deliver innovative technologies that meet customer demands and goals worldwide Working in lockstep with our customers to actualize their demo vehicle leads to a deeper understanding around the complexity that OEMs face at a systems level This awareness has helped us to address challenges together deploying a truly collaborative and proactive approach Sustainability and Performance Optimization The world is striving to reduce greenhouse gas emissions and build a sustainable product portfolio and electrification is challenging OEMs and suppliers to rethink how the vehicle behaves we deploy a laser-sharp focus on component efficiency as well as performance optimization a more efficient driveline facilitates component downsizing strategies (motors and energy storage units) with immediate impact on the overall carbon footprint We are continuously investigating solutions to enhance product performance with a multi-disciplinary approach incorporating mechanics and fluid-dynamics among other engineering disciplines As we deal with increasingly intricate projects our verification and validation activities have evolved to bring system hardware Verification and validation is structured in levels: The benefits of verification and validation synergies between these qualification levels rely on both experimental campaigns (instruments and test benches) and virtual studies (simulations This multi-dimensional approach is fundamental to equip customers with efficient and reliable solutions and achieve shared quality targets the team has worked with additive manufacturing technologies — deploying cutting-edge expertise combined with the test facilities available here in Rovereto Our mission is to serve as Dana’s European center for 3D-printing initiatives and is structured across three pillars: CMMI Project Management and Research Scope Close collaboration plays a big role at the Dana Rovereto Technology Center With Capability Maturity Model Integration (CMMI) registration since 2018 — a process level improvement training and appraisal program administered by the CMMI Institute and developed at Carnegie Mellon University United States — we showcase our project management expertise We have also been awarded numerous research grants from both local government and the European Community our five-year smart mechatronic driveline project in partnership with local institutions targets packaging a range of technologies into standard axles and transmissions Our creative outlook has led to important collaborations with academia (e.g. which helps to increase the scope and breadth of our research ambitions Il futuro è luminoso (the future is bright) See how Dana is leading the charge in electrification Italy’s first 100-mile races on out-and-back courses The Jurassic Miles Endurance Run (JMER) is a sport event that valorises the area of Rovereto emphazising the “Orme dei Dinosauri” archeological site Launched in 2023 with the support of the Municipality of Rovereto the event has been a success thanks to its innovative format: an endurance run that covers three distances (100 miles on out&back tracks with starting and finish point at “Baita degli Alpini” This competition offers a unique experience for athletes: challenging distances with moderate height differences a rarity in the italian and european scene Click here to register and partecipate in this unmissable sport event Find out more information about the tracks: Azienda per il Turismo Rovereto Vallagarina e Monte Baldo in cooperation with “Fondazione Museo Civico di Rovereto” presents three special events: The meeting point can be reached using a free shuttle bus service info@jurassicmiles.it www.jurassicmiles.it Necessary technical cookies cannot be disabled as the website would not be able to function properly without them We use them to provide our services and they contribute to basic functionalities such as page browsing language preference or access to secure areas of the website Makes it possible to distinguish users by assigning a randomly generated number as a user identifier Makes it possible to save language settings Profiling cookies are used to trace website users They are intended to provide tailored communications or advertisements that are relevant and engaging to each user This information is used to enhance the relevance of advertising Google Ads campaign performance and conversion tracking cookie Contains user information related to Google AdSense campaigns It allows you to record customer preferences and customize advertising on the website of Google and its partners Used by Google AdSense to check the efficiency of advertising on all websites that use their services Raccoglie dati sul visitatore all'interno dei siti web - Questi dati vengono utilizzati per aumentare la rilevanza della pubblicità Session cookie used to enable the chat application Contains user's chat usage information and it is used to improve the service It contains information about the user's device and which Issuu documents have been read In theInternational Year for the Conservation of Glaciers proclaimed by the United Nations Sebastião Salgado ’s (Aimorés 1944) new photography project becomes an exhibition-manifesto of visual and civic impact is intended to be a powerful and silent tale of endangered beauty: more than sixty large- and ultra-large-format photographs immortalizing some of the Earth’s most spectacular glaciers the Mart in Rovereto (from April 12 to September 21 2025) and the Muse - Museo delle Scienze in Trento (from April 12 2026).The exhibition is the brainchild of the Trento Film Festival and is produced in collaboration with Contrasto and Studio Salgado The scientific and artistic coordination is taken care of by Gabriele Lorenzoni for the Mart and Luca Scoz for the Muse with the participation of the Trento Film Festival which enriches the initiative by inserting it in the heart of its 73rd edition (Trento for which Salgado also signs the manifesto Glaciers presents a black-and-white photo gallery that traverses remote and grandiose landscapes With his usual compositional mastery and a black and white rich in depth and contrast Salgado captures the muted majesty of glacial masses essential elements of the global climate and hydrological system projects that celebrated pristine nature and indigenous cultures Salgado returns to question the relationship between man and planet producing a work that is both celebration and warning Glaciers are not just landscapes: they are water reserves is an irreversible wound to the geological and cultural memory of the planet more than 50 photographs compose an itinerary in which images offer a global and poetic vision of glacial forms and volumes intends to become contemplative and lyrical The exhibition closes with a video room featuring a thematic selection of films curated in collaboration with the Trento Film Festival Liliana Colombo’s Icemeltland Park (2020) deals with the collapse of the Earth’s ice with innovative and ironic language the images are transformed into one large site-specific installation suspended in the “Great Void,” the central space designed by Renzo Piano all taken in the Kluane National Park and Reserve (Canada) form a coherent cycle that expresses the sculptural and symbolic power of ice a catalog published by Contrasto collects the photographs and critical texts with an introduction by climatologist Elisa Palazzi professor of Climate Physics at the University of Turin The volume opens with Primo Levi’s poem The Glacier chosen for its powerful emotional and symbolic connection to the theme of memory and transformation Sebastião Salgado is one of the most important contemporary photographers he has traversed the world with his camera to document humanity and nature With his wife and curator Lélia Wanick Salgado founded Amazonas Images and Instituto Terra to promote reforestation and environmental sustainability His projects have been exhibited in major international museums and collected in cult photo books the documentary The Salt of the Earth by Wim Wenders and Juliano Ribeiro Salgado chronicled his life and commitment glaciers are not just aesthetic subjects: they are living entities Trentino becomes a meeting point between photography offering the public an opportunity to reflect on the beauty of our planet and the shared responsibility to save it The courts of the ATP Challenger tournament in Rovereto were constructed with Mapecoat TNS Comfort system products offering professional playing surfaces and an optimal experience for players Mapei was a technical partner of the APT Challenger event in Rovereto and contributed to the creation of the tennis courts by supplying Mapecoat TNS Comfort system products a cutting-edge technology in the sports surface sector the city of Rovereto hosted the nineteenth edition of the Perrel-FAIP Trophy a tournament that is part of the ATP Challenger Tour 100 and was held at the Palabaldresca the sports centre of the Circolo Tennis of Rovereto The courts at the Challenger in Rovereto were prepared using the Mapei Mapecoat TNS Comfort system an advanced technological solution designed to create professional quality playing surfaces ideal for both indoor and outdoor tournaments the courts ensured homogeneous ball bounce smooth changes of direction and a high level of playing comfort fundamental elements to allow the players to give their best in the challenges on the court Mapei’s Mapecoat TNS Comfort system (ITF certified – court pace 2 classified) stood out not only for its sports performance but also for its resistance to wear and tear The system is also suitable for outdoor use due to its resistance to external influences such as UV rays and climatic variations These characteristics have made it an optimal solution for tennis guaranteeing durability and stability over time The choice of resistant materials suited to the needs of modern sport has also been part of Mapei’s commitment to sustainability a shared value that has contributed to improving sports performance The ATP Challenger tournament in Rovereto welcomed emerging players and talent among the top 100 in the ATP rankings ready to compete on courts that offered ideal playing conditions The use of the Mapecoat TNS Comfort system confirmed Mapei’s commitment to supporting high level sporting events and guaranteeing technical solutions to improve the athletes’ playing experience With the partnership for the Rovereto Challenger Mapei renewed its commitment to support sport offering flooring solutions that not only supported the performance but also the safety and comfort of the players This project represented a further step in Mapei’s collaboration with the world of sport a partnership based on passion and continuous innovation at the service of athletes (News by Mapei) Privacy policy Martin Landaluce has won four of his last five matches losing against Fonseca in three tight sets Martin easily defeated Sels in straight sets the teenager won against Jacquet once again in straight sets Landaluce defeated Blancaneaux in consecutive sets winning the most important points of the match Luca won his opening-round match against Fonio in three sets Nardi was dominant from the start of the match and won in easy straight sets Luca defeated Prihodko in easy straight sets Landaluce is the slight favorite in this matchup Both players played solidly throughout this week We believe that this should have been a 50-50 match We expect Nardi to keep this match tight and cover the game’s handicap Nardi covering the games handicap is a value bet Value bet/ the best odds: Luca Nardi +2.5 games handicap @1.91 @bet365 Francesco Maestrelli has won four of his last five matches Maestrelli failed to qualify for the main draw tournament two weeks ago in Lyon Francesco won against Prizmic in three tight sets He even had to save one match point in the deciding set Maestrelli spent almost three hours on the court August Holmgren has won three of his last five matches Holmgren lost his opening match against Coric in three tight sets Holmgren has not lost a set in the tournament August defeated Marie in easy straight sets winning against Arnaboldi in straight sets August had the