La bellezza non è un frutto proibito (Gli emersi narrativa) (Italian Edition)

Le fonti rappresentano un ecosistema importante. Fa parte di una catena di dighe situate lungo il corso della Ruhr, di cui il Lago Superiore Obersee e la diga della Ruhr Schwammenauel fanno parte. Ha la funzione di proteggere le acque alte, di fornire acqua alle industrie situate lungo il corso della Ruhr e di produrre energia. Essa rappresenta un importante ecosistema per gli animali.

Qui covano differenti specie di uccelli. I laghi artificiali, formatisi grazie alla diga, costituiscono una fonte alimentare ideale per i rapaci ed i pipistrelli, dal momento che le rive forniscono un rifugio per le prede. It was their wish to found a religious community somewhere since they had become dissatisfied with the lack of discipline in the collegiate church at Tournai in present-day Belgium from where they came. In , they started to build a stone crypt and laid the foundations to the future monastic church. The crypt was finished in After a difference of opinion with Embrico, Ailbertus departed in He died in Sechtem , near Bonn in In , the bones, thought to be those of Ailbertus, were transferred to Rolduc and interred in the crypt built by himself and Embrico.

The first abbot of the monastic community was Abbot Richer who came from Rottenburch in Bavaria. The community was made up of canons regular Augustinians who initially lived according to extremely strict principles. Community life, prayers, lack of possessions, fasting and manual work were all part and parcel of the daily cycle. After guardianship of the abbey fell into the hands of the Duchy of Limburg in , Kloosterrade was considered to be their family church.

His tombstone can be found in the main aisle of the church. From the midth century to the end of the 13th century the abbey flourished. In the abbey owned more than 3, hectares of land and the number of regulars grew steadily. The library developed into one of the most important of its age and the Abbey provided pastoral and spiritual care to many parishes throughout the Netherlands. Other communities were founded by Kloosterrade: Five communities in Friesland were placed under the authority of the Abbot of Kloosterrade, the most important of these being the Abbey of Ludingakerke.

During the 14th, 15th and 16th centuries times were harder for Kloosterrade in both spiritual and material terms. The buildings and fabric paid a heavy price during the Eighty Years War. Materialistically, the abbey began to prosper once again and revenue was generated from the exploitation of the coal mines.

In around , Kloosterrade employed mineworkers. The abbey was dissolved by the French occupiers in and the canons regular were forced to leave the community. After Belgian independence , this seminary moved to St. Truiden in Belgium and Rolduc became a boarding grammar school for boys from well-to-do Dutch families. From to , the buildings were used to accommodate a seminary, but now under the auspices of the Diocese of Roermond. The boarding school closed in The crypt and the choir and chancel above have a cloverleaf pattern.

The western-most part of the crypt the stem of the cloverleaf was built later. When the crypt was consecrated in , it was smaller than it is today.

Remarkable is the fact that the columns in the crypt all have a different design. The chancel above the crypt was completed in and eight years later the northern and southern transepts were constructed. The crossing had not yet then been raised, so that it was flanked by two wings on the same level. This transversal gallery consisted of three sections, the roofs of each comprising a vaulted ceiling supported by columns. In , the church was extended westwards with a further three sections.

Turismo a Sesto Calende

In the original design, two smaller sections in the side aisles were planned to the south of these three sections. This plan was changed during construction. In the second and later in a fourth section, the aisles on either side were raised to the same height as the nave to form so-called pseudo transepts, so that on the outside of the church they look like transepts, whereas in fact they do not extend beyond the foundation plan of the church. These pseudo-transepts were not initially intended to be aesthetic, but designed to give better support to the vaults and to allow more light into the church.

The same construction method was also used in the older Mariakerk now demolished in Utrecht and later used in the Onze Lieve Vrouwekerk in Maastricht. When the three sections of the nave were completed in , a solid enclosing wall was built at the end of the third section. This third section was not yet then vaulted and in , the thatched roof was replaced by tiles.

Later in the twelfth century, the exact date is not known, a fourth section was built and the church extended further westwards. Originally, this would have consisted of a middle section on which the tower now stands and two lower side aisles. The tower extended no further upwards than the ledge that can be seen on the outside under the gothic windows. The westwork would originally have been much lower and compacter than now. The church was completed and consecrated in Prior to , the crypt was extended westwards, the stem of the cloverleaf, as it were, being made longer.

