Il mio nome e Francis il diario fictional di nuovo papa (Italian Edition)
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This however has not happened, on the contrary there has been an increase and a progressive rise in the number and in the quality of the works submitted, there has been a response that reasserts how art, exactly at times of crisis, gives its best. In these months many articles have been published about art at times of crisis, and what has emerged from all these writings is that art does not suffer from the crisis, but that it is rather a form of response and reaction, a dimension where vital and rebirth drives concentrate in a privileged manner.
The exhibition of finalists of this year will be perhaps our personal Day After Tomorrow, our dawn of the day after, the point from where to start again, even if clearly nothing has stopped, but rather everything has kept on being alive and kicking, on germinating and growing, as nature does during the winter months, when it hides into an apparent sleep, carrier of life.
To conclude, I would like to thank all those who believe in this Prize, and who keep on believing in it, and most of all the artists who have been able to make every edition more and more exceptional through their work, and who have wanted to be part of this new and bright dawn. Thanks to all of you who believe in Art. Oltre opere video e performance.
Una mole di proposte da ogni continente. Sotto una nuova luce. Over video works and performances. A mass of proposals from all the continents. A wide variety of poetics and aesthetics, often so different from one another, that a homogeneous and comparative evaluation is difficult. So we proceed by discontinuities, with the difficulty of identifying but would it be that necessary?
Generational leaps, from which it is hard to perceive continuity. A collection from a magmatic and contradictory universe, remarkable for its diversity.
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Sometimes, among many relevant works, we find a surfacing of sketches of art attempts to which we should acknowledge courage or even recklessness, as well as anagrafically mature changes of pace looking for a new existential possibility. Which had been there waiting, perhaps for a long time or perhaps not, to be recognized and enhanced, for its history and its power. In a new light. Arte Laguna Prize is one of the most interesting appointments of the creative world with the new talents of contemporary art, entrusted to the power of the web. Followed by thousands of young people, able to engage all the nationalities, beyond any linguistic and political barriers, the Prize is an extraordinary source of dialogue with art in its different expressions.
Also this year the considerable number of participants suggests how artistic creativity is a heritage that never wears out, but rather multiplies exponentially as the borders expand and an ever-increasing number of youths can participate and decide to put to the test their artistic genius with ease, because the support of the web is really easy, in a serious and impartial contest, which trusts the competence of a jury of young critics, who are involved in this outstanding adventure as well.
Arte Laguna Prize, in fact, is not only a showcase for art talents but also an instance of how both critics and artists can dialogue in the new world of the web, through a system of relationships that is completely different from the common one. The quality of the result is attested by the spontaneous participation of the artists and by the impartiality of the jury towards the thousands of people who undergo its critical judgment.
On a quality level, a high percentage of the works submitted present an interesting artistic profile, and are able to fully explore the expressive potentials of the material. The world of young creativity looks therefore diverse and rich in ideas and reflections, able to verge on the political, social but also virtual and imaginary reality of our world, remarking how art remains the most advanced stronghold from which to observe our ever-changing life. Momenti di illuminazione e ispirazione? Rari, in un primo momento, nell'esperienza di passare in rassegna la serie caleidoscopica di stili e narrative delle migliaia di opere presentate alla sezione pittura del Premio Arte Laguna, per il quale ho avuto l'insolito privilegio di fare da giurato.
Ma, allo stesso tempo, questi momenti si sono rivelati esclusivi e straordinari, e hanno reso possibile un viaggio prezioso e arricchente. Molte delle opere presentate manifestano questo desiderio. Oscillando fra tradizione e sperimentazione, facendo i conti con i riferimenti storici, giocando con le abitudini percettive dello spettatore, esse mostrano un medium in continua evoluzione, un modo di pensare attivo, che trascende un linguaggio particolare o un discorso predominante.
Moments of illumination and awakening? How rare they were, as a desired experience of reviewing a kaleidoscopic array of styles and narratives of the thousands of entries to Arte Laguna Prize painting section of which I had this unusual privilege to act as a juror. But, at the same time, how exclusive and exquisite such moments have become! How precious and enriching journey have they guaranteed! Despite being the most favorite and vivid form of artistic expression, painting remains the most challenging medium: for over centuries locked in its always too tight frame of, as if, a singular page of a novel or a fragmentary architectural plan and tormented by constrains of time and space, its utopian ambition has always been to conquer the universe and to unfold an alternative micro-world of imagination and formal liberty.
Many works submitted manifest such desire. They too prove how difficult if not impossible task it is to invent yet another, new vocabulary in a contemporary culture so obsessed by an omnipresence of an image, a desire for storytelling and an invasion of technological gimmickry. Painting now — more than ever — has to act as an agent of innocence, an island of intimacy where all grand narratives of the world we live in should constantly be rehearsed and reenacted. Subtlety of selected paintings, and their poetic, gesture-like quality provide a performance of rarity and artistic excellence where the negotiation with the pace of contemporary reality is conducted with an uttermost sensibility and critical sharpness.
Partecipare alla giuria di questa settima edizione del Premio Arte Laguna ha significato prendere in considerazione un articolato e complesso stato di cose. Quando si discute di arte contemporanea, si parla essenzialmente di un certo intento comunicativo; interazione che, nelle arti performative e video, si fa maggiormente evidente e basilare. In questi termini, lo stimolo che ne consegue sarebbe tale da contribuire a rafforzare e migliorare la consapevolezza umana. Nel tentativo di segnalare una tendenza, la selezione finale propone alcune sfumature proprie dei singoli ambienti sociali.
Being part of the jury of this seventh edition of Arte Laguna Prize has meant to take into account an articulate and complex situation. Also this year, in fact, the considerable number of the submitted works has not only shown a significant global attention, but it has also been able to suggest a compelling international overview. The debate that rose from it has revealed itself as a meaningful moment of reflection and in-depth analysis of the current artistic research.