most significant challenge so far He defeated Vatutin in straight sets but lost his serve twice in the second set Holmgren is the slight favorite in this matchup Maestrelli spent too much time on the court this week Value bet/ the best odds: August Holmgren winning @1.50 @bet365 Main Photo Credit: Danielle Parhizkaran-USA TODAY Sports Many people know that there is a small enclave in Rovereto where cryptocurrencies are commonly used to purchase everyday goods and services This is not news of today: Rovereto’s Bitcoin Valley has existed for years and a few years in the world of cryptocurrencies can be geological eras But why are we talking about it again today What is topical is the fact that what has been happening in Rovereto for years and is still happening today with no specific repercussions or traumas: you enter a bar and pay for your coffee in Satoshi Or you get your house renovated and pay in Bitcoin All this, in spite of the proverbial, terrifying, volatility of cryptocurrencies, the lack of clear tax rules, the question of capital gains (will they be taxable or not?), the RW form all tax obligations work exactly as they do in the rest of Italy The same applies to the application of privacy or anti-money laundering rules There must be a reason if all this continues to work well who have been relying on it for years without any problems without necessarily having to be start-up computer experts this was made possible also thanks to the work of the company Inbitcoin which over time has worked hard not only to prepare a series of technical solutions but also to spread the crypto-culture and to overcome mistrust and allow many businesses to make the leap that now allows them to circulate wealth through cryptocurrencies has made possible the consolidation of a community that uses cryptocurrencies extensively the famous “second layer solution” that overlaps the Bitcoin network This technology actually makes the use of Bitcoin (or rather fractions of Bitcoin) to make micropayments practically feasible with the application of almost imperceptible commissions And so the expression “paying for a coffee in Bitcoin” ceases to be hyperbole and becomes a description of a concrete could also provide a significant incentive for the growth of circular economies it is technically possible to set in motion articulated split payment mechanisms which can allow the direct remuneration of all suppliers in a supply chain part of the price I pay can be diverted at the same time to pay the supplier of the flour or tomato sauce if only the Italian tax system were slightly less complex than blockchain technology and allowed to establish with some clarity the weight of taxes on the purchase price of a pizza it would be possible to direct the share in an automated way into the coffers of the Treasury even assuming that the Italian tax authorities are able to grasp the opportunity it will be possible to prepare a regulatory and technical system that will intercept the tax component of every transaction that transits on the blockchain But let’s not put the brakes on providence Returning to how this ecosystem has grown and thrived certainly the use of the Lightning Network has played a crucial role and significantly aided its consolidation it is obvious that this is not the only ingredient With the support of appropriate professionalism operators interested in growing this ecosystem have experimented with systems and applications that make it easy in everyday practice: we are talking about payment gateways and POS (Points Of Sale) that allow for the easy completion of the cryptocurrency payment transaction we are also talking about applications and systems that make it just as easy to issue compulsory tax documents such as a receipt One of the biggest cultural and emotional barriers for many businesses is the fear of not knowing how to navigate tax obligations when it comes to issuing tax documents and recording and accounting for income received in cryptocurrencies there are now many platforms and applications available on the web that make it easy to manage not only the cryptocurrency payment phase but also the simultaneous conversion of the amounts received into euros and thus the issuing of tax documents for the corresponding value Issuing a receipt or invoice following a Bitcoin payment is in fact an elementary operation as it is no different from issuing a similar tax document following a fiat currency payment The only crucial point is the correctness of the conversion of the amounts from cryptocurrency to fiat currency (in this case since it is on what the tax law defines as “normal” value that the conversion value of cryptocurrencies received in payment for goods or services should be aligned for tax purposes This problem is pragmatically solved in Rovereto’s Bitcoin Valley with an application developed by Inbitcoin itself besides acting as a POS and payment gateway both in Bitcoin and Euro instantly performs the conversions needed to issue tax documents and organizes data so that they can be easily shared with your accountant The Rovereto case has anticipated and tested, over a significantly extended period of time, what is happening in El Salvador on a much larger scale and in other Latin American countries as well: namely that the use of cryptocurrencies to purchase goods or services of common use It is not by chance that insiders claim that the El Salvador case is about to be a test case for technologies operating on the second layer of the Bitcoin blockchain aim to make transactions more sustainable and immediate than those of the underlying blockchain this could mean that with the possible multiplication of communities such as these cryptocurrencies would move back to the origins outlined in Satoshi Nakamoto’s paper: they would increasingly function as a means of payment; with the consolidation of a certain purchasing power they would increasingly take on the character of a store of value and their volatility could be mitigated perhaps they would be used less and less as an opportunity for speculation but cryptocurrencies are a world that has accustomed us to the most unexpected surprises Stay updated on all the news about cryptocurrencies and the entire world of blockchain Martín Landaluce has succumbed in the semifinal of the Rovereto Challenger against local player Luca Nardi in 1 hour and 55 minutes of play (6-4 2-6 6-3) the week has been very positive for the young Spanish prospect after defeating Geoffrey Blancaneaux The final will be played between Luca Nardi and the winner of the match between Francesco Maestrelli and August Holmgren Martín Landaluce's season has been highly successful as he climbed over 300 places in the rankings starting at 449 and finishing inside the Top 150 It is highly likely that in 2025 we will start to see him in more ATP tournaments which will be a great development for Spanish tennis This news is an automatic translation. You can read the original news, Landaluce termina su temporada al caer en las semifinales de Rovereto A visual journey into the places and memory of Rovereto’s silk industry: until March 30 the Museum of the City of Rovereto explores with the photographic exhibition Fili di seta Visions and Suggestions by Paolo Aldi the city’s deep connection with silk production an industry that marked the territory and still leaves tangible traces in the city’s architecture and atmosphere Curated by Paolo Aldi and organized by the Fondazione Museo Civico di Rovereto the Vallagarina Community and the ApT of Rovereto Vallagarina Monte Baldo with the support of the Autonomous Province of Trento and Cassa Rurale AltoGarda - Rovereto the exhibition presents the latest work of the photographer and visual artist inspired by the history of the city’s silk industry.The exhibition unfolds through twenty original works created especially for the exhibition and printed on fine mulberry paper sheets made by a Japanese artisanal paper mill enriched by woven silk threads that recall the deep historical ties between Rovereto and its silk tradition Each work takes the form of an authentic “visual archive,” in which photographs historical documents and symbols of the local silk tradition blend harmoniously with present-day images These visual collages evoke the essence of an area whose tradition lives on in the present The exhibition thus unfolds on two distinct but complementary planes with photographic collages of images that tell the story of silk in Rovereto and create a dialogue between past and present; on the other where photographs fix architectural and hydraulic details still present in the urban fabric The exhibition is aimed at a wide and varied audience Everyone can find in this initiative a cue to reconnect with the city’s past and deepen their knowledge of a heritage that continues to live on through its material and cultural traces the former trading house of the Sichart family perfectly in tune with the narrative of the historical and cultural legacy of silk production in Rovereto the Museo della Città houses a permanent room on the second floor dedicated to Rovereto’s silk industry artwork and interactive materials documenting the entire silk production process from its naturalistic to its industrial aspects The exhibit provides an understanding of the profound impact this activity had on the economic and social life of Rovereto and its inhabitants The experience related to the silk tradition is not limited to the exhibition coordinated by ApT Rovereto Vallagarina e Monte Baldo of which the Fondazione Museo Civico is a part enriches the cultural offer with a series of events organized around four thematic paths: create Among the proposed activities are guided tours of spinning mills walks and innovative workshops that combine craftsmanship Participants can immerse themselves in urban treks and tours with tastings to discover key silk sites in Rovereto For info: https://bit.ly/natale-di-seta Oleg Prihodko has won four of his last five matches Prihodko reached the 1/8-Finals as a qualifier where he was stopped by Hemery in three tight sets Oleg also successfully qualified for the main-draw tournament winning both of his qualifying matches in straight sets Prihodko served well throughout the whole match The Ukrainian is slowly but surely transferring from the ITF level to the challenger level Luka Mikrut has lost three of his last five matches The Croatian is lurking around the top 400 in the rankings Luka played in the ITF tournament in Greece Mikrut won his opening main-draw round against Feldbausch in straight sets with both players losing their serve very often Luka had his biggest results on the clay courts His biggest result was reaching the challenger final in Zagreb where he fell short against Dzumhur in straight sets Prihodko is the slight favorite in this matchup We believe that he is a way better hard-court player than Mikrut and also more experienced playing at this level We expect him to dominate from the very start and win this match easily Value bet/ the best odds: Oleg Prihodko winning @1.57 @bet365 Borna Coric has won three of his last five matches This has been the worst season for the Croatian who are currently fighting to stay in the top 100 in the rankings Borna reached the quarterfinals of the challenger tournament losing against Collignon in three tight sets Borna won his opening match against Vincent Ruggeri after fighting for almost three hours and ended up winning the match in three sets Dino Prizmic has won three of his last five matches Dino lost his opening match against Mayot in straight sets Dino missed a lot of tournaments this season due to his constant injuries We all know how well he played at the beginning of the season when he won the second set at the Australian Open against Novak Djokovic Prizmic is one of the most talented players on the tour right now Borna is the slight favorite in this matchup He spent almost three hours in his opening match so we believe that he will not be 100% fit tomorrow and we believe that his intensity and consistency will prevail in this match Value bet/ the best odds: Dino Prizmic winning @2.10 @bet365 organized in collaboration between the Mart in