#giulia ottonello

[ironychan]

A Little Human (as a Treat)

Part 1/? - Un Volontario

Part 2/? - Un Escursione

Flavia gets to see some of the sights of San Giuseppe, including a candy shop and a museum, while Ciccio gets his first taste of life under the water.

Back in Portorosso, Ciccio was not having fun yet.  His father was still laying down rules.

“Home right after dinner,” Signor Ottonello repeated.

“Yes, Papà,” Ciccio replied, reaching up to scratch at the side of his neck.  He might not have looked like Flavia, but apparently he had gotten at least one thing from her: he wasn't going to transform when he dried out, and his gills were getting itchy.

Giordana caught his wrist.  “Don't scratch,” she said.  “You don't want them to start bleeding.  You need to get in the water.”

“Right,” Ciccio looked at his father for permission to go.

“Try to stay where you can see land from the surface,” Ottonello told him.  “I don't want you getting lost.”

“Yes, Papà.”

“Don't worry,” Giordana promised, “I'll stick to him like a barnacle.”

Ottonello nodded. “Guido's promised to head out to Isola di Alberto to check on you around lunchtime.”  Guido, standing right behind him, nodded.  “So watch for him.”

“Yes, Papà.”

“And for heaven's sake, don't just eat anything you find growing!”

“Papà!”

“I haven't forgotten that mushroom...”

“I was four years old!”

“I'll keep an eye on him,” Giordana repeated, “and I won't let Arturo dare him to eat weird things.  Got it?”  She glared at her little brother. Arturo just rolled his eyes.  “We should really go before he gets any dryer.”

Signor Ottonello nodded reluctantly.  “Okay.  Well...” he looked Ciccio over. “I'd give you a hug, but...”

“Yeah,” said Ciccio.  The spines were definitely going to make today more complicated.

“Careful with those.”

“I will be.”

“Come on,” Giordana tugged on his arm.  “Let's go!”

Ciccio waved as she dragged him out into the harbour.  “See you later, Papà!”

“Right after dinner!” Ottonello insisted.  He put his hands on his hips, and stood there watching until Giordana, Ciccio, and Arturo had all vanished under the water.  Then he shook his head and went to see if Massimo and Leonardo had any of that coffee to spare.  He had a feeling he would need it.

--

As he'd demonstrated during last summer's race, Ciccio was the fastest swimmer in Portorosso as long as the anchovies weren't trying to eat him.  That wasn't counting the sea monsters, though – he'd been in the water with Giordana and Arturo before, and they'd literally swum rings around him.  He hoped he'd be faster than them now, but first he was going to have to learn a whole new way to swim.

“You gotta stop trying to kick,” Giordana directed him.  “That's just for changing direction.  Use your tail.”

“I'm trying,” he insisted.

Arturo had gone ahead, and now came darting back to deliver a report on his mother. “I don't see Mom at the house,” he said.  “She might be at Signora Branzino's, or in the ravine with the eel traps.”

“Good,” said Giordana.  She had this all planned out.  “Here's what we're going to do: Arturo and I will just start our chores like it's a normal day, and you can hang around as if you just dropped by to visit.  That way Mom won't know anything special is happening and won't have any reason to already be annoyed when we tell her the truth.”

“Right,” Ciccio said cautiously.  That did kind of sound like more lying, though.

Giordana went on. “After dinner I'll insist that Mom has to come back to town with us.  We've got all day to come up with a reason.  Then she can watch the magic and we'll explain to her how it works.”

Arturo joined in. “Luca and Alberto said the humans are okay with them because they got to know them before finding out they were different, and it was the same way with Signor Donzella getting used to Giulia.  So we'll so the same thing with Mom.”

That did make sense.  “So I've gotta make a good impression,” said Ciccio.

“Mom already likes you from when she's met you on land,” Giordana reassured him.

“For like, two minutes at a time,” muttered Arturo.

Giordana pinched him.  “So she'll probably...”

“Well!  There you are!”

All three kids froze, as Attinia Trota herself appeared from behind the row of boulders that marked a field boundary.  She'd been gathering shells to use in jewellery when she must have heard their voices.  She was now floating there with her basket hanging off one arm, and her expression was very put-out.

