Podcasts about magazzino

CREATING A CULTURAL HUB. Nancy Olnick and Giorgio Spanu are the co-founders of Magazzino Italian Art, a museum and research center dedicated to postwar and contemporary Italian art that is located in Cold Spring, New York. Magazzino opened in 2017 at the former manufacturing site of Cyberchron rugged military computer systems. The name Magazzino translates as "warehouse". “Magazzino made the step that has made Arte Povera better known today.” “Magazzino will never stop displaying the 13 heroes that we have in the group of Arte Povera, so the original ‘main building' will always remain a museum dedicated to Arte Povera.” “The donkeys in Sardinia were on the verge of extinction and were under very strict protection with laws that would not allow their export outside Sardinia.”

Magazzino hosts first U.S. retrospective for Maria Lai Like many female artists living in Italy after World War II, Maria Lai masked her gender by signing paintings with an initial instead of her first name. At a 2004 lecture, she recalled one influential teacher provoking her by saying, "The world of art is a great loom, and women make the warp, but the weaver is man." Yet he knew talent when he saw it and kept Lai as his only female student. Then, she became renowned. In 2011, officials at the national Parliament installed one of her works to commemorate the 150th anniversary of the country's unification. In Sardinia, her birthplace, Lai is a superstar who in 1981 tethered every dwelling in her hometown of Ulassai to the nearby mountain with a 16-mile blue denim ribbon. (The initial commission solicited a war memorial.) A looping film and wall of photos documenting this large-scale community project are included in Maria Lai: A Journey to America, which opened Nov. 15 in the Robert Olnick Pavilion at Magazzino Italian Art in Philipstown. Curated by Paola Mura, it is the first retrospective of Lai's work to be mounted in the U.S. and includes pieces from private collections exhibited for the first time. Lai kept creating until her death in 2013 at age 93. Her focus seemed to shift about every 10 years, from paintings, sculptures, sewn books, loom-based wall art and slogans scrawled on 8-foot-high canvases for a participatory event in the Sardinian village of Aggius. She exhibited her talent for drawing and sculpture at a young age, moved to Rome in 1956 and enjoyed success with landscape paintings. Two of these pieces, included in the show, capture the directive of her misogynist mentor, Arturo Martini, to turn away from living things and "build stones." In "Ovile" (1959), a whitish mass on the crest of a hill in the distance could be a herd of sheep or a stone wall. "Gregge di pecore" (1959) executes the concept with an arc of grazing sheep heads set against a dark background that morph into rocks as the viewer's eye sweeps to the right. Then, Lai began experimenting with abstracts and brought along several examples during a pivotal visit to Montreal and New York City in 1968, where she gained an appreciation for Native American art, but met with little success launching a stateside career. Culled from a private collection, several works from this period are on display. Two include chunks of cork embedded in the paint. Another looks like Lai sculpted the surface with a trowel. After returning to Italy, Lai stopped painting and started sewing. Drawing inspiration from her native island's folkways, she made wall art with looms, situated photos of bread against aluminum foil and sewed books with knots of yarn that look legible from afar. Her new vocabulary mashed myriad materials: "Senza titolo, Telaio" (1971-75) consists of wool, wood, acrylic, leather, fur and cloth on canvas. Tidy loom works reflect Native American color patterns dominated by reds, oranges and yellows. Plastic spoons become ersatz flowers or feathers and dozens of popsicle sticks are included. Other creations in the informal series resemble the result of an autoharp or piano innards being dropped from 10,000 feet. Like Mario Schifano, the subject of the last exhibition to occupy this space (who also made a pivotal journey to the U.S. in the 1960s), it's hard to believe that one artist produced such a diverse body of work, although Lai's through-line is more cohesive. One interesting creation is a collection of hand-drawn cards that grapple with the philosophical underpinnings of creativity and maintain a dialogue between statements like "A child could do this" or "I don't understand art" with simple yet profound responses on a level that anyone who reads Italian can comprehend. "What does art represent?" asks one. "Art does not represent, it builds interpretations" is the response. Lai emerged from humble roots to lecture in universities and contemplate p...

La scadenza per la regolarizzazione del magazzino, la trasmissione dei dati delle spese sanitarie, il termine per l'esercizio della detrazione IVA. A cura di Cecilia Pasquale

Ogni mese ha le sue, luglio particolarmente ricco...

La legge di Bilancio 2024 ha introdotto una sanatoria ai fini IVA e delle imposte sui redditi per l'eliminazione dei valori di esistenze iniziali delle rimanenze di magazzino rispetto ai valori effettivi. L'approfondimento di Mario Ravaccia

Il consueto caffè con le novità per imprese e professionisti. 

Thu, 27 Jun 2024 10:25:15 +0000 https://podcast.fiscoetasse.com/287-adeguamento-magazzino-in-scadenza-il-30-giugno-sgravio-assunzioni-di-donne-vittime-di-violenza de979e79d9d71b07b15ad1b2dae63780 287 full no FISCOe

Rigoni di Asiago ha scelto Stesi Srl per la gestione del nuovo magazzino automatico. Una realtà di rilievo che va ad ampliare ancor più la già vasta clientela di Stesi nel segmento alimentare composta da marchi come Alce Nero, Valcolatte, Roberto Industria Alimentare, Babbi, Sutto Wine, Cantine Capetta, Casa Sant'Orsola e Santero. Tutte aziende affermate, che propongono prodotti selezionati, spesso biologici e sempre di fascia medio-alta a scaffale. A questi si aggiunge ora Rigoni di Asiago.

Consueto caffè (con gelato?) per un ripasso delle novità normative e di prassi per imprese e professionisti. 

Una quarantina i vigili del fuoco all'opera, arrivati da Vicenza, Arzignano, Lonigo, Thiene, Verona e Rovigo Dopo tre ore sono riuscito a circoscrivere l'incendio, riuscendo a contenere le fiamme ad una porzione di capannone di oltre 4000 metri quadrati. Il magazzino di prodotto non finito interessata dal rogo è collassata, tra cui diversi silos vuoti. Salvaguardato dalle fiamme dalle squadre dei vigili del fuoco, invece, un silos di acido d'ipoclorito di sodio.

Magazzino exhibit shares 1960s work by talented, but troubled, artist One takeaway from the exhibit Germinal at Magazzino Italian Art in Philipstown is how often the artist, Mario Schifano, shifted visual and technical gears over just 10 years, from 1960 to 1970. In Italy, the groovy 1960s collided with lingering post-World War II malaise and radical politics. Schifano visited New York City three times during the period, hobnobbing with jazz masters and hanging out with Andy Warhol, Mark Rothko and Robert Rauschenberg. A cheeky account states that "the Rolling Stones stole his girlfriend," Anita Pallenberg (who dated Brian Jones and had three children with Keith Richards). Later in the decade, Marianne Faithfull left Mick Jagger for Schifano. One photo in the exhibit shows Jasper Johns preparing a libation as Schifano relaxes. The Italian's extensive photos and films of old New York are priceless, but he also picked up a heroin habit and did not return to the city after interest in his work waned. He continued to create, but ill-gotten fame grew with successive arrests. After spending time in a mental institution and with a band, he died in 1998 at age 63. He had exhibited all over Europe and around the world, from Tokyo to Los Angeles and South America. This show, curated by Filippo Fossati, reimagines and streamlines the museum's Schifano exhibition from last fall, focusing on the period when his dalliances in New York City and Italian politics informed his work. At first, the artist's textured monochrome paintings attracted the interest of Leo Castelli and Ileana Sonnabend, among the world's most renowned art dealers at the time. In his expansive studio at 791 Broadway, he created many large works, some of which conveyed motion as stencil-like people beat feet, hands extended as if marching down an urban street. One is clearly derivative of Da Vinci. "Elemento per grande paesaggio" (1962) "Compagni compagni" (1968) "La testa della madre 1913" (1965) "Futurismo rivisitato a colori" (1965) "Ultimo autunno" (1964) "Particolare di propaganda" (1962) The works on display at Magazzino are smaller, including an installment of his recurring series Propaganda, which incorporated interpretations of the Coca-Cola and Esso (precursor to Exxon) logos beginning in 1962 and earned inevitable comparisons to Warhol. His handlers wanted Schifano to keep knocking out single-color works, but he rebelled and they dropped him. The show features abstracts, what he called "anemic" landscapes, more realistic landscapes and two loud, strident images of workers holding hammers and sickles. There is also one painting from a series of collaborations with poet and neighbor Frank O'Hara, who wrote on the canvas: "There was a lot of static - Lately deciding to be relatively evil or not I bought a wrist radio." He added: "Images were shy and oblique and I love Federico Fellini more than grass." Schifano overlaid several works with plastic or plexiglass, including an untitled collage with yellow strips of jagged Perspex hanging from the top and "52 Delle Grotte Alley from the Inside in the Early Morning," which depicts a window with an interior perspective but is covered by what resembles the material used to cover fluorescent lights. Recurring motifs include words and slogans splashed across canvasses along with outlines of wood rulers and drafting tools, as if left on the table of a quasi-abstract artist. Many works are embellished with random, geometrically rigid shapes disconnected from the rest of the image, like the red strips punctuating "Anemic Landscape I" and a bright-green rectangle that clashes with the unfinished red, white and brown canvas in "Propaganda Detail." Schifano painted flourishes around a photo of his artistic heroes, the Futurists from the early 1900s, although their faces are blanked out. Pieces from another series were influenced by his infatuation with television. The exhibition's title is drawn from the artist, who claimed t...