Rovereto and the Luigi Rovati Foundation in Milan aims to explore the cultural and artistic legacy of the Etruscans interpreted through the lens of the 20th century Under the direction of a curatorial team composed of Lucia Mannini the exhibition highlights how the Etruscan civilization has influenced 20th-century artists The exhibition opens at the Mart in Rovereto from Dec before moving to the Luigi Rovati Foundation in Milan where it will be on view from April 2 to Aug visitors will be guided through works of art historical artifacts and contemporary installations revealing the dialogue between past and present The exhibition features more than 200 works that create a dialogue between great masterpieces of modern art and archaeological finds These are complemented by dozens of documents photographs and magazines that further enrich the exhibition experience The itinerary is also based on documents and statements by the artists themselves and devoted themselves to the study of "Etruscan art." While many early 20th century artists were inspired by the classical the Etruscans also fascinated those who sought a more original and “anti-classical” language of expression An emblematic example is the Chimera by Mario Schifano (Homs made during a performance in Florence in 1985 on the occasion of the inauguration of the so-called “year of the Etruscans.” Discoveries such as theApollo of Veio a painted terracotta sculpture almost two meters high found in 1916 and now housed in the Villa Giulia Museum in Rome Among the main proponents of the “Etruscan myth” was Gabriele d’Annunzio staged in 1898 in Paris and in 1901 in Milan The growing interest in archaeology accelerated further in the second half of the twentieth century when exhibitions such as the Exhibition of Etruscan Art and Civilization in 1955 at the Palazzo Reale in Milan and Civiltà degli Etruschi in 1985 in Florence expanded the scope of the phenomenon Andy Warhol and filmmakers such as Alfred Hitchcock Etruschi del Novecento is part of a series of initiatives that promote dialogue between different historical periods The exhibition underscores the Mart’s mission to protect study and enhance a heritage of works and archival materials the exhibition reflects the identity and eclecticism of the foundation crossing historical eras and artistic categories starting from the original core of the Etruscan collection to works commissioned from contemporary artists the Mart and the Luigi Rovati Foundation present a comprehensive view of the rediscovery of Etruscan civilization in the last century through an exhibition project in two complementary stages The two exhibitions offer a dialogue between visual art and applied and graphic arts: from painting to goldsmithing techniques and materials such as painted terracotta the traditional black pottery used by the Etruscans Comparisons between ancient and modern are explored through photographic reproductions and a selection of extraordinary archaeological pieces Etruschi del Novecento will be accompanied by a catalog containing essays by the curators and the curator as well as texts by renowned scholars and scholars such as Matteo Ballarin “The entire twentieth century is traversed by an ’Etruscan fever’ that goes from Martini to Serafini and indicates a path that is not classical a true aesthetic of timeless deformation,” comments Vittorio Sgarbi “We have enthusiastically accepted this collaboration with the Mart which consolidates our constant search for dialogues between the Etruscan world and the artists who have been inspired by it over time,” says Giovanna Forlanelli The Austrian owned Grand Prix horse Rovereto has passed away on Wednesday 10 June 2020 following a severe colic attack Rovereto was a 13-year old Hanoverian gelding by Rousseau out of Wonne (by Wolkenstein II x Matcho AA) The bay was first competed as a 4-year old in 2011 by Esther Maruhn At the 2012 Bundeschampionate the pair was 15th in the 5-year old consolation finals Maruhn took him up to M-level and at the 2013 Bundeschampionate they were 15th in the 6-year old Finals In the summer of 2014 the Austrian Ahorner family purchased the horse from Jasmin Troike as a future young rider's horse for their daughter Nicola In 2016 the horse was sent to Marcus Hermes in Germany to be trained to Grand Prix level He first competed him in the Developing PSG horse classes in the autumn of 2016 and moved him up to Medium tour level in January 2017 Hermes and Rovereto showed on the 2017 Louisdor Cup circuit and finished 9th in the Finals in Frankfurt  In 2018 the pair made its international Grand Prix level debut in Nieuw en St Joosland and went on to show in Hagen and Zakrzow Rovereto moved home to Austria and was put in training with Ahorner's coach Austrian Grand Prix rider Christian Schumach The new pair had scheduled to make their CDI debut at the 2020 CDI Mariakalnok at the end of the month Last week Roverto suffered from a severe bout of colic and was immediately transported to the equine clinic "It all went really fast," Nicola Ahorner told Eurodressage "During the colic attack he sustained a stomach rupture Stalls for Rent at Durondeau Dressage in Peer, Belgium Exceptionally Well Located Equestrian Facility in Wellington, Florida Well-built Equestrian Estate With Multiple Business Opportunities in Sweden Stable Units for Rent at Lotje Schoots' Equestrian Center in Houten (NED) For Rent: Several Apartments and Stable Wing at High-End Equestrian Facility Stable Wing Available at Reiterhof Wensing on Dutch/German border Real Estate: Well-Appointed Country House with Extensive Equestrian Facility in the U.K. Rémi Blot The Italian Historical Museum of War in Rovereto turns 100 years old: on October 12 in the presence of the King of Italy Vittorio Emanuele the first nucleus of the museum was in fact inaugurated inside the Rovereto Castle the museum branch is offering a rich program of initiatives throughout 2021 with exhibitions The events are aimed at researchers and history enthusiasts projecting the museum and the city into a national and international dimension The initiatives are also accompanied by the rearrangement of the permanent tour route related to World War I the creation of the new website and a digital photo archive with also the introduction of new visitor tools for the public.Guided tours and family activities are scheduled weekly throughout the spring and summer Two temporary exhibitions can be visited until October: the photographic exhibition Libya which enhances an important collection preserved in the Museum’s archives The military supply system between the Zugna and the Highlands dedicated to the theme from military logistics The centenary initiatives will culminate in October when a photographic exhibition will be inaugurated that will reconstruct the narrative and representational modes of the conflict in monuments and public discourse starting after the war will document the great ferment of initiatives promoted by public and private authorities in the postwar period A large catalog of the uniforms of the Royal Italian Army that belong to the museum’s collections will also see publication by the end of the year an international conference dedicated to Great War museums in the Alps is planned: an opportunity to reflect on the experiences of Great War history museums and the activities of cultural associations working in the field of historical landscape enhancement in Austria The War Museum in Rovereto is one of Italy’s leading historical museums its tour is strongly relevant today: it is certainly dedicated to World War I but it is not a museum aimed only at enthusiasts and it has not remained stationary a hundred years ago; in the space of a century it has in fact completely changed its appearance (and is still evolving) and attracts thousands of visitors every year who are impressed and surprised by the richness and variety of its collections the armies and wars between the 19th century and World War I on one side and the castle and weapons of the modern age on the other The tour in the museum focuses on theevolution in the way of fighting and the endowments of soldiers from the early 19th century to World War I Displayed in the showcases are objects and photographs evidence of trench warfare and accounts of the experience of soldiers Alongside the important collections of uniforms and weapons there are the objects of daily life accompanied by texts Personal accounts of the hard life in the trenches are flanked by documents related to public narrative and war propaganda; technological aspects related to the production of military industry are complemented by social and economic aspects disrupted by the conflict Visitors are then guided up to contemporary times through the exhibition The Soldier’s Skin helmets and gas masks from World War I to the year 2000 It continues with a visit to the interior of the Venetian fortress which required lengthy restoration work and made the castle the protagonist and towers housing collections of war and hunting weapons from the modern age Built in the 15th century by the Castelbarco family but later rebuilt during the rule of the Serenissima over Rovereto the castle is nestled in the historic center and dominates over Vallagarina as can be perceived when climbing the terraces overlooking the city’s rooftops In the Marino keep is the collection of weapons from the modern age (16th-18th centuries): a large collection of armor dueling and hunting weapons; the Malipiero keep displays weapons and tools from Prehistory to the Middle Ages the air raid shelter excavated during World War II at the foot of the castle displays numerous Italian and British artillery pieces from World War I among the most extensive thematic exhibits in Italy today and the 30.5-centimeter Austro-Hungarian Skoda mortar on display in the opposite Podesta Square completes the artillery tour New multimedia tools will also soon be available along the tour route to provide a closer look at the soldiers’ wartime experience The stories will also be available in the museum’s new audio guide complete with insights and trivia Italy returns to host a major exhibition of Alex Katz (New York one of the greatest living American artists which exhibits large and very large works made in what can be defined as Katz’s season of maturity Produced by the Mart thanks to the support and with the constant confrontation of the artist and his studio the exhibition brings together canvases from major Italian and Swiss collections.The Rovereto exhibition intervenes in what we can define as Katz’s year: in fact numerous monographic exhibitions dedicated to the artist are being held around the world this year such as the one at the Guggenheim in New York (from Aug 16) and the one at the Thyssen-Bornemisza Foundation in Madrid (from June 11) to which are added those scheduled at the Timothy Taylor Gallery in London and the Colby College Museum of Art in Maine Institutions that will host Katz’s work in 2023 include the Albertina in Vienna and the Poetry Foundation in Chicago Katz arrives at the threshold of ninety-five years old with a career studded with more than 250 solo and 500 group exhibitions over seventy years although Katz has been active since the 1950s has only steadily increased since the 1990s his poetics were distant from the research of critics and institutions Both in the periods in which painting was looked upon with more distrust (1970s and 1990s) and in the moments when it was “rehabilitated” (1980s) refined and strongly consistent with itself stands in sharp contrast: it does not presuppose action Distant from “intellectualisms,” she wants to depict life for what it is To Katz’s current fame in Italy and Europe has undoubtedly also contributed the commitment of two Italian gallery owners: in 1990 in Modena Emilio Mazzoli organized a first exhibition curated by Achille Bonito Oliva while in the immediately following years Monica De Cardenas began to propose Katz with conviction to her collectors A few years later the watershed will be Charles Saatchi ’s exhibition (London which represents Katz’s real consecration in Europe This makes it difficult to schedule exhibitions