tag:blogger.com,1999:blog-61846147694640905812024-03-13T15:00:10.465+01:00World War I Bridges - WW1 Centenary from the river PiaveWorld War I Bridges is the Italian radar of First World War legacy. It detects initiatives in the pipeline for the Centenary seen as a new knowledge challenge.Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comBlogger304125tag:blogger.com,1999:blog-6184614769464090581.post-41672161587043955892018-10-09T11:37:00.001+02:002018-10-09T17:51:28.558+02:00Goodbye<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-U03_M5UXKj0/W7tjqu-KtMI/AAAAAAAASbU/W2cY0qR49isq7lBEDPXVEz655ydn_LHFwCLcBGAs/s1600/Charles-Vildrac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="218" data-original-width="578" height="150" src="https://1.bp.blogspot.com/-U03_M5UXKj0/W7tjqu-KtMI/AAAAAAAASbU/W2cY0qR49isq7lBEDPXVEz655ydn_LHFwCLcBGAs/s400/Charles-Vildrac.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Dear All, </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">one hundred years ago, on the 9th of October 1918, <a href="https://en.wikipedia.org/wiki/Hanns_Braun">Hanns Braun</a>, a German athlete, was killed in an airplane crash <span style="font-family: "arial" , "helvetica" , sans-serif; text-align: center;">near Saint-Quentin (Aisne, France).</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And today only a few verses taken from <i><a href="https://archive.org/details/chantsdudsespr00vildgoog">Chants du désespéré (1914-1920)</a> </i>by Charles Vildrac to say goodbye: t</span><span style="font-family: "arial" , "helvetica" , sans-serif;">his is the last post of "World War I Bridges". </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Many thanks to all of you for your kind attention during these years.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">All the best,</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">World War I Bridges</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">March 28, 2012 - October 9, 2018</span><br />
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<i><span style="font-family: "arial" , "helvetica" , sans-serif;"> *For inquiries related to the contents featured in this web site, please use the contact form beside (from desktop version).</span></i>Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-66620338331152460352018-09-12T16:09:00.001+02:002018-09-12T16:09:26.855+02:00SEGNI Land Art Installation, Carso Upland, Doberdò Lakes Nature Reserve<div style="background-color: white; box-sizing: border-box; font-size: 17px; line-height: 1.6em; margin-bottom: 23px; word-wrap: break-word;">
<strong style="box-sizing: border-box;"><span style="font-family: "arial" , "helvetica" , sans-serif;">GRAND OPENING OF THE INSTALLATION </span></strong><br />
<strong style="box-sizing: border-box;"><span style="font-family: "arial" , "helvetica" , sans-serif;">(PRESS CONFERENCE AND OPENING WITH A VISITED TOUR): </span></strong><br />
<strong style="box-sizing: border-box;"><span style="font-family: "arial" , "helvetica" , sans-serif;">October the 20th, 2018, 11.30 am</span></strong><br />
<strong style="box-sizing: border-box;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Reservation is highly requested: <a href="https://www.eventbrite.it/e/biglietti-segni-inaugurazione-dellopera-di-land-art-visita-guidata-49876336465">https://www.eventbrite.it/e/biglietti-segni-inaugurazione-dellopera-di-land-art-visita-guidata-49876336465</a></span></strong></div>
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<a href="https://1.bp.blogspot.com/-P1qAyF47ZMc/W5kZBeAf9qI/AAAAAAAAST8/enrX_1q7MGQFFqmEerfjO0IiEHCeyF2uACLcBGAs/s1600/SEGNI%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="908" height="280" src="https://1.bp.blogspot.com/-P1qAyF47ZMc/W5kZBeAf9qI/AAAAAAAAST8/enrX_1q7MGQFFqmEerfjO0IiEHCeyF2uACLcBGAs/s400/SEGNI%2B1.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Two monumental red signs, condensing the vocation of a whole territory. This is how artist Joshua Cesa makes fully visible a fragment of the border between Western and Eastern Europe: border which, during centuries, has split up populations forcing them to adopt new national identities (in recenthistory, with the World Wars). The installation rises in the middle of the Carso Upland, in the Doberdò Lakes Nature Reserve. Built of fabric, and designed to be gradually consumed, the artwork has a colour that recalls the surrounding landscape’s chromatic scale, dominated by a type of karstic bush called “Sommaco”, to which a significative historical memory is connected: it’s belief that its autumn red leaves are actually the fallen soldiers’ blood resurfacing on the upland.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The visitor will be able to enjoy the artwork from different perspectives and points of view, even going inside it, discovering different perceptions of the boundary and its continuous movements.</span></div>
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<a href="https://3.bp.blogspot.com/-lcQzMWO4O7s/W5kZF_LM_SI/AAAAAAAASUA/LAiIV3SkNUsHiNR3iP8ayDKuguEM70hzgCLcBGAs/s1600/SEGNI%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="514" data-original-width="884" height="232" src="https://3.bp.blogspot.com/-lcQzMWO4O7s/W5kZF_LM_SI/AAAAAAAASUA/LAiIV3SkNUsHiNR3iP8ayDKuguEM70hzgCLcBGAs/s400/SEGNI%2B2.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><strong style="box-sizing: border-box;">Joshua C</strong><strong style="box-sizing: border-box;">esa</strong>, was born in 1986 in Monfalcone (GO) and graduated from the University of Architecture in Udine, develops his art combining architecture with digital, installative and contemporary art, experimenting on the issue of conflicts to share the memory among local people. Cesa uses <em style="box-sizing: border-box;">Land Art </em>getting inspiration from the monumental and environmental impact of some Christo’s artworks, and so he did for his latest project “<em style="box-sizing: border-box;">Segni</em>”. This installation consists of the rappresentation of a fragment of the borderline between Western and Estern Europe through two monumental straight edged signs built of special fabric tipically used to fabricate sails, more than four metres tall and respectively 30 and 36 metres long, placed on the Carso Upland, in the village of Doberdò.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Indeed, the borderline has been moved on several occasions during the World Wars, splitting up populations and forcing survivors to assume a new national identity they didn’t feel comfortable with. The two signs are made in a blood red colour in accordance with the surrounding landscape’s chromatic scale, dominated by a type of karstic bush called Sommaco to which an important historical memory is connected: they say that its red autumn leaves are actually the ancient fallen soldiers’ blood that resurfaces on the upland.</span></div>
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<a href="https://3.bp.blogspot.com/-9KlnbpG1wks/W5kZMrsaDuI/AAAAAAAASUE/NyjTF45CeKAp3R55PNIAzFHfm-vwK-CyQCLcBGAs/s1600/SEGNI%2B5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="266" src="https://3.bp.blogspot.com/-9KlnbpG1wks/W5kZMrsaDuI/AAAAAAAASUE/NyjTF45CeKAp3R55PNIAzFHfm-vwK-CyQCLcBGAs/s400/SEGNI%2B5.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For around a month, </span><strong style="box-sizing: border-box; font-family: Arial, Helvetica, sans-serif;">from the 20<span style="box-sizing: border-box; font-size: 12.75px; line-height: 0; position: relative; top: -0.5em; vertical-align: baseline;">th </span>October 2018 to the 18<span style="box-sizing: border-box; font-size: 12.75px; line-height: 0; position: relative; top: -0.5em; vertical-align: baseline;">th </span>November 2018</strong><span style="font-family: "arial" , "helvetica" , sans-serif;">, the visitor will have the possibility to enjoy the artwork from different perspectives: closely, so they could perceive the kinetic nature of the artwork, internally and from above, from the promontory of the nature reserve where the artwork’s shapes and dynamism pointing towards the sea can be easily caught. In particular, looking at the installation from the right side people may have a perception of breakthrough and tension to the destination, while on the left side the sensation will be the opposite.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This tension reminds the visitors of the public imagination of the Carso Upland as frontier with Eastern Europe, since it witnessed the World War I and the Cold War, in the period of the Berlin Wall when it was the last Italian fortress.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In a contemporary moment of transition, full of violence, the artist want to encourage the vistors to pay attention to the mortality of human beings, metaphorically represented by using a fabric that is deriberately designed to be gradually consumed by weather conditions.</span></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-37115061727697128752018-06-27T09:58:00.000+02:002018-06-27T09:58:12.432+02:00“Remarkably Prescient” Exhibition Focused on American Jewish Life during WWI to Open at National WWI Museum and Memorial on Friday, June 29<div class="m_-3750906960895229046MsoNoSpacing" style="background-color: white; color: #222222; margin: 0in 0in 0.0001pt;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">“Remarkably Prescient” Exhibition Focused on American Jewish Life during WWI to Open at National WWI Museum and Memorial<u></u><u></u></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>“For Liberty: American Jewish Experience in WWI”</i> Opens Friday, June 29</span></div>
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<a href="https://4.bp.blogspot.com/-EEKXOBHnbEA/WzNDHSjaYAI/AAAAAAAASBI/PYRyvKbLeygnDNTjpKaa2K6fE40Q-x1TwCLcBGAs/s1600/Jacob-Lavin-and-soldiers_1996-51-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1061" data-original-width="1600" height="265" src="https://4.bp.blogspot.com/-EEKXOBHnbEA/WzNDHSjaYAI/AAAAAAAASBI/PYRyvKbLeygnDNTjpKaa2K6fE40Q-x1TwCLcBGAs/s400/Jacob-Lavin-and-soldiers_1996-51-5.jpg" width="400" /></a></div>
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Jacob Lavin (center) with group of American Expeditionary Forces in France. </span></div>
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Lavin was one of the American Jews who fought in World War I.</span></div>
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">National Museum of American Jewish History, 1996.51.5</span></div>
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Gift of Marilyn Lavin Tarr</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><b><u>PRESS RELEASE</u></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>KANSAS CITY, MO</b>. – More than 250,000 Jews served in the American Expeditionary Forces in World War I. Yet, their stories – and the stories of those who remained in the U.S. during the war – often remain untold.<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Hailed by <i>Time</i> magazine as “a deep dive into a strange, history-shaking year” and by the <i>New York Times</i> as “remarkably prescient,” <a data-saferedirecturl="https://www.google.com/url?hl=it&q=https://www.theworldwar.org/explore/exhibitions/current-exhibitions/liberty-american-jewish-experience-wwi&source=gmail&ust=1530167313409000&usg=AFQjCNFRDqLp6HYdNUAlFyutpR1Q7Rbvrg" href="https://www.theworldwar.org/explore/exhibitions/current-exhibitions/liberty-american-jewish-experience-wwi" style="color: #1155cc;" target="_blank"><i>For Liberty: American Jewish Experience in WWI</i></a>, the latest special exhibition at the National WWI Museum and Memorial, portrays what life was like as an American Jew on the home front and the battlefield through remarkable stories and unique artifacts.<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">“One of the most noteworthy aspects of this exhibition is the unique perspective it provides,” said National WWI Museum and Memorial Senior Curator Doran Cart. “Seeing these extraordinary objects in person and gaining a deeper understanding of American Jewish lives during WWI is a truly incredible experience.”<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://4.bp.blogspot.com/-RZ7IELI1CJs/WzNDW0_I0qI/AAAAAAAASBM/iRGCd1QfSkY5A2EOuGEouhKejyD1tPdQACLcBGAs/s1600/Eva-Davidson-and-marines_1992-126-19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="958" height="400" src="https://4.bp.blogspot.com/-RZ7IELI1CJs/WzNDW0_I0qI/AAAAAAAASBM/iRGCd1QfSkY5A2EOuGEouhKejyD1tPdQACLcBGAs/s400/Eva-Davidson-and-marines_1992-126-19.jpg" width="238" /></a></span></div>
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Eva Davidson (right) with her fellow Marines. Davidson, an American Jew, was one of the first 300 women to enlist in the United States Marine Corps after the Secretary of the Navy began permitting it in 1918.</span></div>
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">National Museum of American Jewish History, 1992.126.19</span></div>
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<span style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Gift of Judge Murray C. Goldman in memory of his cousin Eva Davidson Radbill</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Service men and women were not segregated by religion or ethnicity except for African Americans. Trying to discover their American identity, 1917, the year that the United States entered WWI, was a unique time for Jewish Americans at home and at war.<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Rabbi Stephen S. Wise spoke for many when he wrote in the <i>New York Times</i> that military service would “mark the burial, without the hope of resurrection, of hyphenism, and will token the birth of a united and indivisible country.”<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Featured objects from the exhibition include a letter from American Jewish Joint Distribution Committee (JDC) leader Louis Marshall appealing to Jewish philanthropists like Julius Rosenwald to support the Ten Million Dollar Fund, American Jewish composer Irving Berlin’s draft registration card, and two handwritten drafts of The Balfour Declaration by Leon Simon from July of 1917, the document that outlined British support for the establishment of the Jewish state of Israel.<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The trials and tribulations and the lasting effects of WWI on the American Jewish population are also shown through documents such as a map that notes the amounts pledged to the JDC for Jewish war sufferers and a poster showing a shipment of kosher meat being loaded onto the <i>SS Ashburn</i> in New York City, bound for Danzig, Poland.<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>For Liberty: American Jewish Experience in WWI</i>, originally exhibited as <i>1917: How One Year Changed the World</i>, is organized by the National Museum of American Jewish History in Philadelphia and the American Jewish Historical Society in New York and made possible in part by the National Endowment of the Humanities: Exploring the Human Endeavor.<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Bank of Blue Valley, the Regnier Family Foundation and Herb and Bonnie Buchbinder are sponsors of the exhibition’s appearance in Kansas City with the Kansas City Jewish Chronicle and KCPT serving as media sponsors.<u></u><u></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This special exhibition will be open to the public at the National WWI Museum and Memorial from Friday, June 29-Sunday, Nov. 11, 2018, in the Wylie Gallery.</span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">About the National WWI Museum and Memorial<u></u><u></u></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;">The National World WWI Museum and Memorial is America’s leading institution dedicated to remembering, interpreting and understanding the Great War and its enduring impact on the global community. The Museum and Memorial holds the most comprehensive collection of World War I objects and documents in the world and is the second-oldest public museum dedicated to preserving the objects, history and experiences of the war. The Museum and Memorial takes visitors of all ages on an epic journey through a transformative period and shares deeply personal stories of courage, honor, patriotism and sacrifice. Designated by Congress as America’s official World War I Museum and Memorial and located in downtown Kansas City, Mo., the National WWI Museum and Memorial inspires thought, dialogue and learning to make the experiences of the Great War era meaningful and relevant for present and future generations. To learn more, visit <a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.theworldwar.org&source=gmail&ust=1530167313409000&usg=AFQjCNHK0d20RCNia6mwGsmaLADWzHU_Ig" href="http://www.theworldwar.org/" style="color: #1155cc;" target="_blank">theworldwar.org</a>.</span><u></u><u></u></span></div>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-2350144028313968652018-05-15T09:39:00.001+02:002018-05-15T09:39:35.831+02:00Einstürzende Neubauten - Lament 3. Pater Peccavi<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Einstürzende Neubauten</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Lament Tour at Auditorium RAI</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Turin, November 29, 2014</span></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-71286784008993983272018-02-27T12:10:00.000+01:002018-02-27T12:12:49.195+01:00"Visions of war. How artists and soldiers depicted World War One". An online exhibition by Europeana<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-M-ZVMEc_wdQ/WpU8V1e6knI/AAAAAAAARJM/vJJvAvQnwKI3HgltZN2_SOt7y4hmoBa-ACLcBGAs/s1600/La_tranch%25C3%25A9e___%2528%2527C%2527est_la_%255B...%255DVallotton_F%25C3%25A9lix_btv1b6951739t.JPEG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1053" data-original-width="1264" height="331" src="https://2.bp.blogspot.com/-M-ZVMEc_wdQ/WpU8V1e6knI/AAAAAAAARJM/vJJvAvQnwKI3HgltZN2_SOt7y4hmoBa-ACLcBGAs/s400/La_tranch%25C3%25A9e___%2528%2527C%2527est_la_%255B...%255DVallotton_F%25C3%25A9lix_btv1b6951739t.JPEG" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">La tranchée : ("C'est la Guerre". I) : [estampe] / Félix Vallotton</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As we can read in the announcement, the new online exhibition "Visions of War" by European examines how serving soldiers and official war artists depicted conflict on the Western Front during World War One in paintings, drawings, watercolours and sculpture.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We invite you to browse and to take a deeper look <a href="https://www.europeana.eu/portal/en/exhibitions/visions-of-war">from this link</a>.</span><br />