“Nothing was done this morning!” she said as she came closer.  “Nobody mucked out the barn, nobody fed the crabs, nothing! I said to myself, it's just like Arturo to run off and meet his friends, but I expect better of Giordana.  Yet here you are, blowing bubbles with your boyfriend while our animals go hungry!”

It was likely that part of Giordana's original plan had involved exactly what she was going to say to her mother when they met her.  If so, that was blown now.  She didn't know how to reply.

“What have you got to say for yourself?” Signora Trota demanded.

“It was my idea!” Ciccio blurted out.  “I, uh, offered to come over and help!  Giordana thought we'd be back before you got home.”

At first, that didn't seem to make things any better.  “Are you hiding from me?  I've been wondering why I never seem to see you around.” Attinia narrowed her eyes suspiciously at him.  She seemed to have recognized Ciccio by his voice and build, but was not at all shocked to find him here.  That suggested that when she'd tried to guess what was going on with Giordana's mysterious boyfriend, it had not yet occurred to her that he might not be a sea monster himself.  “I always seem to miss you just by the flick of a tail.”

Ciccio glanced at Giordana, who smiled sheepishly and took his arm.  “You caught him this time.”

“So I did,” said her mother, and softened a bit as she seemed to decide it wasn't worth being rude in front of a guest.  “It is nice to see you back in our element, Francesco.  It can't be good for young people to spend so much time out of the water – although I think I can guess why you do.”  She pointed to his shoulders.  “My cousin knew a girl who sprouted spines like that when she was around twelve, I think.  She used to put sponges on the end of them so she wouldn't stick anybody.  I suppose your father's the same.”

“Um,” said Ciccio.

“Explains a great deal,” Signora Trota nodded, satisfied.

Ciccio felt his stomach sink.  If there were suddenly a ready explanation, would that make it seem less like they needed to tell the truth?

“Sponges is a good idea!” Arturo said.  “I know where there's some good ones...”

“Ah, ah, ah,” his mother told him.  “You've got other things to do. First, I want to see those crabs fed.  Then you can go sponge-hunting.

“Yes, Mom,” Arturo grumbled.

At least the sponges did sound like a good idea.  “What can I do to help?” asked Ciccio.

Attinia smiled.  “Well, you're clearly good at navigating sharp pointy jobs, so I've got some urchins you can shell for me.”

Arturo opened a krill trap and began distributing its contents to their crabs – these, he had explained to Ciccio, were common green crabs, kept for their meat and eggs, rather than the fancy colourful ones people bred for show.  Meanwhile, Giordana sat down with Ciccio in the garden to show him how to get the meaty parts of the urchins out of their shells.  “Don't break the spines,” she warned him.  “We use those.”

“You do?  What for?” asked Ciccio.

“All kinds of things.  Cleaning our teeth.  Pinning and sewing.  Holding food together while it cooks.  They're very useful,” she assured him.

“So like toothpicks, pins, and needles all in one.”  Ciccio wondered if it would hurt a living urchin to have a spine broken off.  He suspected it would hurt him, and he wasn't about to try it.  “Um... what have you been telling your Mom about me?” he wanted to know.  The words I always seem to miss you just by the flick of a tail implied that she thought Ciccio had been here before, when that was clearly impossible.

“Oh.” Giordana giggled nervously.  “I might have kind of implied that you'd been here and she missed you.  Or that we'd gone somewhere nearby instead when we'd actually been in town, like the time you took me to see that cowboy movie.  I didn't want her to be worried about how far I'd gone from the water.”

Ciccio hadn't realized she was doing that.  “We're still gonna show her tonight, though... right?”

“Yes, I promise!” Giordana said.  “Lying is stressful.  Signora Zigrino says you should always tell the truth because then you don't have to keep track of what you've been lying about, and that's so true.”

He nodded, but he was seriously worried now.  Lying was stressful, but Attinia Trota could be very intimidating when she wanted to, and Ciccio wasn't even the one who had to live with her. Telling the truth might be worse, and he was not nearly as confident as she that Giordana would be able to make herself do it.  Come to that... if it were down to him, he might not be able to do it, either.

