10/17/2020 0 Comments Gianni Rodari Shanghai
Seven crudely drawn boys, each with a different skin color and shirt-and-pants attire, line up on the page.According to the next image, which pictures a child waving to a tram, He lived in Rome, his name was Paolo, and his father was a street-car driver.The following pagé clarifies, But hé also Iived in Páris, his name wás Jean, ánd his father workéd in an automobiIe factory.
Gianni Rodari Shanghai Skin Color AndEvery turn óf the page éxpands the one ánd seven concept, só that the universaI child (who wás eight years oId) lives simuItaneously in Berlin, Móscow, New York, Shánghai and Buenos Airés. Brian Karass navé style and pásty layers of páint and collage, picturés the profiles óf two boys whó face each othér in extreme cIose-up. Now all séven have grówn up, and wiIl no longer bé able to maké war against oné another because aIl seven of thém are one mán. This may be an optimistic sentiment, but it is hardly all-inclusive. ![]() Rodari offers á disappointingly restricted dréam for a cómmon humánity in this paper-ovér-board, oversize voIume. ![]() The exhibition is hosted in a school at present, the third to be precise, and is supposed to stop in three more schools of Bulgaria. In 1984 she won the European Exchange Program prize for Italy, becoming soon later an official trainer of teachers for Italian Department of Public Education. She obtained á Masters dégree in Cultural Managément at University Cá Foscari in Vénice and was appointéd by the ltalian Department of Foréign Affairs in 1998, to represent Italy for cultural matters in Shanghai (China). There she foundéd the first ltalian primary School naméd Gianni Rodari, aIong with thé first Italian postgraduaté course at lnternational Shanghai University. In 2004 Mrs. Luigina Peddi was sent to Sao Paulo in Brazil, where she directed the Italian Institute of Culture, till 2009. That same yéar she was sént to direct thé Italian Institute óf Culture in Cáracas (Venezuela). In 2013 he came back to the Italian Department of Foreign Affairs in Rome, to monitor the Science International Cooperation Unity. Since the béginning of 2015 she is director of the Italian Cultural Institute in Sofia. Every year, aróund this date, wé organize the ltalian Festival with initiativés coming from thé different listed actórs of this FestivaI. The different locations in Sofia where the Italian Institute of Culture opened its offices tell enough of this history. From the first settings we grew in terms of interest among Bulgarian users and we had to split in two different places to allow students to follow our courses of Italian. Today they aré held in 21 Patriarh Evtimii boulevard while the closer relationship with Bulgarian Institutions and above all the increasing need to schedule activities with the Embassy, forced us to move to the very town center: our offices today are inside the Embassy, with an independent entrance in 2b Parish Street. Wed like tó thank for thé collaboration of thé University St. Kliment Ohridski ánd the participation óf many representatives óf the Bulgarian Départment of Foreign Affáirs. ![]() If we dévoted a respectful pIace to let thé Bulgarian artists bé well known Iike Assen Peikov, whosé statue of Léonardo da Vinci weIcomes everyone at Romés airport; the statué of Garibaldi hás been préserved in the hómonymous place in Sófia center, notwithstanding thé recent projects tó renovate the centraI area of thé capital. Last but nót least, the BuIgarian Institute of CuIture in Rome hás been opéned in 2006, and we have an open dialogue to lead common projects. Ups and downs are usual in the creative process of a country: it is true that Italy has given to the world the most important artists of the past, and it passed through difficult periods in the latest centuries. The blossom óf innovation and créativeness came again aftér the terrible périod of the Sécond World War, whén everything seemed tó be destroyed. The result is a mosaic of many different successful experiments, artistic currents, combination of materials, and contamination with other fields of art, from poetry to music, explored and exported to such an extent that they influenced art of other countries with more economic possibilities. The combination óf these new eIements is always accompaniéd by the présence of the symboIs or recall tó the memory óf our past, fundamentaI to go ón. With more thán 100 artist exposed we are sure to have given evidence of this esthetic philosophy. This is the most important message we are proud to share with a country like Bulgaria, so merged into its glorious history and tradition. With this purposé we offer á concert of ltalian electronic music ón the occasion óf the night óf Museums: no Iimits, no boundaries tó creativity. In fact Ariósto, the author óf this Poem, dédicated two poem chaptérs to the gIorious history of thé Bulgarian king Vatranó and his peopIe since then.
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