When talking of contemporary art, one generally thinks of a certain communication aim; an interaction which, in performative arts and videos, grows more evident and essential. This interpersonal relationship, thanks to the strong connectivity we are all plunged in, should lead to a strengthening of the reciprocal social and political knowledge. For this reason I think it is appropriate to think of a work of art also as a specific heritage, conceived in and bound to a given national context.
The communicational value of a work is therefore expressed both on the artistic level and as a carrier of cultural specificity. In these terms, the following inspiration would be so intense as to contribute to the strengthening and to the improvement of human awareness. In the attempt at identifying a trend, the final selection features some nuances of the single social environments.
The international dialogue that stems from here therefore confirms the strength and the validity of this project. Virtual art is the Scarlet Pimpernel of art Never as now virtual art is multiform and looks like a feuilleton character able to disguise and to transform in thousands and thousands of ways.
Virtual art is like Fantomas, it is extremely elusive: it now appears as an app on a tablet, it now disappears and reappears with the features of a performance based on augmented reality, then it hides again, in order to resurface in an old land of Second Life or to take on the features of a geek art creation. Virtual art is chameleonic, because it can take on the features of other arts, take possession of part of their essence, but it is also partially invisible, to its liking, because it is able to gradually hide behind technology, that is one of its essential components but not its only drive.
Virtual art, which appears and disappears intermittently, is an alternatingcurrent art, which vanishes and reappears every five or six years. So future-oriented but also a bit nostalgic, clinging to the memories of the times that brought it to the top and then pushed it back into oblivion according to a common habit, reminds a little of the characters of B movies of the 50s and 60s, because in the most successful cases it looks wonderfully candid and naif, deliberately a little unfinished. Up-to-date and trendy, virtual art is an old lady, a decaying diva forced to carry on her shoulders a heavy and sometimes uncomfortable name, this art has just one problem: it is difficult to define.
It is much easier to say what it is not: it is not digital art, it is not new media art, it is not pixel art, it is not fractal art, it is not videoart, it is not only video game art To this aim the works presented at the competition are very interesting: in fact they attest exactly the extreme mobility of a term that is still elusive, and that in some ways looks as a container for different artistic approaches, working as a radical catalyst, while in others, it risks of being deprived of its potentials, at least when considering only the most immediate feature of virtual art in its digital sense, that is the one of a neo-abstract art based on virtuosities made of computer graphics.
Viceversa, going back to the most complex context, which avails itself of multiple approaches and which focuses on the disguising ability of this fluid, liquid and ever-changing art, different paths and countless schools of thought have taken shape: we range from the recovery of the virtual reality, that seems to be destined to go back to the top, to the works that focus on augmented reality, from the performances that create synergies between the body and the digital images to the reinterpretations of the virtual worlds built on more levels and and on different layers of knowledge.
It is a rich and articulated panorama, that does not always look so organic as one may want to, not always considering the synergies among the different expressions, but which is well-promising for the future. Questo Premio costituisce anche per me un grande processo di apprendimento.
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Quest'anno sono state presentate alcune opere davvero meritevoli, realizzate da artisti provenienti da diverse parti del mondo, che hanno prodotto lavori unici, sperimentali e all'avanguardia. Arte Laguna Prize is an important award for artists across the globe. It is a consequential platform, which supports and encourages experimental art, and sets new trends for the various genres of art for current times. Artists from diverse cultures and professions have applied for this award, and it has been overwhelming for me to see so many works with so many different ideologies.
This award is a huge learning process for me as well. Virtual Art is a fairly new genre of art, and has been adopted by many artists across the world to communicate as well as express their creativity in conceptual, interactive and responsive ways. It is very different from the conventional methods such as painting and sculpture, in a way where virtual art includes interaction from the viewer and along with the visual, even the senses are involved, making it a compelling experience for the viewer.
It has recently acquired commercial popularity and given a chance to many experts who have experience and knowledge with intense technology as well as conceptual innovation. This year, we have had some very strong works by artists from many different parts of the world, who have produced works which are unique, cutting edge and experimental. It was a tough decision for us towards the end to select only one artist. However, it was a part of the responsibility of being a member of the jury to put many factors into the final selection.
It was an individual as well as group effort. It is an honor to be a part of Arte Laguna Prize, and I would encourage more and more artists to use this established international platform as an exposure to their talent and creativity. Schaschl scrive e pubblica regolarmente sull'arte contemporanea. Schaschl regularly writes and publishes on contemporary art. Currently she is a member of the art commission of the Austrian Ministry for Culture and Education. Premio Arte Laguna Tra questi si notano anche nuovi approcci a temi classici del modernismo, come le questioni della percezione visiva.
Arte Laguna Prize In winter a city that oozes the melancholy that inspired Thomas Mann, a city that already at the times of Ruskin had been stripped of its glory down to its very stones. A city that at the same time keeps on re-inventing itself, every two years transforming itself into the very center of contemporary art thanks to its great invention, the art biennal.
For some years in late winter, in a warehouse that had been abandoned for ages, inside the arsenal that once was the industrial heart of the mighty Venetian maritime empire, a similar magic takes place, another appointment that, like its older sister, exists by tacit approval, and by the passion and the energy of artists, who still believe in this old dame and try to breathe life into her — the Arte Laguna Prize. A Prize which sets rather few initial limits, and which therefore attracts the attention of artists from widely differing backgrounds and experiences: from those who work a few kilos of clay with their hands, to well-equipped sculptors who are used to handle several tons of marble or steel for a project in the public space, or to the art director of famous design brands from the hinterland of Venice or London.
The differences in artistic expression and experience are even more acute among the different age groups, presenting the jury with a variety of languages that can be traced back from the dawn of the twentieth century up to expressions born in the digital era of the twenty-first century. Yet in some cases the jury was struck by the very freshness and beauty of the works even of artists who have advanced well beyond their youthful age, as was the case of the Mexican Rosa Clemencia Labin.