in the Bel Paese In 1999 it was the turn of the exhibition at the Galleria Civica in Trento desired by the then director Vittoria Coen in close collaboration with De Cadernas who the following year would also follow the project at the Fondazione Bevilacqua La Masa in Venice In 2001 came Mazzoli’s second exhibition and eight years later that of MARCA in Catanzaro the last major Italian exhibition dedicated to Katz If at this point Italian exhibitions suffered a setback major museums focus on the painting of the now elderly New York painter whose works become part of the most important public and private collections The Mart in Rovereto thus picks up the important baton also to recognize the role of those who were pioneers in this story: Emilio Mazzoli La dolce vita presents in a single path and for the first time a wide selection of the works exhibited in Italy since the 1990s mainly thanks to the foresight of the two aforementioned galleries More than 40 large canvases constitute a color itinerary in which the two major genres explored by the artist are represented: portraits and landscapes Also on display is one of the very rare nudes including an excerpt from a film made by director Ranuccio Sodi for television and never aired Often associated with the Pop art movement Alex Katz reworks references from mass culture he appropriates minimalist principles while stripping them of ideological harshness dwelling on the more exquisitely formal characters that define collective taste lifestyle and thus ultimately our relationship to our surroundings With the apparent lightness of his themes and the clarity of his colorful backgrounds Katz ends up representing an anomaly in the landscape of great post-World War II American art Although he cannot be assimilated to any school his work is nevertheless a happy and original synthesis of the best artistic experiences of the twentieth century he moved away from the dramatic vitalism of the Abstract Expressionism of De Kooning and Pollock while sharing their instinctive approach of painting spread rapidly across the canvas He espouses the poster approach of Pop Art by working on large canvases but is not interested in the tomato cans movie stars or comic book heroes so dear to Warhol or Lichtenstein as in the abstract painting of pure color (Noland he exploits the expressive power of extended and uniform backgrounds he intervenes by painting portraits and landscapes that belong to his environment of choice: the most chic and cultured New York society In Katz’s canvases the atmospheres are suspended beyond the hectic time of work and worries portraits and landscapes Katz depicts only what he knows: his New York and beloved Maine He studied at the Cooper Union School of Art in New York and the Skowhegan School of Painting and Sculpture in Maine He is best known for painting portraits and landscapes although he has experimented with other techniques He has collaborated with poets and writers he worked alongside the Paul Taylor Dance Company for 50 years He has measured himself several times with major public art interventions In his 70-year career he has participated in more than 200 solo exhibitions internationally including those organized by: Whitney Museum of American Art Katz’s works have been acquired by more than 100 public collections around the world including those of New York’s great museums A room at the Albertina Museum in Vienna is dedicated to her work as is a wing at the Colby College Museum of Art in Waterville The exhibition underscores Katz’s distance from the existentialist philosophies and political and social ambitions of much contemporary art restoring the disengagement of works that celebrate the poetry of life and of a world made up of affections and places of the heart Through the paintings that have allowed Italians to become acquainted with Katz the retrospective reckons with what curator Denis Isaia calls the “moral and design question posed by Katz.” At the Mart “there are no conceptual labyrinths existential tortuosities or obscure philosophical principles a perfect time in which everything is still in an endless youth,” comments Mart President Vittorio Sgarbi The exhibition is accompanied by a catalog published by Sagep Editori with a text by Vittorio Sgarbi president of the Mart; an essay by art critic Alberto Fiz and one by exhibition curator Denis Isaia; reproductions of the works; and a selected anthology of poetic and critical contributions chosen by the artist from historical and more recent texts most of which have never been published in Italy An interview collected in March 1997 by British art critic and curator David Sylvester completes the work The exhibition can be visited during Mart’s opening hours: Tuesday through Sunday from 10 a.m. to 6 p.m., Friday from 10 a.m. to 9 p.m., closed Mondays. Tickets: full 11 euros, reduced 7 euros, free up to 14 years old and people with disabilities. For information see the Mart website Stay up to date on Hellas Verona and the promotions dedicated to you: sign up for our newsletter From May 22 to August 29, 2021, the Mart in Rovereto presents to the public the exhibition Botticelli. His Time. And Our Time, an exhibition that aims to continue the museum’s line of investigation that compares artists and movements from different eras, transcending temporal boundaries. The protagonist of the exhibition is Sandro Botticelli (Florence 1445 - 1510) present in Rovereto with a significant nucleus of masterpieces such as Pallas and the Centaur Venus from the Galleria Sabauda in Turin and Lamentation of Christ on loan from the Poldi Pezzoli Museum in Milan curated by Alessandro Cecchi (director of the Casa Buonarroti Foundation in Florence) and Denis Isaia (head of the Mart’s contemporary and public program) and aims to cross chronological boundaries and go beyond academic definitions to propose a museum that deals with art The itinerary consists of three sections intended to present the figure and work of Botticelli as well as the cultural legacy from the 20th century to the contemporary age The masterpieces in the exhibition give an account of the different phases of the artist’s life: an authentic interpreter of the profound social cultural and artistic changes that took place in Florence in the second half of the 15th century Botticelli in his last years went through an existential and religious crisis and became a devout follower of the ideas of the Dominican preacher Friar Girolamo Savonarola which is also echoed in the second part of the exhibition from Michelangelo Pistoletto to John Currin the exhibition aims to open reflections on the narrative and representation of women’s bodies the leading role is played by the image of Venus of all the most frequented by the contemporary Like a recurring obsession that spans the centuries between unchanged canons and new aesthetic paradigms The exhibition is accompanied by video introductions to the works by Vittorio Sgarbi and Riccardo Venturi and a volume published by Silvana Editoriale Lodola makes every possible known image his own simplifying it in form and inserting it into the urban landscape without disdaining the idea of winking at the tradition of illuminated signs that make festive the night skyline of cities while contending for the genuine awe of the public For all information you can log on to the Mart di Rovereto website Below are some images of works in the exhibition the Mart in Rovereto presents the exhibition Leonor Fini Fabrizio Clerici from an idea by Vittorio Sgarbi and curated by Denis Isaia and Giulia Tulino The exhibition is dedicated to the long and deep friendship that introspective and metaphysicalimagery of Italian fantastic art recently rediscovered by both art history and the market.More than four hundred works in a chronological and philological arrangement interspersed with numerous thematic lunges dedicated to the passions shared by the two artists to present the work of Fini and Clerici by comparing it with the works of their masters such as Enrico d’Assia and Eros Renzetti The exhibition aims to describe a time characterized by deep heterogeneity and cultural curiosity between the fantastic and the neo-romantic through the lives of two of its major and original protagonists For info: https://www.mart.tn.it/ Image: Leonor Fini and Fabrizio Clerici (detail) Photo by Eddy Brofferio © Archivio Eros Renzetti Ex-Peterlini, Rovereto. Courtesy Manifesta7. Manifesta7: Focus on Rovereto Manifesta7 the most recent edition of the itinerant European biennial of contemporary art this year it spans an entire region – the Trentino Alto-Adige region of Northern Italy Trailing along the north-south axis of the mountainous Brenner Pass the biennial takes place in the four picturesque towns of Rovereto this region is home to a large minority of native German speakers whose relationship with their ethnic Italian countrymen has not always been trouble-free Today Trentino enjoys the official political status of an “autonomous region” It is both a historically prominent industrial center and a distinguished site in the history of the Futurist art movement the southernmost city on the Manifesta7 itinerary It is also in Rovereto that the most amitious curatorial project of the biennial can be found tackles the Herculean task of managing the three venues of his sprawling exhibition Taking place in a mid 19th-century tobacco factury (“Manifattura Tabacchi”) an early 20th-century cocoa factory (“ex-Peterlini”) Budak’s installations function as ubiquitous community interventions that aim to involve rather than invade the smallest town ever to host a Manifesta Once considered the “Athens of the Trentino Region,” Rovereto suffered an identity crisis in the 50s but instead emphasizes the area as “far from nostalgic longing and the trauma of abandonment.” In doing so he aims to transform the identity of the town from one burdened by its conflicted geopolitical past and lost glory he invokes both Ernst Bloch’s notion of “educated hope” and Kenneth Frampton’s “critical regionalism” to raise discourse around post-nationalism Principle Hope artists appropriate public space as “an area of potentiality” by engaging in modes of resistance that undermine its legitimacy proposes responses to questions such as: “How can we think of the region critically?” and “How can we exploit critical regionalism’s power to transfigure the burden of the modern?” They also assert that the daydream can serve as a useful arena where educated hope and critical regionalism can converge and catalyze us to “venture beyond.” In sum Budak and his collaborators aim to construct a “laboratory of collective daydreams” by transforming Rovereto’s postindustrial venues from locations burdened by their past to spaces that both memorialize its great legacies and envision utopic possibilities for its future A work that engages quite neatly with these aims is Christian Philipp Müller’s fabulously outlandish Carro Largo (2008) a surreal parade float bearing a sign that reads “Space Rendezvous,” a model of the coupling American Apollo and Russian Sojuz spacecrafts and a gaggle of folk-song-singing locals clad in traditional Alpine garb The main event occurred when a tractor hauled the float from Manifattura Tabachi to ex-Peterlini to create the “parade” Although a smaller crowd turned out than Müller had perhaps hoped it still effectively engaged with the local townspeople as intended The work was inspired by the artist’s discovery of an unused pack of “ApolloSojuz” cigarettes on the tobacco factory’s floor as well as his research of Furtunato Depero’s 1936 Futurist-folklore parade float for the factory Müller efficiently draws on local history to propose his own re-adaptation of the event The House Belongs to Those Who Inhabit It (2008) is similarly critically engaged with the local site Tucked into one of Manifattura Tabacchi’s back corners Inspired by the artist’s discovery of a graffiti text bearing the title phrase on a wall of the previously anarchist-occupied ex-Peterlini building the film continues Islam’s recent process of “writing with the camera.” As if the nozzle of the spray paint can used to write the message had been