The choir above it was consequently raised along the same length. This raised section, in the crossing, likewise cut the transepts in two. In the sixteenth century, in line with the fashions of the time, the Romanesque trimmings were removed from the crypt and the choir and replaced with Gothic designs.

The two side recesses of the crypt and choir were demolished and the circular windows replaced with perpendicular ones. In the mid-eighteenth century, the crypt was plastered in rococo style. The choir stalls were installed on the crossing in the choir in the seventeenth century. Their carvings are simple but powerful in design. A tower was constructed on the westwork in and in , its stone steeple was replaced by one made in timber with slates. In , the young architect, P. Cuypers, was commissioned to restore the crypt and to reinstate as much as possible the original Romanesque fabric.

The first restoration projects were also carried out on the church at the same time. Restoration of the church was resumed in , including the reconstruction of the side recesses in the cloverleaf layout. As faithful as possible a reconstruction of the old chancel was carried out on the basis of the old foundation plans that had been found.

The frescoes were painted between and by the Aachen-based priest, Goebbels. The tombstones of the abbots in the side aisles were removed and placed vertically outside the church and against the walls in the transept. From both inside and outside, they give an impression of grandeur, reflecting to some extent the status of the abbots, who had been rewarded with the right to wear the mitre ever since the time of van der Steghe. The quadrangle, which housed a courtyard surrounded by the cloisters to the north of the church show little of the original form which was less elevated than today.

The western side is more or less original, but the other sides have been raised and altered in the course of time. The eastern wing, which looks directly onto the gardens, was built by Moretti, an Aachen-based architect between and The splendid library which it houses has plasterwork designed in late eighteenth century rococo style. To the south of the main complex is a farmstead dating from the end of the eighteenth century.

For a long time it remained in private hands, but was bought back by Rolduc in and restored. The southern wing, on the right-hand side when you are facing the church, was built in as a school. Between and , the building that make up Rolduc, including the crypt and the church with their frescoes, underwent major restoration work. In , Rolduc received the Europa Nostra Award, a prize awarded in recognition of projects that contribute to the upkeep of the European cultural heritage. Die Krypta wurde fertig gestellt. Nach Uneinigkeiten mit Embrico zog Ailbertus weg. Er starb im Jahr in Sechtem bei Bonn.

Die Abtei wurde Kloosterrade genannt. Walram III von Limburg. Sein Grab befindet sich im Mittelgang der Kirche. Die Abtei von Ludingakerke war die wichtigste. Jahrhundert erlebte die Abtei eine lange Periode des geistigen und materiellen Verfalls. Das letztendliche Internat wurde geschlossen. Dadurch entstanden die so genannten Pseudo-Querschiffe. Im Jahr war die Kirche fertig und wurde sie eingeweiht.

Im sechzehnten Jahrhundert wurden Krypta und Altarraum dem Zeitgeist entsprechend der gotischen Bauweise angepasst, wobei die romanischen Elemente beseitigt wurden. Die zwei Seitenschiffe der Krypta und des Altarraums wurden abgerissen, die runden Fenster durch spitze Fenster ersetzt. Mitte des achtzehnten Jahrhunderts wurde die Krypta mit Stuckarbeiten im Rokokostil versehen.

Sie sind mit einfachen und ausdrucksvollen Schnitzereien versehen. Auch an der Kirche wurden erste Restaurationsarbeiten vorgenommen. Es war lange in Privatbesitz. Sai a cosa mi riferisco, ammettilo…. Come tu non hai capito me…. Quando mi avvio ad una azione verso il mio ambiente, non trovo il vuoto, ma un mondo vivo di persone, fatti, storia.

• Havanaise, Opus 83 (Urtext Edition): For Violin and Piano: 0 (Kalmus Edition);
• ;
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• Shrapnel.

Da un pezzo abbiamo capito che le emozioni hanno le loro buone ragioni, che la mente razionale non solo non sa cogliere, ma oltre una certa soglia, non riesce proprio a fermarle. Significa che le mie emozioni mi alleno fin da piccolo a sentirle, discriminarle, esserne consapevole, e soprattutto mi alleno a contenerle, filtrarle, trasformarle in energia che posso gestire, con la quale posso progettare gettare avanti me in un mondo esterno che include altri Io, altri Noi. Per dirla proprio tutta, la nostra epoca sembra avere un rapporto proprio strano con le emozioni.

