Lamore per due uomini giunto al capolinea e una strana cartolina ritrovata per caso spingono Giulia a inforcare la sua Vespa e partire alla ricerca di un segreto custodito fino alla fine da suo fratello Alex; morto in un incidente stradale. Quel viaggio dentro e fuori di seacute; non solo le riveleragrave; quanto tenaci e irrinunciabili possano essere lamore e lamicizia; ma segneragrave; linizio di una nuova esistenza. Un percorso di liberazione lungo le rotte tracciate dal dolore; nellestremo tentativo di non smarrire la bellezza della vita e delle persone che abbiamo amato.
#2919350 in eBooks 2014-03-06 2014-02-27File Name: B00IN9DFPW
Review
0 of 0 people found the following review helpful. A piece of art to display predominantly on a shelfBy Anna FaktorovichScholarly and Creative Book and Journal Reviews: Pennsylvania Literary Journal: Spring 2016: freely available excerpt: [...]Carin Kuoni and Chelsea Haines; eds. Entry Points: The Vera List Center Manual on Art and Social Justice; No. 1. 288pp; 153 illustrations. $25: ISBN: 978-0-8223-6200-5. January 2016. Duke University Press.****This book needs an introduction because anybody that comes to it without an orientation will become confused. The title; cover and the map of artists on page 12 promise a collection of modern social art; but then three essays on the personal experience and theory of the relationship of postmodern art to politics toss the reader into a haze. It seems the structure of the book is deliberately breaking design norms. An introduction in small font explains how the book is organized: Part One; ldquo;The Fieldrdquo; presents a ldquo;snapshot into the state of art and social justice on a global level with reflections on key conceptsrdquo; by looking at twenty-two distinct projects very briefly. Part Two; ldquo;Dorchester Projectsrdquo; by Theaster Gates theorizes in essays on the 2008 transformation of two buildings in Chicago into a library; performance space and soul food kitchen (7-8). Once you orient yourself in this scheme; itrsquo;s easy to turn through the individual social art projects and concepts to dig for the information that interests an individual reader.This book was sent to me by Duke; but they are only the distributer for the project. It was designed with the support of The New School in Manhattan that also houses Project Runway. They created a deliberate sense of disorientation in part by starting the table of contents on the left-hand side and using multiple columns for the chapters as if they were image titles and not placing ldquo;contentsrdquo; or another identifying label above the list. The second you take the book into your arms; you feel strange bumps on the front and back cover that feel like brail; but do not appear to have any visual correspondence with the wooden house photograph on the cover. The next thought you have might be if you have unintentionally damaged the book or if it was damaged in transit; so you check it more closely and the dents appear smooth and artistically positioned (if nonsensically). Then you turn the pages past the introductions and find a black-background map with white and green dots on it and suddenly the two might come together and you realize that the bumps on the cover echo the pattern of art installations marked on this interior map. Each of these dots also re-appears on the first page of the chapter that discuss the installation in that geographic location (frequently overlaying the text on that page). The spine is also made up of two rectangles; orange and green; in contrast with the beige tones on the front cover. The font in the introduction and in those crucial sections where the achievements of radical artists are introduced are in tiny 8-9 point font; while the sections of casual personal theory and interviews are enormously sized at 12 point font. There is also a cacophony of fonts used for the different types of content blocks. In parallel; there are great low-contrast; meaningful photographs across the book. Overall; reading this book is a postmodern experience; and if the reader has enough time to explore this sensation; this is a good thing.One of the artists interviewed and described is Ai Weiwei who ldquo;brought 1;001 Chinese people to Kassel; Germany; throughout the run of the exhibition to wander around the city in specially designed clothes; towing custom-made luggage. His exhibition So Sorry (2009-10) at the Haus der Kunst in Munich included reproductions of thousands of lsquo;too little; too latersquo;-style apologies expressed by governments; industries; and corporations worldwide; as well as a giant banner covering the museumrsquo;s faccedil;ade made of 9;000 childrenrsquo;s backpacks that spelled in Chinese the phrase lsquo;she lived happily for seven years in this world;rsquo; a reference to the 2008 Sichuan earthquake; in which poorly built schools collapsed and killed thousands of children. A photographic series Ai has produced features him lsquo;giving the fingerrsquo; to a series of national monuments; while another documents his destruction of ancient Chinese pottery by dropping them defiantly on the floorrdquo; (52). I had to reproduce this entire passage because all of these exhibits are very striking and help to explain why itrsquo;s important to create collections like this of examples of radical art. Weiwei was later arrested and imprisoned; and is now making films of himself at home to demonstrate against government surveillance.Another project is the Ontological Walkspaces; where after the corrupt 2008 Armenian election; the protestors were forbidden from protesting in public; so instead they took what they labeled as ldquo;political walksrdquo; and discussed politics as they went in an attempt to make a political statement without being arrested for public protestations.Amy Balkin created the Public Smog series of projects in 2004. Balkinrsquo;s website reproduces fictitious ldquo;financial and legal documentsrdquo; that grant the public ownership of vast air parks that are supposedly traded in the open market and can fall into the hands of consumers who want to keep smog out of their air space. She also has documents that show that she attempted to ldquo;register the earthrsquo;s atmosphere as a UNESCO World Heritage siterdquo; but was refused (70).Then there are sections about larger artistic organizations. Chto Delat (What Is to Be Done?) in Saint Petersburg; Russia has been doing collaborative art projects with proactive goals since 2003. DABATEATR in Rabat; Morocco runs a theater company which aims ldquo;to bring as many people as possible into the exploration and uncertainties of the creative processrdquo; (96). The Etcetera collective founded in Buenos Aires has been protesting with arts; acting; poetry and puppeteering for decades; and recently started the Errorist Movement that included a series of actions in protest on the streets ldquo;to Bushrsquo;s war on terrorrdquo; (104). A war on terror is an absurd concept because fighting a feeling of fear is only likely to evoke that feeling in all involved. There have always been protestors (violent and non-violent) that have overthrown monarchies and tyrannies (i.e. the American Revolution) so fighting anybody that might cause one to feel terror is a psychotic proposition.Anybody that has an ambition of practicing political mass art should read the stories in this book for inspiration and ideas. The design is unique; but this helps the text become a work of art in its turn; allowing its owner to acquire not only information; but also a piece of art to display predominantly on a shelf.