Nella chiusura dei bilanci 2023 ci sono almeno tre aspetti che devono essere considerati con particolare attenzione. Quali sono? L'approfondimento di Andrea Bongi

Magazzino café offers a taste of Italy Fast to flash a quicksilver smile, chef Luca Galli is a born schmoozer who enjoys lingering over a well-prepared meal or cup of espresso. But when duty calls in the kitchen, he is serious as a surgeon. Galli is developing the menu at Café Silvia, a restaurant and beverage oasis in the new Robert Olnick Pavilion at Magazzino Italian Art in Philipstown. It is named for Olnick's wife, Silvia, mother of Nancy, who founded the museum along with her husband, Giorgio Spanu. Over the last six months, in-the-know locals consider it to be a best-kept secret - and one open on Mondays. "It's a divine hidden gem that has resonated in the community," says Melissa Meyers, a Garrison resident and neighbor of Spanu and Olnick. "I had heard about this project and never expected it to be this wonderful. You look out and it feels like Tuscany." She refers to the picture window that offers a view of the donkey corral, 20 garden beds for growing ingredients and a ridge in the background. The café doubles as the museum gift shop and the concrete confines are surprisingly cozy. An interior window peeks in on one of the pavilion's galleries. Spanu and Olnick met Galli 20 years ago in Italy. They make him feel at home by providing a culinary playground with two critical Italian imports. Standing in the near-pristine kitchen, Galli beams with pride over his Unox oven and Irinox blast chiller, which execute myriad food preparation techniques at the press of a digital button. Galli, who lives in Garrison, goes for simple, subtle and delicate. "If the waiter has to explain the dish, the flavors are going to be difficult to identify," he says. He started easy, with panini and a frittata of the day made with eggs from Spanu and Olnick's farm. He recently introduced lasagna Bolognese, chickpea and scallop soup and ravioli with spinach and ricotta cheese and a light dusting of Parmesan cheese. Fish and vegetable dishes are in the works. Also a sommelier, Galli will expand the wine list from the current selections of red, white and prosecco. By late spring, when the patio opens, the plan is to transform it into a trattoria apertivo with small plates and boards filled with meat and cheese. "I have a lot of ideas, but I'm not going to rush anything," he says. Galli, who was born near Milan, worked in restaurant kitchens in Italy, London and New York City. He also spent 15 years cooking on yachts that sailed the Mediterranean Sea and beyond. The attention to detail at Café Silvia can be remarkable. Serving trays are lined with sticky rubber, and Galli worked with his coffee consultant in Italy to test the water's pH level to determine the ideal beans to use in the espresso (a blend of Arabica and Robusto to add acidity). He even calibrates the coffee grinder. Only observant visitors will notice the fresh-made jams, soups and sauces packed in sealable jars tucked onto shelves below the main counter. A chest-high window opens into the kitchen, where the chef and his assistants, Jack Cimino and Robert Betterbid, improvise dance moves like the twist or shoulder shimmy to avoid colliding. With 40 indoor seats and 20 more outside, the place can get busy in a hurry. Galli spoke about building bonds with his staff, which is pivotal to delivering on the vision. "My expectations are high, even for myself," he says. Enjoying a dish during downtime, Cimino turns introspective. "When I started here, I was unmotivated, depressed and had no lust for life," he says. "I was this close to firing him," says Galli, almost pinching together his thumb and index finger. "He pushed me in a way that drew me out of my shell and instilled a strong work ethic," says Cimino, who lives in Cold Spring. "I thank him for bringing new value to my life." Then, a group of diners arrived just before closing time. Like athletes called into the game, the men clicked into performance mode. Café Silvia, located at 2700 Route 9 in Philipstown, is open Friday to Mo...

Due giornate dedicate interamente a commercianti, produttori, retailer, B2C e B2B e a tutti gli operatori del settore agroalimentare, in uno stimolante clima di scambio, opportunità di business e networking oltre che di formazione. Ospite di questa edizione anche Stesi Srl, software house specializzata nello sviluppo di soluzioni innovative per la gestione dei processi di logistica e di produzione delle imprese. L'intervento del Direttore Commerciale di Stesi Emilio Collot ha portato un esempio concreto dei vantaggi di una gestione software personalizzata illustrando il caso di Alce Nero, esempio virtuoso di trasformazione digitale grazie al supervisore di impianto Silwa (una piattaforma software di proprietà di Stesi e composta da diversi moduli in grado di soddisfare tutte le esigenze del magazzino e di gestione della supply chain, combinando in un unico sistema le funzionalità di un sistema WMS e di un sistema MES). Silwa ha consentito alla nota filiera di agricoltori e trasformatori biologici di raddoppiare in breve tempo il rendimento della gestione degli ordini arrivando a triplicare le vendite ecommerce in circa 4 anni, con un'elevata soddisfazione clienti, un margine di danni da trasporto inferiore all'1% ed errori di preparazione ordini pari a zero.

Come funziona la regolarizzazione del valore delle rimanenze di magazzino? Quanto costa? Come si applica? Quali sono i vantaggi?

ma-gaz-zì-noSIGNIFICATO Locale di deposito; fra Sette e Ottocento, nome di periodico illustratoETIMOLOGIA attraverso il latino volgare magazenum, dall'arabo makhazin, plurale di makhzan, che è dal verbo khazana ‘depositare, immagazzinare'.Voce di Giorgio MorettiMontaggio di Stefano RiggiSigla a cura di Emanuele PaveseTesti di unaparolaalgiorno.itSitoInstagramUna produzione BonfireSito Instagram

Danni alla Cittadella degli Studi a Vicenza, nel magazzino provinciale di via Muggia, sempre in città, e all'ìistituto Scotton di Breganze.

Teneramata continua, con numerosi esempi, a cercare di far comprendere a Ricardo il mistero dell'eternità degli esseri creati. L'eternità creata è il magazzino eterno del tempo trascorso dove tutto sussiste e persiste nei distinti spazi-tempi con i correlativi atti di esistenza degli esseri. Teneramata glorifica, davanti agli occhi di Ricardo, una mosca. L'uomo glorificato è il sacerdote delle creature irrazionali, incaricato di far loro godere, per quanto possibile, un riflesso di beatitudine. Ciclo di catechesi "Il libro di Teneramata. Ciò che ci attende nella vita beata", sedicesima puntata, 16 Dicembre 2022

Durante gli scavi, appena vengono rinvenuti resti umani, l'archeologo lascia il posto all'antropologo. Ma a Pompei, dove la furia del Vesuvio uccise oltre mille persone, questo ruolo è particolare: nel Parco Archeologico il metodo scientifico, unito a cure premurose, consente di adempiere, in un certo senso, al rito funebre che quei corpi attendono da duemila anni. Learn more about your ad choices. Visit megaphone.fm/adchoices

Stai ascoltando un estratto gratuito di Ninja PRO, la selezione quotidiana di notizie per i professionisti del digital business. Con Ninja PRO puoi avere ogni giorno marketing insight, social media update, tech news, business events e una selezione di articoli di approfondimento dagli esperti della Redazione Ninja. Vai su www.ninja.it/ninjapro per abbonarti al servizio.Twitter aveva accettato di pagare all'informatore 7 milioni di dollari. L'accordo era stato concluso pochi giorni prima che Peiter Zatko presentasse la sua denuncia a luglio. L'ex-capo della sicurezza del social accusa l'azienda di non aver protetto i dati sensibili degli utenti e di aver mentito sui suoi problemi di sicurezza. Le sue dichiarazioni fanno parte anche della causa con Elon Musk. Amazon sta acquisendo Cloostermans, un'azienda belga specializzata in meccatronica. La società ha costruito una tecnologia per spostare e impilare pallet e bancali pesanti, e una per imballare i prodotti per gli ordini dei clienti. Il colosso dell'eCommerce punta così a incrementare la propria attività di ricerca e sviluppo in questo settore, considerata la carenza di lavoratori dei magazzini che sta attualmente affrontando. IKEA vuole farci produrre energia a un prezzo accessibile. Il retailer svedese ha lanciato un kit fai-da-te di pannelli solari che sta già riscuotendo enorme interesse, complice la paura legata alla crisi energetica. L'obiettivo della partnership tra il rivenditore di arredamento e il produttore di pannelli solari Wolmann è quello di permettere a chiunque di produrre energia in impianti domestici, per contribuire a ridurre i livelli di emissione di CO2.