--

The highway that passed Portorosso at one petrol station met the outskirts of San Giuseppe at another.  From there, the kids pedalled their bikes over the crest of a hill, and there was the city spread out below them, with the shadows of passing clouds sliding across it. Near the water, the architecture was similar to Portorosso, with colourful, multi-storey buildings that had shops on the ground floors.  The city centre was a bit grander, with a fancy stone church and a civic building with a white colonnade.  The central piazza had two fountains with statues of a mermaid and a triton, and what looked like at least a thousand pigeons pecking at things between the cobblestones.

It was the birds that caught Flavia's attention.  As the others chained their bikes to a railing, she stood watching them mill around and flutter from place to place.

“They're so pretty!” she said.

“What, the pigeons?” asked Giulia, who was used to thinking of them as pests.

“Yes! Look at their necks!”  Flavia tried to get closer for a better look at the green and purple iridescence in the feathers, but the birds cooed in alarm and flew away.  “What are they called?”

“Piccioni,” Giulia replied.  “I don't think they like water, so yeah, it's no surprise if you've never seen them before.  People don't like them much.”  She tried to think of something nicer to say about them. “They've got something in common with sea monsters, though: they can always find their way home!”  Giulia knew her way around Portorosso, San Giuseppe, and even Genova quite well anyway, but she'd still appreciated gaining that extra sense.  It had made the game of Coda All'Asino much easier.

Flavia frowned, and closed her eyes for a moment.

“Humans don't have it,” Luca said.  “I think because places on land are just easier to find.”

“Uh-huh,” said Flavia, but the others could tell she'd found something about being human that she did not like.

“Stick close to us,” Alberto told her.  “We won't let you get lost.  We know this town almost as well as we know Portorosso.”  He took her wrist and pointed across the piazza centrale.  “First stop: the Confetteria!”

The Confetteria di Narciso was located in one of the large buildings around the square, behind a row of columns.  On one side of it was a Trattoria, and on the other was a shop that sold fabric and yarn.  The sign outside the door was painted with the mythological figure it was named for, except that instead of his own reflection, he was gazing at an assortment of sweets.  A bell above the door jingled merrily as they went inside.

The owner of the shop was a very plump man in his sixties, who made up for his bald head with a huge, bushy white moustache.  He was wearing a red and white striped apron that was spattered with chocolate, and there were a pair of gold-rimmed half-moon spectacles perched on his nose.

“Buongiorno!” he said, and grinned as he recognized his visitors, showing that one of his front teeth was capped with gold.  “Ah, it's the Underdogs!”

“Buongiorno, Signor Giglioli!” said Giulia.

“Always a pleasure,” the man said.  “You've brought a new friend!  Who is this?”

Flavia had dropped behind and was keeping close to the door, nervous now that a strange human was actually talking to them.  Alberto waved for her to come join them.  “This is Flavia.  She's one of my cousins from Napoli.”

“Hello,” said Flavia nervously.

“Piacere,” said Giglioli.  “What's your favourite candy, my dear?”

Flavia didn't know how to answer that without admitting that she'd almost never had any. Nonna Sofia sometimes brought her treats, but she had to get out of the water to eat them.  She looked at the trays of sweets behind the glass counter.  There were cannoli and pastries, chocolates and hard sweets, lollipops and toffees and a dozen other things.  “I won't know until I've tried them all,” she decided.

Giglioli chortled. “Very good answer!  Maybe your friends can suggest where to begin.”

The others were happy to point out their favourites.  “The cannoli with the pistachio filling are really tasty,” said Luca, pointing.

“I like these ones.”  Giulia indicated a tray of chocolates.  “With the coconut.”

“The torrone with the coffee beans,” was Alberto's recommendation.  “I ate a whole bar of it once.  Didn't sleep for three days.”

“How would you like to see my latest creation?” Giglioli asked.  “I know Portorosso has taken up sea monsters as a town mascot in the last year or so, so I think you'll like these.” He took out a tray of sugar-covered gummies in bright colours and serpentine shapes.  The label on it, in his looping handwriting, read Monstri Marini. “Would you like a free sample?”

“Of course,” said Alberto.  “No way we're turning down free candy!”

“What are the flavours?” asked Giulia.

“The red is raspberry.”  Giglioli offered her one, which she accepted with a smile and popped into her mouth.  “And the purple is blueberry.”

“Yum!” Alberto snatched one of those up.

“The green is spearmint.”  Giglioli offered the tray to Luca.

“Thank you, Sir,” Luca said, biting one in half.

