#cacchione

[dergarabedian]

25 años del Día de Campo: recuerdos de periodistas

[valleyledger]

Lehigh Valley Health Network’s 31st Annual Golf Classic Raises Funds for Lehigh Valley Orthopedic Institute

 (L-R) John F. Malloy, PhD, Chair, LVHN Board of Trustees; Brian A. Nester, DO, MBA, President and CEO, LVHN; Joseph G. Cacchione, MD, FACC, CEO, Jefferson; and Michael E. Sneed, Vice-Chair, Jefferson Board of Trustees   Event proceeds help to expand research, direct care, education and physician recruitment Lehigh Valley, Pa. (June 17, 2024) – On June 3, Lehigh Valley Health Network (LVHN) held…

[fannyjemwong]

FANNY JEM WONG , RECUERDOS: EVENTOS CULTURALES Y PUBLICACIONES. Ariam Léon ( Cuba), bailarín Principal del Ballet Nacional de Perú , Arturo Víctor Marco Mariano Ramos Wong Lic. en Hotelería y turismo ,Fanny Jem Wong (Catedrática en la Universidad César Vallejo (Psicología – Filial Callao); Pepe Hevia ( Cuba), Director Artístico - Coreógrafo - Bailarín - Realizador - HEVIA Dance Company desde su creación en 1993 ; y Giorgio Romildo Ramos Wong bailarín de la Escuela Nacional de Ballet del Perú Y miembro del Elenco de HEVIA Dance Company. La reconocida poeta y Mg. en Psicología, FANNY JEM WONG, de la UNIVERSIDAD CESAR VALLEJO (Filial Callao), con el reconocido crítico literario norteamericano y peruanista, RICHARD CACCHIONE.

[emilioalessioloiacono]

🔵 La malattia di De Sanctis-Cacchione (anche chiamata “idiozia xerodermica” o “xeroderma con ritardo mentale”) è una malattia congenita, cioè già presente alla nascita, caratterizzata da xeroderma pigmentoso e ritardo dello sviluppo psicomotorio, che fa parte di un gruppo di rare patologie dette “progeroidi”, che determinano invecchiamento accelerato del corpo. 👉 Leggi l’articolo: https://medicinaonline.co/2023/02/16/malattia-di-desanctis-cacchione/ ✅  #progeria #progeroidi #xeroderma #De Sanctis-Cacchione #invecchiamento #EmilioAlessioLoiacono #MedicinaOnLine

[atlanticcanada]

Nova Scotia government appoints new director of police watchdog agency

Nova Scotia has appointed a senior Crown prosecutor as the next director of the province's police watchdog agency.

Alonzo Wright will become director of the Serious Incident Response Team, or SIRT, as of Jan. 9.

Wright is replacing retired Crown attorney John Scott, who was appointed interim director when Felix Cacchione, a former judge, retired in May.

Justice Minister Brad Johns described Wright as an accomplished prosecutor who has handled some of the province's most demanding and complex cases.

Wright is a graduate of Dalhousie University's Schulich law school and has also practised criminal law and worked for the federal Department of Justice.

SIRT provides civilian-led oversight of policing by investigating serious incidents involving police, independent of both government and police.

The agency investigates all matters that involve death, serious injury, sexual assault and domestic violence, or other matters of significant public interest that may have arisen from the actions of any municipal police or RCMP officer across the province.

Nova Scotia reached an agreement in principle with New Brunswick and Prince Edward Island in 2021 that allows SIRT to act as the police oversight body for those two provinces as well, with formal agreements expected to be completed next year.

This report by The Canadian Press was first published Dec. 20, 2022.

from CTV News - Atlantic https://ift.tt/0Ugt8h6

[3af-foto]

#wine #winelover #winetasting #winelovers #winetime #wineporn #winelife #wineteller #wineenthusiast #italianwine #cacchione #bellone #estestest #glacette #winechest #ice #coldwine #delicious #deliciouswine (presso Ristorante Pierluigi) https://www.instagram.com/p/CGXUzJfHfnV/?igshid=1nugri7zygqlw

[designobjectory]

Italian 1970s art deco revival silver tea set by Fratelli Cacchione

[mrsterlingusa]

Set the Scene

[cagedanimals]

Listen/purchase: Underneath The Spell by CAGED ANIMALS

I'm happy to announce that our musical family has brought two new lives to the world:  a baby boy named Casper Lou & a new Caged Animals record called Underneath The Spell which we have released today digitally as well as on limited translucent gold vinyl!

I’m so proud to share these songs with you.  They were created during a very tender moment in my life, watching our daughter Alaska bloom into a person, and sharing our creative world with her.

