Italian Architecture From Three
      Universities      

Saturday  November 13
at 5.00 PM - Cultural Center Beit El Fan - Tripoli.
The exhibition will be open until November 18, 1999

Inauguration of the exhibition “Italian Architecture from Three universities”, at the presence of Prof. Luciano Semerani, IUAV.

Milano-Bovisa, Politecnico
Antonio Acuto (1940)
Guido Canella (1931)
Antonio Monestiroli (1940)

Venezia, I.U.A.V.
Gianni Fabbri (1939)
Gianugo Polesello (1930)
Luciano Sernerani (1933)

Roma, "La Sapienza" e Tor Vergata 
Carlo Aymonino (1926) 
Vittorio De Feo (1928)
Raffaele Panella (1937)

The reasoning behind an exhibition
   The works and the architects in this exhibition are linked by many factors. But of all these factors, two stand out above the others: on the one hand, a constant attention to the city, a profound rapport with the urban dimension of architecture, which is evident beyond any considerations of scale or function; on the other, an authentically modern figurative approach, a language consciously projected into the contemporary era, y but at the same time aware of responsibilities regarding history and the tradition, which have been assiduously studied to derive cognitive reasonings, expressive authenticity, capacity to address the future.
   Upon close examination these are precisely the characteristics that prompted a well-known English critic, forty years ago, to speak of a retreat of Italian architecture away from modern architecture; the same characteristics which instead, still today, make Italian architecture appear original and vital on the international scene.

   Recently there has been a return to talk of the "diversity" of Italian architecture, of its resistance to the penetration of certain dominant international trends since the late Seventies, connected more or less directly to the recent crisis of ideologies and the parallel invalidation of traditional rational thought, and identifiable, some years ago, in the historicistic yarn spinning of the so-called postmodern, and more recently in the technological sublimation and "inhabitable sculptures" of so-called deconstructivism.
   A diversity which, with respect to these trends that are dominated by a certain pyrotechnic image velocity, is marked by deeper roots, a slower, more stratified narrative pace, still based on a humanistic concept of the city and history, and a lasting interaction between function and figuration.
   The architects in this exhibition bear eloquent witness to this diversity; in fact, rather than just bearing witness, together with a few other names not included here they have been the direct makers of this diversity, those whose works and careers have provided a theoretical basis, demonstrations in building and a didactic framework for this originality.
   But there are also other points of contact among the works in this exhibition. First of all, there is a shared understanding of architecture and its civil responsibilities, in providing responses to the new needs of a society in transformation, in giving form to the expectations that arise with the appearance of new subjects and new types of behavior.

   A committed, militant notion of architecture, that permeates it with an ethical tension and an intrinsically monumental destiny, a vibrant synthesis, in function and representation, of collective memory and civil significance,
   And, in like manner, there is a shared way of thinking about the role of the school a productive and experimental role, not simply one of service, in which teachers and students, while maintaining their specific responsibilities and roles, are equally involved in working toward shared objectives of research and training.
   The exhibition illustrates nine personalities active in three of the most important and lively "university laboratories" among Italy's Departments of Architecture, combining internationally renowned masters of postwar Italian architecture, born in 1925-30 ca., with other names from the following generation, who studied with these master~ and worked with them, and have since become important figures on the Italian academic scene, with important responsibilities of management and teaching, as well as constructing their first important works.
   The exhibition provides an overview of these personalities, with constructed works, competition projects, university research projects, using many different documents, study materials, sketches, models, axonometrics, illustrating the workshoplike approach of patient research, the craftsmanlike process that includes consolidated knowledge, experimentation, pedagogical rigor.

The resulting panorama is far from uniform: what these situations have in common are a shared ideal horizon, the disciplinary references, the educational commitment. The paths of research, the personal sensibilities, the expressive results vary. As do the scales of the projects, the contexts of intervention, the impact of the realization, the eventual users. But within these alternatives of language and poetic options the wealth of a particular tradition emerges, In which theoretical research, university teaching and professional practice are inseparably intertwined in a necessity of figure, a will for transformation that give concreteness to that utopia of reality of Ernesto N. Rogers, that makes it impossible to do without architecture.

Enrico Bordogna

The Castiglion Fiorentino Historical Group and its
      Flag-Wavers      

- Monday November 22,
  at 4.00 PM and Tuesday  
  November 23, at 5.00 PM
  Verdun Streets and
  adjoining streets, Beirut.

