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Why has "America" - that is, the United States of America - become so much more than simply a place in the imagination of so many people around the world? In both Europe and Latin America, the United States has often been a site of multiple possible futures, a screen onto which could be projected utopian dreams and dystopian nightmares. Whether castigated as a threat to civilized order or championed as a promise of earthly paradise, America has invariably been treated as a cipher for modernity.

It has functioned as an inescapable reference point for both European and Latin American societies, not only as a model of social and political organization - one to reject as much one to emulate - but also as the prime example of a society emerging from a dramatic diversity of cultural and social backgrounds. Skip to main content Skip to table of contents. Advertisement Hide.

Her approach strives to ethically contribute to a more democratic and collective understanding of creativity. Senatore works across multiple disciplines, including performance, installation, film, photography, drawing and collage. Marinella Senatore. The exhibition presents a focused selection of major film works, new drawings and performative projects. The latter film documents the public performance comprised of parades, dances and music, which took place on the occasion of Manifesta 12 June across the historical centre of Palermo, Sicily.

The drawings include a group of approximately 80 new works on paper, specifically made by Senatore in reference to instances of public gatherings of feminist assemblies and non-violent protests across various cultures and communities. The exhibition continues with The School of Narrative Dance — ongoing. Presented in the form of a large dance mat, the installation is based on the idea of dance as a common language open to celebrate the vernacular, amateur and professionally trained gestures of participants.

Made available to the public as a free, usable facility, the space welcomes and invites the collaboration of individuals as well as local associations. Featuring dance, music and singing, the performance will present several forms of cultural expressions and pacific resistance, according to a choreography developed in collaboration with the participants, which focuses on the empowering value of a number of local traditions. The film will be shot during the performance and its preparation, documenting the ways in which artistic creativity can evolve as a shared process across cultures and languages.

The mission of Castello di Rivoli is to promote the understanding of our times through art and culture, engaging local and international audiences. Senatore attended Centro Sperimentale di Cinematografia in Rome, graduating in and she is currently completing her Doctorate at UCLM, Spain, where she was also a professor for seven years. Giuseppe Penone.

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Penone percepisce il mondo e la vita in modo scultoreo, toccandone e accarezzandone le parti costitutive. September 22 — November 10, Opening: Saturday, September 21 , 12 pm. Giuseppe Pellizza da Volpedo Volpedo, — is one of the foremost Italian painters in the realistic and divisionist style. Il Quarto Stato The Fourth Estate , , is one of the well-known historical paintings and over time it became an icon for democratic movements worldwide, a symbol of the dignity of workers, and of a social class seeking to arm its rights.

Born in Germany in , Ceylan is already known to the international public for his hyperrealistic painting addressing the representation of the queer body in Islamic society. Druggist, chemist, botanist, archaeologist and enologist, Pinot Gallizio Alba, — began to work as an artist at the age of fifty, after meeting Piero Simondo. The work is the result of the experience of the Experimental Laboratory, a collective work space in which subjective artistic research met the scientific and alchemical knowledge of materials and their properties.

This type of painting made use of production materials such as tar, sand and oils, and came in industrial formats, such as long rolls. Among the artists of Senza titolo Untitled , , Piero Simondo is a post second world war painter and one of the founders of the Situationist International.

After studying Chemistry at University, in he attended the faculty of Philosophy in Turin, where he met his partner Elena Verrone, a fellow philosophy student from Alba. In , Simondo started to experiment with abstract paintings, sewing household linen cotton cloths; Figurine , , epitomizes such research. In this period, Gallizio often hosted Simondo in Alba, sharing with him his own studio.

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A nomadic and theorical movement, the Laboratorio Sperimentale championed a collective practice-based research, as a famous and staged photo of a M. Among the protagonists of Arte Povera, the artist created his works making use of a variety of everyday materials and motifs—ranging from metal rods to glass fragments, from fresh fruit to bundles of branches, from piles of newspapers to neon tubes, from words to numbers.

In , he also began working on his first Igloo, a hemispherical domed structure that represents a temporary and nomadic architectural ideal, a house simultaneously ancient and contemporary, a symbol of the celestial vault and of conviviality. The large installation Architettura fondata dal tempo — Architettura sfondata dal tempo Time-Based Architecture — Time-Debased Architecture , , joins the igloo, made of iron tubing, stones, and glass, with a circular structure created from iron and piles of branches that sinuously extends out from the igloo.

It is broken through by a large painted canvas that depicts an imaginary prehistoric animal. The believer, pilgrim towards the Kingdom, moved by the Holy Spirit, enters into a dynamism of spiritual growth and interiorization. This dynamism carries him towards the accomplishment that saves him from sin and death and lets him taste already in this life the joy of salvation. Jesus Christ is the sower who sows generously, without excluding anybody. The ground, however, is not all of the same quality. The believer must work to purify the ground of his heart.

He must consent to live with Christ on the cross and to lose his life for the love of God and of his neighbor. He is called to follow Christ in his passage to the Father.

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The spiritual struggle in an ever greater obedience to the Word of God is the daily bread that he eats with patience cf. Lk 8, The coming conference will help us to examine more deeply some essential aspects of this road along the stages of Christian conversion.

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Patristics , Spirituality , and Early Christianity. Second International Congress on Cypriot Hagiography more. Third International Congress on Cypriot Hagiography more. First International Congress on Cypriot Hagiography more. Byzantine Hagiography. Conference Presentations.

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La Vita di Atanasio l'Athonita, presentazione del libro. Qualche parola sull'impianto ideologico della Vita more.

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Clash of civilizations? Nomad [ It is about how Islamic ideals clash with Western ideals. It is about the clash of civilizations that I and millions of others have lived and continue to live. How does this media impact upon a sense of belong- ing amongst Somalis who live there? In the case of Somalis, such stereotypes are complicated by an additional clash of civilisations narra- tive of incompatibility between religions that frames Islam in Western media.

In spite of their colonial legacy with Italy, Somalis who resettle in the country generally experience alienation on two fronts: on the one hand, they are not seen as white in a society that is commonly imaged as white and, on the other, they are regarded with suspicion for being Mus- lim. The bestselling books by the Somali au- thor, Ayaan Hirsi Ali, such as The Caged Virgin,5 may be seen as con- tributing to this depiction.

When I speak of assimilation, I speak of assimilation into civilization. Aboriginals, Somalis, Arabs, Native Americans — all these non-West- ern groups have to make that transition to modernity. Community trumps individual urges, vices, pas- sions, and aspirations. Year after year all days resemble each other. They are part of the cosmic plan that we all just accept, Inshallah. This is a tide of history that my grandmother understood could not be stopped, that was sweeping along her and her own family, including me.

Those who resist or move back and forth — one inch forward, one inch back, borrowing parts of modernity but not all of it — are sooner or later confronted with reality. They are only prolonging their pain.