Friday, May 30, 2008
What Chocolate Do You Use For Scrolls?
Association
RECOVERY CENTER ARTS AND CRAFTS
Presents
Sara Telloni
UNLIMITED
essay by Francis Calati
Opening Sunday, June 15 18:00
What is a limit? It is a boundary between two different reality, which introduces a threshold to another, a softened contours, while a gradient that league. The limit is a tangle between two inseparable things, divides them, but at the same time differentiate them in the league. This is the key idea of \u200b\u200bthe artist, that common thread that unites these installations that cover the last three years of research. It is a common thread di lana grezza che ci accompagna in questo percorso di reinterrogazione dei nostri limiti: un viaggio di andata e ritorno tra due città, fra luce e ombra, fra ricordo e presente, fra il visibile e il celato. Molteplici opposti che si interfacciano mediante un solo elemento di confine, un’unica soglia fra universi paralleli: l’esperienza dell’artista.
La poetica di Telloni, mira a trarre il qualcosa, il c’è da dove, solo apparentemente, si vede solo il nulla. Limitare è la pratica di ognuno di noi, tracciare confini, comparare e separare, mettendo muri e barriere anche dove non vi è necessità. Sfumature fra realtà e differenze che accomunano: il limitando è questa particolare ricerca artistica and spiritual. See the hidden connections between things, focus on the idea, innermost essence of them.
Two poles, two stimuli, two radically different but closely united city from the bush-limiting who is the artist. A book of colors, feelings and memories indelibly fixed on handmade paper by the imagination: the nuances that combine the image of the real and imaginary extension with his sensational. Snapshots of the time that has passed that presentificano in the act of observation and provide for. Places of transit and hidden stories of colors and feelings.
limits and boundaries, places and times: Unlimited instant that flow constantly becoming mano a mano altro da sé. Frammenti che divengono passati, senza più limite: conserve dei nostri ricordi. L’essere delle cose è il divenire e il nostro pensiero deve essere una dinamica del divenire, poiché ogni cosa diviene altro da Sé, interrelandosi coi contesti, con i particolari significati che ognuno gli dà. Attimi sospesi, sovrapposizioni, questo è il sapore dell’opera dell’artista.
Se pensiamo il divenire non possiamo più credere in esseri e cose distinte, limitate e contrapposte, dobbiamo credere in un essere del divenire stesso: questa è la funzione dell’Il limitando, la serialità e continuità del limitando, come funzione umana, negata dall’Il che apre i confini di quella dimensione pre-oggettiva, in cui tutto è continuo, indiviso e illimitato…
Sara Telloni (Saronno, 1981). Vive e lavora a Milano.
Associazione
CENTRO RECUPERO ARTI E MESTIERI
Via Ramazzotti, 43
(Ang.Via V. Monti)
21047, Saronno (VARESE)
La mostra resterà aperta dal 15 al 29 giugno
Orari: tutti i giorni ore 15 – 19.30
Ingresso Libero
Informazioni presso la mostra
Tel. +393881824192;
e_mail: superetta@libero.it
Sunday, May 25, 2008
Friday, May 23, 2008
Watch Sean Cody Online
EGG criticism is not finished! EGG
All'interno della manifestazione Teatri di Vetro, la scena indipendente sono previsti sei momenti di discussione e di approfondimento intorno a percorsi e progetti che hanno dato un contributo significativo alla scena del presente. 
All'interno della manifestazione Teatri di Vetro, la scena indipendente sono previsti sei momenti di discussione e di approfondimento intorno a percorsi e progetti che hanno dato un contributo significativo alla scena del presente. Gli incontri sono ospitati dalla Casa del Municipio Urban Center Roma XI - Via Nicolò Odero, 13 ( www.teatridivetro.it ).
EGG CRITICAL - new appointments between criticism and performance scene saw made eight new appointments between criticism and performance scene between February 29 and April 16, 2008 at the space Kataklisma theater - Via G. De Agostini, 79 - Rome. The project started from the consideration that the new theater of research needs that the subject "critical" is inserted in the report show / viewers by providing timely and accurate maps of the proposal stage. The criticism has been placed in the center of the project as privileged, role in the development of a critical thinking about culture and a bridge between the artist and the audience, another actor directly involved in the process.
In Theatres Glass 2008 EGG CRITICAL creates a meeting with the critics and the companies involved. presents the work done, taken from video evenings, and the reflections and the nodes have emerged in meetings and in subsequent debates. are invited to participate critics, artists and audiences to explore and groped to define the "critical" point of this first edition of the project. All materials collected, including interviews and reflections of the artists and critics who have implemented the meeting and the footage of the evenings, you can see on the blog http://uovocritico.blogspot.com , as well as on the site of Podoff media partner.