- Tuesday November 23,
  at 7.00 PM - Campus of
  the American University
  of Beirut.

- Wednesday November 24,
  at 6.00 PM - From the
  Corniche to Khan El Franj,
  Saida.

- Thursday November 25,
  at 6.00 PM - From the city
  Center to the "Rachid
  Karame" International Fair,
  Tripoli.

- Friday November 26,
  at 10.00 AM
  Lycée Franco-Libanais,
  Beirut.

Parade of the "Castiglion Fiorentino Historical Group and its Flag-Wavers"
   The Castiglion Fiorentino Historical Group and its Flag-Wavers originates from the ancient custom of flag-waving dating back to the 13th century when, throughout Europe and particularly in Italy, after a special event like the end of a war, the standard bearers of the town's military companies would celebrate such event by performing difficult exercises with their flags. 

   Castiglion Fiorentino, originally an Etruscan settlement and later an old medieval village, is perched on top of one of the last offshoots of the Apennines that gradually joins up with the Valdichiana. The village stretches out in a succession of concentric rings encircling the gentle slopes of the hill. Dominated by the tower of the ancient castle this charming town unveils to the visitor its beautiful medieval walls, palaces and churches. The display begins with a multitude of colorful flags circling above, all bearing the town's emblem.
The exercises and the display may be performed individually, enhancing the harmony of movement and the ability of the single flag-waver, or by the whole group highlighting their team spirit. An extraordinary show not to be missed! 
   The waving of flags is accompanied by the sound of drums and clarions highlighting the ancient military origin.
The musicians together with the flag-wavers and the historical costume parade (warriors, knights and noblewomen in fifteenth century costumes) animate the pageant that precedes the display. As a result of many years of activity the known from Russia to Peru, from the U.S.A. to Australia but also for being heralds of peace and solidarity. Historical Group is today renowned and appreciated worldwide not only for making our town's name and the tradition of flag waving.

Monumental Fountain in glass mosaic  “Ardea Purpurea”
by

  Marco BRAVURA  

Monday November 22,
at 5.00 PM

 Rond Point Dunes,
Verdun street, Beirut

Opening of the Monumental Fountain in glass mosaic “Ardea Purpurea” by Marco BRAVURA
   Born in Ravenna in 1949, he studied at the Ravenna's National Institute for Mosaic and completed his studies at the Fine Arts Academy of Venice, where he lives and works since 1968. Bravura spent the seventies traveling back and forth between USA and Oriental countries, with long stays spent in the Canary Islands and other European countries. It is in fact an internal quest, an important personal orientation that had to be done, in order to accumulate knowledge and experiences, which would be reflected later in his artistic works.

   He took part in various painting expositions abroad:
Las Palmas (1971), Alcoy Spain (1972), Venice (1973), Luxemburg (1974 - 1975), Angers (1977), Tours (1982).

   In 1978, he opened a School for Mosaic in Ravenna.
That same year he met Tonino Guerra, poet and important art director of the Italian movie industry, who had just returned to Romagna. The poet was occupied convincing the Italian Public Administration to introduce strong poetic symbols in the urban areas, thus allowing a classification of the environment in which we live. That was the beginning of a stimulating and motivated collaboration that led them to a series of common expositions throughout the nineties.

Exhibit of paintings
by

Renata VENTURINI

Monday November 22,
at 6.00 PM

 Center “Les Dunes”, Verdun street, Beirut

Inauguration of the Exhibition of paintings of the painter Renata VENTURINI, in collaboration with the "Associazione Culturale Italo-Libanese"

   Renata Augusta Venturini obtained her Diploma in Painting, Lithography and Engraving from the Fine Arts Academy of Ravenna. She attended the classes of U. Folli in painting,
T. Zancaro in lithography and engraving, R. De Grada in history of art and P. Santi in Italian literature. She also attended G. Pomodoro's courses in Applied Arts. She was the founder of the "Bottega dell'Arte" in Sant'Alberto, where she taught drawing and color techniques for seven years.

Renata dedicated several years looking for new techniques and studying aquarelle, which can have, for an artist, the same potential than the much more concrete oil technique.
She began sculpting in 1989, terracotta, marble and bronze, and in 1990 she achieved paintings in tempera on the walls of some private villas in Italy and England. Since then, she sculpted and painted various artistic works, like "The Life and Death Angel", a 150 cm sculpture for a private family grave, the "Medusa", a porch sculpture of 200 x 200 cm, the "Tribute to the Empress Theodora ", a fountain representing the Empress and two herons, with a 6,70 m pool paved in mosaic.  