The situation of a world of art fragmented into a simultaneity of experiences that can hardly be reconciled under a single standard or trend is mirrored also in the final selection of artists, ranging from works dealing with the relationship between science and the human body, such as the works of Caspar Berger, who uses the techniques of instrumental clinical diagnosis and forensic medicine to create a self-portrait, to the neo-pop installations of Sasha Frolova.
The works in the exhibtion range from highly personal expressions such as Lee Jaewon's small balls lit up by animated figures, to installations made with materials stemming from the domestic sphere, such as the spaces of Olga Lah, created with thousands of dish sponges, or the interiors designed by Dina Shenhav, entirely created in latex. Among these works we also notice new approaches to the classic themes of modernism, such as the issues concerning visual perception. An instance of this is Marilyn Lowey who re-presents the set and the lights used for an interview to the Pope in New York, offering a detached look at the technologies of sanctification used by mass media.
The use of a playful language similar to the one of advertisments emerges also in the installation by Olena Levytska, with Evolution of Pollution. A seductive approach appears also in the installation of Constantin Zlatev, who uses american weapons exports statistics to control war film soundtracks such as Braveheart, which are played out by a flute made out of a rifle. While clearly referencing Gramsci, seduction has become the preferred method of protest. Oltre lo sguardo. La fotografia, quindi, come pensiero, narrazione, percorso alternativo.
Gli approcci degli autori premiati risultano aprirsi a differenti direzioni, come se lo stesso linguaggio fotografico esprimesse le contraddizioni e gli slittamenti del reale. Beyond the gaze. Photography and contemporary imagination Is it possible to outline a new direction for photography today? Important events, exhibitions, art prizes, actually highlight the multiple directions in which artists are developing their photographic research.
Borders have crumbled, the gaze has expanded, the distances between generations have blurred out. Being able to represent a landscape today, be it imaginary or real, does not so much entail technical perfectionism, mechanic or formal ability, but rather the ability to narrate a story, a gaze, an event. In short, the ability to understand the world. Following the strong interest on the idea of postindustrial landscape, meant as a 'non-place', as the development of minor and marginal spaces, of supermarkets, parkings, crossroads, sports centres, airports, stations; of landscape as a metropolis, with the development of buidings, fences, borders, finally we have come to a landscape that is no longer bucolic, dreamed-of, nostalgic, but rather to the landscape of man and of our contemporary world, with all its contradictions, but also with its raw truths.
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Photography, therefore, as thought, narration, alternative vision. Interpretation of the world not only as a simple naturalistic reference, but rather as the place of social interaction and of life, of architecture and urbanization, of migration and encounter. The approaches of the awarded artists open to different directions, as if the photographic language itself expressed the contradictions of our shifting reality.
These diverse and poliphonic works are but the result of multiple gazes, investigating the complexity of the contemporary landscape. A complexity that needs more gazes and different points of view in order to be codified and understood in its essence. The journey, the identity of a territory, the invisible lines of the human face in a portrait, the static beauty of flowers in a still life, the design of architecture, the lights and shadows of the city, the vision of imaginary landscapes are just a few of the sections that could host the selected works.
Ha collaborato come freelance per il magazine Arskey e di recente ha fondato una casa editrice specializzata in letteratura noir. Dal lavora per Flash Art come redattrice e news editor. I continui sconfinamenti fra le arti, li indaga anche coordinando lo studio creativo Phlegmatics. Dal , vive risolutamente a Bruxelles. Collaboratrice da anni di testate nazionali di settore, ha lavorato a lungo come caporedattore per la piattaforma editoriale Exibart. Cura progetti espositivi presso spazi pubblici e privati in Italia, seguendo il lavoro di artisti italiani ed internazionali.
Collabora, in veste di curatore indipendente, con Riso e con la Gam. Daniela Ambrosio was born in Naples in She worked as a freelance for Arskey magazine and she has recently founded a publishing house specialized in noir literature. Since she has been working for Flash Art as a journalist and news editor. Journalist, essaysit, translator, lecturer, she was the director of foxtv.
She combines the curating of exhibition projects with the editorial direction of the journal and portal DROME magazine, which thematically explores the complexity of contemporary scenarios. She investigates the continuous border trespassing among arts also by coordinating the creative studio Phlegmatics.
Since she has been living in Bruxelles. Helga Marsala is a journalist, contemporary art critic and curator. She has been collaborating for many years with national magazines, and she has worked for a long time as the managing editor of Exibart. Currently she is a member of the managing board of Artribune, directing Artribune Television and the editorial board of Sicily.
She develops a theoretical analysis through essays and critical writings inside publications and catalogues of contemporary art and culture. She curates exhibition projects for public and private spaces in Italy, following the artistic development of Italian and international artists. She collaborates as independent curator with Riso and with the Gam. Francesca Pini, journalist of Corriere della Sera, writes about art and culture not only for the newspaper, but also for the weekly magazine, and the online version of Sette.
She is the author and director of videos and documentaries aired on the French television channel Arte. In March she is awarded the recognition "Arte Sostantivo Femminile". Don't have an account? Currency and addition of Tax VAT depend on your shipping address.
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Have an Access Token? Enter your access token to activate and access content online. Please login and go to your personal user account to enter your access token. Have Institutional Access? Forgot your password? PDF Preview. Welche Fehler gemacht? Was bleibt von seiner Amtszeit? Foto: dpa. Was wird bleiben von Papst Benedikt, dem ersten deutschen Papst seit fast Jahren, dem Gelehrtenpapst?