Puntata un po' deprimente, spero che me la perdoniate…TechnoPillzFlusso di coscienza digitale.Vieni a chiacchierare sul riot:https://t.me/TechnoPillzRiotAscoltaci live tutti i giorni 24/7 su: http://runtimeradio.itScarica l'app per iOS: https://bit.ly/runtAppContribuisci alla Causa andando su:http://runtimeradio.it/ancheio/

Quante volte al giorno vi capita di chiamare il magazzino perché han sbagliato o non hanno fatto quello che vi aspettavate.. questa volta è toccato a me, ma come al solito c'è l'hanno vinta loro..che poi me la fanno pagare

E' il 14 agosto 1999. Sabato 14 agosto. Di Emanuele Scieri non si hanno notizie da alcune ore. Il giorno prima è arrivato alla Caserma Gamerra di Pisa insieme a tutto il suo scaglione, lo scaglione settimo 99 della Brigata Paracadutisti Folgore. Nel tardo pomeriggio poi la libera uscita, una visita alla torre pendente, la telefonata alla mamma e al fratello, il rientro in Caserma insieme agli altri commilitoni. Da allora sembra scomparso, inghiottito in un buco nero. Non è andato in camerata, non ha risposto al contrappello. Ufficialmente, risulta assente per mancato rientro. Anche se in caserma, è rientrato. E' da qui che iniziano i 3 Giorni: sabato 14, domenica 15, lunedì 16. 3 Giorni di buio completo, fino appunto al 16 agosto, quando Emanuele viene ritrovato a causa dell'odore del cadavere in stato di decomposizione e per la vista di un piede che era poggiato sul piano di un tavolo. Ritrovato da quattro suoi compagni di corso, ragazzi come lui, arrivati alla Gamerra 3 giorni prima. Il corpo riverso in mezzo a tavoli in disuso e ad altri oggetti accatastati alla rinfusa sotto la scala esterna della torretta di asciugatura dei paracadute, davanti al magazzino di casermaggio, a pochi metri, ma con un muro nel mezzo, da Via Milano. 3 Giorni è una serie in podcast a cura di Giacomo Locci. Le musiche sono di Marcin Pontoriero. La produzione è del collettivo Cumbre | Altre Frequenze cumbrealtrefrequenze.com Le audizioni della Commissione Parlamentare di Inchiesta sono tratte dalla Web TV della Camera dei Deputati webtv.camera.it/archivio. Il loro montaggio al fine di renderle compatibili con l'opera è responsabilità unica dell'autore. Voci Episodio 3: Francesco Scieri, fratello di Emanuele Sofia Amoddio, avvocato, già presidente della Commissione Parlamentare di Inchiesta per la morte del militare Emanuele Scieri Gabriele Masiero, corrispondente ANSA, all'epoca cronista del quotidiano l'Unità, uno dei primi giornalisti a presentarsi davanti alla Caserma Gamerra il 16 agosto del 1999 Charlie Barnao, professore di Sociologia presso l'Università “Magna Grecia” di Catanzaro autore di “Il Soldato (Im)Perfetto - Addestramento militare, Polizia e Tortura” Carlo Garozzo, amico di Emanuele e presidente dell'associazione "Giustizia per Lele" La lettura finale è tratta da un post di Carlo Garozzo pubblicato sul Gruppo Facebook “Verità e Giustizia per Lele Scieri” https://it-it.facebook.com/groups/274323819406773. La voce è di Stefano Sfondrini https://it.linkedin.com/in/stefano-sfondrini-01 Estratti Audizioni Commissione di Inchiesta Episodio 3: Gen. Calogero Cirneco, https://webtv.camera.it/evento/10514 Militare di Leva addetto al Magazzino di Casermaggio https://webtv.camera.it/evento/10514 Isabella Guarino, mamma di Emanuele https://webtv.camera.it/evento/9261 Gen. Enrico Celentano e On. Massimo Enrico Baroni https://webtv.camera.it/evento/10514 Gen. Calogero Cirneco e On. Stefania Prestigiacomo, https://webtv.camera.it/evento/10514 Militare di Leva addetto al Magazzino di Casermaggio https://webtv.camera.it/evento/10514 Gen. Enrico Celentano https://webtv.camera.it/evento/10514 Militare di Leva addetto al Magazzino di Casermaggio https://webtv.camera.it/evento/10514 Info, foto e contenuti extra su: cumbrealtrefrequenze.com/3giorni

Tutte le novità sugli incentivi per le micro piccole e medie imprese più colpite dalle conseguenze dell'emergenza epidemiologica. Per tutti i dettagli vai su www.goldengroup.biz/podcast.

Monologhi al Telefono di Donatella Giordano. L'artista si rapporta con un ipotetico ascoltatore raccontando gli aspetti più intimi della sua ricerca. Un sistema che supera il concetto dell'intervista classica - precedentemente pianificata - a favore di un approccio libero, dove l'artista simula una conversazione e l'utente diventa l'interlocutore. In occasione della mostra alla galleria Magazzino di Roma, il duo Vedovamazzei, composto da Simeone Crispino (Napoli, 1962) e Stella Scala (Napoli, 1964), simula una conversazione al telefono che li porta a ripercorrere una scelta fatta in passato: quella di fidanzarsi in tenera età. Mentre Simeone intona con la sua chitarra acustica "Too Youg" di John Lee Hooker, dall'altra parte dell'apparecchio Stella pare compiacersi nel fornirgli l'occasione di ironizzare su alcune parole del testo, come quella che declama: ";La gente ha detto che siamo troppo giovani per innamorarci". Gli artisti sembrano prendersi gioco del proprio destino che li vede da diverso tempo complici nella scelta di separarsi restando comunque uniti in un progetto artistico di grande portata, iniziato già dagli anni Novanta.

Carole Silverstein is a Los Angeles based artist who has exhibited in galleries and alternative venues throughout the US, including New York City, Los Angeles, Chicago, Portland, and San Francisco. In 2015 she showed at the 56th Venice Biennale in an exhibit entitled “We Must Risk Delight: 20 Artists from Los Angeles” at the Magazzino del Sale, Venice Italy. Additionally, her work was featured in an exhibit which traveled to London, Paris, Berlin, Manila, Capetown, and Johannesburg. She received her MFA from Queens College, CUNY and her BFA from The School of The Art Institute of Chicago, with additional study at the International School of Art in Montecastello di Vibio, Italy. In 2000, a book collaboration of her collages and the poetry of Jim Henderson was published entitled “Clearly These Clouds”. Her artworks are in the permanent collections of the Los Angeles County Museum of Art, Citibank, Art in US Embassies (US Embassy Djibouti), Art for Healing, The Salser Collection, and numerous private collections. She lives with her husband and son in Los Angeles. Books mentioned in the interview are Rebecca Solnit's Orwell's Roses and Eckhart Tolle's The Power of Now. Solo show at Nancy Toomey Fine Art, Minnesota Street Project, San Francisco. Includes installation elements of silver tape floor drawings and satin & sequin fabrics running along the borders of the gallery floor. touching the constellations, 40” x 36”, Acrylic Ink on Mylar she wears her potency as ornaments, 58” x 42 1/2”, Acrylic Ink on Mylar  

"INTERSTELLAR - le Voyager oltre i confini del nostro tempo" scritto e presentato dai membri del progetto "Chi ha paura del buio?", gli astrofisici e divulgatori Filippo Bonaventura, Lorenzo Colombo e Matteo Miluzio.  L'evento si terrà sabato 27 novembre prossimo presso la sala Luttazzi del Magazzino 26 del porto vecchio (ingresso da 30 minuti prima dell'inizio). Domenica 28 alle ore 11.00 seguirà la presentazione del più recente libro degli stessi autori "L'universo su misura" presso l'Antico Caffè San Marco di via Battisti 18. Le prenotazioni per questo secondo evento vanno indirizzate alla signora Loriana al numero telefonico 040/2035357 oppure via mail: libreriacaffesanmarco.ts@gmail.com

L'allarme è scattato ieri alle 20.30 in via Camisana, con i pompieri a dirigersi nel retro di uno stabile al civico 90, di proprietà di Gianni Tecchio. Grazie al loro intervento sono stati salvaguardati l'appartamento soprastante e la rivendita al pubblico, mentre i danni più importanti riguardano la marce e le pareti del locale di deposito.

Al Magazzino delle Idee da inizio ottobre oltre 130 fotografie testimoniano il precoce talento di Stanley Kubrick, il genio del cinema che a soli 17 anni lavorò come fotoreporter per Look Magazine, celebre rivista di New York, documentando tra il 1945 e il 1950, i diversi aspetti della società newyorchese e americana, manifestando una straordinaria sensibilità fotografica e capacità narrativa attraverso le immagini. Fino al 30 gennaio 2022, l'Ente regionale per il patrimonio culturale propone al Magazzino delle Idee la mostra, dedicata alla eccezionale carriera da fotoreporter di Kubrick prima che divenisse il celebre regista che tutti conosciamo. In esposizione a Trieste oltre alle fotografie circa quaranta numeri Look, in cui compaiono molte delle immagini scattate dal giovane artista. Le immagini testimoniano lo straordinario talento per le storie e le inquadrature di uno dei geni cinematografici del dopoguerra, regista di capolavori come Orizzonti di Gloria, Lolita, 2001 Odissea nello spazio, Il Dottor Stranamore, Arancia Meccanica, Barry Lyndon, Shining, Full Metal Jacket e Eyes Wide Shut. Il primo scatto di Kubrick pubblicato da Look è datato 26 giugno 1945. Si tratta del ritratto di un edicolante affranto per la morte di Roosevelt. Un'immagine che affascinò a tal punto gli editors di Look da indurre la rivista ad offrire al fotografo dilettante la possibilità di entrare nello staff come fotoreporter. Nel 1950 lascia il suo lavoro Look per dedicarsi ai cortometraggi e al film Paura e desiderio (1953), primo di una straordinaria avventura da regista. Oltre alle immagini scattate nei vicoli di New York, così come nei luoghi dell'alta società, nei night club e negli stadi, negli studi televisivi e radiofonici, in mostra si possono ammirare i servizi fotografici dedicati a una serie personalità del mondo del cinema, dello sport, della cultura: il giovane attore Montgomery Clift, ripreso nell'appartamento nel quale conduce una vita del tutto ordinaria nonostante la fama ormai raggiunta, e ancora il campione di boxe italo-americano Rocky Graziano, uomo dall'infanzia difficile, colto da Kubrick lontano dai riflettori; Peter Arno, fumettista bohémien nel suo appartamento di Park Avenue; Betsy Furstenberg, simbolo della vita mondana newyorkese contrapposta all'esistenza precaria dei piccoli lustrascarpe che si aggirano agli angoli delle strade di New York con il loro sguardo rivolto alla speranza di una vita diversa e dei giovani ritratti nelle diverse fasi dell'amore adolescenziale. Kubrick punta la macchina fotografica anche sugli artisti del circo, fotografati durante le prove, mentre negli scatti della Columbia University, il giovane reporter osserva da dietro l'obiettivo il luogo d'élite per eccellenza dove l'America forma la classe dirigente del futuro. A rendere particolarmente interessante la mostra al Magazzino delle Idee, è la presenza, accanto alle fotografie sviluppate in grande formato, dei numeri di Look in cui le immagini apparvero per la prima volta. È così possibile cogliere il contesto giornalistico per cui furono concepite e metterle in relazione agli articoli o ai testi che le accompagnarono. L'esposizione non si limita tuttavia a proporre il materiale edito da Look. Molti degli scatti di Kubrick non trovarono spazio nelle pagine della rivista, per lo stile eccentrico, per il carattere anticonvenzionale per i tempi o rispetto alla linea editoriale del giornale. Si tratta tuttavia di immagini straordinarie che documentano l'evoluzione dell'estetica del grande regista e ci permettono oggi di coglierne appieno il precoce talento. Nella sezione finale della mostra sarà proiettato un cortometraggio di Stanley Kubrick, il documentario incentrato sul pugile e attore Walter Cartier, Day of the Fight (1951). Il lavoro fotografico su questa personalità del Bronx divenne lo storyboard del film e consentì a Kubrick di elaborare le scene, gli angoli di ripresa, le inquadrature e le luci.