Sul piano clinico questo azzeramento delle emozioni ha un nome preciso: E mancano parole che esprimono affetti ed emozioni. Voglia di raccontarsi La generazione emo ha i suoi strumenti per esprimersi. Il corpo innanzitutto, dicevamo, con la sua ritrovata esasperata? Attivazioni anche viscerali, ma molto emozionate. Per capire le emozioni ci vuole coraggio. Le parole per dirlo Parole con la P maiuscola: Ecco la prima lezione. Dal campo del biologico, degli istinti, delle pulsioni, al territorio del sociale, delle relazioni, dei valori.

Facciamo una prova, adesso, qui. Quali piccoli o grandi contrasti ho vissuto oggi? Come la ho manifestata, o nascosta? Ce ne sono alcune che mi accorgo di non aver mai sperimentato? E a questo piccolo elenco di parole per dirlo e di domande, cosa posso aggiungere di proprio mio? D, una delle aziende storiche del Gruppo Coesia, la Fondazione MAST ospita una mostra che ne racconta la lunga e affascinante vicenda industriale attraverso una ricca documentazione fotografica e audiovisiva proveniente dai propri archivi aziendali e da un lungo lavoro di ricerca, inventariazione, digitalizzazione e conservazione.

In collaborazione con Librerie Coop e Garzanti. Solitari restare a riva a osservare le tempeste della vita o salire a bordo senza troppo curarci dei compagni di viaggio? Seguire le leggi del cosmo o le leggi dell'io? Scegliere la politica o l'antipolitica? Credere o capire di fronte a Dio e alla morte? Seguire la lezione dei padri o la rivoluzione dei figli? In collaborazione con Librerie Coop ed Editori Laterza. Sabato 3 novembre Ore Le app, o applicazioni software, fanno ormai parte della vita di tutti noi. Ingresso gratuito con prenotazione obbligatoria.

D Memoria e futuro. Una storia per immagini , che celebra il novantacinquesimo anniversario di G. D memoria e futuro. Una storia per immagini. Interverranno archivisti, curatori, ricercatori e professionisti. D Introduce e coordina: La sua raccolta di oltre Per informazioni sul programma completo della rassegna: Il duo che conta … e canta!

Parole e musiche in movimento: Storie di musica ed emozioni: Definizioni, concezioni, obiettivi, strumenti diversi nel Tavolo Permanente Musica Conclusioni a cura di Sonia Peana Per informazioni sul programma completo delle due giornate, visitate il sito: Pioniere della fotografia concettuale o post-concettuale, con le sue riflessioni ha aperto la strada ad innumerevoli altri artisti. Wall stravolge una serie di convenzioni della fotografia, riflette sul linguaggio, sullo stereotipo, sulle abitudini visive. Le sue fotografie, realizzate in set quasi cinematografici, sono pianificate alla perfezione: To celebrate the fifth anniversary of the opening of its cultural centre, the MAST Foundation presents a new selection of works from its collection of photographs, video-installations, and photo-albums on industry and labour.

Courtesy of Mondadori Portfolio. In collaborazione con Fondazione Alsos. Queste persone conducono l'esistenza di un qualsiasi nucleo borghese fino a quando non vengono messe in crisi da un evento apparentemente innocuo eppure sconvolgente: Il presidente della Terra le ordina di compiere una missione speciale: Uno solo degli astronauti, Taylor, riesce a sopravvivere a una battuta di caccia delle scimmie.

A Los Angeles, durante uno scontro tra la polizia e un gruppo di contestatori, viene ucciso un agente. Nel paesaggio spettrale di Zabriskie Point i due giovani trascorrono lunghe ore d'amore; poi giunge il momento di separarsi. Mark fa ritorno a Los Angeles per restituire l'aereo rubato, ma trova ad accoglierlo la polizia che gli spara contro uccidendolo. John, Paul, George e Ringo. Le marionette interpretano il dramma di Shakespeare e nelle pause si pongono domande sui motivi delle loro azioni.

Il pubblico presente in teatro a un certo punto interrompe la recita e decide la triste sorte dei personaggi.