Als wichtigste innerkirchliche Neuerung bleibt die Aufwertung der tridentinischen, auf Latein gehaltenen Messe. Hat er die Kurie reformiert? Johannes Paul II. Auch deshalb erreichte zum Beispiel die Nachricht den Papst nicht, dass der um Aufhebung der Exkommunikation bittende Traditionalistenbischof Richard Williamson den Holocaust geleugnet hatte. Welche Fehler hat er gemacht? Immer wieder hat sich Papst Benedikt zwar als hochgebildet, aber doch politisch unbedarft erwiesen. Jahrhundert im Grunde die Taufe herbeigesehnt. Als Fehler gilt auch, dass der Papst nur wenigen Beratern vertraute - und da oft den falschen.
Papst Benedikt setzte fort, was er als Joseph Ratzinger begonnen hatte - und verwirrte immer wieder die Protestanten. Muslime wie Juden. Hat er den Missbrauchsskandal aufgearbeitet? Was der Nachfolger tun muss? Sie sind jetzt auf. Le Monde. Nicolas F. Maniant l'ironie avec beaucoup de talent, ils ont aussi fait du pape un objet de moquerie. D'autres l'ont fait avant lui. Il ne fera pas de voyage. Thomas H. Ils sont actuellement , mais seuls d'entre eux pourront voter au conclave parce qu'ils ont moins de 80 ans.
Contenders in Line to Be Pope. Although the ECB has proclaimed itself relaxed about this rise, other euro-zone leaders are less so and fear the euro is losing an undeclared currency war. At his last conference, Mr. Exchange rates aside, Mr. Draghi is also certain to face questions about rising Spanish and Italian bond yields, as politics in both countries take over as market drivers, undoing some of the good work the ECB has done to reduce yields. The meat of this press conference was very similar to that served up last month: the markets are normalizing, growth is slow, the politicians had better step up and reform.
While obviously not desperately worried about a euro whose strength the ECB is, if anything, eager to take some credit for, Mr. Draghi has nevertheless been keen to point out the weak inflation picture, and to say how well expectations are anchored in the money markets. With that it mind it's probable that a more sustained euro rise would provoke a more robust ECB verbal response. Bersani strongly endorsed the so-called communitarian approach to European Union affairs over the rival intergovernmental one, which he warned led to a diffusion of joint efforts.
Bersani said. He also proposed that, as a sign of commitment, EU political groups nominate their candidates for future leaders of EU institutions, particularly the commission, before , when the term of the current commission president, Jose Manuel Barroso, expires. He has indicated he plans to reach out to Mario Monti, the former European commissioner, who after a year at the helm of a technocrat government in Rome now heads a centrist coalition.
Monti, who some see as a potential candidate for a top job in Brussels next year. Luca di Montezemolo. Von Tobias Bayer. In der Mitte arbeiten zwei Assistentinnen. Das klare Ja erfreut Montezemolo. Der Fotograf ruft schnell hinterher: "Ich bin auch mit dem Italo gefahren. Die Welt: Wer wird nach den Wahlen am Februar und Das aktuelle Wahlrecht ist absurd, es ist wenig demokratisch.
Er bricht mit ihrem Stil, mit ihrem Verhalten. Casini und Fini sind seit Jahrzehnten in der Politik. Montezemolo: Auch das ist dem Wahlrecht geschuldet. Die Parteien nahmen sich vor, es zu reformieren, doch am Ende blieb alles beim Alten. Sowohl Casini als auch Fini sind seit Jahrzehnten in der Politik. Ihm wird mit die Rezession in Italien angelastet. Das erinnert doch stark an , als Berlusconi gegen Achille Occhetto antrat. Montezemolo: Ich gebe ihr kein prozentig positives Urteil. Mehr Privatisierung, mehr Liberalisierung. Eine Technokratenregierung, die keine wirkliche Mehrheit im Parlament hat, kann nicht alles umsetzen, was ihr vorschwebt.
Dennoch hat sie einiges bewegt. Er hat eine Rentenreform verabschiedet, er hat begonnen, den Arbeitsmarkt zu reformieren. Sie hat sich gegen ein neues Wahlrecht gewehrt, hat die Abschaffung der Provinzen verhindert und hat sich gegen ein wirksames Anti-Korruptions-Gesetz gestemmt. Montezemolo: Im Leben muss man immer darauf schauen, welche Alternativen es gibt. Es ist ein Akt der Zivilgesellschaft.
Es gibt noch einen weiteren Grund, warum Monti angetreten ist. Das hat seine Entscheidung beeinflusst. Die Welt: Laut den Umfragen sieht es derzeit so aus, als gebe es nach der Wahl keine klaren Mehrheiten. Im Wahlkampf versprechen alle alles, das war schon immer so. Montezemolo: Zuerst muss der Staat reformiert werden. Er muss schneller werden, leichter, billiger. Ich vergleiche Italien gern mit einem FormelWagen.
Eben weil es so schwer, so kompliziert, so teuer und so langsam ist. Zweitens muss eine wirklich liberale Politik gemacht werden. Es muss liberalisiert werden. Ohne einen einzigen Euro an Subventionen wohlgemerkt. Mit dem Italo werden die Metropolen Italiens angefahren, mehr als zwei Millionen Passagiere wurden schon transportiert. Als Italiener bin ich bereit, mehr Steuern zu bezahlen. Aber zuerst will ich, dass der Staat den ersten Schritt macht. Danach leiste ich gerne meinen Beitrag. Die Welt: Viele italienische Firmen hat die Krise stark zugesetzt. Wie beurteilen Sie die wirtschaftliche Lage?
Sie sind internationaler geworden, auch kulturell. Wissen Sie, was die wichtigsten Auslieferungen Italiens nach Japan sind? Man muss das Land nur von alten Verkrustungen befreien. Das ist wie mit einer Flasche Champagner. Du ziehst den Korken — und dann "Boom"! Montezemolo: Die Beziehungen sind fundamental wichtig. Ich mache da nicht mit. Die Welt: Sehen wir Sie irgendwann selbst in der Politik? Ich habe ein weites Netz an internationalen Beziehungen. Mir kommen sofort viele Ideen. Ich habe also schon viel zu tun.