Ancora quattro giorni a disposizione per iscriversi alla 53esima edizione della regata più grande del mondo: le iscrizioni a Barcolana chiudono infatti giovedì 30 settembre. Durante il processo di iscrizione, gli armatori che vengono da lontano possono richiedere un ormeggio gratuito per la propria imbarcazione a Trieste: le richieste sono gestite dalla Società Velica di Barcola e Grignano fino a esaurimento dei posti disponibili. ROUNDITALY Si è conclusa in 7 gg 14 h 41 m 20 s di navigazione la RoundItaly la più lunga regata non-stop del Mediterraneo: 1.130 miglia di navigazione lungo le coste italiane, con un unico e spettacolare passaggio obbligato nello Stretto di Messina, è arrivato a Barcola il primo dei Class40, Karnak, con a bordo Stefano Raspadori, Andrea Caracci e Alberto Bona. Un'ultima notte impegnativa tra le termiche e i refoli del Golfo di Trieste, ma grandi sorrisi e soddisfazione per il secondo arrivo importante di questa regata. Un dato inedito è quello che Karnak è arrivato prima della flotta degli e-sailor impegnati nella E-RoundItaly, partiti anche loro in contemporanea alla regata vera e attualmente impegnati nelle ultime miglia della nuova rotta. Per l'edizione 2021 sono stati più di 30.000 gli iscritti, che hanno superato così la già considerevole quota 21.000 raggiunta l'anno scorso per la prima edizione. GLI EVENTI IN MARE L'edizione lascia grande spazio all'innovazione con l'inserimento nel calendario Barcolana della Portopiccolo Maxi Race, con tre giorni di regate dedicate agli scafi “di taglia maxi” in programma dall'1 al 3 ottobre, e alla tradizione, con le classiche regate del periodo Barcolana al via sabato 2 ottobre: spetta ai giovani della Barcolana Young il 2-3 ottobre, contemporaneamente agli agonisti della classe Melges 24, aprire il calendario eventi in mare. Si regaterà in Barcolana per il Sociale martedì 5 ottobre, mentre per tutto il periodo di Barcolana, tra il 2 e l'8 ottobre scenderanno in acqua i velocissimi kitesurf e wasp - due categorie energy - nel decimo anno della Barcolana FUN Siram Veolia, mentre venerdì 8 ottobre si disputeranno il trofeo della Lega Navale Italiana e la Fine Art Sails per la classe Star. La vigilia di Barcolana scenderanno in acqua i monotipi della Barcolana By Night Snam Cup, gli scafi della Barcolana Classic by SIAD (quest'anno aperta anche agli scafi della classe IOR) e gli scafi monotipo nella regata One Design. Nei giorni della vigilia arriveranno a Trieste anche gli scafi che partecipano alle regate adriatiche di avvicinamento: la Go to Barcolana from Slovenia, che torna dopo un anno di stop e la Go to Barcolana da Ravenna Trofeo Hera. Sempre sul fronte mare, torna, estremamente attesa, la Barcolana Nuota, in programma con 300 atleti domenica 3 ottobre nel Bacino San Giusto. GLI EVENTI A TERRA Sono 54 gli eventi in programma a Terra, molti dei quali localizzati negli spazi del Porto Vecchio, il Magazzino 26 e l'Auditorium Generali del Trieste Convention Center. Accanto al Barcolana Sea Summit (6-9 ottobre) il grande evento dedicato alla sostenibilità e alla salute del Mare Mediterraneo, torna “Barcolana - Un mare di racconti”, il festival letterario dedicato ai temi del mare, e un'ampia serie di appuntamenti molto attesi: Barcolana Job organizzato dalla Regione, le mostre nel Magazzino 26, le attività divulgative dell'Immaginario Scientifico, le conferenze di Barcolana Digitale organizzate dalla Polizia di Stato. Torna anche il Villaggio Barcolana: piazza dell'Unità ospiterà le istituzioni e i Gold Sponsor di Barcolana, lungo le Rive saranno localizzati i temporary store e gli spazi dedicati agli equipaggi. Il Villaggio aprirà il primo ottobre in piazza Unità e nella parte centrale delle Rive, e giovedì 6 ottobre si completerà con le altre aree. L'accesso al Villaggio è regolato dalle normative Covid in merito alla sicurezza e alla prevenzione, pertanto sarà necessario essere in possesso di Green Pass.

Con tesla bot tutti preoccupati come non mai che ora i robot dopo il lavoro si ribellino al nostro dominio! Ok avete visto tanti film, però non funziona così.È più complicato... io sono qui appostaMachine learning e IA! che sono? https://youtu.be/2LfbkKOAalE Per il podcast: https://bit.ly/2RnLlil TELEGRAM https://t.me/br1brownOfficial INSTAGRAM https://www.instagram.com/br1.brown/