Glass Mosaic
      "Teodora"      

Tuesday November 23,
at 6.00 PM

Center 730,
Verdun Street, Beirut.

Inauguration of the Glass mosaic ”Teodora”, reproduction made by the skilled Mosaic makers of the "Accademia di Belle Arti" of Ravenna.

IMPERIAL PORTRAYAL OF THEODORA

 The empress Theodora is in the center: on the right, the imperial court matrons and on the left, in the palatial architecture, the figures of the male dignitaries serving the Byzantine empress. These images constitute one of the most stupendous testimonies of 6th century court art. First of all it should be pointed out that though the imperial portrayals of Justinian and Theodora are based on real history they are eminently symbolic. They are interwoven with history because the people who commissioned them (Maximianus and the two elderly deacons of the church of  Ravenna who appear with him, one of whom might be his successor and collaborator Agnello and the other perhaps Giuliano Argentario) certainly wanted to  represent the political doings of the Christian Roman empire which was heading definitively towards military victory over the Ostrogoths on land and sea, in Italy and the islands, above all conquering Rome after Ravenna.

So the picture is full of history and represents the empress whom we know to be the very authoritative inspiration for Justinian’s power politics. But the historical link should be seen between this and the other two Ravenna palatine basilicas: Galla Placidia’s (S. Giovanni Evangelista) and Theodoric’s (S. Apollinare Nuovo).

With the portrait of Theodora, Maximianus and Giuliano Argentario wanted to surpass all other portraits of imperial or royal women. But this revenge, in the case of Theodora, was not the be all and end all of that very high historical dimension which we can reconstruct when we think of the destiny of Rome and Italy in the unity and universality of the legal, civic and cultural programs which Theodora helped draw up and promote in the capital, Constantinople.

It is a well documented fact that Maximianus personally owed much to Theodora and to Pope Vigilius (who is also exalted in the same basilica). But the historical claims recounted by this picture, or rather by this monument-document, go way beyond prosopography: they constitute a block of world power.
But these historical dimensions are expressed in a liturgical-symbolic language. It is only the symbology that has Theodora hold the wine chalice before Justinian who, in turn, holds the paten with the bread, whereas in reality, in Constantinople, the emperor carried both.

Equally full of religious symbolism are the people involved: the imperial ladies and the dignitaries shown in the sumptuousness of their majestic clothes and in the magnificence of the imperial palaces. Galla Placidia had reproduced imperial iconography; Theodoric had portrayed Ravenna as being absorbed by his Palatium; Maximianus, portraying Theodora in imperial and holy concord with Justinian, erected the greatest (remaining) monument the empress ever had, and furthermore enriched it with an unparalleled religious-symbolic meaning with the figure of the Three Wise Men that decorates the imperial purple robe.
The Magi, who figured in Galla Placidia’s palatine basilica and whom Agnello controversially inserted in the reconverted palatine basilica of Theodoric, are there on Theodora’s cloak for theological reasons. There was a widespread irreverent rumour concerning the empress: it was said that she fomented the heretical tendency of Monophysitism by maintaining that in Christ there was only divine nature (to the detriment of the human nature absorbed, precisely, by divinity).

But it must be understood that the Magi adored Christ both as real man and real God. So over and above the connection with the idea of royalty, Maximianus was stating an important point of the whole history of the Constantinople court: its defense of orthodoxy deserved the full support of the peoples of the empire so that the Roman-Christian Trinitarian faith should triumph.

Concerts of the “Quartetto Bernini” of Rome

- Tuesday November 23,
  at 8.00 PM - Assembly
  Hall, American University
  of Beirut.

- Thursday November 25,
  at 5.30 PM - Theatre of
  the  International Fair
  “Rachid Karame”, Tripoli.

- Friday November 26,
  at 7.00 PM - Auditorium
  dell' Hotel Kadri, Zahlé.