Die Welt: Ihr politisches Engagement erhalten Sie aber aufrecht? Montezemolo: Ich bin 65 Jahre alt. Ein Problem der Italiener ist, dass viele kritisieren, aber viele nichts wirklich anpacken. Selbst geht aber keiner auf den Platz. Schluss damit, nur noch zu kritisieren. Alle Rechte vorbehalten. Milanese opera house revokes free pass for journalist Paolo Isotta after reviews 'used as weapons against artists'.
Lizzy Davies in Rome. One of Italy 's veteran music critics has been blacklisted by La Scala after a series of reviews which the Milanese opera house has said "overstepped the limits" of journalistic propriety. In a high-profile spat carried out on the pages of Corriere della Sera, the country's best-selling daily newspaper, the acidic and occasionally offensive reviews of Paolo Isotta have led the paper's editor-in-chief, Ferruccio de Bortoli, to accuse the opera house of "wanting the head" of his top critic.
The journalist will no longer be entitled to take up his customary free press tickets at future performances, he said. Over a number of years, Isotta's reviews have been peppered with the kind of unfavourable descriptions unlikely to endear him to musicians, conductors or singers.
He branded Luciano Pavarotti a "musical illiterate" and once began a review of the opera Prometheus with the ominous words: "Ladies and gentlemen, the music is over. Isotta wrote that Harding had made Wagner sound "homosexual" and also attacked his Falstaff, a co-production with the Royal Opera House. Isotta has refused to respond to Lissner's assessment of his work, apart from saying it contained "innumerable defamatory remarks".
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Silvio Berlusconi has been accused by opponents of spouting "dangerous electoral propaganda" after he vowed to ease the tax burden on austerity-stricken Italians if his rightwing coalition wins elections this month. With only three weeks to go before the country goes to the polls, the threetime prime minister is gaining ground on centre-left frontrunners in what he described on Sunday as his "last great electoral and political battle". One opinion poll released on Friday had his grouping within five points of the Democratic party-led coalition. In a speech aimed at winning over the large number of undecided voters, the billionaire media mogul cast himself once again as a friend of the people who would break with the agenda of the technocrat prime minister, Mario Monti.
Known as the IMU, the tax on first homes has been highly unpopular ever since Monti imposed it in Berlusconi has already abolished it once, upon returning to power in The year-old, who has said he will be finance minister rather than prime minister if his alliance pulls off an unlikely triumph, also said a rightwing government would abolish, over the course of five years, a regional tax on business. He promised not to increase VAT and said that, "above all", there would be no "wealth tax" on high earners. The speech was met with a standing ovation from party chiefs and supporters but with stinging criticism from Berlusconi's opponents who accused him of irresponsible electoral trickery that Italy 's stagnant and struggling economy cannot afford.
The country — in recession for the fourth time since — has the second highest public debt-to-gross domestic product ratio in the eurozone, behind Greece. Unemployment has risen from 8. Monti, whose eclectic group of centrist parties is lagging behind in the polls, said: "Berlusconi governed for so many years and kept none of his promises. Moreover, he created many problems, so much so that he to leave [office] … Italians have good memories.
Rosy Bindi, of the Democratic party, denounced the speech as "dangerous electoral propaganda", while Pier Ferdinando Casini, head of the Union of Christian Democrats UDC and a former Berlusconi ally, said the former premier was "a great salesman [who] would be capable of selling anyone a car without a motor". But the man himself was defiant. Berlusconi was forced to stand down as prime minister at the end of by a combination of personal scandal and economic crisis, and his Freedom People PDL party supported Monti's government until December, approving nearly all the technocrats' austerity measures.
But Berlusconi now added that, instead of reviving the Italian economy, tax rises and other measures had merely served to cause unemployment to increase and consumption to fall. He claimed he would cover the revenue lost by the refund with other measures including a reduction of state funding to political parties and a tax, to be agreed with Switzerland, on financial activities by Italian citizens in the neighbouring country. A SkyTGTecne opinion poll published at the end of last week put Berlusconi's rightwing coalition on The same poll had Monti's centrists on Ian Birrell.
Italian poet Gabriele D'Annunzio might have been a repellent human being, but he's perfect for a page-turning biography. When Liane de Pougy, one of the most celebrated Parisian courtesans, visited Florence, a famous admirer sent a carriage filled with roses to collect her. As she descended the steps, his servants threw more roses at her. This was none other than Gabriele D'Annunzio, the poet and lothario who seduced Italy to wartime slaughter with his rhetoric, scandalised Europe with his writing and set up his own city state in a forerunner of fascism.
In this exhaustive biography , Lucy Hughes-Hallett attempts to peel away the many layers of an astonishing Italian egotist who still divides opinion over his politics, poetry and prose. He was, without doubt, a revolting man, whose rampant vanity and sexual desires knew no bounds. Although he bedded scores of Europe's most beautiful women, his treatment of them was contemptuous; indeed, there are suggestions from his writing he liked the idea of raping working-class women. His housekeeper was expected to have sex with him three times a day.
Then there was his bloodlust as he sought Italian participation in the first world war, with fiery nationalist speeches and sub-Nietzschean fantasies, arguing a race only won respect by spilling the blood of its young. Even his biographer admits she is repelled by him. Once at war, he orders soldiers to shoot some captive countrymen whom he called "sinners against the fatherland". Little wonder he captivated Mussolini. Yet he was brave in battle, a passionate protector of his men, a pioneering aviator.
Above all, he was a prodigious writer whose collected works ran to 48 volumes. Puccini wanted to work with him, Proust admired him and Joyce said he was one of the three most talented writers of the 19th century, alongside Kipling and Tolstoy. His flowery and explicit writing had flair, even if he was not, as he claimed, the greatest Italian writer since Dante.