G.D MEMORIA E FUTURO. UNA STORIA PER IMMAGINI

Il finale poetico vede lo spazzino Domenico Modugno portare alla discarica le marionette distrutte cantando una struggente melodia, mentre queste scoprono incantate le nuvole. Rassegna in collaborazione con la Cineteca di Bologna. Florence e Julien sono amanti che decidono di eliminare il marito di lei, Simon, potente affarista con i vertici della politica.

I due architettano un piano che sembra perfetto, disponendo ogni dettaglio in modo che la polizia lo consideri un suicidio, ma quando Julien tenta di lasciare l'edificio in cui ha appena compiuto il delitto, il custode dell'edificio, prima di andare via, disattiva il contatore generale dell'energia elettrica, bloccando l'ascensore nel quale si trova Julien. I musicisti hanno improvvisato vedendo proiettate le scene del film. Secondo alcuni indica l'ora magica in cui in un jazz club si celebra il rito di una musica particolare.

Numerosi altri musicisti hanno collaborato al film: Collezionista di amori infelici, Parker assume fiumi di alcol e droga che lo devasteranno. Le atmosfere del film sono principalmente notturne, con una fotografia molto contrastata. Le poche scene girate alla luce del giorno rappresentano momenti cupi della vita di Parker, come il funerale della figlioletta, la degenza al manicomio e infine il suo stesso funerale. Anche se Fletcher non gli dice quasi nulla, riesce a accendere in Andrew il forte desiderio di raggiungere i suoi obiettivi.

Sorprendendo Andrew, il giorno successivo Fletcher gli chiede di entrare a far parte della band da lui diretta. Tra il e il a New York decine di musicisti jazz si ritrovano per suonare in un loft cadente di Sixth Avenue, senza sapere che le loro note e le loro conversazioni vengono immortalate in audiocassette e fotografie dal reporter W. Svoltare su via Battindarno e prendere successivamente via Vittoria.

Dopo mt svoltare a destra e procedere su via Speranza. Uscendo dalla rotonda aeroportuale, prendere la seconda uscita, proseguire su via del Triumvirato fino a raggiungere via Emilia Ponente. He was born in the US in to Nigerian parents, and raised in Nigeria. He went back to the America at the age of 17 and he currently lives in New York.

He also acted as a Curatorial Advisor to the Venice Biennale. Stabilimento National Tube Company, U. Masterworks of industrial photography. This service is provided by means of email. The provision of any personal data on the part of the user is always optional; however, should the data marked as "required" on the subscription form be missing, the service will not be activated. In order to compare and potentially improve the results of its communications, the Controller uses systems for sending newsletters and notifications with reports.

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The MAST Foundation, without betraying its mission of exploring the themes of work and industry, presents an exhibition focused on in the USA, not only to celebrate a key date but also to pay homage to photojournalism in the s. The year marked a radical change in public attitudes and beliefs.

Photojournalism had a dominating role in the shaping of public attitudes at the time. Photojournalism played a crucial part in triggering this transformation: A celebrated artist and experimenter animated by contagious enthusiasm and a tireless spirit of exploration, for over two years Nino has accompanied the children and educators in their discovery of the photographic media as a form of writing and a surprising mechanism for the creation of storytelling images. Under his guidance, children from 3 to 5 years of age have learned to make use of camera-less techniques such as oxidation, cellograms, polarigrams, lightgrams and photograms, discovering new ways of observing, telling about and transforming their world, with method and fantasy.

Sam Stephenson has spent more than twenty years studying the life and work of W. Eugene Smith, following his footsteps in twenty-six states, Japan and the Pacific and interviewing more than five hundred people that knew the photographer in one capacity or another. Eugene Smith in his workroom. Archives of American Art, Smithsonian lnstitution.

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For more information, please refer to the Cookie Policy provided below. Personal data provided freely by the user: Specific, brief notices are provided on pages that involve the use of forms. Aims of the data processing User data gathered during navigation will be processed for the following purposes: Provision of the data indicated in purpose 2 is optional, and any refusal to the data processing will not compromise the functionalities and services on the website.

Each processing operation will occur in observance of the procedures indicated as per Articles 6 and 32 of the GDPR and by adopting the suitable security measures provided for. Processing connected to online services is carried out by providers located in Italy and the data are stored at the location of the physical servers. Disclosure and Circulation The data gathered are processed within the Foundation by authorised individuals and appointees designated by the Controller and can be disclosed to third parties, particularly: The data are not circulated to others.