Critics:
Donatella Bertozzi, Mariateresa Surianello, Marcantonio Lucidi, Gianfranco Capitta, Attilio Scarpellini, Nico Garrone, Lorenzo Donati, Antonio Audino In Theatres Glass 2008 EGG CRITICAL creates a meeting with the critics and the companies involved. presents the work done, taken from video evenings, and the reflections and the nodes have emerged in meetings and in subsequent debates. are invited to participate critics, artists and audiences to explore and groped to define the "critical" point of this first edition of the project. All materials collected, including interviews and reflections of the artists and critics who have implemented the meeting and the footage of the evenings, you can see on the blog http://uovocritico.blogspot.com , as well as on the site of Podoff media partner.
Critics:
Company: Maddai, Alessandra Cristiani, Teatro Sotterraneo, Reggimento Carri-Roberto Corradino, Psicopompoteatro, Kataklisma, Gramigna_ct, Muta Imago
"Uovo Critico è stato uno dei rari casi in cui i fatti, anzi il fare, ha superato la noia delle annose questioni, semplicemente attuando una pratica. Non era semplice far funzionare una cosa così, e siamo soddisfatti di averne fatto parte"
(Teatro Sotterraneo)
Thursday, May 22, 2008
Microwave Riddle For A Treasure Hunt
Critics' Theatres of Glass "
videos
videos
Mandigo 3gp Free Movies
the eighth night
videos 
March 28 2008_quarto appointment EGG CRITICAL
Tank Regiment - Roberto Corradino
Tank Regiment - Roberto Corradino
Wednesday, May 21, 2008
Monica Roccaforteclips
the seventh evening
Deposit May 1
Deposit May 1
I run into other "supporting documents" to my thesis on the need to overcome the deconstruction: they date back to the essay by Pasolini The end garde. The consequence - Pasolini argues - is that the language-garde (and has targeted the Group '63), destroying the power of the word significant and metaphorical, occurs "[...] without shadows, without ambiguity and without drama, as the forms of academic papers or impersonal." The problem that the edge has not been able to address is how to deal with reality without devitalized and anesthetized, as stated '[...], the author wishes to express a "sense" rather than of meaning. So to make something happen in his work. Thus always to evoke directly the reality, which is the seat of a transcendent sense meanings. "
Compared to a reality so profoundly changed, the writer noted, both methods are inadequate commitment that those old Marxist-garde, one must expect an art that is able to face the present, evoking the sense of suspending, creating works ambiguous, without giving up the commitment, that is the reality.
Liberation
The end-garde (Notes for a sentence of Goldmann for two lines of a text-edge, and an interview by Barthes)
, in Id, 
Empiricism heretical
, cit., p. 130.
Rome, May 1, 2008 Valentina Valentini
, cit., p. 130.
Rome, May 1, 2008 Valentina Valentini
Monday, May 19, 2008
Worsester Boilers Resey Button Flashing
the fifth night on the fourth evening
The Board theatrical
The Board theatrical
28/04/2008
Guests of this episode of Noises Off ULDERICO FISH
, who speaks of his two new shows -
their bread-Stories from a Republic founded on lavoro
, direttrice artistica e organizzativa di
UOVO CRITICO - un'iniziativa realizzata nell'ambito di
per immagazzinare questioni, ossessioni, riflessioni, rilevare costanti, tracciare scie, lasciar cadere briciole o sassolini come Pollicino (in modo da non perdere la strada del ritorno a casa)
, nel tentativo di individuare ed aggiornare una mappa dell'attuale scena performativa. Il Triangolo degli schiaviand discovers the beauty of their ethnic origins, the adventurous journey made to arrive in southern Italy, the relationship with the smugglers, the hospitality in the Temporary Reception Centres, expulsion, illegal immigration, slavery and exploitation in which they are subjected to corporal and owners who make them work for fifteen hours a day in exchange for twenty euro. Ambrose is doing the same struggle that had done 50 years before her grandmother Crowned against the landowners and in favor of land distribution to peasants. But the farm workers who occupied the land in the '50s had a name and a surname and a homeland. Now there is only the bitterness of a "no fight" for the acquisition of rights.è la storia di
Ambrogio Morra, nato vicino a Cerignola, in provincia di Foggia ed emigrato a Roma in cerca di un lavoro. Abita allo Scalo San Lorenzo, in una camera-veranda che si affaccia sulla tangenziale, dove, in cambio di un piccolo risparmio sull'affitto deve convivere e accudire circa 400 canarini che gli rendono la vita assai difficile. Ambrogio si sente come un profugo, isolato tra i canarini. Il lavoro non gli cambia, come aveva sperato la vita, that you drag from the compulsion to "live with the canaries and the heavy hours spent downloading the fruit markets in general. GrandmaCrowned, which alongside Giuseppe Di Vittorio took part in the struggles of "conquering the land," urges him to get in Apulia where they "returned the slaves" Crowned and where, now as then, you are replacing Italian fugitive to a State always supports and assists the illegal workers and exploited for the collection of tomatoes. Crowned grandmother urges his nephew Ambrose to do as you and tell and report what happens, "the many Polish and African exploited and killed in the Italian countryside." Ambrose became a friend of some immigrants