But then, even his children had to call him maestro. It all makes a splendid subject for a biography, although since he wrote constantly in his notebooks, there is a surfeit of material and at times this biography sags slightly as it tries to make sense of such a well-recorded life. There were rumours he removed his ribs to perform fellatio on himself; he claimed to have eaten the meat of children; there is drug use towards the end of his life as his health deteriorates.
Some stories were false, of course, made up by D'Annunzio or reporters soaking up his life for their papers. Here lies the key to this horrifically fascinating subject. For he was not just the prototype fascist who paved the way for Mussolini, but a pioneer of modern celebrity culture. He understood the fantastic soft power of fame.
So while still a teenager, he published a volume of poetry, then informed a newspaper editor the young writer was dead, ensuring national publicity. When the Mona Lisa was stolen, he claimed it was brought to his house. After he sat on a plane at an air show, mechanics auctioned the seat to fans. His greatest work of art was the construct of Gabriele D'Annunzio. He was undeniably brilliant — at the age of 16, he wrote to his parents in six languages. The tragedy was that he put this genius to such nefarious ends, fanning the flames of war, nationalism and blood-stained division that culminated in such tragedy for his country and continent.
Hughes-Hallett dances her way through this extraordinary life in a style that is playful, punchy and generally pleasing. She eschews chronology in places for a chopped-up style of vignettes that works surprisingly well as she seeks to separate the man from his myths. Mostly, she allows the poet to hang himself. And she shows the links between him and Mussolini are more blurred then suspected, with D'Annunzio constantly wary of the emerging fascist leader. Indeed, he seems bored by politics, with few fixed convictions beyond his own importance and a crude sense of Italian greatness, while Mussolini watches and learns from the master of self-promotion.
The best bit of the book is the description of the anarchic events at Fiume in , when black-shirted nationalists seized the Adriatic port for Italy. For more than a year, D'Annunzio is duce of it as it descends into darkness and racist divisions, a portent for scenes soon to engulf Europe. Meanwhile, he changes the flowers round his bed three times a day. He ends his life promoted to general and living in Lake Garda, turning his home into a temple to himself. Mussolini, realising the potency of the poet's appeal in Italy, smothers him with luxury, sending him ever more outrageous gifts for his garden, culminating in a plane and the prow of a battleship.
After his death in , his girlfriend turns out to have been a Nazi agent; there are rumours she killed him with a drug overdose. In death, as in life, the amazing story of D'Annunzio was painted in primary colours, but with the darkest of shadows.
Von Sascha Lehnartz. Carla Bruni-Sarkozy geht wieder ihrem erlernten Beruf nach. Am Montag — passendes Geburtstagsgeschenk zum Er dudelt aus fast allen Radiosendern. Ein Joint zur Erholung von harten Drogen. Die Strophen des Liedes sind zudem reich an Anspielungen, die dazu einladen, sie auf prominente Zeitgenossen wie Dominique Strauss-Kahn zu beziehen "im Sofitel" Sondern bei Keith und Anita.
Officiel ". Im Herbst geht sie auf Tournee. Nous sommes partis pour un combat. Nous ne pouvons pas laisser le nord du Mali devenir un refuge". Non seulement pour l'Afrique de l'Est, mais pour les Etats-Unis ". Mais dans le pays profond, ma conviction est qu'il y a une exigence de bipolarisme.
Cela me semble un jugement en partie injuste. La solution technique a ses vertus mais aussi ses limites. C'est moins facile qu'on ne le pense. A la bonne heure. A condition qu'il y ait des mesures qui garantissent un peu d'investissement et d'emploi. Les mesures les plus urgentes sont celles qui favorisent l'emploi.
Sans esprit de querelle, je demande que s'ouvre une discussion. Pleinement d'accord. Car cela ne va pas fondre comme la neige au soleil. Je ne veux pas que le centre-gauche apparaisse comme sectaire. Moi, je ne le sais pas encore en Italie. Mais je le dis tout de suite: il n'y aura plus jamais d'amnistie fiscale en Italie. Jan 21st , by Lexington. He wants to complete the Great Society project of such progressive forefathers as both Roosevelts and Lyndon Johnson, and make it sustainable in an America that faces unprecedented global competition.
How he plans to do that, when he must share power with fiercely hostile Republicans in Congress for the foreseeable future, is a more interesting question. Mr Obama's inaugural speech, delivered this morning beneath a bright, chilly Washington sky, offered a remarkably stark answer. He plans to confront Republicans, co-opt their most cherished beliefs about American exceptionalism and individualism, pin them into a corner with the power of public opinion and—in the longer-term—to marginalise them by building his party a progressive coalition from such diverse groups as women, ethnic minorities, gays, the young, immigrants and environmentalists.
Though the speech rang with references to national unity, the founding fathers and the ties that bind Americans, it was a deeply partisan piece of work. In his second term, Mr Obama's big tent will be held up by Democratic ropes and stays. Those who insist on remaining outside, it was easy to conclude, risk feeling very cold indeed. The power of public opinion is palpable at an inauguration ceremony, a strange and handsome hybrid of coronation and political rally. Your blogger was lucky to snaffle a seat in a sort of no-man's land on the Capitol's west front, between the serried rows of congressional spouses and the Marine Corps band, at the foot of the presidential podium.
In the lull before the president's arrival, grandees of the Senate displayed themselves at a balustrade next to his still-empty lectern. They showed off silly hats several wore stetsons, one wore a beret, and Senator Bill Nelson of Florida came in a bright orange hunting-cap bearing his name. They waved to friends, family and constituents, and generally acted like politicians seeking the love of a crowd. Then came Mr Obama, and the atmosphere gained a wholly new charge. The crowd gathered far below the Capitol may have been smaller than four years ago, but it still stretched almost to the Washington Monument and it was filled with true believers.
The sight of the president on giant screens down the National Mall sent up a roar from the crowd that made hair stand on end. Mr Obama took that applause, and sought to harness it. Inauguration speeches are often hailed as moments to reach across partisan divides, and make peace after the bruising fights of the election just ended. Time and again, Mr Obama seemed to be re-fighting that election. At the very start of his inaugural address, he offered a definition of what it means to be American: an allegiance to the idea of equal creation and unalienable rights articulated in the opening lines of Jefferson's Declaration of Independence.