We wrote and recorded it in Brooklyn, in a tiny street-facing room in Bushwick, and meticulously arranged every song in a windowless warehouse with our full band.  It was started just before lockdown and completed in a backyard shed in Sackville, NB during the winter of 2021.  It features the core Caged Animals lineup with the addition of Dane Zarra on guitar, Jeff Tobias on saxophone (Sunwatchers, Modern Nature), and Jon “Catfish” DeLorme on pedal steel (Psychic Ills).  During the least band friendly moment, we somehow made our best band album.

Alaska was our spiritual advisor crouched on the grimy, concrete floor with the noise-cancelling headphones Larry "Ratso" Sloman bought her at birth. Alaska sat and colored or rattled a shaker and soaked it all in, as we honored our commitment, week after week and continued to make music.

It was scrambling from work, racing to eat, packing our instruments and getting to the space and back with enough time for Alaska to get a good night’s sleep. It was Magali singing into a mic with Alaska in a Baby Bjorn. It was Talya braving the terrifying highways of the tristate area as her driver’s anxiety waxed and waned. It was Pat taking a huge risk to build a worker-run cafe on the most expensive block in America and still keeping our hours in that room sacred.

There is something very beautiful about a band that doesn’t earn its whole living from music, continuing to make music. It’s a different kind of commitment. It’s a different kind of faith. And it’s my religion.

In light of this last year, I look back at the time where we honored that commitment and made this album with incredible gratitude.

I’ve loved music since I was a kid and I’ve never had another vision for my life beyond trying to add back some of what music has given me in my own work. I’m honored to be a part of this conversation on any level and I’m in debt to Talya, Magali, Pat, Dane, and Jeff for helping me articulate it.

Although these songs were written before the pandemic, they feel oddly tuned to our shared, strange moment, building a cinematic world out of contemplative moods and isolated characters.  From the foxhole spirituality of “The Ghost Of Jesus” to the mournful solitude of “The Coldest Place On Earth,” the album weaves its narrative on a thread of alienation and yearning; each character and melody pushing for renewal.

Thanks for your support throughout these years.  We are so happy to share this music.  If you'd like to order a copy please visit our Bandcamp.

[kakaji]

In the first room of the exhibition The Allure of Matter: Material Art from China, three jade-coloured Peking Opera costumes are suspended from the ceiling in a sentry-like manner. Lined up one after another, they have been rendered in a stiff, translucent PVC that make them appear as apparitions. Draped behind them are oversized chains entombed in silk. The juxtaposition of these two works, by artists Wang Jin and Liang Shaoji respectively, promises museumgoers an image of traditional China revisited with a sense of play, drama and surprise in its use of unconventional materials. Drifting from room to room, visitors are rewarded by works that function similarly, in that none of them are as they appear: Liu Jianhua’s thin slabs of porcelain resembling blank sheets of paper; what presents itself as an abstract painting by Ma Qiusha, made from pantyhose stretched over concrete shards; and Gu Wenda’s rainbow tent fabricated entirely out of human hair.

Prior attempts to introduce contemporary Chinese art to Western audiences have often adhered to the narrow framework of the Western canon, as was done with Cynical Realism and Political Pop. In this case, however, the curators Wu Hung and Orianna Cacchione place their focus on the idea of material and with it, the cultural, historical, political and personal specificity that each material carries. Because of this, material operates as the perfect vehicle to dispel conventional notions of China within the East/West dichotomy and expand how contemporary Chinese art can be understood. In using material as its underlying conceit, the exhibition refuses a tight definition of contemporary Chinese art, revealing the impossibility of containing cultural production under one unifying ideology.

At the heart of the curators’ argument lies the idea of ‘Material Art’, or ‘caizhi yishu’. Rather than proposing a new art movement, the term denotes a general art-historical approach to understanding works that share similar characteristics. In the catalogue accompanying the exhibition, Wu writes that this ‘type of art entails an artist’s consistent use of unconventional materials to produce works in which material, rather than image or style, is paramount in manifesting the artist’s aesthetic judgment or social critique’ (p.15). In other words, material is the key element in deciphering the meaning of a work of art, over image, object or concept. Indeed, Wu deliberately makes a distinction between Material art and Conceptual art, arguing that contemporary Chinese artworks had previously ‘been vaguely – and often inaccurately – labeled as Conceptual Art, assemblage, readymades, or object-based art’.

This positioning against Conceptual art is framed as a way to understand contemporary Chinese art outside of the Western canon, and therefore outside of the East/West binary. However, it also suggests that Conceptual art is completely divorced from material and negates the presence of material throughout art histories. Contemporary conceptual practices often incorporate material for both its physical qualities and its conceptual contents. Furthermore, discussion around materiality has always been present in art making, particularly within marginalised practices such as feminist, queer, craft, indigenous, and outsider art, often playing a central role in art histories outside of the Western canon.