“And the yellow is honey.”  Giglioli gave the last colour to Flavia, who took a tiny bite in the fear she wouldn't like it, since she didn't know what honey tasted like.  She chewed slowly, then a smile spread across her face.

“I like it,” she said.

“Then I shall tell everyone my sea monsters are Portorosso approved!” Signor Giglioli said grandly.

A few minutes later they left the shop, swinging bags bulging with sweets.  They'd bought a second round of the gummy sea monsters, and everybody had picked up a few extra of their own favourites for Flavia to try.  As they stepped back into the street, they were already discussing what to do next.

“We can hit the pizzeria for lunch,” said Alberto.

“Definitely,” Giulia agreed.

“We should let Flavia pick,” Luca said.  “What do you think?  We can go to the zoo.”

“Or the pirate museum!” Alberto suggested.  “It's small, but they've got actual treasure.”

“Or we can just walk around a while and look at the stuff in the shops, and maybe get some soda pop,” said Giulia.  “What do you think?”

Flavia didn't answer immediately.  She looked down at the brown paper bag of candy in her hands, then up at the sky, her eyes shining with tears.  “I can't believe I just did that,” she said.  “I just went into a shop and talked to a human, like it was nothing.”

“Well, yeah,” said Alberto.  “Isn't that what you wanted to do?”

She nodded, and wiped her nose on one arm.  “Yeah, but I really actually did it.”

“The first time I talked to a human I was so scared,” Luca said sympathetically.

“And that was Ercole before we realized he was a loser,” Alberto added.  “So he had reason to be.”

“Most of them are perfectly nice, though, just like Signor Giglioli,” Luca promised.  “I don't think he'd care if he did know we were sea monsters.  He'd probably just think it was great that we liked his candies.”

Flavia giggled nervously.  “You're not gonna tell him, are you?”

“No, we're not.”

“What should we do next, then?” Giulia repeated.

“I don't know,” said Flavia.  “I want to try everything and I don't know where to start!”

“Pirate museum is closest,” Alberto said.

“But if we something else you want to look at, we can stop there, too,” Giulia promised.

Alberto set off, eager to get to one of his favourite places in the city, but had to slow down repeatedly because Flavia wanted to look at things. There were shops selling all kinds of merchandise, and people hanging around everywhere – much like Portorosso, but far busier. Portorosso was not close to any main roads, but San Giuseppe was on the main highway from Genova to Pisa, and there were tourists as well as locals.

One shop offered the bobbin lace the area was famous for, and there was a woman sitting in the sunshine out front working on a piece.  Flavia stopped and watched for a few minutes, absolutely fascinated by the intricate process.  The lacemaker was deep in concentration and didn't notice her at first, but then she looked up and smiled.  That made Flavia suddenly shy, and she backed off again and continued following the others up the street.

The next thing that caught her interest was a Delicatessen called La Canarina, which had a cage with three of the yellow birds sitting in the front window.  Flavia pressed her face up against the glass to watch them chirp and hop around, and asked for their name again.

“How many kinds of birds are there?” she wanted to know.

“I have no idea,” Luca admitted.  “Loads.”

“Hundreds at least,” said Giulia.

Flavia was much more reluctant to leave the canaries than she had been to flee from the lacemaker, but when they arrived at the little Museo della Pirateria she found something even more fascinating.  The man taken entry fees was dressed as a cartoon pirate with a hat, eyepatch, and hook, and he had a little red and grey parrot sitting on his shoulder.  When they approached the counter, the parrot whistled and said, “benvenuti! Ahoy, sailors!”

Flavia gasped and grabbed Giulia's arm.

The man in the pirate costume chuckled.  “Did you surprise her, Fischietto?” he asked the bird.  It whistled again.

Flavia spent a moment stammering helplessly before she managed to get any words out.  “I do... I ca... do all the birds talk?” she asked her friends, absolutely devastated to think that nobody had told her.

Giulia managed not to laugh at her.  “No, only some of them, and they don't really talk like people do.  They don't think about what they say, they just repeat things they're taught.  My Mamma used to know a guy who had one that could sing Una Voce Poco Fa.”

“Have you never seen a pappagallo before?” the pirate asked.

“No, never,” said Flavia, shaking her head.

“Fischietto,” the man turned his head to look at his bird.  “Would you like to meet the young lady?”