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-25343794930052645952018-01-22T11:15:00.001+01:002018-01-22T17:54:07.706+01:00A new book about animals in the Great War<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-bQ1yDTqJ7ms/WmW5YC71KEI/AAAAAAAAQ7Q/_VfXbShmkj4IqNbLYPohMXRg7ctux1psACLcBGAs/s1600/animals-in-the-great-war.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1022" data-original-width="721" height="320" src="https://3.bp.blogspot.com/-bQ1yDTqJ7ms/WmW5YC71KEI/AAAAAAAAQ7Q/_VfXbShmkj4IqNbLYPohMXRg7ctux1psACLcBGAs/s320/animals-in-the-great-war.JPG" width="225" /></span></a></div>
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<span style="border: 1pt none windowtext; padding: 0cm;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Press release:</i></span></span></div>
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<span style="border: 1pt none windowtext; padding: 0cm;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The eBook<span class="apple-converted-space"> </span><em>Animals in the Great War</em><span class="apple-converted-space">, </span>one of the didactic proposals that was
developed by the cultural association<span class="apple-converted-space"> </span><em>Se</em><span class="apple-converted-space">, has been released and it </span>is avalaible in both
Italian and English versions. <o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Animals in the Great War</i><span style="border: 1pt none windowtext; padding: 0cm;"> responds to the association’s pledge to promote the history of
the twentieth century, disseminating an inclusive knowledge that develops
further secondary subjects that have been excluded from institutional accounts
with the aim of expanding the definition of a discipline, in this case history,
so that it is no longer the “science of man throughout time” but the “science
of the living throughout time”.<o:p></o:p></span></span></div>
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<span style="border: 1pt none windowtext; padding: 0cm;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It provides teachers and
secondary school students with a tool, that offers updated references to
develop line of study in the classroom whilst also offering a methodological
support for individual or group work at home.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="border: 1pt none windowtext; padding: 0cm;">The eBook release was made
possible by participating in the first international competition “Europeana
Strike a match for Education” promoted by the<span class="apple-converted-space"> </span></span><a href="http://pro.europeana.eu/"><span style="border: 1pt none; color: black; padding: 0cm;">Europena</span></a><span class="apple-converted-space"> </span><span style="border: 1pt none windowtext; padding: 0cm;">cultural network in
collaboration with the<span class="apple-converted-space"> </span></span><a href="http://goteo.org/"><span style="border: 1pt none; color: black; padding: 0cm;">Goteo</span></a><span class="apple-converted-space"> </span><span style="border: 1pt none windowtext; padding: 0cm;">civic crowdfunding platform and
the proceeds from the funds raised, in which Animals in the Great War participated
and was one of the three winning projects.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="border: 1pt none windowtext; padding: 0cm;">In order to receive a copy for
free download (available formats: EPUB, PDF), please contact the cultural association
<i>Se</i> to the following link<span class="apple-converted-space"> </span></span><a href="https://surianoservizieditoriali.com/contatti/"><span style="border: 1pt none; color: black; padding: 0cm;">contatti</span></a><span class="apple-converted-space"> </span><span style="border: 1pt none windowtext; padding: 0cm;">using “Animals in the Great War
eBook” as subject line.</span></span></div>
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<a href="https://4.bp.blogspot.com/-e5cb-zfmEXk/WmYW5-kt2kI/AAAAAAAAQ8A/EODgRXJ3MdMPQ3sDXMDmXRFQYLxbfEQ5QCLcBGAs/s1600/Attaching%2Ba%2Bdispatch%2Bon%2Ba%2Bcarrier%2Bpigeon%252C%2B1917%2B%25C2%25A9%2B%25C3%2596NB%252C%2BEuropeana%2BCollection%2B1914-1918.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="247" data-original-width="400" height="246" src="https://4.bp.blogspot.com/-e5cb-zfmEXk/WmYW5-kt2kI/AAAAAAAAQ8A/EODgRXJ3MdMPQ3sDXMDmXRFQYLxbfEQ5QCLcBGAs/s400/Attaching%2Ba%2Bdispatch%2Bon%2Ba%2Bcarrier%2Bpigeon%252C%2B1917%2B%25C2%25A9%2B%25C3%2596NB%252C%2BEuropeana%2BCollection%2B1914-1918.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Attaching a dispatch on a carrier pigeon, 1917 </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">© ÖNB, Europeana Collection 1914-1918</span></div>
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<a href="https://3.bp.blogspot.com/-rMuXnv1LFkc/WmYW583rLjI/AAAAAAAAQ8E/6Hbwo-yi6hkwGNgt2Pi35Ewm-kZqln2YQCLcBGAs/s1600/Captured%2BItalians%2Bbury%2Bhorses%2Blying%2Bon%2Bthe%2Bstreet%252C%2B1917%2B%25C2%25A9%2B%25C3%2596NB%252C%2BEuropeana%2BCollection%2B1914-1918.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="502" data-original-width="828" height="242" src="https://3.bp.blogspot.com/-rMuXnv1LFkc/WmYW583rLjI/AAAAAAAAQ8E/6Hbwo-yi6hkwGNgt2Pi35Ewm-kZqln2YQCLcBGAs/s400/Captured%2BItalians%2Bbury%2Bhorses%2Blying%2Bon%2Bthe%2Bstreet%252C%2B1917%2B%25C2%25A9%2B%25C3%2596NB%252C%2BEuropeana%2BCollection%2B1914-1918.jpg" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Captured Italians bury horses lying on the street, 1917 </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">© ÖNB, Europeana Collection 1914-1918</span></div>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-75387166571225578922017-10-27T12:14:00.000+02:002017-10-27T14:45:26.708+02:00"Memory Lands", the new exhibition of the B#SIDE WAR FESTIVAL's opening in Treviso (Italy)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-lUz3s5Dg6bc/WfGrozMn-QI/AAAAAAAAQj4/Kg8WwcbJ0dUJCWHYYnmmOck_W1rVll9xgCLcBGAs/s1600/Gordon%2BBelray%252C%2B%2527STUDY%2BFOR%2BTHE%2BBATTLE%2BOF%2BTHE%2BSOMME.%2BTWO%2BPEASANT%2BWOMEN%2BIN%2BFIELD%2527%252C%2Bstampa%2Bd%2527archivio%252C%2B2014.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1250" data-original-width="1600" height="312" src="https://1.bp.blogspot.com/-lUz3s5Dg6bc/WfGrozMn-QI/AAAAAAAAQj4/Kg8WwcbJ0dUJCWHYYnmmOck_W1rVll9xgCLcBGAs/s400/Gordon%2BBelray%252C%2B%2527STUDY%2BFOR%2BTHE%2BBATTLE%2BOF%2BTHE%2BSOMME.%2BTWO%2BPEASANT%2BWOMEN%2BIN%2BFIELD%2527%252C%2Bstampa%2Bd%2527archivio%252C%2B2014.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Gordon Belray,<br />'STUDY FOR THE BATTLE OF THE SOMME.<br />TWO PEASANT WOMEN IN FIELD'<br />print, 2014</span></td></tr>
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<span style="color: red; font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;"><b>MEMORY LANDS</b></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><u>Vernissage:</u> Friday the 10th November 2017 at 06.30 p.m., at B#S GALLERY (Via Isola di mezzo 3/5, Treviso, Italy).</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><u>Exhibition's details: </u>the exhibition will be available from the 11th November to the 2nd December, from Monday to Saturday with timetable 10.00 a.m. - 06.00 p.m. (free visited tours available in location).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><u>Infoline:</u> <a href="http://www.iodeposito.org/">www.iodeposito.org</a>; <a href="http://www.bsidewar.org/">www.bsidewar.org</a></span></div>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-UNMYrr9sldk/WfGsAn4zndI/AAAAAAAAQj8/ukg47OrfIFcch6rmpmBfIdlA4W9HpYPGwCLcBGAs/s1600/Jane%2BGlynn%252C%2B%2527TRENCHES%2BIN%2BTHE%2BFLANDERS%2BSALIENT%2527%252C%2Bstampa%2Bdigitale%2Bsu%2Balluminio%252C%2B2015.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="755" data-original-width="1148" height="262" src="https://3.bp.blogspot.com/-UNMYrr9sldk/WfGsAn4zndI/AAAAAAAAQj8/ukg47OrfIFcch6rmpmBfIdlA4W9HpYPGwCLcBGAs/s400/Jane%2BGlynn%252C%2B%2527TRENCHES%2BIN%2BTHE%2BFLANDERS%2BSALIENT%2527%252C%2Bstampa%2Bdigitale%2Bsu%2Balluminio%252C%2B2015.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Jane Glynn,<br />'TRENCHES IN THE FLANDERS SALIENT'<br />digital print on aluminium, 2015</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">New perspectives on the everlasting advancing of history in war’s territories invite us to a profound consideration on the memory of the soil, through the techniques and the looks of international contemporary artists from Ireland, China, Canada, UK, Belarus. Memory Lands is the new exhibition of the B#SIDE WAR FESTIVAL's fourth edition, which enjoys the patronage of UNESCO and the Municipality of Treviso: the <b>vernissage </b>is planned on <b>Friday the 10th November </b>at 6.30 p.m., at the <b>B#S Gallery</b> (Via Isola di mezzo 3/5, <b>Treviso</b>). The exhibition will be available from the 11th November to the 2nd December, from Monday to Saturday with timetable 10.00 a.m. - 06.00 p.m. (free visited tours available in location).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the occasion of the Opening, the artist <b>Jane Glynn </b>will present the brand new preview of her photographic reportage. The Irish artist is the protagonist of the new edition of the <b>B#Side War Artists in Residence project</b>: the photographer has spent a whole month on the Carso Upland (between cities of Trieste, Gorizia, Nova Gorica, Fogliano Redipuglia, Monfalcone), where she has dedicated herself to a reportage on the karst territory. The Glynn feels particularly attached to the idea of the karst soil: in fact, her country of origin counts a vast number of karst territory, so she has developed a special bond with the Italian/Slovenian border lands as well. The element more attracting for her attention is the <b>flow of historical rivers</b>, such as the Isonzo, the Tagliamento and the Piave: they were silent protagonists of numerous battles and with their vibrant flow, they represents metaphorically the passing of time and memory.</span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-M1O8KSZD7qI/WfGsgGeHP7I/AAAAAAAAQkI/R93JLru1dI0memNUJjCjXSJqU5iQ5A3PgCLcBGAs/s1600/Victoria%2BLucas%252C%2B%2527CONFLICT%2527%252C%2Bdigital%2Bvideo%252C%2B2014.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="577" data-original-width="1024" height="225" src="https://4.bp.blogspot.com/-M1O8KSZD7qI/WfGsgGeHP7I/AAAAAAAAQkI/R93JLru1dI0memNUJjCjXSJqU5iQ5A3PgCLcBGAs/s400/Victoria%2BLucas%252C%2B%2527CONFLICT%2527%252C%2Bdigital%2Bvideo%252C%2B2014.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Victoria Lucas<br />'CONFLICT'<br />digital video, 2014</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In <i>Memory Lands</i>, soil as a natural element is the protagonist of a dynamic memory, captured by photos and videos which are able to underline its invaluable testimonial essence. <b>Starting as a static document</b>, thanks to the artists memory becomes alive and vibrating, transmitted from generation to generation, leaving an unchangeable trace in the History of the land (like the rivers that cross it).<br /><br /><b>In the exhibition, artworks by</b>: Jane Glynn (Ireland), Victoria Lucas (UK), Ting Bao (China), Gordon Belray (Canada), Lesya Pchelka e Vasilisa Palianinа (Belarus).<br /><br /><i>Contacts:</i><br /><br />Event link: <a href="http://www.bsidewar.org/en/highlights/3090/">http://www.bsidewar.org/en/highlights/3090/</a><br />Web: <a href="http://www.iodeposito.org/">www.iodeposito.org</a>; <a href="http://www.bsidewar.org/">www.bsidewar.org</a><br />info@iodeposito.org; daniela.madonna@iodeposito.org (press)</span></div>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-1245090722451334182017-09-14T12:18:00.001+02:002017-09-15T13:45:47.366+02:00The poets and the world war: "The Glory of Women" by Siegfried Sassoon<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-A7UFhXeJUkg/WblPtU_xrNI/AAAAAAAAQO4/pyZoRLxQ_RkWgZKOILWfBWPXJNeXduLGACLcBGAs/s1600/Siegfried-Sassoon.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="387" height="200" src="https://4.bp.blogspot.com/-A7UFhXeJUkg/WblPtU_xrNI/AAAAAAAAQO4/pyZoRLxQ_RkWgZKOILWfBWPXJNeXduLGACLcBGAs/s200/Siegfried-Sassoon.jpg" width="144" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">One of the international themes of First World War Centenary is the role of women during the warfare. This is logical if we consider the fact that the "Centenary mood" has to promote dialogue among different parts, countries and stakeholders through neutral topics or cross-cultural topics (like the role of women and children, the different and new technologies of war, the role of music in the different armies etc.). One of the limits of this approach is the guilty removal of all possible <i>political </i>arguments and discussions about that huge carnage. Anyway, the role of women remains a crucial aspect to take into consideration while studying the five years of the conflict. What we cannot allow is that the umbrella of political correctness hides the reality of testimony, even the one of literature and poetry. Take Siegfried Sassoon, for example. There’s no need to introduce him, he is for sure the most remembered and celebrated British “war poet”. Sassoon once wrote the sonnet “The Glory of Women” that you can read here below. And the image of women that we find there is in contrast with the image and role of women we are used to detect in the radars of Centenary speeches. This is just a foreword to the short poem and, moreover, an invitation to consider all the sides of our complex prism. Here Sassoon simply tells us that some women do not (or can not) understand the mental and materialistic condition of the modern war. Let's put it in this way: we do not know if Sassoon was right or wrong, but we can investigate considering also his standpoint.</span><br />
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<a href="https://1.bp.blogspot.com/-F1n5AB3T0TI/WblJo2cS2VI/AAAAAAAAQOs/IndTKaSnmpEMv1WVycb9zRU1WN27pCQIwCEwYBhgL/s1600/Counter-Attack%2Band%2BOther%2BPoems%2B%25281918%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://1.bp.blogspot.com/-F1n5AB3T0TI/WblJo2cS2VI/AAAAAAAAQOs/IndTKaSnmpEMv1WVycb9zRU1WN27pCQIwCEwYBhgL/s400/Counter-Attack%2Band%2BOther%2BPoems%2B%25281918%2529.jpg" width="400" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">THE GLORY OF WOMEN</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You love us when we're heroes, home on leave,
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Or wounded in a mentionable place.
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You worship decorations; you believe
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That chivalry redeems the war's disgrace.
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You make us shells. You listen with delight,
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<span style="font-family: "arial" , "helvetica" , sans-serif;">By tales of dirt and danger fondly thrilled.
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You crown our distant ardours while we fight,
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And mourn our laurelled memories when we're killed.
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You can't believe that British troops “retire”
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When hell's last horror breaks them, and they run,
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Trampling the terrible corpses—blind with blood.