It was hard not to hear a direct challenge to the argument set out by Mitt Romney, his vanquished Republican foe, and the Republicans' vice-presidential running-mate, Paul Ryan. It was Mr Ryan who, on the day that he joined the presidential ticket, galvanised American conservatives with his declaration that America was unique in being a country "founded on an idea", namely that:. Our rights come from nature and God, not government. We promise equal opportunity, not equal outcomes.
This idea is founded on the principles of liberty, freedom, free enterprise, self-determination and government by consent of the governed. Six months later, in the first moments of his second term, Mr Obama took on that small-government credo. Jeffersonian truths may be self-evident but "they've never been self-executing", Mr Obama said, with something approaching audible scorn.
The president bowed to core conservative beliefs about American exceptionalism, conceding that he governs a people sceptical of central authority, disdainful of the "fiction" that society's ills can be cured by government alone, and unusually insistent that it is an American's duty to seek success through hard work, personal responsibility and a dose of risk-taking.
He is right. That belief in meritocracy and enterprise sets America apart from other rich nations, notably on the continent of Europe, where people are much likelier to ascribe success to good luck or connections, and to believe that the state should intervene to ensure no citizens fall too far behind the most fortunate. But if Mr Obama is not the European socialist of his enemies' gibes, he is something closer to a European liberal, setting out a vision of a state safety net whose job is to protect responsible, hard-working citizens from the strokes of ill luck that can strike at any time Mr Obama cited job losses, sudden illnesses, or the sweeping away of a home in a terrible storm.
At that moment, the president argued, commitments made by Americans to each other, through such Great Society programmes as Medicare and Medicaid and Social Security, do not sap initiative but strengthen it. In his pointed words:. They do not make us a nation of takers; they free us to take the risks that make this country great. He went on to list some concrete consequences that flow from his vision of a communal action as an enabler of American individualism.
In a canter through big agenda items for his second term, that will be spelled out in more detail in his February state-of-the-union address, Mr Obama talked of action on climate change chiding those who "still deny the overwhelming judgment of science" on global warming and action to make America a leader in sustainable energy production.
He committed himself to seeking diplomatic solutions to security crises, and ran through a veritable to-do list of Democratic ambitions, from equal pay for women to gay equality, comprehensive immigration reform and through a coy reference to Newtown in Connecticut to action on gun violence. It was not necessary to settle centuries-long debates on the role of government, but political leaders did have to take decisions without delay, reaching imperfect and impartial agreements if needs be. Few can have mistaken his meaning. Beneath the ringing oratory about America's journey and the work of generations, Mr Obama was directly challenging the core beliefs of today's Republican Party.
From the backhand slap for climate-change deniers, to the rebuke of "absolutism", Mr Obama was attacking congressional Republicans, notably in the House of Representatives, and their entire conception of their role in a divided government. He gave Republicans almost no ground, making the briefest of references to their defining concern, the nation's deficit spending. Perhaps confrontation will prove to be a fruitful strategy. Mr Obama's supporters would point to his first term, and the serial obstructionism of Republicans in Congress, and argue that the president has no choice but to come out fighting, as he seeks to achieve anything in his final few years in office.
I wish I could feel so gung-ho. Those same founding fathers ensured that an American president must share his vast powers with Congress, and Republicans still control the House of Representatives and can filibuster and stall legislation in the Senate, through their minority there. How did today's speech set out the process by which Mr Obama plans to govern?
It was fascinating to see Mr Obama sketch out his vision of how individualism and American risk-taking need a progressive safety net to thrive. That will be a potent argument for Democrats to promote in future elections, as they seek to occupy the centre ground of politics and corral Republicans on the political fringes. Today's inaugural address also set out attack lines that Democrats will be able to use in the event of continued Republican obstructionism, as they seek to blame their opponents for dysfunction in Washington and make Republicans pay the electoral price in the mid-terms and the general election.
But if you believe that getting anything done in the next four years will require the support of at least some moderate Republicans, it is hard to see how Mr Obama's inaugural address will have helped much. The president came to the Capitol as a victorious commander, staking claims to large swathes of American political territory. But the public did not hand him complete victory. A majority of states have Republican governors, and partly through gerrymandering and partly through more organic quirks of electoral geography , Republicans have a lock on the House of Representatives.
It was a powerful speech, but how this ends well, I struggle to see. Photo credit: AFP. That kind of skill would be handy for Mr. Monti, who after years as a professor and a European Commissioner is making his debut as a campaigner. But the real interesting thing about Mr. Axelrod is that he is known as a street fighter.
Well, Mr. Monti, who usually speaks about the balance of payments and the machinery of the European Union, ripped into Angelino Alfano, the putative candidate for premier for the People of Freedom party headed by Silvio Berlusconi , using atypically aggressive sarcasm. That kind of pivot looks inevitable given that polls show that Mr.
Berlusconi is clambering back from near oblivion while Mr. The risk is he goes too far. For a while, that was the game plan — in fact, Mr.
A New Guide to Italian Cinema
Monti needed Mr. Bersani in need of a new coalition partner. Monti recruited aboard will not be enough to form a stable government. ROME — At the tender age of 12, Pier Luigi Bersani led his fellow altar boys in a strike against their parish priest to win back tips from Easter services. Beppe Grillo is a controversial Italian comedian shaking up Italian politics.
Here's his backstory. With a bigger borrowing burden than any of its neighbors save near-bankrupt Greece, Italy remains one of the biggest wild cards in the long-term viability of the euro. While serving in left-leaning cabinets in the s and s, the cigar-chomping year-old surfaced as a powerful advocate of reforms considered key to modernizing the business climate in long-stagnate Italy.