“Quartetto Bernini” of Rome (violin-viola-violoncello)

  The Quartetto Bernini was founded in Rome, and is composed of four musicians who received their musical training in Vienna, Luxembourg, Paris, Geneva, Osaka and Rome.
The Bernini Quartet studied with Piero Farulli, former viola-player of the Quartetto Italiano.
Since the Autumn of 1998 they have been supported by ProQuartet of Paris, which has enabled them to study with members of the La Salle, Tokyo and Alban Berg quartets.
They were invited by Wilhelm Melcher of the Melos Quartet to participate in the Oberstdorfer Musiksommer during
August 1999.

Marco Serino, Gabriele Croci and Valeriano Taddeo were 1^st violin, viola and cello respectively of the former Quartetto Santa Cecilia. With these members the Santa Cecilia Quartet studied with Salvatore Accardo, members of the Amadeus Quartet and with other important musicians. It was awarded prizes in several international competitions such as the "G.B.Viotti" in Vercelli, "V.Bucchi" in Rome and the 5^th International String Quartet Competition of Cremona. They have performed with world-famous artists such as Salvatore Accardo, Franco Petracchi, Wolfgang Marschner and Paul Katz. They recorded the World Première Recording of the chamber music of Giovanni Sgambati.

In 1999 the Bernini made its debut at the Teatro Olimpico in Rome, as Quartet in Residence at the Accademia Filarmonica Romana. This collaboration, in addition to wide-ranging concert activities, includes plans for the participation of the Quartetto Bernini in the performance of the entire cycle of Beethoven's Quartets in addition to other ensembles such as Emerson and Vermeer.

Recently the QB made tours in the USA, Germany, Spain and Turkey, performing several world premières of contemporary music (most of which dedicated to the quartet itself) and have given concerts in Italy's most important concert series such as Perugia, Vercelli, Brescia, Fermo, Rome. They have also featured with artists such as Paul Cortese, Jun Kanno and the Auer Quartet. The QB have made recordings for several national and international TV and radio stations. In addition, they are going to record "The Art of the Fugue" by J.S. Bach.
The Quartetto Bernini was recently appointed head of the school of chamber music and string department of the Accademia Filarmonica Romana.

Marco Serino plays on a violin by Nicolò Amati (1661) and Valeriano Taddeo on a cello by David Techler (1700).

Exhibition of Poster
of the
"Concorso Fabriano"
from its foundation 

Wednesday November 24, at 6.00 PM 

Russian Cultural Center,  Verdun street, Beirut.

Inauguration of the exhibition
“Poster del Concorso Fabriano
dalla sua Fondazione”,
in collaboration with the
"Associazione Culturale Italo-Libanese".

International Festival
 of European Cinema 

From November 26
to December 5  

 (Sofil Center, Ashrafieh, Beirut.

   La Stanza dello Scirocco

Radio Freccia

La Balia

Partecipazione italiana con la proiezione dei seguenti film:

La Stanza dello Scirocco by Maurizio Sciarra, actors: Giancarlo Giannini, Tiziano Lodato, Paolo De Vita, Francesco Beigno, Tony Sperandeo, Valentina Biasio.
(Friday December 3 at 5.30 PM)
1936. The Marchese di Acquafurata, wanted by the police because of his anti-Fascist activities, takes the place of the butler in his own house, who died in a fire. Out of fear that the authorities discover this change of identity, he fakes a will leaving the house to a couple who have suffered an earthquake. Vincenzo and Rosalia arrive in the house.
She is young and beautiful, she falls in love with the Marchese and declares her love in the room of the scirocco, the mythical room he withdraws to during bad weather. The Marchese throws himself into this love story, forgetting his political mission of helping a comrade escape from Lampedusa. Rosalia joins him as he is leaving for France. Together they escape towards freedom.

Radio Freccia by Luciano Ligabue, actors: Stefano Accorsi, Francesco Guccini.
(Thursday December 2 at 8.00 P.M and Saturday Decem,ber 4 at 10.20 PM)
April 24, 1993: the last program of Radio Arrow is on the air Over the microphone, Bruno tells the storyof the radio station which is also the story of a group of friends.
In the beginning the radio was called Radio Raptus but its name was changed into Radio Arrow after the body of Ivan Benassi, known as the arrow, was found half-immersed, head down, in a ditch. Jena, Boris and Tito are the friends with whom Arrow and Bruno spend most of their time. They consider the bar Laika as their own home and it's there that Adolfo, the barman, talks to them about privately-owned radio stations for the first time. All of them, individually, try to find their way to grow up or to remain forever young, through long days spent in the bar, love stories, small-town practical jokes and dramatic events.