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<span style="font-family: "arial" , "helvetica" , sans-serif;">O German mother dreaming by the fire,
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<span style="font-family: "arial" , "helvetica" , sans-serif;">While you are knitting socks to send your son
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<span style="font-family: "arial" , "helvetica" , sans-serif;">His face is trodden deeper in the mud.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">From Siegfried Sassoon, <i>Counter-Attack and Other Poems</i> (1918).</span></div>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-16097221441984478442017-07-29T07:52:00.001+02:002017-07-29T08:02:49.366+02:00Last days to visit the exhibition "Organic Memory" at Ca' dei Ricchi (Treviso, Italy)<div class="MsoNoSpacing">
<span lang="EN-GB"><span style="font-family: "arial" , "helvetica" , sans-serif;">If you're spending some time in the
Venice area, there are still some days to visit in the city of
Treviso the charming exhibition entitled “Organic Memory”. This is located in the beautiful
venue of Ca’ dei Ricchi, just one minute walk from Piazza dei Signori, the
central and main square of the city.</span></span></div>
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<em><span lang="EN-GB" style="background: white; font-style: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></em>
<em><span lang="EN-GB" style="background: white; font-style: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The exhibition will be open
until the 5th of August with the following opening times: from Monday to
Saturday, from 10:00 a.m. to 01:00 p.m. and from 03:30 p.m. to 07:30 p.m.</span></span></em><br />
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<em style="font-family: arial, helvetica, sans-serif;"><span lang="EN-GB" style="background: white; font-style: normal;">Before leaving you with an
anticipation, namely a concise and close photo reportage of some of the artworks that this exhibition
hosts, we remind you <a href="http://www.bsidewar.org/en/upcoming/organic-memory-exhibition-at-ca-dei-ricchi-treviso/">this web page</a> dedicated to the event in the site of the
festival B#SIDE WAR. <o:p></o:p></span></em><span style="font-family: "arial" , "helvetica" , sans-serif;">The artworks that the visitors can encounter in Treviso are by Nathalie Vanheule, Boris Beja, Lang Ea, Cosima Montavoci, Anitra Hamilton, Ilisie Remus, Ting Bao and Victoria Lucas.</span></div>
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<a href="https://1.bp.blogspot.com/-F6MFt8KY7kA/WXts0Bk77FI/AAAAAAAAQBA/zxy9YHuMwjAg7lLtsg3XMwqFP52PjcCmACLcBGAs/s1600/ANITRA%2BHAMILTON%252C%2B%2527Still%2Blife%2Bwith%2BFruit%2527.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://1.bp.blogspot.com/-F6MFt8KY7kA/WXts0Bk77FI/AAAAAAAAQBA/zxy9YHuMwjAg7lLtsg3XMwqFP52PjcCmACLcBGAs/s400/ANITRA%2BHAMILTON%252C%2B%2527Still%2Blife%2Bwith%2BFruit%2527.jpg" width="400" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">ANITRA HAMILTON, <i>Still life with Fruit</i></span><br />
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<a href="https://2.bp.blogspot.com/-dXQcmID5bnw/WXts0lGPOrI/AAAAAAAAQBE/j2M7LhU4qvYESGyypDWpU0KEEedALiF-ACLcBGAs/s1600/COSIMA%2BMONTAVOCI%252C%2B%2527Tomb%2BSculpture%2527.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://2.bp.blogspot.com/-dXQcmID5bnw/WXts0lGPOrI/AAAAAAAAQBE/j2M7LhU4qvYESGyypDWpU0KEEedALiF-ACLcBGAs/s400/COSIMA%2BMONTAVOCI%252C%2B%2527Tomb%2BSculpture%2527.jpg" width="400" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">COSIMA MONTAVOCI, <i>Tomb Sculpture</i></span><br />
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<a href="https://3.bp.blogspot.com/-nOWUKYLoV04/WXts3MTnK-I/AAAAAAAAQBM/gDPogwes5PAqF0w4Gv1xSpWqpKG0WxXqgCLcBGAs/s1600/Lang%2BEa%252C%2B%2527Listen%2527.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://3.bp.blogspot.com/-nOWUKYLoV04/WXts3MTnK-I/AAAAAAAAQBM/gDPogwes5PAqF0w4Gv1xSpWqpKG0WxXqgCLcBGAs/s400/Lang%2BEa%252C%2B%2527Listen%2527.jpg" width="400" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Lang Ea, <i>Listen</i></span><br />
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<a href="https://1.bp.blogspot.com/-M1DNKS9Azus/WXts1H0LZgI/AAAAAAAAQBI/gbIDOroQH9orJmZW-RnGfDq2a4ff1ZA1gCLcBGAs/s1600/NATHALIE%2BVANHEULE%252C%2B%2527En%2BFlemme%2527.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://1.bp.blogspot.com/-M1DNKS9Azus/WXts1H0LZgI/AAAAAAAAQBI/gbIDOroQH9orJmZW-RnGfDq2a4ff1ZA1gCLcBGAs/s400/NATHALIE%2BVANHEULE%252C%2B%2527En%2BFlemme%2527.jpg" width="400" /></span></a></div>
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<span lang="EN-GB" style="background: white;"><o:p><span style="font-family: "arial" , "helvetica" , sans-serif;">NATHALIE VANHEULE, <i>En Flemme</i></span></o:p></span></div>
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<em><span lang="EN-GB" style="background: white; font-style: normal;"><o:p><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></o:p></span></em></div>
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<span lang="EN-GB" style="background: white;"><o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><i>[Photo courtesy of IoDeposito Press Office]</i></span></o:p></span></div>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-6857936046965151882017-07-24T12:00:00.000+02:002017-07-24T12:00:27.473+02:00Novels of the Great War: "War" by Ludwig Renn<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-v_RVampDM5g/WXXC1xUgAnI/AAAAAAAAP90/ztMR4L87Y3UcoYsc4OvpbuibRAudt7afQCLcBGAs/s1600/war-ludwig-renn.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="483" data-original-width="300" height="320" src="https://3.bp.blogspot.com/-v_RVampDM5g/WXXC1xUgAnI/AAAAAAAAP90/ztMR4L87Y3UcoYsc4OvpbuibRAudt7afQCLcBGAs/s320/war-ludwig-renn.jpg" width="198" /></a></div>
Here is just a quick note about a book we could enlist among the forgotten titles that came after the end of the First World War. "Krieg" by Ludwig Renn was first published in German in 1928. It was immeditaly translated into English by the publisher Martin Secker and a new edition, always with the translation by Willa and Edwin Muir, appeared in the 80s (see <a href="https://www.abebooks.co.uk/book-search/title/war/author/ludwig-renn/">here</a> for the editorial history of this title). This novel, available in Spanish and Italian, seems to have low avaibility now in English. The book is autobiographically based on the war experience of the author that becomes therefore author-narrator. The standpoint belongs to a simple soldier and the reason why a rediscovery and new proposal of this book is highly recommendable lays on the straight account of the madness and brutality of war. Like other books released several years after the end of the war, <i>War </i>by Ludwig Renn benefits from all the meditation that stands in between 1918 and 1928: bombast at the minimum level and great simplicity as the tuner of the entire novel (and great engine of dramatic force, too). The book had pretty a good success when it first came out but was probably obscured by other best-sellers soon transformed into the new banner of pacifism. Here below we suggest a short video about the book and a writer that went through all the great wars of the Twentieth century.<div>
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/FwIwfkGK1l8/0.jpg" src="https://www.youtube.com/embed/FwIwfkGK1l8?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-18447201453093148132017-06-20T17:41:00.000+02:002017-06-20T17:41:57.069+02:00The Italian sound art installation INSIGHT will 'sound' even across the border<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Uh5Y8lrmpGU/WUfxit0Z1AI/AAAAAAAAPzg/0XujzlDspVMUh_lAFRFy6BjTkxR_iv2QQCLcBGAs/s1600/Le%2B%2527Campane%2527%252C%2Bstazioni%2Buditive%2Bdi%2BInsight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="638" height="640" src="https://3.bp.blogspot.com/-Uh5Y8lrmpGU/WUfxit0Z1AI/AAAAAAAAPzg/0XujzlDspVMUh_lAFRFy6BjTkxR_iv2QQCLcBGAs/s640/Le%2B%2527Campane%2527%252C%2Bstazioni%2Buditive%2Bdi%2BInsight.jpg" width="480" /></a></div>
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<u>Press release</u></div>
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<i><i>Vernissage</i></i></div>
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Thursday the 15th June, at NAGN – National Art Gallery of Namibia, Windhoek, Namibia. </div>
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Saturdaythe 1st July, at Mosede Fort & Museum, Greve, Denmark.</div>
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<i><i>Infoline</i></i></div>
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www.iodeposito.org; www.bsidewar.org</div>
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B#SIDE WAR, the diffuse artistic and cultural Festival promoted by IoDeposito Ngo, has achieved a new international goal: <i>Insight</i>, sound art installation by Joshua Cesa, lands to Namibia on the 15th June and to Denmark on the 1st July. These two days are dedicated to the inauguration of two of the seven installation's bells, which have been donated to NAGN- National Art Gallery of Namibia and to Mosede Fort & Museum of Denmark. In fact, <i>Insight </i>is the protagonist of an international dissemination project: the ‘sensorial - auditive stations’ will take new routes, stimulating new keys to interpretation. Presented in Italy during the B#SIDE WAR FESTIVAL's second edition, the dissemination project is now oriented to an international network of partnerships with cultural institutions involved with subjects and issues covered by the artist Joshua Cesa. Thanks to this new horizon, the Italian Ngo IoDeposito and its B#SIDE WAR FESTIVAL crosses national border again and stays tuned to innovative and interactive contemporary art expression. With exhibitions, avant-garde artistic perspectives and international research projects IoDeposito carries on its missio through Festival's third edition, focused on the Great War and its legacy to contemporary society and new generations.<br />
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<i>Insight </i>is a sound installation, a sensory, narrative, auditive and visual path, a precious and vibrant relational architecture based on the perceptive stimuli of light art and sound art. Cesa's work aims to involve visitors through senses and feelings, in order to trigger an intimate and polyphonic reflection about what conflicts victims have lived. Inspired by the literary evidences of 1914-16, the artwork contributes in investigating the collective and individual memory of the first global conflict, starting from the sensorial polarity sight/deceptive – hearing/salvific, detected into the evidences of the past and common to all the conflicts of the short century. And it's exactly this polarity the main resource of vistor's interactive experience: Cesa’s installation -with Alessio Sorato and Lorena Cantarut sounds- puts in direct contact with the experiential ghost of the conflict, which is narrated by the reproduction of First World War's auditive prints through seven different ‘sensorial-auditive stations’.</div>
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<a href="https://2.bp.blogspot.com/-z3SW4JhqcT0/WUfxrH6cz-I/AAAAAAAAPzk/5_v_1exmSRIo7HmheDl8r-y13P957JE9wCLcBGAs/s1600/Stazione%2Bsensoriale-uditiva%2BInsight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1024" height="300" src="https://2.bp.blogspot.com/-z3SW4JhqcT0/WUfxrH6cz-I/AAAAAAAAPzk/5_v_1exmSRIo7HmheDl8r-y13P957JE9wCLcBGAs/s400/Stazione%2Bsensoriale-uditiva%2BInsight.jpg" width="400" /></a></div>
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The international donation project of the <i>Insight</i>'s ‘sensorial-auditive stations’ is based on the assignment of sound concepts to the local history of different countries, in order to connect each bell to the specific history of the land and stimulate new artwork's undermeaning. So, as a demonstration of artworks' universal value, each cultural location chosen (Denmark, Namibia and soon even USA, France and Russia) has recognized a piece of itself and its history in the sound concept of <i>Insight</i>. «The artist has worked with native testimonies, gathering direct life experiences» explains Chiara Isadora Artico, IoDeposito's president and B#SIDE WAR FESTIVAL's art director. The new artwork's geo-localization has, in fact, deep roots. About National Art Gallery of Namibia, the analysis of Great War human experience related to history of African conflicts has led to the choice of the <i>Campana dello Stallo</i>. The eternal repetition, the impasse condition -for example, the foxholes one- expressed in Italian war diaries' pages found here new perspectives thanks to the Namibians contribution. In this way, installed in the neutral, airy and metallic space of the Upper Museum, the sound art installation gives back a fragment of the African local history able to show inner affinity with Italian war testimonies. From comparative studies of Danish war dynamics, it can be investigated the dimension of countries indirectly afflicted by World Wars. The selected station for the Mosede Fort & Museum is the <i>Campana dell'Attesa</i>, which will become part of the important Danish museum's permanent collection. «The connection established between <i>Insight </i>and new cultural institutions' history» asserts the touched and satisfied Italian artist «it's going to create a new narration of the installation itself, but even of the absolute value of its universal message».<br />
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<i>Contacts</i><br />
Event Link: <a href="http://www.bsidewar.org/en/upcoming/insight-sound-art-installation-by-joshua-cesa-2/">http://www.bsidewar.org/en/upcoming/insight-sound-art-installation-by-joshua-cesa-</a><a href="http://www.bsidewar.org/en/upcoming/insight-sound-art-installation-by-joshua-cesa-2/">2/</a><a href="http://www.bsidewar.org/en/upcoming/insight-sound-art-installation-by-joshua-cesa-2/"> </a> ; <a href="http://www.bsidewar.org/en/upcoming/insight-sound-art-installation-by-joshua-cesa/">http://www.bsidewar.org/en/upcoming/insight-sound-art-installation-by-joshua-cesa/</a><br />
Web: www.iodeposito.org; www.bsidewar.org<br />
Direction: info@iodeposito.org<br />
Press&Communication: daniela.madonna@iodeposito.org</div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-60633739107896440022017-05-26T13:33:00.001+02:002017-05-26T13:35:51.119+02:00The new b#side war festival's horizon: Rome, with the installation "Prisoners"<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-vM1EbD-NEdg/WSgSj2KryoI/AAAAAAAAPss/kMZfubfegPYcCUxYG-wgxsQm2q0zpr57wCLcB/s1600/Prisoners%252C%2Binstallazione%2Bdi%2Barte%2Bpubblica.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://2.bp.blogspot.com/-vM1EbD-NEdg/WSgSj2KryoI/AAAAAAAAPss/kMZfubfegPYcCUxYG-wgxsQm2q0zpr57wCLcB/s400/Prisoners%252C%2Binstallazione%2Bdi%2Barte%2Bpubblica.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Press release</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i><u>Details:</u> The installation will be available: from 27th to 28th May at Piazza San Silvestro, from 6.00 p.m. to 10.00 p.m.; from 10th to 11th June at the Park of ex Manicomio Santa Maria della Pietà, from 6.00 p.m. to 10.00 p.m.; Saturday the 24th June at MAAM – Museo dell’Altro e dell’Altrove (via Prenestina, 913, Rome), from 10.00 a.m. to 8.00 p.m.<br /><br /><u>Infoline:</u> <a href="http://www.iodeposito.org/">www.iodeposito.org</a>; <a href="http://www.bsidewar.org/">www.bsidewar.org</a><br /><br />After Udine, Gradisca d'Isonzo, Pirano and Genova, B#SIDE WAR FESTIVAL's tour comes to the capital city of Italy, for the first time, with a series of appointments focused on public art. These inaugurations organized by IoDeposito Ngo start with <i>Prisoners</i>, the conceptual public art installation by Joshua Cesa: in collaboration and with the patronage of the Municipality of Rome, the first date is set for Saturday the 27th May at 6:00 p.m., at Piazza San Silvestro (Rome, Italy). The installation, which enjoys the patronage of UNESCO, will be available from 27th to 28th May, in the area of Piazza San Silvestro, from 6.00 p.m. to 10.00 p.m. For the first time in Rome, this new artistic experience opens three upcoming events dedicated to the work of art: the second one will be on Saturday the 10th June at the Ex Lavanderia and, the third one, on Saturday the 24th June at the MAAM – Museo dell’Altro e dell’Altrove. All three Roman appointments belong to the third edition of the diffuse artistic and cultural Festival B#SIDE WAR, which is promoted by IoDeposito through numerous Italian and international events such as exhibitions, conferences and research project.<br /><br />One hundred years ago, Europe looked like a big open-air prison: almost fifteen million people used to be trapped inside inhuman war jails and even more civilians were trapped between refugee camps and their own houses, living a life of destruction and deprivation. Through his installation <i>Prisoners</i>, the artist Joshua Cesa relates to that terrible war scenario trying to involve visitors in exploring a poli-focal historical point of view, between the past and the present. In fact, <i>Prisoners </i>is born from the need to investigate the experience of captivity in a perceptive sense. Starting from the historical experience of the Great War, the artwork triggers a reflection on the idea of imprisonment, a constant and invariable implication in all conflicts, impacting on the way in which we perceive the world. The installation consists in a series of cubic structures open themselves to dynamism, showing the image of many people trapped inside them, that, desperate, seek freedom. A container which become, in this way, metaphor for all the imprisonments -not only those due to overt wars, but also the ones due to concealed conflicts-, in these challenging times where man is above all prisoner of himself: so, the issue begs the unavoidable question of what are real borders of a cell. Prisoners appears to act as a veritable artistic experience, even thanks to two languages that underlie in the same work: fixity and perfection of the geometrical figure are combined with faulty and desperate gestures of those that try to achieve freedom.<br /><br />A special role is played by the three locations chosen for each appointment: with the specific intention of starting from the centre and then pull away in the suburbs, the installation will enter into contact with different types of users, generating different approaches to artistic message. So, first date's path is articulated starting from town centre where, just for two days, it will be possible to face with these stories. The artwork is in dialogue with the shapes of the city, in a cultural landscape in which <i>Prisoners </i>is filled strengthening its message of reflection on captivity as a troublesome legacy of the global conflicts: for this city, populations and civilities have fought through the millenniums. A strong connection is established even between the installation and the second Roman location, an ex psychiatric hospital: in fact, those walls keep the memory of a painful and brutal imprisonment undergone by the one who, confined there for many years, has lost the own freedom because considered insane. Installed in a context with strong symbolic value, the cubic structures become containers and contents and, above all, they become primordial testimony of desperation: the despair of the one who does not manage to get rid, now as it was then with “patients”. Roman appointments' last date is set on 24th June, at an ex suburban slaughterhouse which is now a <i>sui generis</i> art museum, hosting communities and refugee camps for the immigrants and asylum seekers. Here, the problematic social emergency of immigration rediscovers the universal message of art as tool of knowledge, cultural integration and protection. So, thoughts go to social marginalisation and precariousness as prisons from which escape seems impossible: the random meeting with the artwork leads the passers-by to reflect on the encounter/clash paradox between their freedom and the exasperated condition of the prisoner, which is outside any time and any place (awakening a valuable, albeit uncomfortable, historical memory). «Is a B#SIDE WAR FESTIVAL's really important goal to be here: Roma gives deep food for thought thanks to its specific history characterized by ancient cosmopolitan and intercultural meeting» explains Giulia Di Paola, manager of the new Roman IoDeposito Ong's headquarters «in a city that stays constantly in contact with its cultural, military and historical background, <i>Prisoners </i>can offer a new and multi-focal point of view about war conflicts' tragedy»</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Contacts</i><br />Event's link: <a href="http://www.bsidewar.org/it/prossimi-eventi/prisoners-by-joshua-cesa-7/">http://www.bsidewar.org/it/prossimi-eventi/prisoners-by-joshua-cesa-7/</a><br />Web: www.iodeposito.org; www.bsidewar.org<br />Direction: info@iodeposito.org<br />Press&Communication: daniela.madonna@iodeposito.org</span></div>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-5076748347238903162017-05-20T13:42:00.000+02:002017-05-20T13:42:29.713+02:00"Animals in the Great War”, the forthcoming eBook in Italian and English<div class="MsoNormal" style="text-align: left;">