fitted with a hidden camera the shot sensuously caresses the disused and crumbling surface of the wall as it literally spells out the text yet effective work validates a local form of radical resistance to hegemonic approaches to post-industrial architecture Other notable tactics towards the abandoned architecture of ex-Peterlini are Johannes Vogl’s site-specific interventions Black Hole in a White Cube (2008) and Gold-Inoculation (2008) The former is a series of peepholes the artist has installed into the newly constructed white cube walls built to obscure the former factory’s non-restored spaces The holes reveal multiple views into its dilapidated hidden rooms The latter is represented by the artist’s unseen act of injecting real gold into the walls Just as its transformation from factory to gallery increased its value this act is meant to literally enrich the building While Black Hole engenders a profound physical looking experience that gracefully pays homage to the structure’s past Gold-Inoculation is a superficial procedure that offers nothing compelling beyond its initial cleverness A series of live and filmed performances also contend with themes such as identity and place Guido van der Werve’s mesmerizing performance-based film Nummer acht Everything is going to be alright (2007) depicts the artist walking on the frozen Finnish Gulf of Bothnia towards a static camera as a massive icebreaking ship trails him by only 15 meters housed in an absurd and deceptively crude inferno-shaped structure consists of a tuxedo-clad Kjartansson and piano accompanist (artist who while sipping proseccos and smoking cigars continually perform the heartwrenching Hör' ich das Liedchen klingen from Schumann’s Dichterliebe the work’s strength lies in the music’s tragic power coupled with the disjunctive mishmash of multiple associations it presents from Romanticism to Surrealism I would be remiss in failing to mention Adam Pendleton’s powerful text-based performance Black Dada (2008) presented in “Matter of Fact” a subsidiary exhibition (curated by Krist Gruijthuijsen) dealing with pedagogy in performance Consisting of a spoken word manifesto that cleverly weaves together multiple unattributed source texts it dextorously dismantles accepted textual hierarchies while proposing alternative approaches to content regarding homosexuality “Matter of Fact” proved to be the strongest of the side exhibitions which also included: “Social Art Praxis” an amateurish exhibition of the work of IUAV student collectives (curated by Cornelia Lauf); the interesting but slightly inaccessible “Auditory Epode” exploring sound art (curated by Tobi Maier); and the lackluster “ManifeSTATION” dealing with local and trans-national identity from the perspective of city planning (curated by the Office for Cognitive Urbanism) Earning an honorable mention are the parallel exhibitions hosted by Rovereto’s five-year-old Mart museum of contemporary art which though not well-integrated into the fabric of the local community is still significant for its impressive Futurist and Arte Povera collections as well as two surprisingly exceptional temporary exhibitions Mart (Museo di arte moderna e contemporanea di Trento e Rovereto) Situating Rovereto’s identity as “in-progress” Principle Hope excavates its process of becoming something new As a town in a region rediscovering its legacies and reasserting its identity it provides the perfect platform to explore issues that are relevant to all Europeans In the light of the emergence of the European Union it serves as a case study to investigate a range of geopolitical approaches to community An element of “becoming” is hoping for an imagined something else on the whole Principle Hope should be commended for audaciously submitting inspiring and innovative proposals for what our greatly anticipated future might look like Gillian Sneed is a writer in New York.gilliansneed@gmail.com WALDEN — Marjorie Rovereto has a $154 million wayward ship to right — Hometown Bank of the Hudson Valley A mounting pile of bad real estate loans threw the bank off course who designated the bank as in "troubled condition" in March They're requiring major changes in how the bank handles loans and manages risk Rovereto had an idea of what she was in for when she became CEO in January She joined the bank as president in August 2012 "Tom was as forthright as he could be," Rovereto said of her predecessor Hometown Bank had a regulatory exam a few months after Rovereto started detailing how Hometown has to go about improving its performance from profitability to compliance with banking laws to loans and capital "They got the kitchen sink thrown at them," said Albany bank analyst Art Loomis The regulatory order requires the bank to revamp its management Rovereto hired a workout specialist and brought in a vice president of credit administration from Ulster Savings Bank where she previously was president and CEO Development and acquisition loans — loans to developers for subdivisions — are now verboten The bank has too many of them compared to other types of loans The bank is trying to sell property it came to own either through foreclosure or deeds-in-lieu of foreclosure That will reduce the expenses that come with being a landowner — lawn mowing and property taxes The bank has made some progress with other properties builders had hoped to populate with homes back when the market was going gangbusters The balance has been paid on three properties in Walden owned by John Katonah who had faced criminal charges on an unrelated issue Hometown Bank filed a foreclosure notice in March 2012 questions why the bank is losing money now Hometown Bank Chief Financial Officer Stephen Dederick said Orange County has entered and exited real estate busts a bit later than the rest of the country The bank's bad loans started accumulating in 2009 the bank held a total of $15.3 million in nonperforming assets and restructured loans Loomis said that the bank may be distracted from growing its business as it works to comply with the regulatory agreement new management can often work more efficiently at getting the bank on the right course because they don't have the same attachments Rovereto is considering introducing Small Business Administration loans at Hometown and plans to continue to build its residential mortgage business "We have to run the business so we make money and move forward," she said Baruchello has continually essayed new and different forms of expression: from paintings on the most disparate media to “box-objects,” from film montages to environmental actions and projects.The Rovereto exhibition offers a thematic path through Gianfranco Baruchello’s main nuclei of investigation 200 drawings (most of them previously unpublished) large-scale works and two works specially made for the exhibition will be on display “the dream,” a central theme in Baruchello’s research “constitutes one of the leitmotifs of the exhibition Here the relationship between real and dream dimensions is explored according to a peculiar methodology adopted between the artist and the curator.” the Mart in Rovereto presents the largest exhibition ever organized on Pietro Gaudenzi (Genoa among the most highly regarded painters of his time from an idea by Vittorio Sgarbi and curated by Manuel Carrera and Alessandra Tiddia the exhibition aims to offer an exhaustive look at the artist’s artistic journey through a selection of oil paintings and works on paper from institutions and prestigious private collections.Long forgotten by art-historical literature despite his wide participation in major exhibition events between the two wars Gaudenzi is now the focus of growing interest among scholars: with a monographic slant the exhibition is intended as a first reconnaissance of the painter’s oeuvre necessary for a better understanding of his rediscovery The Mart presents all together for the first time works from public and private collections including nine works from the Leonardo da Vinci National Museum of Science and Technology in Milan The large Baptism from 1932 and the Portrait of Guido Rossi (1925) Prominent among the exhibition’s rarities is La mia scuola di Napoli (My School in Naples) a circa 1938 canvas never before exhibited in a public museum The painting depicts Gaudenzi’s studio at the time he was teaching painting at the Academy of Fine Arts in Naples and also represents one of his rare nudes Divided into five sections devoted respectively to the painting of the affections the exhibition concludes with a review of colored drawings referring to the cycle of frescoes for the Castle of the Knights of Rhodes From his formative years between La Spezia Pietro Gaudenzi always remained faithful to a realist figuration foreign to the formalisms of the avant-garde Through the search for a direct confrontation with ancient painting reread through the filter of a twentieth-century sensibility Gaudenzi tackled in his compositions the major themes of the tradition: portraits The absolute protagonists of Gaudenzi’s visual universe are the members of his family: his first wife their children and those from his second marriage to his sister-in-law Augusta Toppi the death of the first spouse indelibly marked the painter’s life influencing his production and choice of themes After ’20 Gaudenzi explored sacred themes and religious painting more frequently The appreciation shown to him by the highest offices of the state during the Fascist twenty-year period (in 1936 he won the Mussolini Prize in 1939 he was named an Academician of Italy in 1942 the Duce commissioned a portrait) cost him oblivion after the end of World War II Jamaica— Natasha Morrison set a meet record in the women’s 100m at the 59th Palio Citta’ della Quercia a World Athletics Continental Tour – Silver on Wednesday Oblique Seville was also a winner as well as quarter-miler Rusheen McDonald and triple jumper Shanieka Ricketts while Amoi Brown also produced a podium finish in the 100m hurdles Morrison clocked 11.00 seconds (1.5m/s) to win and broke the previous record of 11.02 seconds set in 2016 by compatriot Christania Williams American Twanisha Terry was second in 11.06 seconds and Gambia’s Gina Bass third with 11.08 with Jamaican Briana Williams finishing fifth with 11.22 seconds Seville pulled away from a good field to win in 10.00 seconds (0.7m/s) beating Kenya’s Ferdinand Omanyala- 10.15 seconds with France’s Mouhamadou Fall taking third with 10.22 seconds Michael Campbell was fourth in 10.29 seconds and Rohan Watson seventh in 10.45 seconds McDonald had a good second half of the men’s 400m to win in 45.46 seconds while Zakithi Nene of South Africa with 45.69 seconds placed third Ricketts only took three jumps to win the women’s triple jump with 14.92m (2.0m/s) Thea Lafond of Dominica was next with 14.67m (1.8m/s) and Dovile Kilty of Lithuania jumped a season best 14.04m (0.8m/s) for third Brown placed second in the 100m hurdles with 12.85 (0.9m/s) as Ireland’s Sarah Lavin won with 12.76 seconds and American Taliyah Brooks was third in 12.91 seconds Rajindra Campbell placed sixth in the men’s shot put with a best mark of 20.24m as Italy’s Zane Weir broke his own meet record of 21.32m that he set in 2021 with a new mark of 21.88m His compatriot Leonardo Fabbri took second with 21.35m just edging American Joe Kovacs-21.34m Orlando Bennett placed seventh in the 110m hurdles running 14.03 seconds (1.0m/s) as Senegal’s Louis Francois Mendy ran 13.40 seconds to win ahead of Cuba Roger Iribarne- 13.49 seconds and Italy’s Hassane Fofana Italy was third with 13.52 seconds The Mart in Rovereto is hosting from December 7 to March 3 the exhibition Dürer. Mater et Melancholia, which presents some of Albrecht Dürer’s masterpieces: the famous Madonna and Child known as the Madonna of the Patronage executed in the late 15th century during one of his well-known educational trips to Italy and a series of engravings including Melencolia I.Coming from the prestigious collections of the Magnani Rocca Foundation known as the "Villa of Masterpieces," the works of the Master of Nuremberg are taken as the supreme symbol and at the same time the starting point of the exhibition to