What you'll learn in this episode: Why Marie-José developed the Marzee Graduate Prize to help young jewelry artists How she secured the historic building her gallery and apartment are located in Who Marie-José's favorite artists are, such as Dorothea Prühl Why the term “art jewelry” is redundant How the pandemic inspired Marie-José to look closer to home for exhibition ideas About Marie-José van den Hout Born in Roermond in the Netherlands, Marie-José van den Hout grew up in a family of three generations of ecclesiastical gold- and silversmiths. It was in the workshop of her grandfather, a renowned craftsman who specialized in repoussé and chasing, that her passion for gold grew and flourished. Alongside two of her brothers, Marie-José worked in her father's studio before studying gold- and silversmithing and then fine art at the Academy of Fine Arts in Maastricht. She established Galerie Marzee in Nijmegen in 1979 and was honored with the title of Officer of the Order of Oranje-Nassau at the gallery's 40th anniversary celebrations in June 2019. Additional Resources: Website Instagram Facebook Openingstijden / opening hoursdi-vr 10.00-18.00 uur, za 10.00-17.00 uur Tue-Fri 10am-6pm, Sat 10am-5pm Photos: Otto Künzli, Quidam XVIII, 2019, brooch; Corian, plastic, operculum, acrylic paint, steel, 75 x 87 mm  Rudolf Kocéa, Tears, 2019, necklace; fine silver, enamel, stainless steel, pendant: 80 x 110 x 20 mm, L 600 mm  Barbara Paganin, Rose, 2017, necklace; polymethylmethacrylate, oxidised silver, gold, 200 x 200 x 20 mm    Vera Siemund, untitled, 2019, necklace; enamelled copper, copper, steel, silver, 100 x 60 x 40 mm  Dorothea Prühl, necklace, Raben im Kreis (Ravens in a circle) 2020, titanium and gold    Transcript: Located in a former grain warehouse on the banks of the River Waal in the Netherlands, Galerie Marzee is the largest (and some would say the most influential) art jewelry gallery in the world. The gallery was founded in 1979 by Marie-José van den Hout, who has spent her lifetime immersed in jewelry, goldsmithing, and art. She joined the podcast to talk about the exhibitions she's working on now, why she dedicates so much time to helping art and jewelry students, and how an exhibition of combs put Galerie Marzee on the map. Read the episode transcript below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Marie-José van den Hout, founder and owner of Galerie Marzee, the world's largest art jewelry gallery. The gallery is located in the Netherlands. Marie is a highly regarded leader in the field of art jewelry and has an interesting story, which we'll hear about today. Marie-José, welcome to the podcast. Marie: Thank you. Sharon: Tell us about your jewelry journey. You studied metalsmithing. When did you start liking art jewelry or jewelry? Marie: I started at eight, I think. Well, my journey started when I was four or five years old. My great-grandfather, although I never knew him, and my grandfather and my father were gold and silversmiths, but they didn't make jewelry; they made objects for Roman Catholic churches. I grew up with all these objects, which now are exported from Europe to America because there are too many and museums can't have them anymore. Anyway, when I was four years old, my father made a ring for me, and I was very proud of that ring. I was not interested in jewelry. He sometimes made rings for friends or for my mother, but he made a ring for me when I was a child and I took it. I was allowed, against his wishes to be honest, to take it to kindergarten. In the class, I very proudly showed this ring. At the time, those classes were huge, 40, 50 children, so it went around the class and it never came back to me, the ring. I was very shy; I didn't dare say anything to the teacher, so I went home without a ring. Many years later, I had an exhibition with Manuel Vilhena. He's a Portuguese jeweler. He had his exhibition and he made a ring from a string, just a simple string, and he said, “This is your ring. I know why you started the jewelry gallery; because you're still looking for your ring.” I found this such a beautiful story.  So, my journey started when I was four, but to be honest, it didn't really, because I was not interested in jewelry at all, not a bit. I always used to like drawing and painting. In those times, you learned to do those crafts at home, and the best teachers are your parents. At the academy where I went in Maastricht, they once asked my father—they wanted him to be a teacher at the academy, and he said, “No, no, no, no, I'm not interested.” But then we, my two brothers and me, went to the academy. We had to, because you were not allowed to work as a gold and silversmith and make pieces when you didn't have the—what do you call this? The mark you have.  Sharon: The hallmark? Marie: Yes, you had to go to the academy to get this hallmark. We did go there every day, the three of us by car. It was two hours' drive from our home, but in the end, it turned out I was not that interested, so I changed direction and went to painting and sculpture. Sharon, there is something I'm not that proud of. I met a man—I was 20, 21—my first boyfriend, who I thought was such a fantastic artist and painter that I stopped doing that altogether and I returned to gold and silversmithing. In the end, we worked at home designing, doing all the crafts.  As a child, I loved to go to my grandfather. He was very well-known for making those figures in gold and silver, and he was invited all over the world, all over Europe to restore church treasures. Although we are Dutch, my father was born in Cologne, because my grandfather at the time worked in Cologne restoring the treasury of the Dome of Cologne. My aunt was born in Brussels in Belgium, where my grandfather worked for the Dome of Brussels, and so on. He worked in Paris. At the same time, what he did—I loved my grandfather—after his work, he was always sitting in museums. You know those people who are sitting there and copying famous paintings? I once went to Paris to a museum, and I saw a painting and thought, “No, this can't be. My grandfather did this.” It turned out it was a famous painting by Monet. So, my life, my youth, was all in art, in gold, painting and silversmithing. But in the end, I didn't do all those things because I married, and within a year I had three children because I have twins. Sharon: Not much time between. Marie: Not that much. Sharon: With everything else, yeah. Marie: In the meantime, my father had died, and my two brothers didn't make those church things anymore. There was not much interest in those at the time, so they turned to jewelry. Both made jewelry, but my younger brother—I liked him very much; we had a very good relationship—he asked me, “I think you could be a very good shopkeeper and I would like to start a shop in Roermond.” He lived in  Roermond, which is 100 kilometers south of Nijmegen, and he had several shops already in Holland. I said, “O.K., I'll do this. It's possible do this while having children.” So, I did this for some time. It was modern jewelry, but not the kind I was interested in.  At the time, I visited another gallery, and I have to confess I was much more interested in the sort of art jewelry there. So I changed my policy; I went everywhere to look at this sort of jewelry. In the end, my brother was not so happy with my change of thought, and he said, “I don't want you to have my jewelry anymore,” which, Sharon, was a shame, because it was good jewelry. It sold very well. It was mostly gold and diamonds, but in a modern way. So, suddenly I could hardly survive, because the sort of jewelry we are dealing with now is very hard to sell. Sharon: I'm sorry—did you say very hard to sell? Marie: Very hard to sell, yes. It's really difficult. Anyway, I worked very hard, 12 hours a day. I was always working. My children were complaining. They said to me—I have three children—and they said, “Mom, you hear me, but you're not listening.” Now, they're proud of me, and two of them, when I stop, will carry on with the gallery. This is more or less the beginning of this journey. In the very beginning, the work I showed looked like what Galerie Ra showed. In the end it was completely different, because I traveled through Europe, traveled to academies, traveled to artists and so on, and I had my complete own style. It's what I'm doing now. Sharon: So just in case people don't about Galerie Ra, can you tell us a little bit about that? Marie: Galerie Ra in Amsterdam was a small gallery funded by Paul Derrez and Louis Martin, two of them. Later on Paul carried on on his own, and last year, after I think 40 years, he stopped with his gallery. He had to rent a shop in Amsterdam, and once every five years you have to have a new contract, and he thought, “This is too long for me. In the meantime, I can't stop because I still have to pay the rent.” So, he stopped, and last week on Koningsdag, King's Day, he got a medal from the king. He is an officer in the Order of Orange-Nassau; that is how our kingdom is called. I had this honor two years ago with the 40th anniversary of the gallery. In 2019, I also got this order. You can compare it with OBE in Britain. Sharon: Wow!  Marie: It is sort of like that. It's a huge medal. If people would have asked me, “Would you be interested in having anything like this?” I would say, “What nonsense. No, please, no,” but at the anniversary in 2019— Sharon: The 48th anniversary. Marie: I was so surprised and I was so proud. Sharon: That's quite an honor, wow! Marie: It was really nice. They said, “We were so frightened you would say”—I told you I can be quite undiplomatic—“Oh, what a horrible medal,” because it's not a very nice design. It's old, of course, but I didn't say it. I was very honored. All of this was based on the fact that I do so much for young artists. Sharon: You do. Marie: With the annual graduate show. Sharon: Tell us about the annual graduate show. It's so well-known.  Marie: I started this 30 years ago. I'm now in this beautiful building. It's a huge building overlooking the River Waal, and it has four stories. At the time, I was in a smaller building, not that small really, but I wanted to do something completely different. I said, “I'd like to work with young people and see if I can guide them or travel with them in their development.” I started making exhibitions that were quite small. I had an academy in Amsterdam. I had Maastricht and Utrecht, and I think Holzheim in Germany. It was quite small, but it in end, it developed. Now, it's 740, 750 schools from all over the world. Mostly there are between 17 and 19 participants, and all the floors of the gallery are full of young graduate work.  What can I say about this? In the beginning, there was just the show and the opening. Later on, 10 years ago, I started having a symposium on Monday. The participants came to Holland from everywhere, from America, from Australia, from Japan. So then on Monday, all the participants showed their work to their colleagues. There was this huge show, and, for instance, the first artist took one of her or his pieces out of the show, put it on the next graduate—so he or she was the model—and then they started talking about the work. It went on and on, sort of like—what do you call it?—it went from one to the other. Of course, they were not used to talking in public, so it was quite emotional. People were very nervous, but it was heartbreakingly beautiful. Also the fact that they came from all over the world, it was really something. People traveling from America, it's not that expensive to travel to Holland, but from Australia, it's a really expensive trip. From Japan it's really expensive, so it's very good they came.  Then 10 years ago, I started to award the Marzee Prize, the Marzee Graduate Prizes. They were awarded to six to eight people, but sometimes there was so much beautiful work that I had 10 people. The prize consisted of a workshop in Ravary, an estate in Belgium. Some friends of mine built a large workshop there. It's paradise, where they can work for a whole week. Everyone has a bedroom and we cook together; we talk together. It's working deep into the night; also drinking deep into the night. Unfortunately, last year we didn't have this workshop. We are not allowed to travel. This year there will probably not be a workshop, either, so that's a pity. The borders are still closed. We are not allowed to travel to Germany, which from here is only five kilometers. Belgium is a bit further, but we are not allowed.  A few years ago, also to try to help young people, I started Intro in Amsterdam. My son, who you just saw, has studied in Amsterdam. He's a lawyer. I rented a place for him 30 years ago. I still have that place, but it was redone two years ago and made into a gallery workshop. In 2019, I was awarded another prize, Gallerist of the Year 2019 by RISD, Rhode Island School of Design.   Sharon: Wow!  Marie: Yeah, maybe you didn't know that.  Sharon: Now it's coming back. Yes, I do remember that. Marie: It was a real surprise. It was very nice. I had to travel to RISD because they set up a show for me in the museum. Then Tracy, the head of the department, said, “I would like you to participate and organize everything in Amsterdam at Intro. I would like for you to run this gallery for three years.” I was the Gallerist of the Year for three years, and we started to do this. The board liked it very much, so for a year we have had two internships there. You can live there; you can work there. It's a beautiful workshop and a beautiful gallery. They make exhibitions with the graduates, but last year there was nothing because they had to return to America. They were not allowed to come here, but probably in August or September there will be two people from RISD again. Not everyone was allowed to participate in Amsterdam at Intro. We selected 20 people per year who could show their work and have exhibitions in Amsterdam. I hoped it would help, but we still have to see because it was interrupted by this horrible Covid disaster. That's my graduate show. There is much more to it.  Sharon: Administering something like that is such a big task. Coming from a traditional background of jewelry and fine art, what attracted you to art jewelry? How did you transition? Marie: The jewelry my brother made was not so far from what you call art jewelry. I'm not such a fan of the term art jewelry, although I don't know what else we should call it. I don't know. Jewelry was not only the thing I did. When the gallery existed for 10 years, I made an exhibition of combs. Sharon: Clothes? Marie: Combs, to comb your hair. Sharon: Combs, O.K. Marie: I did this because I thought a comb is a piece you can use, and I had objects in the gallery you could use. I also sometimes had exhibitions with fine arts, and I had jewelry. I had all three in the small gallery at the time, so I thought a comb has all those elements in it. It's graphic, you can use it as a utensil, and you can wear it as a piece of jewelry. I asked 400 artists in the whole world to make a comb, and I selected 80 pieces for a traveling show. This was really the start of the gallery, because I had a fantastic graphic designer who made a book for it. I had an interior designer who made huge showcases for it. I traveled to museums to ask if they would be interested to have the exhibition after it had been in my gallery. I had the luck that I went to Rotterdam to a famous museum, Boijmans van Beuningen, and they said they would gladly have the exhibition, but they wanted it as a premiere. That was not what I wanted, because I wanted it for my 10thanniversary, and then they said, “No, we want it first.” It was a very good decision to do this, because after that, all the newspapers were full, all the magazines were full, and all the museums wanted to have this exhibition. I have had this exhibition in Tokyo, in Cologne, in Frankfurt, in Pforzheim. My name was there, and then I decided to buy 40 of those pieces. They are now in my collection. My collection is more than 2,000 pieces, I think, and they mirror the history of the gallery. That exhibition was the real start of the gallery. That's when it started to become international. Sharon: For anybody who hasn't been to the current gallery, the building is incredible. It's worth going just to see the building itself. How long have you been in that building? Marie: This is a building channeled with history. There is a history to this building. The town of Nijmegen owns the building, and it used to be a grain warehouse in the beginning of the 20th century. It's