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<a href="https://3.bp.blogspot.com/-yZTUxqBErGA/WR3CSCD6YvI/AAAAAAAAPp8/GX1mZM-FR2MXvk4jBIiJlSlo5thoDy59wCLcB/s1600/animals-ww1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="https://3.bp.blogspot.com/-yZTUxqBErGA/WR3CSCD6YvI/AAAAAAAAPp8/GX1mZM-FR2MXvk4jBIiJlSlo5thoDy59wCLcB/s400/animals-ww1.jpeg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Imperial War Museums - The British Army on the Western Front 1914-1918</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">A kneeling soldier is lifting up a pet dog in his shrapnel helmet, 22 December 1917</span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">"Animals in the Great War” is a
forthcoming eBook in Italian and English, edited by <i>Se</i>*, that will be available for free download.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Looking at the First World War from the
standpoint of the animals that took part in it, allows to emancipate the Great
War from textbook narrative, often exclusively focused on the European fronts
and the defeats or victories of single nations.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">It is an educational tool, which aims to
provide the means to shift the focus to subaltern subjectivities, encouraging a
broadening of horizons not only about a single historical event (namely the WWI),
but also for looking more widely at the facts that surround us.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">This project was one of the three winners
of “Europeana Strike a match for Education”, a competition promoted by the
cultural network </span><a href="http://pro.europeana.eu/"><span lang="EN-US">Europeana</span></a><span lang="EN-US"> and the civic crowdfunding
platform for social innovation </span><a href="https://it.goteo.org/"><span lang="EN-US">Goteo</span></a><span lang="EN-US">.
As result it is involved in a global crowdfunding campaign, which - we trust -
will provide money for a completely free publishing.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Your help to reach this goal is crucial,
especially in these first weeks of campaign.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;">Please, let this project reach the widest
possible audience through your social networks and back “Animals in the Great
War” with a donation at the crowdfunding campaign page:
http://goteo.cc/animalsgreatwar<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span lang="EN-US" style="line-height: 107%;">*Se is an Italian cultural
association, which aims to promote the knowledge and study of Twentieth-century
history. </span><span style="line-height: 107%;">Find out more at </span><a href="https://surianoservizieditoriali.com/?iframe=true&theme_preview=true"><span style="line-height: 107%;">Associazione culturale Se</span></a></i></span><span style="font-family: "calibri light" , sans-serif; font-size: 10pt; line-height: 107%;"><o:p></o:p></span></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-61018681171073230662017-05-18T12:26:00.000+02:002017-05-18T12:26:16.580+02:00Hemingway's Piave. An article by Bruno Marcuzzo (translation by Julia Owen)<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><span lang="EN-US" style="background: white; color: #616161;">The article here below by Bruno
Marcuzzo and translated by Julia Owen comes from the book<span class="apple-converted-space"> </span></span></i><span lang="EN-US" style="background: white; color: #616161;">La grande guerra tra terra ed acqua.
Storie e memorie nelle terre basse tra Livenza, Piave e Sile fino al mare<span class="apple-converted-space"> </span><i>(see<span class="apple-converted-space"> </span></i></span><span style="background: white; color: #616161;"><a href="http://www.youblisher.com/p/1461972-La-Grande-Guerra-tra-terra-ed-acqua/"><i><span lang="EN-US">here</span></i></a></span><i><span lang="EN-US" style="background: white; color: #616161;"> to flip the full book and<span class="apple-converted-space"> </span></span></i><span style="background: white; color: #616161;"><a href="http://www.artiglieria.net/articoli-1/la-piave-di-hemingway"><i><span lang="EN-US">here</span></i></a></span><span class="apple-converted-space"><i><span lang="EN-US" style="background: white; color: #616161;"> </span></i></span><i><span lang="EN-US" style="background: white; color: #616161;">for text in Italian). We invite you also to surf the site </span></i><a href="http://laguerradihemingway.it/"><i><span lang="EN-US">laguerradihemingway.it</span></i></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">Each one of us has at
least one place which represents a moment which changed our life. For Ernest
Hemingway - more than he could ever have said (1), nor we imagined – the river
Piave (2) was that place.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">Ernest arrived there as
a boy (3). He thought of war as a football match and the enemy as the away team
(4). He wore a made-to-measure uniform on which the stripes of a second
lieutenant were stitched . Whatever their age, all the American Red Cross boys
were at least second lieutenants, so, as far as the troops were concerned, they
were officers. The Italian officers spent time among them, in the canteens and
at the command posts; these were educated men and some of them spoke English. They
were certainly much more mature than Ernest. Even the infantrymen, marked by
years of combat and discomfort, seemed older. With them he shared wine and
women and all those experiences which would have been unthinkable at home in
America. The American Red Cross had entrusted him with running a canteen post,
putting men and materials at his disposal, and even a bicycle on which he could
move around without asking anyone's permission. He was a protected boy in a
grown-up world, and he was held in consideration both as an officer, and also
as an American. What more could anyone
have asked for in that particular time of life when unexpected freedom suddenly
throws open the doors onto a seemingly limitless world?</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">But soon the serenity
which came hand in hand with ignorance, his sky high self esteem, and the epic
myth of battle,would all lie buried in a trench on the bank of the river,</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">Despite ARC volunteers
being forbidden to go near the front line, it was not the first time that
Ernest had gone to look at the Austro-Hungarian trenches. That place where the
river points in an 'L' shape towards Fossalta is famous (5): just before the
last battle the Czech Lieutenant Stiny went by with the Italians bringing
important news about an attack. His friends from the Ancona Brigade were right
there, they would not cause problems. He left his bike leaning against the last
houses at the foot of the river bank and climbed the short slope. It was hot,
and the men were sleeping in holes dug out under the top of the bank. By day
one could sleep, it was darkness which made everything difficult: all the eyes
in the world would not be enough to see what was going on on the other side of
the river. In the dark all you saw was fear.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">On the curve behind the
river bank there was a large dug out protected by earth where he used to go to
chat to the soldiers. It was dark by the time he left the command post dug out
at the foot of the river bank. He went up to the trench at the top of the bank,
and made his way down towards the side of the river, before walking along the
tow path which passed in front of a house whose roof had been blown off by
mortar fire. The smell of day's heat had been replaced with the sound of the
front line. A little further on, the reflection of a flare died on the still
water of the river. In the gun emplacement were gunners and a machine gun. It
does not take many men to control enemy lines; there would not be any sense in
sacrificing more men than necessary on a position that far forward. It was an
excellent position because from that point you could see down the river in both
directions. The trenches were so close that each had a clear idea of what was
going on on the other side.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">A whispered
conversation, the glow of a cigarette, or an unexpected sound, and the
Austro-Hungarians on the other side, suspecting action, would send back a
bombardment on the Italians (6). ''Through the other sounds I heard a cough,
then came the chuh-chuh-chuh-chuh, and then there was a flash''. The aim was
perfect.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">The explosion, white,
then red, then purple, and the movement of air, carried him with it while
taking the air from his lungs. He had no time to think, he only felt himself
dying. He finished up, semi buried beneath sandbags, beams and other detritus
which continued to rain down even into the water; first the largest pieces,
near the Italian bank, and then smaller and smaller across onto the opposite
side. In the darkness he realised that near him one of the soldiers was dead,
another was crying out. The shock of the explosion had anaesthetised him (7) so
that he did not feel the many splinters of shrapnel which dug into his legs. All
he could hear with his ears was the buzzing of shattered metal. His heart must
have been bursting in his breast while the adrenaline warmed his veins.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">He should not have attacted
the attention of the enemy, indeed he should never have been there at all. Now
he could have stayed where he was, pretending to be dead, waiting for help to
arrive; instead, automatically, he began doing what he had been taught to do
which was to pick up the wounded. The height of the average Italian soldier at
that time was 1.60m while he stood not far short of 1.90m. He slung the small
soldier across his wide shoulders and started making for the the trench below
the bank. The Austro-Hungarians, pleased to have hit their target, launched a
flare to see what was going on; it exploded high, illuminating the trench and
the ruins of the house on the river bank. This scene, in a yellow flash, remained in
Ernests' eyes, becoming the synthesis of his perception of the moment. The
image of that house on the river bank would remain in his nightmares as the
representation of distress.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">From the other side of
the river they began to track him with machine gun fire and hit him first on
his left thigh and his right foot. He got to his feet again, made his way for
another fifty meters trying to reach the shelter of the bank. He was walking
badly, inside his boots his feet felt as though they were squelching in hot
water. He was bleeding from a head wound and thick blood ran down his neck. He
was hit by a second burst which hit him on the right knee and which sent him,
and the wounded man, tumbling down into the trench on the bank where he passed
out.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">At first he was given
up for dead. The officers were alarmed, not merely on his account but because
of the trouble he had caused. They would have to answer for a great many
things. Meanwhile, the Italians, put on the alert by the explosion, thinking it
was an attack, started firing their artillery across the river, and the orther
side immediately began firing back. The night of 8th July 1918 should have been
a quiet one.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">This experience
destroyed any myth he might have had of a 'just war', fought with force and the
purity of ideals.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">He realises that many
Italians do not want war. He sees signs of their mistrust towards governments,
and orders that are far removed from ordinary people who want victory even when
faced with the unspeakable sacrifices of soldiers, they are insulted by
propaganda.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">He will write (8): 'I
suppose it is just the loss of the immortality... well, in a way, that is quite
a lot to lose'. </span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">The immortality to
which he refers is also that of his youthful ideals, the myths of truth and
justice which were killed not so much by the explosion as by the betrayal
perpetuated by greater interests which held sway over the wishes of the people
and drew advantage from that. He was not frightened of dying, something that at
that point he believed to be quite simple, but of dying in order to pay someone
else's bill without meaning to.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">The young man's
illusions die on that river bank and, from there, a man who no longer believes
there is anything worth fighting for walks away.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">This is the detachment
of the 'lost generation' - the period in which he lived in Paris that was
characterised by a resigned individualism but which would slowly disappear as
the tensions in Spain led to civil war. Ernest returns to pure ideology,
choosing to align himself with the wish for self-determination, an absolute
value which cannot fail. He defends the idea of the Repubblic because it is the
only form of democratic government which he believes possible.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">The war in Spain will
teach him that no one can fight for what is right without remaining marked by
it; you cannot fight a war without getting dirtied; someone, on one side or the
other, will feel authorised to justify the violence and twist truth into
propaganda thus perpetuating the betrayal of truth, of justice, and of robbing
the sacrifice of the dignity of purity.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">For years to come, he
and his pen will fight on. But he will have his eyes wide open and firmly fixed
on the the true wishes of the people. He will denounce the manoeuvres of the
various systems of interests and he will remain steadfast in the struggle,
which he believes to be the only true measure of the dignity of man which, even
when faced with the certainty of losing, cannot betray itself.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">He returned to Italy
one more time to work on 'Across the River' with the old soldier spewing forth
confused memories. In the silence of the morning, gazing at a lagoon landscape
of almost heartbreaking beauty, he rediscovers his love for this country, a love
which now he finds in a time of peace. He returns to the river bank one last
time, not like those veterans do as they search for their lost youth, but in
order to settle his accounts with the fear of having sacrificed himself without
properly understanding or making a conscious choice.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">On the river bank every
trace of the trenches had disappeared, the wind caressed the grass on the top
of the ridge. Ernest saw once more the house on the river bank, it had stood
witness to all the events but it remained standing, and it still is now,
although rebuilt. In front of the house he searched for the crater of the
explosion, then he pulled down his nut-brown trousers (9), and with the
delicacy of an old knight (10), he prepared for a cerimonial evacuation of his
bowels. But nothing came, so he dug a
small hole in the earth and buried a thousand lira banknote which corresponded
exactly to the value of the pension which received, then he filled in the hole
and stamped down the earth, just as people do after planting seeds.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">His sowing of the seeds
had begun in 1918 with the burial of youthful illusions; it was a carelessly
made sacrifice and his voluntary efforts to an ideal had been betrayed. If he had not returned to justify his actions
then his would have remained a useless sacrifice. The mature man, who had given
form to his own ideals, could not leave that sacrifice without justifying it,
so he returned to tie together all the paths it had taken.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">He put the money in the
hole. He did not want anyone else to pay for the sacrifice he himself had made.