investigate two universal themes that have fascinated philosophers doctors and thinkers since the dawn of time: motherhood and melancholy If the paradigms of eternal and absolute love the human and spiritual values of the Christian tradition and a profound knowledge of the stylistic features of Italian art are easily discernible in Dürer’s depiction of motherhood undoubtedly the most known among the German master’s engravings has always been the subject of interpretation because of its numerous symbolic references the compass and the well-known polyhedron with two truncated points Also on display are about 70 works executed by great artists from different periods the brainchild of Vittorio Sgarbi and curated by Daniela Ferrari and Stefano Roffi is divided into five thematic sections: Maternity Melancholy of the Room and from the Departure Completing the exhibition project is the publication of a scholarly catalog which reproduces the entirety of the works on display and offers in addition to texts by the president of the Mart and the exhibition curators an essay by Massimo Bertozzi and Andrea Pinotti respectively dedicated to the iconography of Madonnas with Child in ancient art and the theme of melancholy in the history and philosophy of art enriched by an essay by Alessia Masi dedicated to the figure of Morandi as an engraver For all information, you can visit the official website of the Mart in Rovereto Antonio and Xavier Bueno who were later joined by Giovanni Acci Seventy years after the conclusion of this brief and controversial experience the Mart reconstructs an artistic event that represents an ideal continuation of the climate of Valori Plastici and that of Magic Realism with an exhibition curated by Beatrice Avanzi Daniela Ferrari and Stefano Sbarbaro.At the end of 1947 the nascent group of Modern Reality Painters mounted an exhibition in the gallery of the magazine L’Illustrazione Italiana The exhibition is accompanied by a pamphlet-manifesto signed by four of the artists present: the eldest is Gregorio Sciltian (Nakhichevan-on-Don a Russian painter of Armenian origin active in Milan With him are Milanese Pietro Annigoni (Milan 1988) and Spanish-born brothers Xavier Bueno (Bera The exhibition also features Carlo Guarienti (Treviso and the Florentines Alfredo Serri (Florence the Modern Reality Painters would hold four more exhibitions Although appreciated by the public (there is talk of twenty thousand visitors in fifteen days for the first Milan stop) misunderstanding their intentions as curator Sbarbaro explains in the catalog photographic oleography and an empty seventeenth-century virtuosity far from the poetics of realism.” Moreover their ideological positions are decidedly heterogeneous: the Bueno antifranchists enrolled as young men in the Swiss Communist Party Sciltian an anti-Bolshevik who fled Russia what unites the Painters is the desire for a rebirth of painting that corresponds to a parallel rebirth of humanity after the destruction deprivation and suffering of the recent world conflict real and therefore eternal artistic virtues there is the desire for absolute moral and spiritual values the aspiration for that authenticity which they believe can be duly traced only in “true painting.” The four claim a “moral painting in its intimate essence,” an ideological horizon that they do not believe belongs to artistic pursuits that deny the real datum Annigoni and the Bueno brothers take a stand against the outcomes of modernism and the “blunders” of the École de Paris; they condemn the avant-garde and the nascent abstractionism to which they prefer the great Italian painting tradition Decisive in the formulation of what is an artistic and cultural challenge is the contribution of Giorgio de Chirico who has established relationships of esteem with all four artists The Modern Painters of Reality lashes out harshly against the decadent artistic expressions of many contemporaries manifestations of the prevailing regression and ruin They counterpose these languages with an evocation of ancient and higher stylistic models from the past despite declaring intentions of fraternity beyond assertions about an art within the reach of all the Painters betray a polemical attitude that seems to disapprove of at least half a century of painting and that struggles to find theoretical correspondence in the socio-cultural context of the time The art world marginalizes and harshly rejects their demands which are not totally understood and are considered radical and anachronistic the group disintegrates mainly because of its inherent and remarkable heterogeneity: ideological distances and anagraphical differences shortly lead to the end of a remarkable and original artistic experience the Mart in Rovereto reconstructs the complexity of the Modern Painters of Reality the exhibition The Force of Re ality seeks to underscore the commonality of purpose that united the seven artists as Sbarbaro explains in his essay in the catalog the pictorial models offered by the old masters and found “a point of convergence in the formulation of a cultured and refined painting rich in references and quotations not only of a formal nature.” The exhibition also aims to further research the careers of individual artists already known to scholars for their richness and complexity and to reconstruct their significant parabola within the history of 20th-century Italian art such as the Portrait of the Futurist painter Ivo Pannaggi or The Self-Portrait with the Bianchi Family (1925) testify to his singular mediation between the German New Objectivity German and Magical Realism there also emerges a chromatic sensibility of seventeenth-century ancestry(The Man Combing His Hair 1925) that would later be accompanied by conscious references to the painting of Caravaggio and Velázquez(Bacchus in the Tavern increasingly crowded with objects and rich in detail with a trompe-l’oeil effect that achieves the “illusion of reality” pursued by the artist Among these works is also a tribute to Roberto Longhi where we see reproductions of a painting by Manet (among the first artists to rediscover seventeenth-century Spanish painting) and Raphael’s famous Muta as well as spectacles that remind us of the keen powers of observation of the famous art historian: the one who recognized in Sciltian the first Caravaggesque of the twentieth century The second section delves instead into Pietro Annigoni who oriented his research on the primacy of drawing according to the model of the Tuscan school engaging in a personal challenge with the artists of the past Having moved with his family to Florence from Lombardy Annigoni decided to continue his artistic studies in the Tuscan capital even after his engineer father was called back to Milan and he approached the painting of the Renaissance masters delving into the use of ancient techniques such as tempera grassa As early as 1932 he forged a lasting bond with another artist who would join as well as a tireless animator of the lively bohemian climate that characterized Annigoni’s studio in Santa Croce from the Northern Renaissance to Théodore Gericault’s Cycle of the Alienated to which Annigoni seems to refer with his Cinciarda (1942) a doctor who poses for him on more than one occasion and with La vecchia del cardo (1941): works that reflect the somber climate of the war years We then move on to the section on the Bueno brothers who arrive in Florence in January 1940 for a study trip and remain there because of Italy’s entry into the war who in 1942 helped them with their first exhibition at the Ranzini Gallery in Milan The talent and extraordinary mastery of painting techniques of the two Spanish brothers did not go unnoticed and soon their work was appreciated by Gregorio Sciltian and Giorgio de Chirico when Antonio had joined his older brother in Paris an intense artistic partnership had begun that for the next ten years intertwined the biographical and professional fortunes of the Bueno brothers Evidence of this can be seen in the works painted by four hands such as the two double self-portraits: one shows the two brothers in a carriage during an outing with Xavier’s wife reproductions of a painting by Manet from the Spanish period and a portrait of a lady by Piero del Pollaiolo that would be a reference for Antonio’s painting can be recognized with militant painting with social themes reflecting his adherence to the Communist Party and dense mellow brushstrokes reminiscent of the great Spanish tradition while Antonio adopted a lenticular vision that looked to the Flemish school The fourth section is The Modern Painters of Reality 1947-1949: the expression “reality painting” dates back to 1934 and the exhibition Les peintres de la réalité en France au XVIIe siècle curated by Charles Sterling at the Musée de l’Orangerie in Paris in 1934: another milestone in the process of critical reappraisal of Baroque art no longer considered a phase of decline after the splendors of the Renaissance In the short-lived adventure of the Modern Painters of Reality converge the researches of the four signatories of the Manifesto accompanying their first exhibition “We recreate the art of the illusion of reality the eternal and most ancient seed of the figurative arts we simply continue to carry out the mission of true painting each of us had deeply felt the need to search in nature for the common thread that would allow us to find ourselves in the labyrinth of schools that have multiplied in the last half century.” A thought surely also shared by the three artists who joined Sciltian Annigoni and the Bueno brothers in the five exhibitions held from 1947 to 1949: Giovanni Acci From the latter’s meticulous still lifes to the rigorous study of anatomy with which Acci constructs his figures to the obvious fifteenth-century references in Guarienti’s painting their works reaffirm the vocation to the real and the dialogue with the past that characterizes this brief but significant chapter in Italian twentieth-century history Two trends can be recognized in the works exhibited in this section: the first is related to the war years with allegories that reflect the tragic scenario of that period and take on a meaning of social commitment also due to its execution that lasted a good fifteen years represents a synthesis of the poetics of the Modern Painters of Reality oriented toward a more serene conversation with the visible toward the joy of a naturalistic vision without implications of denunciation of which the works of Alfredo Serri and Antonio Bueno are examples Metaphysical Atmospheres: the Relationship with Giorgio de Chirico delves into the relationship of modern reality painters with Giorgio de Chirico Sciltian met him upon his arrival in Italy and a deep lifelong bond was formed between the two “Gregorio Sciltian is the plasticist par excellence he is plastic when he gestures,” de Chirico writes making us grasp how much the rendering of volumes is the founding element of the Russian artist’s painting He also has words of sincere appreciation for the Bueno brothers calling them “two young men full of ingenuity who already possess a great craft and are the antithesis of so many illiterates of painting.” His ascendancy over the two brothers is evident in works such as Metaphysical Composition of 1940 in which Antonio diligently follows the precepts expressed by the pictor optimus in his writing The Return to the Craft where he recommends that he should take “any plaster casts,” busts or classical statues to copy them hundreds of times in order to master the true technique that “modernist and secessionist” trends have challenged All the members of the Modern Painters of Reality group approached the enigmatic dechirican theme of the mannequin stimulated by the commission of Sandro Rubboli a collector from Milan who had built up a large collection around this subject View upcoming auction estimates and receive personalized email alerts for the artists you follow The exhibition Art and Fascism analyses the variety of complex ways in which the Fascist regime influenced Italian figurative language and used art for propaganda purposes the country’s artistic output was extremely