User data are gathered by means of instruments and services which may be provided and stored by third parties. Please note that Google Analytics is active on this site and is set up in such a way as to reduce the identifying capacity of the cookies, and the functions that permit third parties to use the information have been disabled. Time limits for storing the data In observance of principles of lawfulness, limitation of purpose, and reduction of data, pursuant to Article 5 of the GDPR, the personal data will be stored for a period of time no longer than required to perform the services provided.

We wish to inform users that the site could contain links to other websites not managed by the MAST Foundation, which in such a case is not responsible for errors, content, cookies, publications, advertising, banners, or files that are not compliant with regulations in force. Problemi cronici nelle comunicazioni limitano Sam a scambiare solo occasionali messaggi registrati con la sua famiglia, composta da sua moglie Tess e da sua figlia Eve, nata dopo la partenza di Sam per la Luna.

A due settimane dalla data prevista per il suo ritorno sulla Terra, Sam inizia ad avere allucinazioni e a soffrire di forti mal di testa. Appena atterrati, John e il suo equipaggio incontrano il Professor Morbius, unico superstite che vive in una spettacolare residenza con la figlia Altaira e il servitore Robby, un robot parlante. Ma proprio quella tecnologia scatena una creatura di pura energia, inquietante ma allo stesso tempo affascinante.

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I robot positronici ormai sono diventati un articolo domestico come un altro, alla portata di tutti ed in tutte le case, e il mondo aspetta l'arrivo sul mercato dei nuovissimi NS-5, generazione prodotta dalla U. Robots, azienda leader nella robotica. Mentre tutti impazziscono per questi aiutanti meccanici, il detective Del Spooner non si fida troppo dei nuovi e avanzatissimi robot. Lanning lascia a Spooner un dispositivo olografico contenente alcune sue riflessioni che lo spingono a considerare la sua morte come un omicidio.

Tramite questo processo, si possono prevedere in anticipo le future condizioni fisiche e di salute dei nascituri, tanto che, in definitiva, alcuni di loro vengono artificialmente generati senza imperfezioni, come se fossero "costruiti" su misura. Per scelta volontaria dei suoi genitori, il protagonista Vincent viene concepito in modo naturale, senza l'intervento della scienza.

Fin dalla nascita gli viene diagnosticata la stessa debolezza cardiaca del padre, che lo dovrebbe portare, secondo i calcoli svolti a partire dalle analisi del suo sangue prelevato all'atto della nascita, a morire prima dei trent'anni. Ingresso gratuito con prenotazione obbligatoria Per registrarsi, cliccare qui. Eugene Smith and to the monumental body of work he realised from onwards in Pittsburgh, the most powerful industrial city in the world at the time.

The project, which Smith considered the most ambitious of his career, marked a turning point in his professional and personal life. His first commission as a freelancer was to take 80 to photos of Pittsburgh for a publication celebrating the bicentennial of its foundation. The city was in the midst of an economic boom driven by the growth of the steel industry, and in particular its steel mills, which guaranteed employment and drew workers from all over the world. Smith was fascinated by the City of Steel, the faces of the workers, its streets, its factories and the infinite details and contradictions of its social fabric, painstakingly recording it all in order to create a comprehensive portrait of the city.

He was driven by the desire to find the absolute, to be truly present and prepared in the sparse moments in which the truth of life manifests itself in worldly phenomena. Pittsburgh soon became his obsession. Instead of shooting for six weeks, he took photographs for two or three years, then spent the rest of his life struggling with the almost 20, negatives and 2, master prints, doggedly pursuing his ultimate ambition: The project never came to an end and only a small number of images were published.

Curated by Urs Stahel, the exhibition at MAST displays a group of core pictures from this magnificent and painstaking work, providing a portrayal of Pittsburgh but also of America in the s, with its lights and shadows and its promises of happiness and progress. Scardinando il concetto stesso di racconto, nel dicembre del il regista Michael Glawogger decide di partire per un anno attraversando tutti i continenti senza fermarsi.