He had not done it for the money. He left the money gladly to this earth which
still needed so much support.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">''It's fine now,' he
thought (11). 'It has merde, money, blood; look how that grass grows... It has
everything. Fertility, money, blood and iron. Sounds like a nation. Where
fertility, money, blood and iron is, there is the fatherland.'"</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">The Second World War
had just finished and there were great expectations of the future. Through that
ceremony he found again his careless youth, he recognised it again as the
sower, justifying his sacrifice as part of the birth pangs of a new nation, and
it returns to him the dignity of blood spilt by the pure of heart.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">Before leaving, he
concluded his visit to the old front with another ritual. He stood up between
the reeds on the river bank, raised his eyes and looked across the river to the
point where the enemy lines had once been, and he spat.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">''It was a long spit
and he just made it. 'I couldn't spit that night nor afterwards for a long
time', he said. But I spit good now...'' (12)</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">Even a failure to spit
had its justification. As a boy he had discovered that if you were frightened
your mouth went dry and you could not spit. During the civil war in Spain his
writer friends in the combat used to try the spitting test. ''There was not one of them...who could not
make a joke in the imminent presence of death and who could not spit afterwards
to show the joke was real (13).'' </span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">They did not make jokes
out of boastfulness. Hemingway believed that truly brave men are always
cheerful. The fact that he now succeeded in spitting well, right there on the
very spot where fear itself had bewitched him, was proof that he had finally
worked through the idea of how one might die for a just cause without remorse. Above
all it was proof that the old sacrifice he had never 'wished for' now
demonstrated itself to have been shared by those men alongside whom he had
contributed to both freedom and its political consequences.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">On the bank of that
river at Fossalta where the careless young man died, another man returned; the
river saw that he had never ceased to fight even with his incapacity to justify
human fear. This return concluded another cycle. The man who spat now was no
longer the young Ernest, but neither was he Hemingway the mature combatant. Another
man went away from the Piave river: it was an old man who will no longer write
of soldiers and wars because ''he declares a separate peace'', a peace where
destiny welcomes courage and fear without perceiving any difference between
them. Now he would write of an old man fishing in a sea he knows well, a sea
which is capable of containing both good (fish) and evil (sharks), challenging
both himself and destiny.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;">The sea is God, the
patient one, who asks no questions, and allows those who wish to do so to play
according to their own natures. It is in that very awareness and the wish to be
part of that game that the old man finds peace: he is now at one with his role.</span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;"><br /></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;"><br /></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">Notes:</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(1) Ernest Hemingway, Across the River and Into
the Trees, ''This country meant very much to him, more than he could, or would
ever tell anyone''</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(2) Originally the grammatical gender of the
river Piave was femminine as 'la Piave'</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(3) His 19th birthday would fall on 21 July 1918</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span style="background: white; color: #616161;">(4) Ernest Hemingway,
Letters</span><o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(5) Ernest Hemingway, Across the River and into
the Trees</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(6) This
type of armaments, defined as trench artilliary, were the precursors of modern
mortars. The sound when it was fired was generally more muted than that of
common artilliary, so that it could indeed be confused with the sound of
someone coughing. Ernest describes the mortar as having a 5 gallon or 20 liter
keg which might lead us to deduce that it was a 225 m Bohler Minenwerfer. The
shells launched were not stabilised in flight like artillery shells, so that
during their revolution the different effects of the air produced different
sounds.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(7) The energy of an explosion expresses itself
in vibrations of differing frequencies, therefore just as loud noise can cause
deafness, so vibrations are capable of killing nerve endings.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(8) Ernest Hemingway, Across the River and into
the Trees</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(9) Giampiero Malaspina writing in the Piccolo of
Trieste, November 1976</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(10) On the front line a soldier would never leave
his trench to do his business for fear of being hit; he did it where he was and
then threw it out with a shovel. The delicacy of his companions came from their
taking no notice.</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(11) Ernest Hemingway, Across the River and into
the Trees</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><span lang="EN-US" style="background: white; color: #616161;">(12) Ernest Hemingway, Across the River and into
the Trees</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;"><span style="font-size: x-small;">(13) Ernest Hemingway's Introduction to Gustav
Regler's The Great Crusade, 1940</span></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;"><span style="font-size: x-small;"><br /></span></span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: white; color: #616161;"><span style="font-size: x-small;"><br /></span></span></span></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-19043862659966157752017-05-08T13:23:00.001+02:002017-05-08T13:23:38.761+02:00World War One maps of Italy: a new majestic work soon available<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-q159Elkl0Dg/WRBU2IVYiII/AAAAAAAAPmM/kT2knEDKbnk7ILghRjC_50e0guSkMRzvQCLcB/s1600/ww1-maps-italy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-q159Elkl0Dg/WRBU2IVYiII/AAAAAAAAPmM/kT2knEDKbnk7ILghRjC_50e0guSkMRzvQCLcB/s400/ww1-maps-italy.jpg" width="400" /></a></div>
<br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">A new majestic work edited by Aldino Bondesan (University of Padua) and Mauro Scroccaro (historian) will be soon available. The title is <i>Cartografia militare della Prima Guerra Mondiale. Cadore, altopiani e Piave nelle carte topografiche austro-ungariche e italiane dell'Archivio di Stato di Firenze</i> (Padova, <a href="http://www.graficheantiga.it/">Antiga Edizioni</a>, 2017) and will become for sure a new starting point for all the researches on the Italy front of World War One. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">This impressive work collects and reproduces almost 250 war maps. Most of these maps are Austro-Hungarian and give us a clear view of the Italian war front between 1915 and 1918. The achievement was possible thanks to the cooperation of Marco Polo System, Archivio di Stato di Firenze, Antiga Edizioni, Università di Padova and Regione del Veneto. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">In the coming weeks we really hope to offer you more contents about this.</span>Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-74752756397734592772017-04-02T15:07:00.000+02:002017-04-02T15:07:30.956+02:00Exhibition Featuring Striking Modern Images of WWI Battlefields from Photographer Michael St Maur Sheil Opens at National World War I Museum and Memorial<!--[if gte mso 9]><xml>
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<a href="https://1.bp.blogspot.com/-agh9v0L905k/WNp3lCxc5eI/AAAAAAAAPZY/N-8-R_T4DqkDXqbC5iEGRSCkdOr54A7yACLcB/s1600/2014-01409.St%2BMihiel.jpg" imageanchor="1"><img border="0" height="265" src="https://1.bp.blogspot.com/-agh9v0L905k/WNp3lCxc5eI/AAAAAAAAPZY/N-8-R_T4DqkDXqbC5iEGRSCkdOr54A7yACLcB/s400/2014-01409.St%2BMihiel.jpg" width="400" /></a><i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> </span></i></div>
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<span style="font-size: small;"><i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> </span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">Ancient remains of the village, Fey-en-Haye,</span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">in the St. Mihiel battlefield</span></span></div>
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<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Press release </span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<b><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">KANSAS CITY, Mo.</span></b><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> – World War I was
the first “modern” war as industry enabled weapons and explosives to be
manufactured in vast quantities that brought death and destruction on a scale
never previously experienced by mankind. </span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">American Sergeant
Charles S. Stevenson wrote, “Machine guns, rifles, shells, aeroplanes, and
tanks — everything you read about — I saw ‘em all. We followed the first line
(the attacking party) for twelve hours and ours was a sort of 'after the
battle' review. I saw all kinds of German trenches, barbed wire entanglements,
busted houses, burning trees, deep shell holes, torn-up railroad tracks,
peaceful gardens, dynamited bridges.”</span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> </span></div>
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<a href="https://3.bp.blogspot.com/-NyUQ1scnOsg/WNp3iR_totI/AAAAAAAAPZQ/AiVj6KO-MuAmO90tMdaVqh-FtF6MsBBOgCEw/s1600/2014-01149-Argonne.jpg" imageanchor="1"><img border="0" height="266" src="https://3.bp.blogspot.com/-NyUQ1scnOsg/WNp3iR_totI/AAAAAAAAPZQ/AiVj6KO-MuAmO90tMdaVqh-FtF6MsBBOgCEw/s400/2014-01149-Argonne.jpg" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">American 30.06 caliber unfired rifle clips in the Meuse Argonne “Pocket” </span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">where the so-called “Lost Battalion” fought its gallant action.</span></span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">The experience of
American soldiers in the Great War is documented in a free outdoor special
centennial exhibition, </span><span style="font-family: "arial";"><a data-saferedirecturl="https://www.google.com/url?hl=it&q=https://www.theworldwar.org/explore/exhibitions/current-exhibitions/fields-battle-lands-peace&source=gmail&ust=1490775056300000&usg=AFQjCNGYdaK6ER_FraEH1Wx6rf9TGnNUpg" href="https://www.theworldwar.org/explore/exhibitions/current-exhibitions/fields-battle-lands-peace" target="_blank"><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Fields of Battle, Lands of Peace:
The Doughboys, 1917-1918</span></i></a></span><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">, which debuts Friday, March
31 in the Museum’s Memorial Courtyard. The exhibition features the incredible
contemporary photographs of Michael St Maur Sheil, depicting the battlefields
of the Western Front where the Doughboys fought. The exhibition, co-curated by
the Museum, opens in conjunction with the centennial of American entry into the
Great War and is the first large-scale exhibition of Sheil’s work in the U.S.
His prior exhibitions have been seen by more than five million people across
the world.</span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">In addition, a
second edition of the exhibition debuts at Guildhall Yard, the site of London’s
historic Roman Amphitheatre, on April 6. The exhibition then shifts to the U.S.
Embassy in London at Grosvenor Square (April 28-May 12) before traveling
throughout the United Kingdom during the course of the year, including stops in
Liverpool, Newcastle, Edinburgh, Belfast and Cardiff.</span><br />
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<a href="https://1.bp.blogspot.com/-aD4GVVOdoao/WNp3kh8iEEI/AAAAAAAAPZU/vBI_u2ZXzV4H39-IAXm8zi_LPwqGnockQCEw/s1600/2014-12182-Champagne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://1.bp.blogspot.com/-aD4GVVOdoao/WNp3kh8iEEI/AAAAAAAAPZU/vBI_u2ZXzV4H39-IAXm8zi_LPwqGnockQCEw/s400/2014-12182-Champagne.jpg" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Relic German stick grenade in the U.S. action areas </span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">in the Champagne region</span></span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">“Through this
exhibition, we trace the journey of the American forces in 1917 and 1918, and
commemorate their efforts,” said National World War I Museum and Memorial
Senior Curator Doran Cart. “It is both beautiful and poignant work and serves
as another example of our commitment to understanding World War I and its
enduring impact.”</span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">When the United
States entered the cataclysm of the war to become known as World War I, the
global conflict had consumed many nations since 1914 and continued for years. The
Armistice of Nov. 11, 1918 halted the fighting on the Western Front.</span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">The Western Front
the American forces saw when they arrived and until they returned home included
scenes of environmental degradation, obliterated villages, vast cemeteries, and
continuing massive destruction. Much of the landscape of the Western Front
looked like an uninhabited planet very foreign to them.</span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">“The U.S.
involvement in the First World War was a hugely significant factor,” said
Sheil, whose work has been featured in <i>National Geographic</i> and <i>Time</i>
magazine. “Today, it is often overlooked, but it was a New World coming to the
aid of an Old World, from which many of the young American soldiers – as first
generation immigrants – had sought to escape. Their humanitarian effort in
supplying and shipping over seven million tons of food to save the peoples of
Belgium and northern France from starvation marked the advent of America as a
united nation.”</span></div>
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<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Fields of Battle,
Lands of Peace: The Doughboys, 1917-1918</span></i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">, is open through Aug. 20,
2017 at the Museum. The exhibition is presented by the Aon Foundation with
additional support provided by Edward Jones, PNC Financial Services Group and
Park University. The U.K. version is presented by the Aon Foundation in
partnership with the U.S. Embassy. </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">In conjunction
with the March 31 opening, the Museum is hosting a free reception and panel
discussion featuring Sheil, Cart and Museum President and CEO Dr. Matthew
Naylor on Friday, March 31. The reception, which begins at 5 p.m., features a
free drink and complimentary light hors d’oeuvres with entertainment from jazz
musician Bram Wijnands and his trio. The panel discussion follows at 6 p.m.
Individuals interested in attending may RSVP at </span><span style="font-family: "arial";"><a data-saferedirecturl="https://www.google.com/url?hl=it&q=https://www.theworldwar.org/visit/upcoming-events/fields-of-battle&source=gmail&ust=1490775056300000&usg=AFQjCNEMCkRrjj_rhoEfKLg-2UYFsvFzZQ" href="https://www.theworldwar.org/visit/upcoming-events/fields-of-battle" target="_blank"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">theworldwar.org</span></a></span></div>
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<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Info: </span></i></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">National World War I Museum and Memorial</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">2 Memorial Drive | Kansas City, MO | 64108</span></div>
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<span style="font-family: "arial";">Office: 816.888.8122</span></div>
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<span style="font-family: "arial";">Cell: 352.278.0522</span></div>
<a href="http://www.theworldwar.org/"><span style="font-family: "arial"; font-size: 12.0pt;">theworldwar.org</span> </a><br />
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-90678728142007589882017-03-27T23:31:00.001+02:002017-03-27T23:38:23.144+02:00"L'offensiva di carta". An illustrated journey from the Luxardo Collection to modern-day comics. An exhibition opening in Udine (Italy)<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-oKt5Om9hqlw/WNk09FUucuI/AAAAAAAAPYQ/koTd95JFyTQbfiapT7Y_86RJMkrzIpqtgCLcB/s1600/per-wwi-B.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="285" src="https://4.bp.blogspot.com/-oKt5Om9hqlw/WNk09FUucuI/AAAAAAAAPYQ/koTd95JFyTQbfiapT7Y_86RJMkrzIpqtgCLcB/s400/per-wwi-B.gif" width="400" /></a></div>
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We're happy to announce the opening of the exhibition "L'offensiva di carta", an illustrated journey dedicated to the First World War years, from the Luxardo Collection to modern-day comics.<br />
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<i>Infoline:</i><br />
<b>"L'offensiva di carta"</b><br />
<b>La Grande Guerra illustrata, dalla collezione Luxardo al fumetto contemporaneo</b><br />
<b><i>The Great War: an illustrated journey through time, from the Luxardo Collection to modern-day comics</i></b><br />
Castello di Udine, 31 March 2017 - 7 January 2018<br />
E-mail: <a href="mailto:civici.musei@comune.udine.it">civici.musei@comune.udine.it</a><br />
Web: <a href="http://www.civicimuseiudine.it/">www.civicimuseiudine.it</a><br />
Curated by Giovanna Durì, Luca Giuliani, Anna Villari<br />
in cooperation with Sara Codutti and Fernando Orlandi<br />
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The exhibition opening these days in Udine (Friuli, Italy) displays an amount of artworks coming from the Luxardo Collection. Luxardo is the surname of a doctor of the Friuli area that was able to collect immediately after the end of the First World War more than 5600 magazines and monographs. The Luxardo Collection, now part of the collection of Musei Civici, is a large window from where people can view what was produced in terms of illustration and propaganda images in the different armies and fronts. The exhibition develops and takes into consideration the appearance of the cinema as an essential tool for the control of an already biased imagery. The last section of the exhibition is dedicated to the "new" art of illustration and comics, introducing to the works of artists such as Joe Sacco, Gipi, Manuele Fior, Jacques Tardi and Hugo Pratt. The exhibition will run untill the beginning of January 2018.Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-44411049621170985912017-03-22T23:16:00.001+01:002017-03-22T23:16:46.709+01:00“Panoptico”, the sound art installation by Greta Lusoli at Castello di Duino<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-NdlqZ1UBODQ/WNL3CEOVEJI/AAAAAAAAPV4/zWxkL71LYFoQM-_Y4c94WAlLQ5SdxHRiACLcB/s1600/Duino.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-NdlqZ1UBODQ/WNL3CEOVEJI/AAAAAAAAPV4/zWxkL71LYFoQM-_Y4c94WAlLQ5SdxHRiACLcB/s400/Duino.jpeg" width="300" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><u>Opening:</u> March, Saturday 25th at 11.00 a.m., at Castello di Duino's Bunker (via Duino 32, 34011, Duino Aurisina – Italy) - The participation to the opening is by reservation only (via mail at info@iodeposito.org or via the B#Side War App)<br /><br /><u>Opening hours:</u> from 25th March 2017 to 2nd April 2017; from 9.30 a.m. to 5.30 p.m. (closed on Tuesdays). Free entry.</span><br /><br /><span style="font-family: Arial, Helvetica, sans-serif;"><u>Infoline:</u> www.iodeposito.org; www.bsidewar.org</span><div class="Standard">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="line-height: 110%;">In collaboration with the Gruppo Ermada Flavio Vidonis
and the Castle of Duino, </span>IoDeposito Ngo presents on Saturday<b><span lang="EN-GB" style="line-height: 110%;">
25th March at 11.00 a.m.</span></b><span lang="EN-GB" style="line-height: 110%;"> <b>the sound art installation <i>PANOPTICO</i></b><i>
</i>by Greta Lusoli, at the Castello di Duino's Bunker. The event is organized
thanks to the support of the <b>Friuli Venezia Giulia Region and the patronage
of UNESCO</b> and it will be available until the 2nd April 2017: from 9:30 a.m.