rich and multifaceted Alongside the ongoing avant-garde research of Futurism there was a “return to order” which conflated into the Novecento Italiano movement founded by Margherita Sarfatti perfect for underlining the Italian tradition from new interpretations of the great masters by the leading exponents of Novecento to more radical assertions of a propaganda art aimed at building consensus based on the restoration of harmony between tradition and modernity enjoyed the support of the regime as it sought to define an organised “system of the arts” the new places of governance became assertions of power thanks to a language reborn thanks to a renewed desire to celebrate The exhibition recalls the main occasions on which the artists of the period gave voice to the ideology themes and myths of fascism through their participation in Biennials Hailing from public and private collections the works dialogue with some of the Mart's great masterpieces and with numerous materials from the Archivio del ‘900 collections After much controversy and attempts to block the project the exhibition on Caravaggio in Trentino at the Mart in Rovereto officially starts: the show is scheduled from October 9 to December 4 The exhibition brings to the banks of the Adige River one of Caravaggio’s masterpieces Michelangelo Merisi’s oldest Sicilian work arriving from the church of Santa Lucia alla Badia in Syracuse The idea behind the exhibition is to emphasize Caravaggio’s spiritual relevance is to reverberate the 17th-century masterpiece in a selection of contemporary works and photographs.In 1608 Caravaggio condemned to be beheaded and continually on the run escaped from Malta and arrived in Syracuse It was here that he created The Burial of St intended for the high altar of the Basilica of Santa Lucia al Sepolcro subterranean rooms of the well-known latomie below the church in which the martyr’s tomb is located the expressive power of the work emerges mainly through the relationships between characters and scenic space from the tension conferred through darting light and the materiality of the canvas and color In the walls in the background of the scene which occupy almost two-thirds of the painting without any figures the curator invites the contemporary viewer to identify an expressive effect that can be approached from the Informal following the thread of conceptual relationships the Mart proposes a comparison between Caravaggio’s painting and a selection of works by the great master of Italian Informal art exhibits an Iron from the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome and then a Plastica from a private collection and three works from the Mart’s collection “The more formal and immediately visible comparisons resulting from the juxtapositions of tones atmospheres,” the presentation reads This is not the first time that Caravaggio and Burri have been related Sgarbi thus intends to deepen a furrow already traced From the wound on the throat of the saint to the ’wound’ of Burri’s Iron The comparison continues with a work by Cagnaccio di San Pietro(I Naufraghi of 1934 to recall the theme of death and the corpse lying at the feet of a group of people) Massimo Siragusa’s photographs of Gibellina’s Grande Cretto and some photographs by Dino Pedriali on the life and death of Pier Paolo Pasolini (“Caravaggesque realism,” a note reads “is embodied in the twentieth century in the figure of Pier Paolo Pasolini Fascinated by the figure of Caravaggio since his youthful studies with Roberto Longhi the poet shares with the seventeenth-century master the attention to human types and the crude realist approach that characterize his descriptions of the borgate The affinities between the two also emerge in their respective lives problems with justice and violent and untimely deaths.”) called upon by Sgarbi to express himself specifically for this exhibition with a painting about Pasolini The exhibition can be visited during Mart’s opening hours: Tuesday through Sunday from 10 a.m. to 6 p.m., Friday from 10 a.m. to 9 p.m. Closed Mondays. Tickets for the Mart: full 11 euros, reduced 7 euros. For information you can visit the Mart website quoted and interpreted throughout their careers De Chirico openly declared his admiration for Raphael considering him a reference for the elaboration of metaphysical poetics and for the subsequent classicist season; Dalí made no secret of his regard for the master a myth he looked to from his youthful years and which never confessed his direct encounter with Raphael’s work but the Urbino artist’s art appears to be at the origin of some of Picasso’s masterpieces and in particular inspired him to create a series of etchings on the theme of Raphael and the Fornarina The exhibition is divided into eight thematic sections three of which aim to explore the relationship of each artist with the art of the great Renaissance painter: cultured and systematic for de Chirico animated by deep admiration that of Dalí Dialogue with Raphael one hundred masterpieces from some of the world’s leading museums the Musée National Picasso in Paris and the Fundació Gala-Salvador Dalí in Figueres An exhibition itinerary that combines ancient and modern and places them in close dialogue For info: http: //www.mart.trento.it/ The artist sought an inner dimension in line with European abstract trends and the thought expressed by Vasily Kandinsky in his famous essay and the painter announced his “artistic suicide” in 1922 He devoted himself to the humanities and esoteric disciplines proclaiming controversial and reactionary political positions; he frequented circles close to Fascism-though he contested its hierarchies and never joined it-and of conservatism and the Italian and European extreme right.In the second half of the twentieth century his art was rediscovered: in 1963 Enrico Crispolti dedicated a retrospective exhibition to him at the La Medusa gallery in Rome and Vanni Scheiwiller published his autobiography entitled Il cammino del cinabro and acquired his archive of Dadaist writings Renewed interest in his art prompted Evola to begin painting again a few years before his death in 1974 One hundred years after his dismissal from painting the Mart in Rovereto gives an account of Julius Evola’s artistic affairs after a long period of oblivion curated by Beatrice Avanzi and Giorgio Calcara illustrates his entire artistic career through a selection of works created between 1915 and 1921 and between 1965 and 1970 the Mart’s exhibition is the largest ever organized on Evola On display are more than 50 works: in a first part paintings belonging to the Futurist period characterized by abstract elements charged with energy and unexpectedly “psychedelic”; followed by the “interior landscapes,” a pure expression of the spirit with hermetic and esoteric references; and finally the 1960s with replicas of his historical works and some figurative paintings that deviate from his early production Although he devoted himself to painting for a very short period of time Evola traversed the season of the Avant-garde movements interpreting their themes and instances with originality Common denominator of his practice: the spiritual quest For all information, you can visit the Mart’s official website From her youthful emergence to the events following WWII the exhibition at the Mart sheds light on Sarfatti’s ambitious programme of cultural expansion with particular attention devoted to the exhibitions organized in France The story is structured around the main episodes that marked Sarfatti’s life: her initial contacts with the lively Milanese artistic scene her relationship with Benito Mussolini and the role she took on in the propaganda of Fascist ideology her escape abroad following the Racial Laws and her return to Italy after the war The events of her life are documented using the materials of the precious Sarfatti Fund which arrived in Rovereto in 2009 and is conserved in the Mart’s Archivio del ‘900 the exhibition presents a hundred masterpieces by thirty great masters The exhibition in Rovereto is the result of a unitary project jointly run by the Mart and Museo del Novecento in Milan with a single catalogue published by Electa which are both autonomous and complementary enable visitors to analyze the complex personality of Sarfatti with insights into the art of the 1920s in Milan and a perspective on Margherita’s role as an ambassadress of Italian art in the world By “Transforming space as we transform ourselves: confronting our pieces with those of others” (Alvaro Siza) Inside the human being offers a narration characterized by different viewpoints arranged in the space by adopting different interpretative layers overlapping on one another The exhibition itinerary opens with a collection of pages from Siza’s notebooks followed by videos where architects and artists report their recollections of working with Siza The part entitled “Inside Image” features captivating photographic coverages of Siza’s realizations and their sites while “Inside City” is a thematic presentation of Siza’s urban renewal projects characterized by a long sequence of large wood tables stretching across the whole gallery presents Siza’s works in chronological order through an impressive set of original blueprints and scale models testifies the activity of Siza also as an industrial designer Siza’s early works date back to the late Fifties the Boa Nova restaurant in Leça de Palmeira (1958) and the Conceição swimming pool (1958-1965) need to be particularly mentioned after the end of the dictatorship in Portugal through his participation in the association SAAL (Servicio de Apoio Ambulatorio Local ) dealt with public housing development Siza obtained his first international recognition and began to work on the rehabilitation of the Kreuzberg site in Berlin and university buildings (such as the Architecture School of Porto University) as well as cultural centers and museums in South America and Asia he recently designed an underground station and the new MADRE museum in Naples MART is an important museum of modern and contemporary art in Rovereto copyright Inexhibit 2025 - ISSN: 2283-5474 The GAM in Turin is dedicating an exhibition to Italo Cremona (Pavia 1979) entitled Tutto il resto è profondo notte (Everything else is deep night); it is curated by Giorgina Bertolino Daniela Ferrari and Elena Volpato and can be visited from April 24 to September 15 The exhibition is a collaboration between GAM and Mart in Rovereto where the exhibition will move next fall from Oct explores the expressive territory of night through dreams All the rest is deep night is thus a title-sign the key chosen to trace an exhibition path dedicated to the entire arc of Italo Cremona’s painting The exhibition brings together a hundred paintings drawings and engravings and documents the artist’s highest pictorial quality rereading in the present the originality of his imagery Starting with the nucleus of works belonging to the GAM collection (fromSelf-Portrait in the Studio of 1927 to Metamorphosis of 1936 theanthological exhibition counts on a series of loans from museums a partner in the project(Composizione con lanterna the Musei Civici Luigi Barni in Vigevano (with Dialogo tra una conchiglia e un guantone da scherma from 1930 and a cohesive nucleus of visionary paintings from the 1940s-1950s) the Accademia Albertina di Belle Arti and the Musei Reali - Galleria Sabauda in Turin.The exhibition is accompanied by a catalog published by Allemandi with essays by the curators and a wealth of iconographic material The exhibition follows the temporal evolution of Cremona’s creative seasons highlighting in some rooms his distinctive elements such as specific reflections of an iconographic and poetic nature that the artist explored repeatedly over time is devoted to the exploration of the fantastic and surreal The facade room examines Turin architecture a distinctive pictorial theme developed by the artist over the decades Although seemingly devoid of any human presence the silent facades of painted buildings and houses actually reveal their role as the wings of a secret city theater constantly alluding to a space beyond the visible