around 1900 or even older. They wanted to tear it down to have a hotel here, a Holiday Inn, if you can imagine, but there were some parties in town who wanted culture in this building. I had to fight Holiday Inn. I remember very well, Sharon, that Holiday Inn's director called me and said, “Ms. Van der Hout, why don't you let us buy the building and you can have the ground floor?” Sharon, you know those hotels that have a gallery on the ground, those galleries are mostly horrible. In the end, I won the fight. In 1992, the building was mine; I bought it, but it was ruined. I showed the architect the building, and we had to climb on ladders because the town had decided to tear it down and everything was taken out. The wooden floors were taken out. The only thing left were the beams and those beautiful walls, of course, but that was all. I climbed on that ladder and I fell down and broke my back. Sharon: Oh my gosh! Marie: I lost part of my memory, which is sometimes annoying. On the whole, it's O.K., but I broke my back. I could have been in a wheelchair. When I fell down, I woke up after a half hour or an hour and walked to my art gallery. That seemed a bit strange, so they called a doctor and ambulance and I was taken to the hospital. They said, “You're O.K. You can go because you walked,” and I said, “No, I can't get up anymore.” Then I had this scan and they saw that my back was broken in three places. Sharon: Oh my gosh, you got up and walked! Marie: I was in a cast for a long time. I thought, “Maybe this is too big a task for me. Maybe this was a warning.” Then I thought, “Oh no, I'm going to build an elevator so everyone who is in a wheelchair can see all the floors.” Every day I'm glad I made that decision. Sharon: The building is so fabulous. Did you have a vision for what you wanted? I'm sure you worked closely with the architect, but what was in your mind? Marie: I had a bit in my mind, but my ideas at the time were that it should be wide and so on. I had a fantastic architect, a really fantastic architect, and he didn't want it to be wide; he wanted the walls as they were. We have concrete floors because it was the only possibility. Thanks to this architect—he was a very well-known Dutch architect, by the way, because the town said, “We want this to be a fantastic architectural place. You can invite three architects and we'll pay for that, but the architect you take, you will have to pay him yourself.” They never paid those other architects, by the way, but never mind. I'm so very glad with this architect, and sometimes I see him. Two years ago, he was married for I don't know how many years, and he said, “Marie, I want to go visit the buildings in Holland I'm most proud of”—there are several museums he built—“and you have one of those buildings. If it's O.K. with you, I'd like to have a party here.” He said, “You used it so well. It's so well done now.” I travel a lot—not at the moment, of course—but every time I come home to my building, I feel relieved.  Sharon: It's home.  Marie: It's not only home, it's my first building I remember very well. Once I went on a holiday, and I came back home and I stood in front of my first gallery. I was still in my car in front of the first gallery, and I said to someone, “I don't want to get out. I don't want to do it anymore.” Here, every time I come back, it's rest and peace; it's fantastic. I don't know. Sharon: It is an amazing building  Marie: And inside it's fantastic, of course.  Sharon: You're in a fabulous location. I want to let people know when they go to the gallery, they may need a lot of time because you have a lot of—it's not one small gallery. Marie: No, it's not. I started collecting from the very beginning. I always bought something from my exhibitions, because if people didn't do it, I had to do it. I have a huge collection, but the pieces I have from the beginning are maybe not that interesting. Since then, I have the best pieces. It's fantastic. I have a huge collection of Dorothea Prühl, the necklace I'm wearing now— Sharon: Say the name again. Marie: Dorothea Prühl. Sharon: Dorothea Prühl. It's a fabulous necklace made of wood. Marie: Yeah, there was an exhibition two years ago in New York. Do you know Nancy and Georgio? Sharon: No. Marie: They have the Magazzino, the museum for Italian Art near New York. It's a fantastic, beautiful museum. Anyway, they had an exhibition about arte povera in New York, and there was a famous artist—I can't remember the name; that's my memory—who gave a talk there. The sculptor was there, a famous artist from Italy, and he came to me and said, “You have a fantastic necklace.” It was this necklace. I told Dorothea, of course, because that's a famous sculptor and all her work is like this. There's something else which may be interesting; you know I'm working with schools. Sharon: No, tell us about that. It doesn't surprise me, but tell me about that. Marie: Apart from the private shows. Dorothea Prühl, for instance, she is from Eastern Germany. Sharon: I just want to interrupt, because some people listening have never heard of Dorothea Prühl, who is one of the leading and most well-established art jewelers. Continue, I'm sorry. Marie: She was teaching in Halle in former Eastern Germany. I got to know her work because I went to an exhibition in Halle with her and her class and another teacher. I saw the work and thought, “I would like to have this in the gallery.” The well-known German artist who was there with me said, “There's no way she will do this. She doesn't like Wessies.” Do you know Wessies? People from the west, Western Europe. But I thought, “You know what? I'm going to call her.” So, I called her, and then came this voice. She was a heavy smoker, Sharon, and I said, “I want to make an appointment with you. Is that O.K?” “Oh, yes.”  It was sort of love at first sight.  Sharon: We understand. Marie: Sometimes you have this immediate connection, so I went there. The work she did with her students was fantastic, and then and there I decided I was going to do school exhibitions. I said, “I want you to have an exhibition with your whole class in the gallery for five years. Every spring you will have an exhibition.” They did, and it was always a beautiful exhibition. I bought a lot of pieces for the collection from this exhibition. After those five years, I asked Iris Eichberg. At that time, she was teaching at an academy, and I asked if she would be interested in working with us. She said, “I can't do it. I'm not happy with the level of what's being done here.” Then I decided I would go to the Royal College in London first, with Otto Kunzli in Munich. Otto Kunzli had a show here for five years with his students, also in spring. Then I started to make it a bit shorter, three years with the Royal College with Hans Stauffer. He was the head of the department. At the moment, I'm working with Nuremburg. This is our fourth year. At the end of this month, they will set up an exhibition, also a class exhibition. Do you know that I publish magazines of all the exhibitions? Sharon: Yes. Marie: And we always buy pieces. I really like to work with students. I really like to do this. Sharon: What is it that you like about it? Marie: I don't know, the way that they're open to things. I like that they‘re still developing. By the way, the only school where there were more boys in class was in Munich. In Holland, there was only one boy. In Munich, there were a lot of boys. Most schools just have girls, although in the end, the boys got famous.  Sharon: That's the way it is, yes. Marie: Yes, that's the way it is. Sharon: I was really interested to read that you don't like the term art jewelry. We call it art jewelry because, as you say, there's not another term, but why don't you like the term art jewelry? Marie: Because I think if you're talking about painting, you don't say art paintings or art culture or art design or arts this and that. It's a discipline like all other disciplines. You have paintings, and some are art and some are not. It's the quality that makes it art. It's sometimes not a quality we see now, but it may be that in a hundred years what we now define as art is not what they think of those pieces later on. I don't know. For me it's jewelry, although it's difficult because jewelry is not a well-respected art form. Sharon: Right. Marie: Not at all. Every day I still have to convince people that this is a full-blown art discipline. Sharon: Because you're on the front lines, what do you see as the future of this kind of jewelry? Call it avant garde jewelry, call it art jewelry. It's different than gold and diamonds, in a sense. Marie: It's different. The jewelry that sells best is still gold, unfortunately. Not unfortunately, because I love gold, but there is all gold. A few years ago, I was invited to make an exhibition with Vicenza in Italy. Vicenza is the gold town of Italy. It's where the gold industry is, where they make all those fashion jewelry pieces, and there is a museum. The director asked me, “Will you please make an exhibition for our art jewelry department?” They have design jewelry, fashion jewelry, and art jewelry. The one who made an exhibition before me was Helen Drutt, and she also made an exhibition in the art department. I thought, “Well, O.K., I'm going to make this exhibition, and I'm going to make it only with gold because I'll show them that there is different work you can make with gold.” She told me, “This is my best exhibition ever.” It was a beautiful golden arts jewelry exhibition in their museum. The last year of the exhibition, unfortunately, the last part, was during Covid. What can you do.  Sharon: You don't often see gold in a lot of the art jewelry galleries. Was it difficult to find pieces that you felt belonged in the exhibition? Marie: No. I showed pieces from my collection.  Sharon: Your personal collection? Marie: My personal collection. I have several beautiful golden pieces of Dorothea Prühl. I have several Dutch artists who work in gold. I have enough to show a lot of work. It was 50 pieces, I think. Sharon: O.K., wow!  Marie: I have some from the students from Holland, which reminds me there were two pieces, one big color piece from a student from Holland and one big brooch. Sharon: Do you see an increase in interest with a la carte jewelry and things made of alternative materials, like plastic or wood? Marie: I think this is returning in jewelry. You can make jewelry out of all sorts of materials, and for me, it doesn't really matter. The only thing I don't like so much in jewelry is plastic, because I don't like plastic very much, but for the rest it's fine. What I don't buy anymore is rubber jewelry because it disintegrates. I have rubber pieces in my collection, and they were made of horrible material. I didn't throw them out; I put them in envelopes and kept them, but no. It's difficult to get people interested in jewelry. One of the things I did to get people interested in it, I made a series of exhibitions in museums. It's called “Jewelry, the Choice of, and I followed with the name of the town. I did 10 of those exhibitions in Dutch museums, one in the European parliament in Brussels and another one, my best one, in St. Andrews in Scotland. That exhibition was magic.  What happens normally is that in Holland, the director of the museum selects 25 women and men who they want to come to the gallery. They come by bus for a whole day, and I select pieces from the collection. It's like a Tupperware party, but I want them to get interested in jewelry. Obviously, at St. Andrews that was not possible, that people would come by bus to Scotland. So, the director asked everyone to give her a photo, and she wrote something about the work people did so I could get to know who those people were. I found it very difficult to not see someone and not try something on. So what I did, I had these photos in the gallery for three weeks, and I spread them out on my top floor on this large table. Every day I walked past those photos, looked at the photos, and thought, “Who are you? Who are you?” Then the museum came to collect the pieces I selected for those 24 people. I have to admit I was quite nervous, because what if the people didn't like those pieces and said, “I don't want to wear this,” or “I will wear it, but I don't like it”? But I went there, and we had a meeting in one of the castles. Every quarter of an hour, someone came in and I was supposed to give them the piece of jewelry I selected for them, have them put it on and tell them something about this piece, about the artist. After that, they were interviewed for a movie; there was a movie made for this exhibition. I gave a big gold brooch to the first person who came in, a student from Holland, Christine Matthias, I went to her and said, “I'm giving you the sun,” and she had—how do you say it—goose bumps. Sharon: Goose bumps, yes. Marie: She said, “How do you know?” “How do I know what?” “Yesterday I saw the sun spinning.” O.K., that was number one. The next one was a man, and I gave him a silver brooch of a lizard, a beautifully made small brooch of a lizard, and his wife said, “Last year he wrote a poetry book about lizards.” I was flabbergasted, Sharon, and this went on and on. Not everyone had this reaction, but a lot did. The British people are good talkers, and I told everyone something about the piece of jewelry. Later on, as I said, there was a movie made, and they had to tell something about this piece. They were so well-spoken about it. They looked closely at those pieces. There was an understanding of what the artist had done. It was my best exhibition to promote jewelry with people. I am friends with the director; we eat together every year when there is a Collect in London—except this year, because there is no Collect. Those experiences make my life as a gallerist so beautiful, so exciting.  With this Covid disaster we had to stay home, so we had no visitors and the gallery was closed, and I thought, “You know what? I don't know many people in Nijmegen. I'm focused abroad; I'm focused on faraway places. Who do I know here on my street, for instance?” On the old street of Nijmegen—it's a beautiful street with fantastic houses—I hardly know anyone. I thought, “I'm going to make an exhibition with 25, 30 people, and I will keep it to my street.” So, now I'm making an exhibition called “In My Street.” A few hours ago, we had the first photographs with a photographer who lives on the street of people who have lived the longest on this street, a man and wife who have lived here for 60 years. We're doing that now, and we will probably make 35 photos and have an exhibition here. At this time last year, I invited the former director of the museum of the town who lived on this street. He's a very introverted man, and I went to him and said, “I'd like you to participate in this exhibition,” and he said, “No, no.” In the end, I convinced him he had to do it, and he said, “But only if the exhibition is in your place,” because he likes beauty. Last week I heard that he died. I want the photos to be taken of people in their own houses. He had this fantastic office in the front of his home, full of books and a huge desk, that was beautiful to photograph in, but he's not there anymore, so it's just— Sharon:Yeah, it's a shame.  Marie: Yeah, it's a shame, but I think it will be a beautiful exhibition, very near home. My idea now is this “In My Street.” I want other streets to make the same exhibition and come to the gallery. Everyone can see “In My Street” and have 25 people. We have a whole grid around town with everyone. Now I'm home on my own street. The first time I went to visit people, someone said to me, “Of course you don't know anyone. You never come out of your gallery.” It's not true, but I live on top of my gallery, so I go by elevator, get out on my terrace and go in my house.  Sharon: You put the pandemic to good use with this. Marie: Yes. Sharon: Marie, I could talk to you forever. Thank you so much. This is great, because it's so hard when you're at a show to talk to anyone for more than three seconds. It's great to hear your whole story, and thank you for sharing it with us. Marie: Thank you, Sharon. There's much more.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Un magazzino per la stagionatura del formaggio all'uscita dalla valle dell'Astico, completamente robotizzato. E' la nuova sfida, da oltre 20 milioni di euro, del GruppoBrazzale, che intende così centralizzare e rendere più performante la stagionatura del suo Gran Moravia, che poi viene confezionato nello stabilimento di Zanè.