to 5:30 p.m. (closed on Tuesdays). This new appointment belongs to the third
edition of the diffuse artistic and cultural Festival <span style="color: #ff3333;">B#SIDE
WAR</span>, which is promoted by IoDeposito through numerous Italian and
international events such as exhibitions, conferences and research project
(www.bsidewar.org).</span></span></div>
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<span lang="EN-GB" style="line-height: 110%;"><span style="font-family: Arial, Helvetica, sans-serif;">One hundred years ago, Europe looked like a big
open-air prison: almost <b>fifteen million people</b> used to be trapped inside
inhuman war jails and even more civilians were trapped between refugee camps
and their own houses, living a life of destruction and deprivation. The sound
art installation<i> <b>PAN-ὀπτικός</b></i> by Greta Lusoli relates to that
terrible war scenario trying to evoke and reconstruct in the mind of the
listener the archetype prison designed by the philosopher and jurist J. Bentham
at the end of XVIII century. Born with the intent to make the jails more
efficient, less expensive and easier to monitor, the Bentham's structure provided only one warden
who, standing in the centre of the building, was able to guard at the same time
all of the prisoners in their cells developed in a circle around the central
space. In this way the prison cells became transparent: the privacy of the
prisoners and <b>the preservation of their intimacy</b> (so, their inner
identity) completely disappeared, stoking a dangerous process of
objectualization and dehumanization of the prisoner.<o:p></o:p></span></span></div>
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<a href="https://2.bp.blogspot.com/-ze8TWtG3Du8/WNL3ReypCLI/AAAAAAAAPV8/q1Cp1Grgn4UYDvnLI0fzOet0Pms4PqffwCLcB/s1600/Panoptico.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://2.bp.blogspot.com/-ze8TWtG3Du8/WNL3ReypCLI/AAAAAAAAPV8/q1Cp1Grgn4UYDvnLI0fzOet0Pms4PqffwCLcB/s320/Panoptico.jpg" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><span lang="EN-GB" style="line-height: 110%;">PAN-ὀπτικός </span></i><span lang="EN-GB" style="line-height: 110%;">works through
a stratification of its deepest meanings: there are at least three intrinsic
factors related to this immaterial but complex intervention of public art. <b>The
first analysis</b> is a sensorial one: to evoke the cruel architecture of
Panopticon, Greta Lusoli project into the proxemic space of the listener a
vibrant, deep, screeching and unpleasant sound that resonate inside the chest
and memory of the listener with universal and archetypical echoes of a
primordial energy, reminding to ancestral alert signals. This sound create an emotional
correspondence, as a <i>summa</i> of all the alert signals coming from the
animal world, including the most primitive ones whose have been extinguished. <b>The
second level of interpretation</b> tunes the experience of this 18th-century
architecture with the tragedy of contemporary conflicts. The choice of an
architecture as a symbol of an unseen reality (but too much common in our
contemporaneity) hit the headlines from a mathematics and conceptual proportion
trough that the sound resonate in the space: the minutes within a year are
divided with the numbers of prisoners that every year, today, are victims of
conflicts. In fact, the sound reverberates <b>every 5 minutes and 53 seconds</b>,
underlining the impressive quantity of war prisoners that nowadays still loose
their freedom in conflicts. <b>Finally, a third metaphorical matrix </b>concern
to the dissociation of polarities see-be seen. The vastness of the conflicts
that is gripping the entire world is not read today by our eyes but, thanks to
the sound that powerfully touch the deepest strings of our soul, it can be
clearly perceived in our minds.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="line-height: 110%;"><span style="font-family: Arial, Helvetica, sans-serif;">An important role is played by the location. <b>The
Castel of Duino</b>, completely destroyed due to its proximity to the front
during the First World War, was under bombardments of the allies on Monfalcone
during the Second World War. Villagers used to seek refuge inside the big
Bunker, venturing into the deep cave and waiting in the dark that the worst was
over. The sound art intervention, installed in the last room of the basement,
take the listener at the same time in one space and in many others, <b>comparing
the “now and here” </b>of the listener physical presence, <b>with the “then and
there”</b> of the victims and prisoners of the conflict. A vibrant and harsh
sound will vibrate inside the bunker of the castle, reflecting an old fear that
can be dissolved only by the light
expectancy coming through a window in front of the sea.</span></span></div>
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<b><u><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Contacts:<o:p></o:p></span></span></u></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="line-height: 110%;">Event's link: </span><a href="http://www.bsidewar.org/en/upcoming/panoptico-sound-art-installation-by-greta-lusoli-4/"><span class="Internetlink"><span style="line-height: 110%;">http://www.bsidewar.org/en/upcoming/panoptico-sound-art-installation-by-greta-lusoli-4/</span></span></a></span></div>
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<span lang="EN-GB" style="line-height: 110%;"><span style="font-family: Arial, Helvetica, sans-serif;">Web: www.iodeposito.org; www.bsidewar.org<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="line-height: 110%;"><span style="font-family: Arial, Helvetica, sans-serif;">Direction: info@iodeposito.org</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Press&Communication:
daniela.madonna@iodeposito.org</span></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-88707957970939636482017-03-01T12:15:00.001+01:002017-03-01T12:15:58.158+01:00Mario Puccini, an Italian World War One writer. The opportunity to know his work in Trieste<div class="Standard" style="text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i>Press release</i></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://4.bp.blogspot.com/-eFk2ZvF6Wdo/WLaRWYzgzII/AAAAAAAAPQg/diI1hv-lZ_4Rbz6C8XZYaWpzgwtwIsg6QCLcB/s1600/mario-puccini.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-eFk2ZvF6Wdo/WLaRWYzgzII/AAAAAAAAPQg/diI1hv-lZ_4Rbz6C8XZYaWpzgwtwIsg6QCLcB/s200/mario-puccini.jpg" width="120" /></a></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;">Mario Puccini comes back in the city which gave the title to one of the
most representative Italian memorialistic war report of the Twentieth Century,
his <i>Davanti a Trieste</i>. The critical edition curated by Tancredi Artico
and published by Mursia will be presented on Friday the 3rd March at 6.00 p.m.,
in the Ubik book store in Trieste (Piazza della Borsa, 15). The new edition is
the editorial result of a research projects undertaken by IoDeposito Ngo, in
collaboration of Friuli Venezia Giulia Region and with patronage of UNESCO and
Council of Europe. The study project has involved many pofessors, Ph.Ds and
university researchers. The book launch of Trieste belongs in fact to the third
edition of the diffuse artistic and cultural Festival B#SIDE WAR, which is
promoted by IoDeposito through numerous Italian and international events such
as exhibitions, conferences and research project (www.bsidewar.org).</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;"> </span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://3.bp.blogspot.com/-qLZvrXd4At8/WLaQiG56DfI/AAAAAAAAPQQ/-LgeklDaa94nWPDq7kvo-nYydpQJTflWACLcB/s1600/Trieste%252C%2Bil%2Bmolo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" src="https://3.bp.blogspot.com/-qLZvrXd4At8/WLaQiG56DfI/AAAAAAAAPQQ/-LgeklDaa94nWPDq7kvo-nYydpQJTflWACLcB/s320/Trieste%252C%2Bil%2Bmolo.jpg" width="320" /></a></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;">The prolific author Mario Puccini (Senigallia, 1887 - Rome, 1957) was
one of the <i>literatus</i> of «Voce» (the most important Italian magazine of
the early ‘900) circle, who have been able to deeply influence the fortunes of
the following history of literature affecting particularly the neorealist
poetry. As many times defined by Vasco Pratolini «one of the master the Italian
literature must bring justice», Mario Puccini have been also a soldier,
crossing, during the First World War, all the Friuli Venezia Giulia territory,
from the Carso to the Piave. From this human experience, in which the literary
experience merges with the bellic one, is born a war diaries trilogy that
includes <i>Dal Carso al Piave</i> (1918), <i>Davanti a Trieste</i> (1919) and <i>Così
ho visto il Friuli</i> (1919), which represents one of the most important
memorial and literary record about World War I on the international scene.</span><i><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;"> </span></i></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;">Davanti a Trieste</span></i><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;"> is a staunch and empathic portrait of war days, in
which is presented the collective feeling of his comrades and is shown how they
perceived reality as if they were a single organism. Lieutenant Puccini gets
therefore straight to the heart of things, with his desire to pay tribute to
the men who sacrificed their own lives with a valorous and touching simplicity.
The writing is limpid and incisive, focused on a strong attention to the human
dimension of the conflict, trough an effective formal modernity free from
aesthetic temptations (which is the distinctive style of the whole Puccini's
literary creation).</span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://1.bp.blogspot.com/-mFLDA8pRqwI/WLaQmA_-bFI/AAAAAAAAPQU/9DezWSYK6PMZTTtviascojjIDzqrxo3qwCLcB/s1600/Trieste%252C%2Bvia%2Bdel%2BPane.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-mFLDA8pRqwI/WLaQmA_-bFI/AAAAAAAAPQU/9DezWSYK6PMZTTtviascojjIDzqrxo3qwCLcB/s320/Trieste%252C%2Bvia%2Bdel%2BPane.jpg" width="230" /></a></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB" style="font-size: 11.0pt; mso-ansi-language: EN-GB;">Thanks to the clear and anti-rhetorical prose, Puccini's pen is able to
weave the warp of storytelling with a disarming balance between the immediate
crudity of the historical evidence on the one hand and, on the other hand, the
human experience transferred to the reader in the form of a poetic literary
language, which yearns for salvation and redemption from a senseless and brutal
war, able to engulf the reality. The pulsating and genuine compassion of the
war-man intertwines with a strong sensitivity about the formal and linguistic
experimentation: Puccini's triptych on the Great War is in fact a work able to
represent the emotions of a great humanity and at the same time of linguistic
and literary innovation, presenting itself as an organic historical evidence of
events and of the past of the war. The book curator Tancredi Artico portrays <i>Davanti
a Trieste</i> as an «exceptional direct testament of the Great War, which can
be at the same level of others Italian literary war works as <i>Guerra del
’15<span style="mso-spacerun: yes;"> </span></i>by Stuparich or <i>Giorni di
guerra </i>by Comisso»: Puccini was able to create a memorial work important
for its anticlassical statute and for the peculiar chronological concatenation,
which makes of writing a mean of salvation<i>.</i></span></span></span></span><i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> </span></i><br />
<br />
<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">(In the above images of Trieste, the quay and Via del Pane) </span></i><br />
<br />
<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Contacts:</span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Event's
link: </span><span style="font-family: "arial";"><a href="http://www.bsidewar.org/en/upcoming/presentation-of-the-volume-davanti-trieste/"><span lang="EN-GB" style="mso-ansi-language: EN-GB; text-decoration: none; text-underline: none;">http://www.bsidewar.org/en/upcoming/presentation-of-the-volume-davanti-trieste/</span></a></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Details:
Friday the 3rd March, at 6.00 p.m.; at Ubik book store, Piazza della Borsa, 15,
Trieste.</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<span style="font-family: "arial";">Web: www.iodeposito.org; www.bsidewar.org</span><br />
<span style="font-family: "arial";">Direction: info@iodeposito.org</span><br />
<span style="font-family: "arial"; font-size: 12.0pt;">Press&Communication:
daniela.madonna@iodeposito.org</span></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-29316526406784869602017-02-16T11:05:00.000+01:002017-02-16T11:05:24.378+01:00"No words - no war / A Poli-focal interactive installation" at Carinarnica – bivak urbane kulture, Nova Gorica (Slovenia)<!--[if !mso]>
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<i><a href="https://2.bp.blogspot.com/-6laRvfTbGlw/WKV2nHOT0YI/AAAAAAAAPJY/X3I9wdXm7HQMosq515jwsj1gydRMmyipQCLcB/s1600/No%2Bwords-no%2Bwar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://2.bp.blogspot.com/-6laRvfTbGlw/WKV2nHOT0YI/AAAAAAAAPJY/X3I9wdXm7HQMosq515jwsj1gydRMmyipQCLcB/s400/No%2Bwords-no%2Bwar.jpg" width="400" /></a></i></div>
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<i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Press release</span></i></div>
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<u><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Opening:</span></u><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> February, Friday 17th at 6.00 p.m., at Carinarnica – bivak urbane
kulture, Erjavčeva 53, 5000 Nova Gorica, Slovenia (Carinarnica is situated on
the border between Italy and Slovenia).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> </span><span lang="EN-GB" style="font-family: "Arial Unicode MS"; mso-ansi-language: EN-GB;"></span></div>
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<u><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Opening hours:</span></u><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> from 17th February
2017 to 3rd March 2017; from Monday to Friday, from 02:00 p.m. to 05:00 p.m.