Dopo 4 mesi e 19 giorni Glawogger muore improvvisamente durante le riprese. Monika Willi, sua storica montatrice, raccoglie la sfida all'imprevisto e la continua. Regalandoci un omaggio sulla bellezza travagliata del mondo e un inno alla potenza visiva e poetica di questo regista. Mentre affronta gli effetti di una leucemia provocata dalle condizioni in cui opera, Yi Yeting studia diritto per prepararsi a una battaglia legale contro i propri datori di lavoro.

Ma la battaglia per difendere la salute di milioni di lavoratori cinesi richiede un confronto con brand multinazionali quali Apple e Samsung. Ma quando diciamo "desiderio" che genere di esperienza evochiamo? Massimo Recalcati indaga qui un tema chiave della dottrina di Lacan: Come in una galleria di ritratti vengono raffigurati i diversi volti del desiderio umano: Con una nuova prefazione dell'autore e dieci fotografie di Giancarlo Fabbi.

Uomo, il fascino è nello sguardo

Through advertising and the mass media, multi-billion dollar industries, especially those in cosmetics, fashion, dieting, and plastic surgery, fill our lives with images of an idealised and unattainable beauty, a body that cannot really exist in nature and can only be achieved through plastic surgery or retouching. Perfect beauty is shown everywhere: The sheer quantity of these images makes it impossible not to be influenced by them. The Illusionists explores these themes through the testimony of sociologists, politicians, publishers, scientists, artists, and activists in North America, Europe, the Middle East, and Asia.

Her life changes dramatically when she gets Addison's disease, a very rare condition that changes the pigmentation of one's skin Through entr'acts sung to instrumental versions of any kind of music, including a Christmas song, the characters underline the steps of the protagonist's progressive descent into hell; they become almost Brechtian songs, breaking up the plausibility of the action but at the same time pushing it speedily along. The French director proves himself skilled at bringing a complex issue to the big screen under the guise of clever entertainment.

Stephen Haines is a beautiful woman living a happy, fulfilled life devoted to her family — her husband and young daughter. Her friends go from one divorce to the next, or, when all goes well, devote themselves to generating heirs. Mary luxuriates in her secluded, contented life. Until she takes a friend's advice to get her nails painted by a specific manicurist in a beauty salon. The gossip of the salon, the manicurist parades her entire repertoire of rumours before her new customer.

One of these concerns a cunning perfume counter girl who has ensnared a wealthy high-society man. To her horror, Mary learns that the manicurist is talking about her husband, Stephen Paradoxically, the fact that the film never shows men confirms their power: Since its founding in , the St. Louis-based multinational corporation, which began as a chemical company, has been accused of negligence, fraud, personal and property damage, causing health and environmental disasters, and using false evidence over the years.

An industrial empire with offices in forty-six countries and a yearly turnover of 7. Marie-Monique Robin's documentary sheds light on the true scope of the actions taken by this highly powerful multinational and on the health and environmental consequences of GMOs. MAST Foundation presents the exhibitions dedicated to work and the landscape in Emilia-Romagna, featuring over images and thirty five books on the environments, situations, and contexts found in the Emilia region.

In A Tile, Some Milk, a Machine and Logistics — Photographs of Emilia Romagna at Work , curated by Urs Stahel, works by major photographers reflect on developments in the economy and landscape that have affected the Emilia-Romagna region in recent decades. The exhibition aims to weave a storyline organised into groups of contrasting photographs. The photographers' work, along with scenes from the film Il deserto rosso Red Desert, by Michelangelo Antonioni , craft a tale that faithfully represents the economic evolution of Emilia Romagna and the ongoing transformation of the manufacturing industry.

We begin with the classic portrait of a worker from Bologna taken by Enrico Pasquali , followed by images of equipment and tools produced by the Officine Minganti in the midth century, and abandoned packaging machines photographed by Gabriele Basilico in a Bologna factory while it was being taken down and reconverted. William Guerrieri shows the abandonment of an industrial dairy in San Faustino, near Rubiera, in his project Dairy ; photographs by Paola De Pietri depict the traditional process of ceramic production, while large-format images by Carlo Valsecchi reveal industries at the cutting edge of technology.