Un'azienda, casa editrice che si occupa anche di distribuzione cinematografica, si è rivolta all'Agenzia delle Entrate per chiedere se i prodotti editoriali stampati e non venduti, né spediti o consegnati, ma lasciati in magazzino per il futuro possono essere presi inconsiderazione per il contributo a fondo perduto previsto dal Decreto “Sostegni.

Si prepara alla linea di partenza una nuova edizione della Corri Trieste, corsa podistica a cronometro di 10 km con un percorso affascinante dal centro di Trieste alle strutture del porto Vecchio, inserita nel calendario nazionale Fidal. La manifestazione prenderà il via alle ore 9:30 da Largo Città di Santos: i concorrenti, divisi in griglie da massimo 500 posti con primi 500 metri da percorrere con mascherina indossata, dovranno affrontare un circuito cittadino da coprire tre volte, disegnato all'interno del Porto Vecchio, zona riqualificata e in via di forte sviluppo anche culturale, per arrivare ai fatidici 10 km complessivi. Il tragitto, completamente chiuso al traffico e pianeggiante, da Largo Città di Santos attraversa il Porto Vecchio con passaggio sull'area antistante il Magazzino 26 e ritorno verso Largo Città di Santos per iniziare il secondo e il terzo giro. I campioni uscenti sono il bronzo europeo di maratona Yassine Rachik in 29'33” e Teresa Montrone in 36'24”, nell'ultima edizione datata 2019: lo scorso anno infatti la corsa non era stata potuta disputare a causa della pandemia. Le iscrizioni sono ancora aperte nella giornata oggi venerdì 21 e domani sabato 22 in Corso Italia 9, Galleria Rossoni dalle 9.00 alle 19.00, domenica solo per i non residenti a Trieste dalle ore 7.30 alle ore 8.30 presso la zona partenza in Largo Città di Santos. Trieste attende con trepidazione il giorno della gara, per la quale si è adoperato direttamente il Comune in particolare nella persona dell'Assessore allo Sport, Cultura e Turismo Giorgio Rossi. Anche Radio Punto Zero sarà presente alla linea di partenza per seguire la corsa in diretta con l'inviato sportivo e voce della manifestazione Gianpietro Cappellazzi e Maria Musil. Tutti gli aggiornamenti in collaborazione con la concessionaria Autonord Fioretto vi aspettano sulle nostre frequenze e sui social. A raccontarci di più su questa nuova diciottesima edizione Michele Gamba Presidente di Promorun che organizza l'evento:

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Il problema è stato segnalato sabato dopo aver notato del fumo nero fuoriuscire da un garage adibito a piccola officina. Dal locale interno era scaturito un piccolo incendio che rischiava però di coinvolgere l'intero edificio. I pompieri di Arzignano sono intervenuti in tempo utile per aver ragione delle fiamme e limitare i danni.