Free entry.</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<u><span style="font-family: Arial;">Infoline:</span></u><span style="font-family: Arial;">
<a href="http://www.iodeposito.org/">www.iodeposito.org</a>; <a href="http://www.bsidewar.org/">www.bsidewar.org</a></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">IoDeposito Ngo,
with patronage of UNESCO, unveils on <b>Friday 17th February at ore 6.00 p.m.</b>
the exhibition <i>NO WORDS – NO WAR / A Poli-focal interactive installation</i>
by Natalia Tikhonova, at Carinarnica -bivak urbane kulture. In the evocative
location in Nova Gorica, a new laboratory and meeting point of urban cultures,
it will be accommodated the series of the Russian artist's optical
installations, until the 3rd March 2017: from Monday to Friday, from 02:00 p.m.
to 05:00 p.m. Tikhonova's works of art are focused on the return of the war's
human and sensory dimension. Thanks to an innovative employment of historical
photos and chromatic filters, the artist could reach meanings and feelings that
sometimes have been pushed aside in historical books and essays: wars were made
by humans against humans and so, among dates and reports of conquests, there
are death, dismay, incredulity above all.</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<a href="https://3.bp.blogspot.com/-Q4Ofu-Vd8ts/WKV3LNf7JEI/AAAAAAAAPJg/4acJAIBCggY4ZFrRo20SxUbAkPWo_RU3wCLcB/s1600/Tikhonova.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="319" src="https://3.bp.blogspot.com/-Q4Ofu-Vd8ts/WKV3LNf7JEI/AAAAAAAAPJg/4acJAIBCggY4ZFrRo20SxUbAkPWo_RU3wCLcB/s320/Tikhonova.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">The fil-rouge of
the Tikhonova's project is that our mind can condition the perception of war
until making it something distant, ephemeral and non-existent. Memory and
imagination in fact are able to erase not only certain details, but also to
make us forget the human presence and components of war, offering an illusory
image, erasing the drama of death and leaving only a memory of a desert natural
scenography. This reaction, nearly to distance oneself from the harsh reality,
is revealed in the series of optical installations by Nathalia Tikhonova with a
game of filters that, among the blacks and greys of ancient photos, makes
appear and disappear bloody and evanescent figures of soldiers: the legacy of
war are read therefore through the colours, made of bright red (which presage)
and dense gray (which bewail).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">The descriptive
language of chromaticism needs no other explanations because is able itself to
tell about who has lost everything, even life, in the Russian front (which becomes
a universal symbol). In this way, the artist invites the viewer to get in touch
with the war's experience through the observation from different perspectives. </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Carinarnica, which
was inaugurated last year by Društvo humanistov goriške Carinarnica, amplifies
this artistic experience because is a very significant location: the border
house on the border which split the city of Gorizia in two after the Second
World War. The street where is nowadays situated the urban cultural centre is
half Italian (San Gabriele street, Gorizia) and half Slovenian (Erjavčeva
ulica, Nova Gorica) and so, it brings in itself a huge symbolic meaning. The
exhibition belongs to the third edition of the diffuse artistic and cultural
Festival B#SIDE WAR, which is promoted by IoDeposito through numerous Italian
and international events such as exhibitions, conferences and research project
(www.bsidewar.org).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Contacts:</span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Event's link: </span><span style="font-family: Arial;"><a href="http://www.bsidewar.org/en/upcoming/no-word-no-war/"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">http://www.bsidewar.org/en/upcoming/no-word-no-war/</span></a></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Web:
<a href="http://www.iodeposito.org/">www.iodeposito.org</a>; <a href="http://www.bsidewar.org/">www.bsidewar.org</a></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Direction:
<a href="mailto:info@iodeposito.org">info@iodeposito.org</a></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Press&Communication:
<a href="mailto:daniela.madonna@iodeposito.org">daniela.madonna@iodeposito.org</a></span></div>
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<br /></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-73637761310185349652017-02-01T16:51:00.001+01:002017-02-01T16:51:34.464+01:00The exhibition "Memory as a Living Matter / international Artists for a Reinterpretation of the War Object" in Trieste<!--[if gte mso 9]><xml>
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<i><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Press release</span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b><u><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Vernissage:</span></u></b><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> Saturday the 4th
of February, at 6.00 p.m., at the Umberto Veruda Gallery, Piazza Piccola 2,
Trieste, Italy (access via Piazza Unità walking throughout the main portico) </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b><u><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Exhibition's details:</span></u></b><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> from 4th of
February until Sunday 5th March; from Monday to Saturday from 10.00 a.m. to
1.00 p.m. and from 5.00 p.m. to 7.30 p.m., with the possibility of free guided
tours every Friday and Saturday from 5.00 p.m. to 7.00 p.m. (bookings available
at </span><span style="font-family: Arial;"><a href="mailto:info@iodeposito.org" target="_blank"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">info@iodeposito.org</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> or via B#SIDE WAR
App). </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b><u><span style="font-family: Arial;">Infoline:</span></u></b><span style="font-family: Arial;"> <a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.iodeposito.org&source=gmail&ust=1486049616835000&usg=AFQjCNFURBbEwbHuC3xhDrY8BDozhcSo9w" href="http://www.iodeposito.org/" target="_blank">www.iodeposito.org</a>;
<a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.bsidewar.org&source=gmail&ust=1486049616835000&usg=AFQjCNGNSqk6_N2suVhJjhQnUEzR9eWNyw" href="http://www.bsidewar.org/" target="_blank">www.bsidewar.org</a></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">In collaboration with the Municipality of Trieste
and the Friuli Venezia Giulia Region, IoDeposito Ngo is glad to present <i>Memory
As A Living Matter / International Artists for a a re-interpretation of the war
object. </i>The Vernissage will take place Saturday the 4th of February, at
6.00 p.m. at the Umberto Veruda Gallery (Trieste, Italy): for the occasion, a
talk with the artists. The exhibition will be available for free until Sunday
5th March in the prestigious location, from Monday to Saturday from 10.00 a.m.
to 1.00 p.m. and from 5.00 p.m. to 7.30 p.m., with the possibility of free
guided tours every Friday and Saturday from 5.00 p.m. to 7.00 p.m. (bookings
available at </span><span style="font-family: Arial;"><a href="mailto:info@iodeposito.org" target="_blank"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">info@iodeposito.org</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;"> or via B#SIDE WAR
App). </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">The event belongs to the third edition of the
diffuse artistic and cultural Festival B#SIDE WAR, which is promoted by
IoDeposito through numerous italian and international events such as
exhibitions, conferences and research project (</span><span style="font-family: Arial;"><a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.bsidewar.org&source=gmail&ust=1486049616835000&usg=AFQjCNGNSqk6_N2suVhJjhQnUEzR9eWNyw" href="http://www.bsidewar.org/" target="_blank"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">www.bsidewar.org</span></a></span><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
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<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">The exhibition Memory As A Living Matter
proposes new interpretations of the war object by 10 international contemporary
artists, in an original concept of "artist's museography": only a few
pieces, made out of poor materials, essential and almost naked in their
exposure, but yet so powerful in their expression to unlock the universal
meanings, awakening the collective memory and bringing us in contact with the experience
of those who have lived the conflict. Between works composed of
"strong" materials - iron, cement, everyday items, ready made and
objets trouvé - and works composed instead of fragile materials, ineffable and
powerfully organic, that bleed to death and fade away under the eyes of the
visitor - paper, burned wood, ashes, graphite, egg shells, bread -, the meaning
that artists attach to the event of war becomes perceptual, immediate, it
brings us back to the sense of humanity, in the world of everyone's images,
where the archetypal realities speak a universal language that awakens the
legacies and the memories of all of us, echoing those latent legacies of the
conflicts that are stratified in our DNA.</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Boris Bejas, one of the exhibition's artist,
argues «I am very interested in how the social crises interact with the
structure of everyday life: through the use of the spectator, art belongs to
all three time-lines -past, present and future». Playing a part in the
reinterpretation of the war object into contemporary artworks made with war
remains, and in artworks that materialise the unexpressed war heritages, the
user is immersed in a multi-focal perception of history.</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<b><u><span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Contacts:</span></u></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-GB" style="font-family: Arial; mso-ansi-language: EN-GB;">Event's link: </span><span style="font-family: Arial;"><a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.bsidewar.org/en/upcoming/memory-as-living-matter/&source=gmail&ust=1486049616835000&usg=AFQjCNE7ANETR3IrW3uvff47FlKuFQqleA" href="http://www.bsidewar.org/en/upcoming/memory-as-living-matter/" target="_blank"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">http://www.bsidewar.org/en/<wbr></wbr>upcoming/memory-as-living-<wbr></wbr>matter/</span></a></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Arial;">Web:
<a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.iodeposito.org&source=gmail&ust=1486049616835000&usg=AFQjCNFURBbEwbHuC3xhDrY8BDozhcSo9w" href="http://www.iodeposito.org/" target="_blank">www.iodeposito.org</a>;
<a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.bsidewar.org&source=gmail&ust=1486049616835000&usg=AFQjCNGNSqk6_N2suVhJjhQnUEzR9eWNyw" href="http://www.bsidewar.org/" target="_blank">www.bsidewar.org</a></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Arial;">Direction:
<a href="mailto:info@iodeposito.org" target="_blank">info@iodeposito.org</a></span></div>
<div style="line-height: 110%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Arial;">Press&Communication: <a href="mailto:daniela.madonna@iodeposito.org" target="_blank">daniela.madonna@iodeposito.org</a></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span>
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Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-40991769875472242562017-01-12T09:58:00.003+01:002017-01-12T10:06:38.973+01:00The Great War Channel on YouTube (and Mexico in WW1)<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.youtube.com/user/TheGreatWar" target="_blank"><img alt="https://www.youtube.com/user/TheGreatWar" border="0" height="292" src="https://3.bp.blogspot.com/-gcZFrTb1rHQ/WDVShs4NsGI/AAAAAAAAOyc/lJTK1mK3PyA349Vp5rJ_IzNPeHjimauQQCLcB/s400/great-war-youtube.JPG" width="400" /></a></div>
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<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">2017 has
begun and still two years of "celebration" of the First World War
Centenary are left. What after? And what during these two remaing years? One of
the goals of this web site is to detect some initiatives and keep an eye open
on what's going on around and what's worthy of mention. We try to produce also
some new and useful contents. Beside of that, another goal is to remain after
the Centenary as a possible starting point for people looking for resources and particular topics about that conflict. Among what is whorty of notice, we could point out the collection
of short videos "The Great War", a Berlin based YouTube project still
today meaningful in the digital panorama. Of course many debates can rise on the
accuracy and on the editorial slant. Anyway, here below are the main contacts and
finally a curious video about "Mexico in WW1".</span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br />
</span><span style="font-family: "arial";"><a href="https://www.youtube.com/user/TheGreatWar"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">https://www.youtube.com/user/TheGreatWar</span></a></span><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"></span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><a href="https://www.facebook.com/TheGreatWarYT">https://www.facebook.com/TheGreatWarYT</a></span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><a href="https://www.instagram.com/the_great_war/">https://www.instagram.com/the_great_war/</a></span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><a href="https://twitter.com/WW1_Series">https://twitter.com/WW1_Series</a></span><br />
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><a href="http://thegreatwar.mkn.tv/">http://thegreatwar.mkn.tv</a></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span><br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/vzsVUT7WqHA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/vzsVUT7WqHA?feature=player_embedded" width="320"></iframe></div>
<br />Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-48711803327904771602016-12-12T14:32:00.001+01:002016-12-12T14:40:09.605+01:00"Is the purpose of geography to make war?" An exhibition of Fondazione Benetton Studi Ricerche in Treviso<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-Cgl0L1oTDsg/WE5qBHmvZJI/AAAAAAAAO6w/zcxKWz6DAJoMKtMEK9rrZWJaeojF-aDpACLcB/s1600/Flik.028%2BBild%2BNr.801-30b%252CPanorama%2Bv.%2BMontello.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://3.bp.blogspot.com/-Cgl0L1oTDsg/WE5qBHmvZJI/AAAAAAAAO6w/zcxKWz6DAJoMKtMEK9rrZWJaeojF-aDpACLcB/s320/Flik.028%2BBild%2BNr.801-30b%252CPanorama%2Bv.%2BMontello.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Panorama - Montello hill</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">"Is the
purpose of geography to make war?" This is the question <span style="font-family: "arial" , "helvetica" , sans-serif;">coming from </span>the exhibition
at Fondazione Benetton Studi Ricerche, curated by Massimo Rossi<span style="font-family: "arial" , "helvetica" , sans-serif;"> a<span style="font-family: "arial" , "helvetica" , sans-serif;">nd</span></span> held in Palazzo Bomben, Treviso (Italy)<span style="font-family: "arial" , "helvetica" , sans-serif;">. The exhibition will be open </span>from Sunday November 6 2016 to Sunday February 19 2017.</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> Through
three closely linked layouts that remain in constant dialogue, <span style="font-family: "arial" , "helvetica" , sans-serif;">m</span>aps, atlases
and works of art speak of the great communicative and persuasive force of
geographic maps.</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> Maps are a
powerful means of non-verbal communication and the scenario of the celebrations
of the Great War offers a valid <span style="font-family: "arial" , "helvetica" , sans-serif;">opportu<span style="font-family: "arial" , "helvetica" , sans-serif;">nity </span></span>for investigating their ability to
condition public opinion when they back the point of view of the Major Nations.
This is why the layout of the exhibition focuses on the historical period
between the end of the nineteenth century and the beginning of the twentieth
century, but which actually spans from ancient times all the way to modern day,
to tell the story of another possible geography and not necessarily based on
military logics.</span></span><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-2lJBgWy2HcA/WE5nGz-az4I/AAAAAAAAO6Q/cJsLPzZaVrgLshctAv04W3uucTtqe7UNwCLcB/s1600/1918_Postazioni%2Bitaliane_Fronte%2Bdel%2BPiave_Stato%2BMaggiore%2BAustriaco_part.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="195" src="https://3.bp.blogspot.com/-2lJBgWy2HcA/WE5nGz-az4I/AAAAAAAAO6Q/cJsLPzZaVrgLshctAv04W3uucTtqe7UNwCLcB/s320/1918_Postazioni%2Bitaliane_Fronte%2Bdel%2BPiave_Stato%2BMaggiore%2BAustriaco_part.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">1918 - Italian positions along the river Piave</span></span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">The
exhibition begins with "Rocks and water", where we see how maps use a simple and
preemptory sign - the natural border - to turn mountains and rivers into tools
that are able to separate and offer physical shape to ethnic, linguistic
groups, nations to transform them into the “geographical expression” of states.