The meetings of Egg Critical can replay Blog
podoff
, an original podcast of Italian theater, where you can find news, event reports, reviews, presentations of the work of companies with video and slideshow, but also calls for applications and job opportunities and training. (Podoff.splinder.com) MAddAI Kataklisma because we have accepted that the mystery, the unspoken, the unspeakable is richer than the visible, clear and distinct certificate. is afraid to tell a story and convince you that you do not want to tell a story; contemporary culture is antinarrativa, antiaristotelica, antiinizio and end, the goal should always be indefinite but the stories are well impressed, as well as characters are printed (in programs) but you are afraid of the naturalistic theater to escape the mimetic and you fall in to escape the consequential dissociated you choose the iterative lack of training to become a performative for not being able to dominate your voice, breath, entries are sent off for fear of being trivial (concrete) is drawn to abstract concepts for fear of emotional escapes the feeling of fear unit is used to fragments to be in tune with the catastrophe without quality is not Yet the tragic attempt pain exists, we are not atrophied, the imagery is powered
: theater feeds him? How? With fassbinderiane mythologies, with science fiction? podoff
, an original podcast of Italian theater, where you can find news, event reports, reviews, presentations of the work of companies with video and slideshow, but also calls for applications and job opportunities and training. (Podoff.splinder.com) MAddAI Kataklisma because we have accepted that the mystery, the unspoken, the unspeakable is richer than the visible, clear and distinct certificate. is afraid to tell a story and convince you that you do not want to tell a story; contemporary culture is antinarrativa, antiaristotelica, antiinizio and end, the goal should always be indefinite but the stories are well impressed, as well as characters are printed (in programs) but you are afraid of the naturalistic theater to escape the mimetic and you fall in to escape the consequential dissociated you choose the iterative lack of training to become a performative for not being able to dominate your voice, breath, entries are sent off for fear of being trivial (concrete) is drawn to abstract concepts for fear of emotional escapes the feeling of fear unit is used to fragments to be in tune with the catastrophe without quality is not Yet the tragic attempt pain exists, we are not atrophied, the imagery is powered
NOTE 1
garde aesthetics, if deleting the first and second stories, amplify the bodies, athletes, acrobats, biomechanics, dancer, transparent, icon If dethrone the word, semantics, meaning, exploring sound, hairdryer, inventing a new language
utter the word as a battle with the body (and do not examples) broke continuity if garde aesthetics, if deleting the first and second stories, amplify the bodies, athletes, acrobats, biomechanics, dancer, transparent, icon If dethrone the word, semantics, meaning, exploring sound, hairdryer, inventing a new language
enter the rhythm, the musicality, the bulging, mounting large plots, polyphony
description landscapes, geometric horizontal, vertical, sinking: organic space is not self-sufficient mechanism NOTE 2
To get rid of an Aristotelian theatrical culture in which the connections were well knotted it took almost a century, from the avant-garde movements until the twentieth century, with the various regressions of the crisis of socialist realism from which one will pop up in the sixties with the economic boom, it shows the Robbe Grillet, il gruppo 63 in Italia, gli happening e Cage,
il decostruzionismo negli anni settanta radicalizza gli assunti e li porta in tutti i campi, non solo artistici (filosofici, antropologici)
demolisce le impalcature Il postmodernismo porta a compimento la demolizione dell'edificio semantico, compositivo. 
Ma l'obiettivo a partire dall'astrazione, non era quello di desensorializzare, quanto di vivificare la realtà, togliere le scorie per mettere a nudo il cuore pulsante.
Ma l'obiettivo a partire dall'astrazione, non era quello di desensorializzare, quanto di vivificare la realtà, togliere le scorie per mettere a nudo il cuore pulsante. Dov'è la crepa attraverso la quale chi rilegge Fassibinder, Pasolini, Medea, puts himself and rips the frame that you created?  Yet the knowledge is there, there is ignorance: how to make them interact in their own? How to take courage? Thank you for giving me this opportunity for reflection | |
by PODOFF
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by PODOFF
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