Music Fanfare for Space by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3736-fanfare-for-spaceLicense: https://filmmusic.io/standard-license

Ancora grande successo per "Malkovich, Malkovich, Malkovich. Homage to Photographic Masters" la mostra del fotografo americano Sandro Miller, a cura di Anne Morin e Simona Cossu, presentata per la prima volta in Italia al Magazzino delle Idee di Trieste. L'esposizione è organizzata dall'Ente regionale per il patrimonio culturale Erpac, in collaborazione con diChroma Photography, La Chrome di Madrid e la Galleria FIFTY ONE di Anversa. La mostra, visto il successo mediatico riscontrato nel primo periodo di apertura, sarà visitabile fino alla prossima primavera, una decisione voluta da Erpac per dare al pubblico la possibilità di visitare l'esposizione dal vivo e ammirarne le straordinarie fotografie e i video che caratterizzano il progetto fotografico di Sandro Miller: un omaggio a trentaquattro maestri della fotografia, fra cui Albert Watson, Annie Leibovitz, Bill Brandt, Diane Arbus, Herb Ritts, Irving Penn, Pierre et Gilles, Richard Avedon e Robert Mapplethorpe. In ognuno degli scatti John Malkovich impersona infatti il soggetto di una celebre fotografia, trasformandosi di volta in volta in Marilyn Monroe, Salvador Dalì, Mick Jagger, Muhammad Alì, Meryl Streep, John Lennon e Yoko Ono, Andy Warhol, Albert Einstein, Ernest Hemingway e in molti altri personaggi. Ogni opera riproduce in tutti i dettagli le fotografie prese a modello esaltando le doti camaleontiche e la capacità mimetica di Malkovich così che egli di volta in volta muta non solo espressione, ma anche sesso e età divenendo uomo o donna, anziano o bambino, sensuale o enigmatico, cupo o gioioso. La collaborazione fra Sandro Miller e John Malkovich risale agli anni Novanta quando i due si incontrano a Chicago nella sede della Steppenwolf Theatre Company di cui Malkovich è uno dei membri fondatori. «È diventato la mia tela, la mia musa, John si sedeva ed ascoltava la mia idea, poi diceva “Ok facciamolo”, racconta Miller. Negli anni di collaborazione John non ha mai detto non mi piace». La mostra documenta il lavoro intrapreso da Sandro Miller e Malkovich nel 2013. Lo scatto che dà vita all'intero progetto è quello in cui John Malkovich reinterpreta Truman Capote ritratto da Irving Penn. Durante una giornata di lavoro con Malkovich in teatro, Miller notò infatti la somiglianza dell'attore a Truman Capote. Desiderando omaggiare Irving Penn, suo maestro per eccellenza, Miller propose a Malkovich di posare per lui nelle vesti di Capote. Sulla scorta di questo primo scatto nascono tutte le opere esposte in mostra, in cui Malkovich interpreta una galleria di ritratti così noti da essere divenuti quasi immagini devozionali e che tuttavia non ha timore di dissacrare attraverso il proprio talento. Malkovich si cala nella parte di Che Guevara di Korda, in Warhol del celebre autoritratto, o in Mick Jagger nel ritratto di Bailey, sottolineando debolezze, vanità e contraddizioni dei grandi personaggi. Gli scatti sono preceduti da una minuziosa ricerca in cui Miller e Malkovich, assistiti da costumisti, truccatori e scenografi analizzano accuratamente ogni dettaglio degli originali, scandagliando i lavori dei grandi fotografi presi a modello. «Non ho voluto fare una parodia. Rendere omaggio ai fotografi e alle fotografie che hanno cambiato il mio punto di vista sulla fotografia è una cosa seria per me. Queste sono le immagini che mi hanno ispirato facendomi diventare il fotografo che sono oggi.» Arricchiscono l'esposizione tre ritratti non facenti parte del progetto originario che rappresentano Malkovich nei panni di Adolf Hitler (Hitler Green), di Papa Giovanni XXIII (Recreations), e impegnato in una rivisitazione del tema di Salomè con la testa del Battista (Head on Plate). Un video making-off permette inoltre di ripercorrere il processo creativo e di trasformazione di Malkovich davanti all'obiettivo e sotto la direzione di Miller. Per meglio apprezzare l'accurato lavoro affrontato da Miller e Malkovich saranno presenti in mostra anche le riproduzioni delle fotografie ch...

In questo audio il prezioso incontro con Alberto Garutti artista e Adelaide Corbetta imprenditrice comunicazione.L'intervista con Alberto Garutti e Adelaide Corbetta è nel progetto Contemporaneamente a cura di Mariantonietta Firmani, il podcast pensato per Artribune. Incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà.Con Alberto Garutti e Adelaide Corbetta parliamo di arte e comunicazione. Di come sia importante risalire alle origini delle cose, di come l'artista può scendere dal piedistallo per fare un passo avanti verso la società. La comunicazione è un cappello molto ampio che abbraccia anche la pubblicità, ma parte da uno studio approfondito della realtà che poi vira su declinazioni molteplici. Parliamo dei limiti che sono benzina, necessari all'arte, e importantissimi per gli artisti capaci di accettare la sfide della storia. E molto altroAdelaide Corbetta fonda nel 2003 adicorbetta, studio di comunicazione che si occupa di progetti di arte visiva, architettura, made in Italy, senza dimenticare il mondo. Dal 2010 con Veronica Ventrella ha dato vita a Ruski Duski, agenzia specializzata nella comunicazione di prodotto, design, tecnologia. Tra i committenti Fabriano, Gruppo Fedrigoni, Chanel, Chiostro del Bramante Roma, Accademia Carrara di Bergamo, Opera di Santa Croce di Firenze, MACRO Roma, Associazione Abbonamento Musei, Milano PhotoWeek, Landscape Festival Bergamo, Fondazione Zegna, Il Sole 24 Ore, Artissima, Galleria Civica di Trento, Fondazione Torino Musei, Mobike, Casa Ricordi, Oliviero Toscani Studio, Inter - F.C. Internazionale, Terra Moretti, Bellavista, Planeta. Presidente di The Circle Italia Onlus, network fondato nel 2008 da Annie Lennox, è ambasciatore di Bambini Cardiopatici nel Mondo Onlus.Alberto Garutti, artista e docente, insegna pittura all'Accademia di Brera di Milano, ora allo IUAV di Venezia. Invitato a grandi eventi internazionali, come: Biennale di Venezia, Biennale di Istanbul, Serpentine Gallery di Londra. Vince il Premio Terna 02, e il Premio per la Cultura della città di Gand in Belgio. È membro di giuria nel premio Furla, presidente di giuria in Italian Studio Program al MoMA PS1 New York. Il suo lavoro per la Corale Vincenzo Bellini (2000) è selezionato nel 2011 da Creative Time di New York tra i 100 progetti pubblici più interessanti. Realizza molte opere permanenti: a Bergamo e Bolzano (in collaborazione con Museion), a Trivero per la Fondazione Zegna, a Cagliari per la sede Tiscali. L'opera “Tutti i passi” presso Aeroporto di Malpensa, la Stazione Cadorna, la Pinacoteca di Milano, in piazza S.M. Novella a Firenze e alla Biennale di Kaunas. Nel 2020, nuova opera permanente la Palazzo Ardinghelli sede Museo MAXXI a L'Aquila. Alberto Garutti allestisce mostre personali in molte gallerie in Italia e all'estero tra le quali: PAC Milano, Galleria Paul Maenz a Colonia, Galleria Minini a Brescia, Magazzino d'Arte Moderna a Roma, Studio Guenzani, Galleria Marconi a Milano, Buchmann Galerie a Lugano e Berlino, Galleria Massimo de Carlo a Milano. Numerose le collettive tra le quali: Palazzo Grassi a Venezia e Chicago, Fondazione Remotti di Camogli, Triennale di Milano, Fondazione Sandretto Re Rebaudengo di Torino, al Vitra Design Museum, a Palazzo Cusani, a Palazzo Fortuny Biennale di Venezia 2017; all'Hangar Bicocca di Milano, nella Cattedrale neogotica di Ostenda, nel Palazzo del Quirinale a Roma, al museo Kestnergesellschaft di Hannover. Numerose le opere pubbliche realizzate per città e Musei: a Gand in Belgio per il Museo S.M.A.K., a Herford per il MARTA Museum, a Kanazawa in Giappone al Century Museum of Contemporary Art, a Mosca per il Moscow Museum of Modern Art, a Milano nel quartiere di Porta Nuova. La sua opera “Temporali” è stata installata al MAXXI di Roma, a Caorle (Ve), l'opera “Ai nati oggi” in Piazza del Popolo a Roma, a cura di Hou Hanru per il MAXXI.

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Nel podcast di oggi vi mostro alcune app che possono essere molto utili e divertenti, tutte a tema birra. Ne conosci altre? Scrivimelo nei commenti!__________________________________________________________________________Maik And Beer, il podcast che svela tutti i segreti della bevanda più apprezzata al mondo: LA BIRRA!Seguici su i principali social come:* Facebook: https://www.facebook.com/ilpodcastIT/* Instagram: http://www.instagram.com/ilpodcast* Twitch: https://www.twitch.tv/ilpodcastlive* Instagram Maik: http://www.instagram.com/michelesetti23* FaraBeer.com: https://www.farabeer.com* Instagram FaraBeer: https://www.instagram.com/fara.beer* Spreaker: https://www.spreaker.com/show/maik-and-beer* Per supportarci: https://streamelements.com/ilpodcastlive/tipPer qualsiasi domanda: info@ilpodcast.comCi sentiamo venerdì prossimo, ciao!Michele.

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C'è un modo per aiutare Google a trovare le risposte migliori alle domande più difficili? E non sei curioso di scoprire cosa si chiede la gente, oltre al trovare ristoranti e prodotti? Ebbene: Quora è una miniera di risposte scritte da esperti su tutto lo scibile umano. Assolutamente da visitare e... da usare! Provalo qui: https://it.quora.com

Curiosa vicenda in Spagna dove alcuni dipendenti di Amazon, probabilmente convinti di aver messo a punto il piano perfetto, hanno rubato iPhone per 600.000 $. Non è finita bene.A proposito di Apple, ci sono diverse notizie che riguardano l'azienda e in particolare il lavoro nel campo dei computer.Novità anche da OPPO che continua ad investire nel segmento degli smartwatch!