The second section, "Human signs", recounts the use of geographical knowledge for
propagandist purposes to forcibly convey the idea of nation even before its
official political proclamation. The third part, "War maps", <span style="font-family: "arial" , "helvetica" , sans-serif;">high<span style="font-family: "arial" , "helvetica" , sans-serif;">lights</span></span>
the co-existence of two seemingly irreconcilable cultural approaches, in the
context of the First <span style="font-family: "arial" , "helvetica" , sans-serif;">W</span>orld <span style="font-family: "arial" , "helvetica" , sans-serif;">W</span>ar: graphic symbols representing the vast war
industry disseminated on the Piave front, along with signs that bear witness to
the presence of thousands of homing pigeons that by flying at more than one
hundred meters of altitude and travelling great distances in short amounts of
time, inform and send orders. 305 mm mortars that discharge projectiles
weighing 400 kg and as big as a man, and tethered balloons suspended hundreds
of metres above the ground «swaying in the sky in a long line along the Piave»
as described by writer-tenant Fritz Weber, the enemy on the opposite bank.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> </span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-onYk5wWNcfY/WE5ndwVmxzI/AAAAAAAAO6U/vosCpFW4SFMdKSrLOjW7RALEfGGtBgUcwCLcB/s1600/9_Allestimento_Mostra_Carte%2Bda%2BGuerra.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://1.bp.blogspot.com/-onYk5wWNcfY/WE5ndwVmxzI/AAAAAAAAO6U/vosCpFW4SFMdKSrLOjW7RALEfGGtBgUcwCLcB/s320/9_Allestimento_Mostra_Carte%2Bda%2BGuerra.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">A picture of the exhibition</span></span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">At the
exhibition<span style="font-family: "arial" , "helvetica" , sans-serif;"> vi<span style="font-family: "arial" , "helvetica" , sans-serif;">sitors can</span></span> appreciate how the maps provide order in an otherwise
chaotic world, making it more understandable and familiar, distinguishing the
objects, but most of all naming the places allowing us to recognise every
single one of them. In every era, as quintessential social and human products,
maps have also told the story of places through toponyms, sometimes playing an
aggressive power over them. Especially when they alter the original spelling of
centuries-old names or replace them altogether with new ones to make them more
akin to the most recent dominators: the Dutch Niew Amsterdam becomes the
English New York; the German Karfreit turns into the Italian Caporetto to then
become the Slovenian Kobarid; the Hapsburg Sterzing becomes the Romanised
Vipiteno. Or yet, to fulfil impellent social urgencies and to give a voice to
hitherto unexpressed territorial hopes: “Alto Adige”, “Venezia Tridentina”,
“Venezia Giulia”, or simply, in the case of a river, by changing its gender.</span></span>
<br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">The
century-old Piave of the log drivers changed gender in 1918 to offer greater
virile resistance to the Austrian invasion, becoming “Il Piave” (male gender),
to reassure the collective imagination of the young Italian nation.</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">But is it
actually true that the purpose of geography is to make war? Certainly, without
geography wars would not even be conceivable, but man has always been the one
to make war, and is willing to use all the available knowledge of physics,
chemistry, geometry or mathematics to achieve his objectives.</span></span></div>
<div class="MsoNormal">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-L08mcM6fzWU/WE5oY0kDJWI/AAAAAAAAO6g/7gRAiukmKdMjyFF5NZ9_Fd3RstDsxDcMACLcB/s1600/NASA_Blue%2BMarble_from%2BApollo%2B17_December%2B1972.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-L08mcM6fzWU/WE5oY0kDJWI/AAAAAAAAO6g/7gRAiukmKdMjyFF5NZ9_Fd3RstDsxDcMACLcB/s320/NASA_Blue%2BMarble_from%2BApollo%2B17_December%2B1972.jpg" width="319" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">NASA Blue Marble from Apollo 17 (December 1972)</span></span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">This
exhibition also looks into another possible geography, a geography that urges
us to reflect and act on the world when we try to observe it from above when
leafing through the pages of the renaissance atlas of Abramo Ortelio, or
pondering The Blue Marble, the first photograph of planet Earth taken from the
lens of the astronauts of Apollo 17. A geography that multiplies its potential
every time an artist decides to partake in a dialogue with a geographic map -
and the exhibition displays geographic rugs and a number of works by
contemporary artists.</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">But most of
all it offers the opportunity to consider another geography, that is able to
teach us to know places through an uninterrupted dialogue with the historical
processes and to persuade us through the example of two authoritative pieces of
evidence dating back by a century, geographer Cesare Battisti and historian
Gaetano Salvemini, that «there are no natural political borders, because all
political borders are artificial, meaning that they are created by the
conscience and will of man».</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">Finally a few <span style="font-family: "arial" , "helvetica" , sans-serif;">words about the </span>set-up
created by Fabrica: it is an experiential journey, on the discovery of the various
geographical maps and the places that inspired them, through the creation of
areas that urge visitors to follow them and interact with them. Elements with a
linear and clean design, minimalist to focus solely on the works on display,
combined with a graphic design that reinterprets the elements of traditional
cartography in a modern style. </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">The entire
design of the exhibition - set-up and communication - is combined with the
spaces of Palazzo Bomben, rich in frescoes and history, in a dialogue of mutual
accentuation. </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">The event,
funded by the Regional Government of Veneto, <span style="font-family: "arial" , "helvetica" , sans-serif;">is </span>part of the programme commemorating the centenary of the
Great War.</span></span></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<i><span style="font-family: "arial" , "helvetica" , sans-serif;">Info:</span></i></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">La geografia serve a fare la guerra? <span lang="EN-GB"> </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="EN-GB">(</span></span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="EN-GB"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">"Is the
purpose of geography to make war?"<span style="font-family: "arial" , "helvetica" , sans-serif;">)</span></span></span> </span></span><br />
<i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="EN-GB">Representation of human beings</span></span></i></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="EN-GB">an
exhibition of Fondazione Benetton Studi Ricerche</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><span lang="EN-GB">curated by
Massimo Rossi and with the partnership of Fabrica</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">inauguration
Saturday 5 November at 6:00 pm</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">open from
Sunday 6 November 2016 to Sunday 19 February 2017</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">Tuesday-Friday
3:00pm-8:00pm, Saturday and Sunday 10:00am-8:00pm</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Treviso, Fondazione Benetton Studi Ricerche, via Cornarotta 7</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="DE">tel. 0422.5121,
fbsr@fbsr.it. www.fbsr.it</span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-GB">regular
entry: 7 euro, discounted entry: 5 euro, school discount: 3 euro </span></span></div>
<i>
</i><br />
<div class="MsoNormal">
<i><span style="font-family: "arial" , "helvetica" , sans-serif;">Press Office:</span></i></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Fondazione Benetton Studi Ricerche</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Silvia Cacco, tel. 0422.5121, cell. 331.6351105,
silvia.cacco@fbsr.it</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Studio ESSECI, Sergio Campagnolo</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">tel. 049.663499, gestione2@studioesseci.net (Simone Raddi)</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">
</span><span style="font-size: small;"> </span></span>Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-1521039668613053992016-11-18T10:14:00.000+01:002016-11-18T10:23:22.737+01:00The poets and the world war: "Si je mourais là-bas" by Guillaume Apollinaire<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-dBZC80lZPXQ/WC7DtTN06nI/AAAAAAAAOw4/tJppgVOX2u8a4B6yL-YVdn5xBeyWdOD0gCLcB/s1600/apollinaire-guerre.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://3.bp.blogspot.com/-dBZC80lZPXQ/WC7DtTN06nI/AAAAAAAAOw4/tJppgVOX2u8a4B6yL-YVdn5xBeyWdOD0gCLcB/s320/apollinaire-guerre.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Guillaume Apollinaire (1880 - 1918)</span></span></td></tr>
</tbody></table>
<!--[if gte mso 9]><xml>
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</xml><![endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A new
English translation of the poems by Guillaume Apollinaire was published at the
end of 2015 by Oxford University Press. The title of the book is <i>Selected
Poems</i>, (with parallel French text) translated with an Introduction and
Notes by Martin Sorrell (you see the cover below, in the middle of this post). Among these poems, a relevant group of compositions
belongs to the war time and is about the love story with <a href="https://fr.wikipedia.org/wiki/Louise_de_Coligny-Ch%C3%A2tillon" target="_blank">Louise deColigny-Châtillon</a>. It's the second time we choose a poem by Apollinaire. The
first one dates back to <a href="http://www.worldwarone.it/2012/05/poets-and-world-war-desir-by-guillaume.html" target="_blank">this old post</a>.</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> Particularly meaningful, also in the study of the war months, is the correspondance between Apollinaire and Lou. </span></span><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span></span>
</div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"></span>[IF I DIED UP THERE...]</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">If I died
up there at the front</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">One day Lou
my love you'd weep</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">And my
memory would fizzle out</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The way a
shell-burst dies at the front </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A lovely
shell like mimosa in flower</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">And then
that memory that bursts in space </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Would cover
the globe in my blood</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The sea the
hills the valleys and the flying star </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
marvellous suns that ripen in space</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Like golden
fruit round Baratier* </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Forgotten
memory alive in all things</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I'd redden
the nipples of your pretty pink breasts </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">I'd redden
your mouth and your blood-soaked hair </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">You'd not
age a jot all these beautiful things </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Would
forever grow younger ready for gallant destinies </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">My fatal
blood splashing the world </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Would give
the sun more brilliance </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Flowers
greater colour waves more speed</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A rare love
would fall on the world </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The lover
would be stronger in your body pushed away </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Lou if I
die up there memory that gets forgotten </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">—Remember
me in those mad moments </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Of youth
and love and bursting ardour—</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">My blood's
the ardent fountain of happiness </span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">And because
you're the prettiest be the happiest </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">O my unique
love and my grand folly </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span>30th
January 1915 Nimes </span><br />
<br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">[From
Guillaume Apollinaire, <i>Selected Poems</i>, with parallel French text, translated
with an Introduction and Notes by Martin Sorrell, Oxford University Press] </span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-HlM2J53yU-0/WC7GKrMaVLI/AAAAAAAAOxE/LY_Uhj41Rig_DzDrG4bI_59lYFvuQoHkACLcB/s1600/Selected%2BPoems%2Bwith%2Bparallel%2BFrench%2Btext%2B%2528Oxford%2BWorld%2527s%2BClassics%2529%2BGuillaume%2BApollinaire%2BMartin%2BSorrell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-HlM2J53yU-0/WC7GKrMaVLI/AAAAAAAAOxE/LY_Uhj41Rig_DzDrG4bI_59lYFvuQoHkACLcB/s400/Selected%2BPoems%2Bwith%2Bparallel%2BFrench%2Btext%2B%2528Oxford%2BWorld%2527s%2BClassics%2529%2BGuillaume%2BApollinaire%2BMartin%2BSorrell.jpg" width="262" /></a></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">[SI JE MOURAIS
LÀ-BAS...]</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><br /></span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><br /></span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Si je mourais
là-bas sur le front de l’armée</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Tu pleurerais un
jour ô Lou ma bien-aimée</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Et puis mon
souvenir s’éteindrait comme meurt</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Un obus éclatant
sur le front de l’armée</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Un bel obus
semblable aux mimosas en fleur</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Et puis ce souvenir
éclaté dans l’espace</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Couvrirait de mon
sang le monde tout entier</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">La mer les monts
les vals et l’étoile qui passe</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Les soleils
merveilleux mûrissant dans l’espace</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Comme font les
fruits d’or autour de Baratier</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Souvenir oublié
vivant dans toutes choses</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Je rougirais le
bout de tes jolis seins roses</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Je rougirais ta
bouche et tes cheveux sanglants</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Tu ne vieillirais
point toutes ces belles choses</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Rajeuniraient
toujours pour leurs destins galants</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Le fatal
giclement de mon sang sur le monde</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Donnerait au soleil
plus de vive clarté</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Aux fleurs plus
de couleur plus de vitesse à l’onde</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Un amour inouï
descendrait sur le monde</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">L’amant serait
plus fort dans ton corps écarté</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Lou si je meurs
là-bas souvenir qu’on oublie</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">– Souviens-t’en
quelquefois aux instants de folie</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">De jeunesse et
d’amour et d’éclatante ardeur –</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Mon sang c’est la
fontaine ardente du bonheur</span></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Et sois la plus
heureuse étant la plus jolie</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;">Ô mon unique
amour et ma grande folie</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="FR" style="mso-ansi-language: FR;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span>30 janv. 1915, Nîmes</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.comtag:blogger.com,1999:blog-6184614769464090581.post-25796564574932467282016-10-24T16:33:00.002+02:002016-10-24T16:33:41.889+02:00"Wacht im Osten: German Encounters with the East in World War I". Special exhibition opens Oct. 25 at National World War I Museum and Memorial<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><a href="mailto:mvietti@theworldwar.org" target="_blank"></a></span></span><!--[if gte mso 9]><xml>
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<br />
<span style="font-family: "arial";"></span><i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Press release:</span></i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-7e_7w-GoF-Y/WA4bNwyG7PI/AAAAAAAAOo4/63zAJX9Pqg8rZFPC8wquExT-MqRF3Ua5QCLcB/s1600/German%2Bsoldiers%2Bexcavating%2Ba%2BJapanese%2B28%2Bcm.%2Bsiege%2Bhowitzer%2Bnear%2BGrodno%253B%2Ba%2Bmunitions%2Bor%2Bspare%2Bparts%2Bcrate%2Bsitting%2Bto%2Bthe%2Bside..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://3.bp.blogspot.com/-7e_7w-GoF-Y/WA4bNwyG7PI/AAAAAAAAOo4/63zAJX9Pqg8rZFPC8wquExT-MqRF3Ua5QCLcB/s400/German%2Bsoldiers%2Bexcavating%2Ba%2BJapanese%2B28%2Bcm.%2Bsiege%2Bhowitzer%2Bnear%2BGrodno%253B%2Ba%2Bmunitions%2Bor%2Bspare%2Bparts%2Bcrate%2Bsitting%2Bto%2Bthe%2Bside..jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i><span lang="EN-GB" style="font-family: "arial";"> German soldiers excavating a Japanese 28 cm. siege howitzer near Grodno; </span></i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i><span lang="EN-GB" style="font-family: "arial";">a munitions or spare parts crate sitting to the side.</span></i></span></div>
<div style="text-align: left;">
<br /></div>
<div class="m6223314809454628326msonospacing">
<b><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">KANSAS CITY, Mo.</span></b><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> – When the German army
advanced into the western territory of the Russian Empire in the spring and
summer of 1915, soldiers encountered a physical and cultural environment quite
different from what they previously encountered. Those experiences are told
through the eyes of German soldiers in </span><span style="font-family: "arial";"><a data-saferedirecturl="https://www.google.com/url?hl=it&q=https://www.theworldwar.org/explore/exhibitions/current-exhibitions/wacht-im-osten&source=gmail&ust=1477405284802000&usg=AFQjCNFStPqoZHocKY1Kq0rhvziqCvY12A" href="https://www.theworldwar.org/explore/exhibitions/current-exhibitions/wacht-im-osten" target="_blank"><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Wacht im Osten: German Encounters
with the East in World War I</span></i></a></span><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">, a new special exhibition at
the National World War I Museum and Memorial.</span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">As historian Vejas Liulevicius describes, the
German soldier formed a “mindscape” of the vast, sparsely populated, underdeveloped,
alien landscape in which he found himself—something conquered by armed force,
but beyond his power to fully understand and control. This landscape challenged
him with a psychological learning curve beyond his capacity as a soldier or
administrator to comprehend a completely new environment.</span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Constantly aware of this, the German occupier
coped with his disoriented feelings by scrutinizing his environment more
thoroughly than he might have in more familiar surroundings. The Germans’
“mindscape” transitioned from being a way of understanding the physical nature
of this environment to understanding how to interact with it and eventually
subdue it, by constant guarded watchfulness.</span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> “This special exhibition is unique in that
we share the stories and experiences of common soldiers tasked with overseeing
the occupation of foreign lands,” said National World War I Museum and Memorial
Archivist and Edward Jones Research Center Manager Jonathan Casey. “Through
their own personal photographs and diary entries, we’re able to gain an
understanding of everyday life for soldiers in those circumstances.”</span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Wacht im Osten</span></i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> (“Watch in the East”)
explores this encounter between the German soldier and the land and people he
found himself trying to understand. An example of this is the Belarusian
village of Iwje, which is depicted using commercial photo postcards
illustrating its diverse mix of religious cultures, including Christian, Jewish
and Muslim.</span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">“Through <i>Wacht im Osten</i>, we’re able to
explore an aspect of the Great War not commonly examined broadly: what life was
like for soldiers serving as occupiers in lands previously unfamiliar from a
cultural and environmental standpoint,” said National World War I Museum and
Memorial President and CEO Dr. Matthew Naylor.</span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> The exhibition’s narrative unfolds mainly
through the stories of two German soldiers: Georg Oertel and Friedrich
Volkmann. Oertel served as a medic in a field hospital in Poland and once
helped deliver a farmer’s baby during the Christmas holiday. Volkmann was a
father with two small children who served in the infantry in Poland and was
killed there. They are experiences of two soldiers, far from home in a foreign
land, caught up in war.<i> </i></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Wacht im Osten </span></i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">is open from Oct. 25, 2016 –
March 12, 2017 in the Ellis Gallery. </span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">The National World War I Museum and Memorial
holds the most diverse collection of World War I objects and documents in the
world and is the second-oldest public museum dedicated to preserving the
objects, history and personal experiences of the war.</span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<i><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">Media interested in covering any of the Museum’s
offerings should contact Mike Vietti at </span><span style="font-family: "arial";"><a href="tel:816-888-8122" target="_blank" value="+18168888122"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">816-888-8122</span></a></span><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"> or </span><span style="font-family: "arial";"><a href="mailto:mvietti@theworldwar.org" target="_blank"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">mvietti@theworldwar.org</span></a></span><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">. </span></i></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="m6223314809454628326msonospacing">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">About the National
World War I Museum and Memorial</span></b><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">The National World
War I Museum and Memorial is America’s leading institution dedicated to
remembering, interpreting and understanding the Great War and its enduring
impact on the global community. The Museum holds the most diverse collection of
World War I objects and documents in the world and is the second-oldest public
museum dedicated to preserving the objects, history and experiences of the war.
The Museum takes visitors of all ages on an epic journey through a
transformative period and shares deeply personal stories of courage, honor,
patriotism and sacrifice. Designated by Congress as America’s official World
War I Museum and Memorial and located in downtown Kansas City, Mo., the
National World War I Museum and Memorial inspires thought, dialogue and
learning to make the experiences of the Great War era meaningful and relevant
for present and future generations. To learn more, visit </span><span style="font-family: "arial";"><a data-saferedirecturl="https://www.google.com/url?hl=it&q=http://www.theworldwar.org&source=gmail&ust=1477405284802000&usg=AFQjCNHD3joopLX-TUNZNF-RZW1y4vun1Q" href="http://www.theworldwar.org/" target="_blank"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">theworldwar.org</span></a></span><span lang="EN-GB" style="font-family: "arial"; mso-ansi-language: EN-GB;">.</span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"></span></span>Alberto Cellottohttp://www.blogger.com/profile/08709463946662367150noreply@blogger.com