Irene | Chi vuol esser lieto sia, di doman non v'è certezza…

The change brought on by increased speed on roadways and new railway lines appears in the photographs of Tim Davis, John Gossage , Walter Niedermayr , and Bas Princen showing the construction of the TAV, the high-speed railway line connecting Turin to Naples; these contrast with the idyllic images of the Po delta by Marco Zanta. The landscapes of Guido Guidi , whose small-format colour photographs, dense with meaning, are scattered throughout the exhibition like a leitmotiv, narrate the changes that have taken place in the man-made environment of Emilia Romagna, along with Olivo Barbieri's photographs of Cavriago and the queues at the tills of its shopping centres, visually representing the gradual metamorphosis that the town has undergone.

Economic development is paired with political debate in the video of Lewis Baltz and in the photographic reporting of Simone Donati , who has documented Italian collective rituals in his work. The exhibition also includes videos by Tim Davis and William Guerrieri. The film, made by Francesca Zerbetto and Dario Zanasi in and produced by the Cineteca di Bologna and MaxMan Coop with the support of the Emilia-Romagna Regional Authority and the Fondazione del Monte di Bologna e Ravenna, presents a journey through the region's landscape, where some of the most important directors in Italian and international cinema have set their films.

In addition, a display of 35 books on the environments, situations, and contexts of Emilia Romagna , made available by Linea di Confine, completes the exhibition. Jakob Tuggener show opens the exhibitions programme organized by the MAST Foundation, which promotes special photographic shows on the theme of industry and labour, employing both images from its own industrial photography collection and works from private collections or often previously unviewed archives.

Influenced by the German Expressionist films of the s, he developed a poetic-artistic style that would become an inspiration for young photographers after the Second World War. Fascinated by the glittering atmosphere of high-society parties, Tuggener had begun to photograph elegant ladies and their silk gowns in Berlin, but it was in Zurich and St.

In reality, he loved both: For him, they were both of equal value and he resisted being categorized as a social critic who pitted one world against the other. On the contrary, these contrasts belonged to his conception of life and he relished experiencing the extremes — and the shades of tones in between — to the most intense degree. In addition, in order to represent the eclecticism and exceptional nature of this artist, the show has been enriched with SHORT FILMS distinguished by a dynamic directorial style and an editing technique that owes much to the theories of Eisenstein, with shifts from the long shot to the close-up: Martin Gasser, Urs Stahel Promoted by: Two masters of 20th century photography.

Agnes Sire, director of the Henri Cartier-Bresson Foundation, and Martin Gasser, curator of the Swiss Foundation for Photography, will present the two great photographers of the 20 th century who directed their glance at crucial moments of our history. Parking will be available by reservation in the MAST parking lot with entrance from Via Vittoria in front of number 18, subject to availability of parking spots. Moore will be presenting photographs of abandoned factories in Detroit taken in , and those same factories recently restored, as well as some works from recent years.

Andrew Moore is an American photographer and director. The general public knows him best for his large format photographs taken in Detroit, Cuba and Russia. He employs the formal language of architecture and landscape photography to document issues of social change. It was left to the mercy of hooligans, vandals and forces of nature. There are hundreds, if not thousands, of empty buildings, factories, libraries, hospitals, schools, churches, all abandoned and mostly unattended.

Parking will be available in the MAST parking lot with entrance from Via Vittoria in front of number 18, subject to availability of parking spots. The catalan artist, who is also an important curator and critic, will present the worker photography movement. Along side the seminal exhibition Hard, Merciless Light. Created in , since the GD4PhotoArt competition has become part of a far greater project which is being developed within the context of MAST Arts, Experience and Technology , the innovative multifunction complex adjacent to the historic G.

D plant and the headquarters of the Coesia Group in Bologna that offers a range of services to company employees and to the local community. D starting from Since , the GD4PhotoArt contest has contributed towards creating a photography collection of young contemporary artists which is part of a more complex and historically-based collection of images on industry and labour. All activities connected with the collection are now headquartered in a space dedicated to this topic within the MAST Gallery, where exhibitions are set up throughout the year.

Within this specific and original project, the competition encourages young photographers who wish to explore modern society. In the last two or three decades, industry in Europe has undergone a huge change. It has taken hold of companies, society as a whole and every individual. Production plants are being moved to far away countries, meaning that we run the risk of also losing the expertise and community and decision-making structures that our societies have developed over centuries. The competition procedures require that the photographers, under forty years of age, are proposed by international experts in the field.