The term ‘Material Art’ prompts further questions. What qualifies as unconventional material? Why is it culturally specific to China, and to which artists does the term apply? How are the parameters of Material Art defined? In spite of the fact that Wu is careful not to define a coordinated artistic movement, he nevertheless seems to treat Material art as one, located in time and place (post-1980s China), with identifiable artists and characteristics and a unified approach. In her catalogue essay, Cacchione explains that that the emphasis is not necessarily on the materials themselves, but rather, on the new relationships between artwork, artist and viewer activated by those materials. Material Art, she writes, is characterised by its ability to index the body, rupture the distinction between work of art and the commodity, and spark a direct response in the viewer. Cacchione also narrows the timeframe of Material Art to post-Mao China to examine how it influenced the artistic landscape. According to her, ‘the use of these new materials characterizes a break with past art practices and styles in China, and can be used to identify the emergence of the ’85 New Wave Movement and contemporary art in China’ (p.44).

However, for those visitors who have not read the catalogue, the exhibition reads as a presentation of a cohesive movement under the vague theme of material. Almost all of the heavy hitters in the world of contemporary Chinese art, from Ai Weiwei to Lin Tianmiao, are represented here, but without the acknowledgment that these artists are often working across different generations, continents, politics, practices and themes. Without this crucial information about the specific contexts that led these artists to investigate certain materials, the exhibition easily slips into flattening the works of these diverse artists into one simplistic narrative.

As difficult as it is to represent the nuance in the landscape of Chinese art, it is perhaps even more difficult to convey the complexity of the entirety of China. In some cases, the exhibition would benefit from more information on the traditional forms of Chinese art that are referenced by the contemporary artists, for example, or translations of Chinese characters into English and vice versa. One example is He Xiangyu’s A Barrel of Dregs of Coca-Cola, in which the artist boils the soft drink until it is reduced to nothing more than a pile of ashes. The piece is accompanied by his notes, written in Chinese, referencing ideas of transformation and impermanence from the Buddhist Diamond Sutra. Thus, while some viewers could interpret his act as a nihilistic comment on capitalism, others fluent in Chinese might instead see a reflection on the nature of metamorphosis. Without a translation of the Chinese notes, though, audiences are left with only half of the information for understanding He’s work.

Other works do however present a compelling opportunity for audiences to learn about the realities of China. Yin Xiuzhen’s installation Transformation (1997) features over one hundred roof tiles collected from various demolition sites of traditional siheyuan houses in Beijing, carefully laid out to fill the room. On top of each tile is a photograph of the site from which it was taken, each one showing the particularities of differing courtyards. By offering visitors a direct glimpse into the spaces from which each tile came from, Transformation allows visitors to draw their own insights into the tensions between tradition and modernity within the context of urban development in China.

Moments of cross-cultural insight like this are rare, particularly in a time when China and the United States are often pitted against one another. With a planned partnership with the Yuz Museum Shanghai, the exhibition signals LACMA’s position at the forefront in introducing contemporary Chinese artwork to Los Angeles, which, despite its massive Chinese and Chinese-American population, has seen few comprehensive exhibitions of art from China, or indeed Asia. For now, unusual materials such as hair, gunpowder and Coca-Cola are certain to entice new audiences to enter its discourse.

[globalhappenings]

Naples: Manfredi confers citizenship on a young Serb

Naples: Manfredi confers citizenship on a young Serb

(ANSA) – NAPLES, FEBRUARY 28 – The mayor of Naples, Gaetano Manfredi, has conferred Italian citizenship on Sabrina Jovanovic, born in 2003 and of Serbian origins. The girl is a resident of the Roma camp in via Cupa Perillo. The ceremony took place in the town hall. Accompanying the young woman, her family and father Eraldo Cacchione who follows the Roma community of Scampia in the path of…

[thelordeside]

I'll give you my best side, tell you all my best lines

[fashionbooksmilano]

Argenti Italiani del XX Secolo

dalle arti decorative al design

Testi : Rossana Bossaglia, Ciro Cacchione, Aldo Colonetti, Andrea De Giovanni, Gabriele De Vecchi, Tersilia F.Giacobone, Maurizio Vitta