He has nevertheless raised eyebrows with investors by striking a coalition deal with more strident leftists as well as for openly suggesting he would move to fine-tune, if not overhaul, at least some of the budget-cutting measures pushed through last year. Such changes, he has said, would include higher taxes on the rich to lessen the burden on the poor. In an extensive interview this month with The Washington Post, he additionally suggested that, if elected, he would push to renegotiate strict European limits on budget deficits and debt in a bid to simulate growth.
Yet Berlusconi, who represents the center-right, has proven a far more outspoken critic of new taxes and spending cuts than Bersani. Even interim Prime Minister Monti — the fiscally tough technocrat chosen by Parliament to replace Berlusconi who is seeking a full term — has recently said some of his own measures went too far while others did not go far enough, suggesting any winner here would tinker with the formula that allowed Italy to escape financial collapse last year.
Jan 12th from the print edition. By Lucy Hughes-Hallett. Buy from Amazon. Lucy Hughes-Hallett, a British biographer and critic, in a deeply evocative new biography, suggests probably not. There is too much blood on his hands both from the first world war and from the 15 bizarre months in when he was the charismatic duce of a rogue state in the Adriatic port of Fiume now Rijeka in Croatia.
And yet there is greatness in the man. During the great war, on which he had so influentially preached to his countrymen, he was capable of acts of heroism and even chivalry, as the author herself admits. So wherein lies the problem? His life, his dress, his lovemaking, his going to war—everything was so minutely stage-managed with an eye to how it would appear in the press or in the histories. Although Ms Hughes-Hallett valiantly but ultimately without conviction teases out a few timorous examples to the contrary, it is almost impossible to believe in any spontaneous act of humility or empathy in the man.
There are acts of beauty, but these are often sinister and his story serves largely to show the moral emptiness of pure aestheticism. At first, the audience applauded him act after act; but by the end it tired of the posturing. Ms Hughes-Hallett evokes the edgy relationship between these two unaccommodating egos with particular adroitness.
He was a writer, after all; a turbine of extraordinary creativity, an intense observer of the nuances of light, of faces, landscape, flowers, the gore of war and of every conceivable inflection of the sexual act. He exhausted himself with the sheer expenditure of energy, and then recharged his depleted resources with the thrill of his most remarkable passion: aviation.
For him it was both sublime and superhuman. Flying theatrically, far above the unseemly mess of footsoldiery in the trenches, he could once again be the heroic protagonist. It is not easy to make sense of the life of a man who was a silk-swathed aesthete, prophetic versifier, manic aviator and martial demagogue all in one. But in telling the story of his life, Ms Hughes-Hallett deftly unpicks the strands that compose and ultimately resolve these incongruities. Her style is rich, ironic and pugnacious; she jousts willingly with him and the reader becomes a spectator of this subtle and fascinating contest.
Jan 8th , by D. Yet this will change if a new way of assessing income, called redditometro, is a success. The system, which became law on January 4 th , aims to winkle out many of the large number of Italians who cheat on their annual income tax returns. The redditometro , which will first be used in March to examine income tax returns for , is best described as big government meets big data meaning large data bases and huge computing power.
The approach is based on the sensible idea that in order to spend one needs an equivalent income. So if tax authorities can calculate how much a person has spent, they can tell how honest he was on his tax return. All residents have a unique tax number that they have to provide for a wide range of transactions, such as utilities contracts, home mortgages and insurance policies. It has divided Italy into five geographical areas and calculate the budget for eleven different family types, from a single under 35 years to a couple over 65 years.
Those who fail the test will be asked to justify their returns. Those who are unable to do so will be given the chance to cut a deal, meaning they will have to pay the evaded tax and a reduced penalty. Predictably, the redditometro has already proven controversial. Economists worry that it may have a dampening effect on Italy's already depressed economy. Others take issue with the fact that the system will look at tax returns that were filed three years ago.
Yet others object to the use of national statistics and question the accuracy of average spending patterns. Most honest Italians, however, welcome the new weapon in the fight against tax evasion. But few are betting that tax authorities will advance smoothly to victory. Many expect the unhappy recipients of the authorities' attention to be impoverished pensioners and harassed housewives, rather than habitual tax dodgers. Jan 5th from the print edition. THE advantage of living to a very great age is that you tend to have the last word.
Rita Levi-Montalcini saw her scientific discoveries sniffed at throughout the s and s, only to win the Nobel prize for physiology in She conducted her early experiments in hiding, but rose to the pinnacle of Italian public life. Both were a matter of precision, of flair, and of insisting—sometimes loudly, sometimes in silence—on what she wanted. The battles raged right from the beginning, at the heart of her wealthy Jewish family in Turin. Quite against his wishes, she enrolled in medical school.
On her graduation in she became an assistant to Giuseppe Levi, a histologist who taught her the technique of silver-staining nerve cells so that they could be seen more clearly under a microscope. The fascists, however, had other plans for her, and in barred her from academia. Levi, barred too, now came to work for her in secret, their roles reversed.
First there, and later in a safer house in the countryside where she would cycle round from farm to farm, collecting the necessary eggs , the pair worked on the problem she made her own: how nerves growing out from an embryonic spinal cord find the particular developing limbs they will innervate. In Viktor Hamburger, an embryologist at Washington University in St Louis, Missouri, had suggested that limb buds produce an attractive chemical signal. Her own experiments, using scalpels made out of sewing needles, persuaded her that what the buds actually produce is a substance that stimulates nerve growth.
Once the war was over, Hamburger noticed the clarity of her work; he invited her to St Louis to continue her experiments, and there she stayed, on and off, until her retirement in though she never really retired, snapping that it led to decay of the brain. Eventually, in , she and Cohen shared the Nobel for their discoveries. She later showed that NGF is important in the immune system, launching a line of research that has since grown exponentially. From she began to divide her time between St Louis and Rome too much missed where she set up a laboratory.