The nature of the large production of nudes is explored by highlighting works in which the traditional academic exercise is transformed into a visionary production of epiphanies manifestations of otherness and small hallucinations that confuse the reality of the model’s body with the pictorial segmentation of its details Alternating dreamlike or uncanny images with the more visceral and painterly approach of his work the exhibition highlights the most contemporary and relevant aspects of Cremona’s work and his figure as an eccentric intellectual involved in a variety of creative fields and akin in his peculiar interpretation of the twentieth century to other eccentric figures in Turin such as Carlo Mollino and Carol Rama Italo Cremona was born in Pavia on 1905 and died in Turin in 1979 He was an interpreter of a broad conception of art expressed through painting working as a set designer for film and theater the year in which he made his debut at the Amici dell’Arte exhibition at the Promotrice he collaborated with Mino Maccari and his magazine Il Selvaggio and in the early 1930s met Alberto Savinio then at the Quadriennale in Rome in 1931 and 1935 while in 1932 he was at the Venice Biennale where he would be present continuously from the 1930s to the 1950s His first solo exhibition opened in 1933 at the Galleria il Cenacolo in Genoa In 1937 he began working for the cinema with the set designs for Pietro Micca by Aldo Vergano Cremona would take on the positions of set designer he did the set design for Sem Benelli’s L’orchidea and Garçia Lorca’s Nozze di sangue at the Teatro Gobetti in Turin with whom in 1944 he moved to Venice where he enrolled in the I Biennium of Architecture at IUAV Painting activity was then intertwined with teaching and the publication of articles In 1946 he obtained the chair of Decoration at the Albertina Academy of Fine Arts in Turin the year in which he founded the Turin State Institute of Art He collaborated with the magazine Il Primato authored the Acetylene column in the pages of Paragone and created the magazine Circolare Sinistra He published monographs dedicated to Cino Bozzetti and Felice Casorati and was attentive to the reinterpretation of movements and phenomena of art history was published; in 1976 Improper Weapons; while in 1977 the collection of short stories Zona ombra was published From an idea by Vittorio Sgarbi and Sergio Restelli Curated by Denis Isaia and Gabriele Salvaterra Every year the Mart Collections acquire increasing cultural value thanks to donations The desire to enhance the works collected over the last five years some of which have never been exhibited in the museum's spaces has resulted in an exhibition that bears witness to the Mart's most important lines of research The exhibition begins with artists who worked between the late 19th century and the first half of the 20th century Some striking works include a late canvas by Bartolomeo Bezzi, Poesia del fiume [Poetry of the River] already exhibited at the Venice Biennale in 1914 the great Portrait of Corinna Salmon by Vittorio Matteo Corcos and Il Laghetto di Peyloubere [Peyloubere Pond] by Mario Cavaglieri In the second room is a display case containing archive documents mainly from the donations of the collector Paolo Della Grazia and from the heirs of the artist Pier Mario Ciani one of the protagonists of the Italian counterculture at the end of the 20th century On the walls are works by visual poet Lamberto Pignotti part of a larger and more generous donation as well as two works by Gianfranco Notargiacomo Exhibited for the first time in 1974 in an exhibition at the Roman gallery these canvases herald the return to painting in the following decade although they belong to the movement of conceptual research A space is reserved for the recent donation of sculptor Adolf Vallazza who wished to donate to the Mart two of his most important works in wood accompanied by an equal number of sketches Closing the exhibition is a section that focuses on the most recent works where geographically distant lines of research are brought into dialogue on the basis of common expressive approaches Source: https://www.mart.tn.it/en/mostre/new-works-for-the-mart-collections-155687 reduced price ticket € 10 (ticket valid for all current exhibitions) © 2014 - 2025 TrentinoCultura - Conception and coordination: Department for Culture write us The attack on the Twin Towers in an Afghan war rug the Mart presents "Calpestare la guerra/Step on war" exhibition at the Casa d’Arte Futurista Depero Forming part of the Mart/Great War 1914-2014 cultural programme planned for the centenary of the First World War The exhibition is curated by Nicoletta Boschiero and Edoardo Marino and presents part of one of the most important European collections of war rugs The museum dedicated to the creativity of Fortunato Depero which the artist had himself desired and regarded as a venue for meeting and dialogue will now host 50 war rugs from Afghanistan produced since 1979 in the wake of the Soviet invasion having lost all memory of the openness and reforms of the 1970s has been living in a situation of perpetual war regarded by the world with on/off attention is told in the warps and knots of the traditional rugs of resistance and the simple description of tragic everyday scenarios Made in traditional manner by skilled knotters for domestic use these rugs represent the collective memory and art of the various ethnic groups which go to make up the population of Afghanistan in a piecemeal way Using woollen yarn in an unusual combination between ancient traditions and new symbols they have created a wholly original artistic grouping signs and folklores blend and become the manifestos for proselytism Some of these rugs can be regarded in every way as works of conceptual art which unwittingly suggest a proximity of manner with the pictures of Alighiero Boetti or the work of Fortunato Depero the recording of war scenes mixes with the artistic tradition in which helicopters and scenes of violence appear alongside ornamental motifs and traditional iconography there has been a rapid evolution towards the production almost exclusively of war scenes partly in response to encouragement from the mujahideen who see the rugs as a form of protest and propaganda guns and hand grenades were now the subject of these war rugs The Twin Towers and the mujahideen themselves became symbols of resistance and constitute new iconographies in praise of war and their vision of the jihad Afghan rug production has sadly been the most significant in this field marking the most sought-after and historically the most extensive range of war rugs these rugs travelled beyond the borders of this nation constantly at war they began to be sold and collected by war veterans who created what is a business in its own right historical and social qualities make these rugs not merely prized collectors’ pieces but also the object of study and display in galleries such as the Boca Museum of Art in Philadelphia which recently dedicated an exhibition to Afghan war rugs Among the keenest enthusiasts ever since the early 1990s co-curator of the exhibition at Casa Depero and an expert in decorative arts as well as collector and author of “Guerre a tappeto Storia dell’Afghanistan nelle trame dei tappeti di Guerra.” Marino recognizes the exceptional significance of the production of Afghan war rugs which has taken on such a scale as to define the chronology of the country’s history This creates the basis for Calpestare la guerra/Step on war one of the most important collections of its kind in the world But Calpestare la guerra/Step on war is also a campaign for peace and human rights as promoted by the CoooperAction charity through the organization of exhibitions and events books and tests raising awareness about the Afghan question and the improvement of the treatment of women Many of the collection’s rugs made recently are less well-made and include errors of manufacture since in most cases they have been made by children The CoooperAction association collaborates with and supports an Afghan orphanage in which children are taken in and educated the exhibition at Casa Depero will include “handkerchiefs of peace” made by women and children and showing everyday scenes in the lives of those accustomed to war The scenes of violence alternate with childish or poetic whims source www.mart.trento.it  Global motorsport tyre brand Dmack has announced that it will “open its own tyre manufacturing facility” in Italy following a deal to use part of Marangoni’s Rovereto plant in northern Italy The Carlisle-based brand said it would be “capable of producing up to 250,000 tyres per year” at Rovereto with the “flexibility to tailor short production runs for very specific applications and to meet demands for control tyre championships.” The company adds that it wants to transfer its technical capability into racing by producing world-class products for the circuit racing and track markets Dmack states that the new facility will give it full control of product development and manufacturing It will move its technical division to Rovereto too The company wants to make the site a “centre of excellence” to “champion innovative motorsport products,” housing a bespoke research and development facility The facility will provide Dmack with an increased amount of business agility allowing it to respond quicker to market needs and to expedite product development and new product launches Dmack is most renowned for supplying tyres to the FIA World Rally Championship and secured its first event victory at Wales Rally GB in 2017 The company’s intention to extend its motorsport reach into new disciplines will involve producing circuit racing tyres with products benefitting from its experiences competing with Michelin and Hankook at the top tier of world rallying – a discipline that encompasses some of the world’s toughest roads and conditions Dmack adds that the facility will also help future-proof its business reasoning that a European manufacturing base will help to protect against uncertainties around Brexit The company has previously stated that it wanted a UK manufacturing hub alongside its Carlisle headquarters and distribution operations provides easy links to key continental markets Operations in Italy will be overseen by Alessandro Coggi who joins as managing director of Dmack Italy Coggi has 35 years’ experience in the tyre industry as group deputy sales director at Pirelli and chief executive of Goodyear Dunlop Tires Italia The plant is expected to create up to 50 new jobs and will see Dmack work alongside Marangoni The project has also received backing from the local government said: “This is a significant strategic step for Dmack we have been striving to operate our own manufacturing facility in Europe since I started the company in 2009 We will now have total control of our range expansion plans in all fields of motorsport including the entire product development process which is vital when working with manufacturer teams and series organisers “This facility will be a bespoke motorsport operation with total flexibility to produce small batch runs This will allow us to produce tailor-made specifications for customers be it a manufacturer team competing in high level championships such as WRC or private customers and championships “We would also look at producing bespoke motorsport products for other tyre manufacturers such as Indian or Chinese tyre brands who don’t have the expertise or facility but may wish to use motorsport to market their consumer products “This facility will be both an R&D centre and commercial operation We have received great support from the local government in Trentino who have supported the project to create new jobs and utilise the existing plant This is a long term strategy and firmly secures Dmack as an industrial player as we continue to push our small company to greater heights within the tyre industry.” Dmack will produce its own tyres in a section of Marangoni’s manufacturing facility in Rovereto If you would like the latest news from the Chinese tyre industry in Chinese, visit our partner site TyrepressChina.com