Electa, Milano 1993, 168 pagine,  cartonato con sovraccoperta, 25x28 cm.,  ISBN  9788843546275

euro 60,00

email if you want to buy: booksinprogressmilano@yahoo.it

Uno strumento di conoscenza e diffusione della cultura argentiera del Novecento nato dall'esigenza di raccogliere le "tessere" di una storia che a tutt'oggi è ferma al secolo scorso.  Nato dall’esigenza di raccogliere le “tessere” di una storia che a tutt’oggi è ferma al secolo scorso, questo libro vuole essere uno strumento di conoscenza e diffusione della cultura argentiera del Novecento, nonché un esempio dello spettro di attività e iniziative del Museo per gli Argenti Contemporanei di Sartirana Lomellina (PV). Il catalogo dei pezzi, che contiene tra l’altro immagini inedite di prototipi, è preceduto da una serie di capitoli illustrati che da diverse angolazioni abbozzano le coordinate di riferimento per la selezione degli esemplari presentati: storia, linguaggi, tecniche ed estetiche si inseguono nei testi, richiamando assonanze e discendenze con le varie arti, a partire dall’Art Nouveau sino al formarsi e consolidarsi di una disciplina progettuale specifica, il design.

17/10/21

orders to: booksinprogressmilano@yahoo.it

ordini a: booksinprogressmilano@yahoo.it

twitter: @fashionbooksmi

instagram: fashionbooksmilano, designbooksmilano tumblr: fashionbooksmilano, designbooksmilano

[dressliketaylorhill]

Taylor wore the David Yurman Genesis Star Drop Earrings in 18K White Gold with Diamonds to Cannes Film Festival on July 10, 2021. The earrings were available for $108,900 but are now out of stock on the David Yurman U.S. website.

Photographer: Unknown (photo) Stylist: Marco Cacchione Hair Stylist: Antoine Waquier Makeup Artist: Delphine Ehrhart Manicure: Virginie Mataja

[atlanticcanada]

N.S. Department of Justice will review allegations in RCMP report: Attorney General

Truro's police chief had no idea allegations had been made against members of his force back in 2020.

A July 2020 RCMP Situation Report accuses members of a municipal police force of "serious criminal behavior," and "Police Act violations."

The document was among more than 2,000 documents released by the Mass Casualty Commission probing Nova Scotia’s April 2020 mass shooting. Names of the accusers, the accused, and the police force targeted by the allegations, are redacted by the Commission.

The allegations in the document, says the inquiry, are not related to the tragedy.

The interim head of Nova Scotia’s police watchdog, John Scott, confirmed to CTV Thursday the claims related to the Truro Police Service.

Scott said review of the information by the Serious Incident Response Team (SiRT) at the time found no criminal activity and therefore no basis for SiRT to conduct a formal investigation.

The Truro Police Force has responded in a statement, reading in part: “No one from SiRT has ever contacted the Truro Police Service regarding these allegations, leaving us with minimal information to comment on.”

The statement continues, “The Truro Police Service is pleased that SiRT investigated these allegations in 2020 and found no criminality on the part of Truro Police Service or any of its officers.”

The fact that Truro Police Chief David MacNeil was never notified surprises CTV public safety analyst and former OPP Commissioner Chris Lewis.

“As a police chief, I would want to know they're looking at it for sure, because something could come out,” Lewis said. “That's their job to investigate, and I’d be very concerned if I hadn't been made aware.”

“For some reason, we're not being allowed to know even the most basic details of what it's about,” says Michael Scott of Patterson Law, which represents many of the families affected by the mass shooting.

Scott says the heavy redactions render the document “effectively blank,” leaving him with more questions than answers. He’s also concerned evidence before the Commission offers contradictory explanations of why the matter ended where it did.

“There's some suggestion that the referral (by the RCMP) to SiRT was refused on the basis of a lack of resources, there appears to be another account where it's suggested that SiRT decided not to take it on for some other reason.

According to the former head of SiRT, Felix Cacchione, that “other reason” relates to apparent tensions between the RCMP and municipal police forces in Nova Scotia.

According to the transcript of his interview with the Commission in September, Cacchione told the inquiry he didn't pursue the matter further because "...the report was secondhand, this was, you know, two parties that didn't get along together..."

“It all didn't smell right to me and I didn't want to get into it,”Cacchione told the inquiry.

In a statement, the province's Attorney General, Brad Johns, says he's asked his department to look into the matter.

“… oversight is a responsibility we take seriously,” Johns tells CTV in a statement, “I have asked the Department of Justice to review the information and I will be considering whether further steps need to be taken.”

from CTV News - Atlantic https://ift.tt/AHvJ3UX

[saintgiovese]

Bellone al tramonto #Capolemole bianco di Marco Carpineti. Pesca bianca, salvia e macchia mediterranea. #bellone #cacchione #wine #vino #winelovers #wineporn #ig_roma #igers #igersroma #amazing #instagood #degustazione #winetasting #ais #aisroma #aislazio #sommelier (presso Coqui Beach • Fregene•)