“Clever bird,” said the parrot.

“Yes, you are a clever bird,” the man said with a grin.  He took the bird from his shoulder, and held it out to Flavia.  “You can pet him,” he said.

She sucked in a breath and extended a hand.  Fischietto cocked his head from side to side, examining her with first one yellow eye and then the other, and rustled his red tail feathers.  As if afraid the bird would attack her, Flavia very gently stroked his head and neck.

Luca was likewise entranced – he'd seen a lot of birds, but never one he was allowed to pet.  The last time he, Alberto, and Giulia had come to the museum, Fischietto had been asleep on his perch and they hadn't disturbed him.  Signora Cortimiglia in Genova claimed her geese liked to be scratched on the head but when Luca tried to get close they hissed at him.  Now he, too, reached out to run the back of a knuckle down the soft feathers on the parrot's breast.

Those feathers immediately rose in alarm.  “Man the harpoons!” the bird announced.  “Sea monsters off the starboard bow!”

Flavia yelped and stumbled backwards, falling against Alberto – he quickly helped her to her feet again.  Luca grabbed Giulia and clung to her, terrified that the bird meant to attack him.  The parrot, also startled, spread wings that reached half a metre from tip to tip and squawked unhappily, then crab-walked back up its owners arm to sit on his shoulder.  The pirate stared at it as if he'd never seen such behaviour before.

Giulia chuckled nervously.  “Well, here's our money,” she said.  “We'll just head along!”  She grabbed their tickets and dragged Luca inside, while he grinned and waved to the pirate.  Alberto and Flavia hurried to follow them.

“Whew!” said Luca, once they were safe in the next room.  It had a big bronze cannon from an old pirate ship on display, and several swords in glass cases.  “He never did that before!”

“He was asleep last time,” Alberto reminded him.

Flavia giggled a bit, as she tended to do when she was relieved, but then she turned serious.  “Is this dangerous?” she asked.  So far it had seemed like they were perfectly safe being here, with friendly humans who didn't suspect anything, but the parrot had made her wary.

“Nah, we're fine,” said Alberto.  “What's it gonna do about us?  It's just a bird.”

“It's probably a total coincidence,” Giulia deided.  “I told you, parrots don't know what they're saying.  They just repeat stuff.  The man probably just taught it a bunch of ocean sorts of things to say, and that's what came out.”  She looked at Flavia, who was shaking a little, and patted her back.  “Anyway, even if it did know, it was talking about Luca, not you.  It didn't say that until Luca touched it.”

They looked back towards the door.  The pirate was peering around the corner at them, as if trying to figure something out.  He was too far away to hear what they were saying, fortunately, and a moment later he was distracted by another group of kids coming in with an adult guardian. He turned to help them, but he did not offer to let these ones pet his bird.

That seemed to make Flavia feel better, and they began to explore the tiny museum.  As well as cannons and swords, there were old flintlock pistols and models of famous pirate ships, and Alberto's favourite part, the recovered pirate treasure.  This was housed in a glass case with each piece labeled: gold and silver coins from all over the world, and some pieces of jewellery, including beautiful golden objects made by the Aztechi and stolen by the Spanish Conquistadores.

“Man, think of all the Vespas we could buy with that,” said Alberto longingly.

“Papà already said you're not allowed to become a pirate,” Giulia reminded him.

While Alberto lingered over the treasure, Flavia was more interested in what was on the far wall, above the swords and pistols.  This was decorated with a crowd of old maps, documents, and paintings.  The first thing she stopped to look at was a very old map of the north Atlantic ocean, with the waters absolutely writhing with bizarre sea creatures of all descriptions.  There were all manner of serpentine things and giant octopus, many of them shown wrapping themselves around ships to sink them.  There were strange, scaly, tusked beasts with eyes all over their bodies, spouting water from their nostrils.  There was a giant lobster with a struggling human in its claws, and a fish so enormous that sailors had built a campfire on it, having mistaken it for an island.  It was all very colourful and whimsical, but also an uncomfortable reminder of the complicated relationship between the peoples of land and sea.

Next to the map was a framed painting of a group of beautiful but sinister-looking women sitting on some rocks in the sea, calling out to sailors who looked eager to leap over the side of their ship and swim to join them.  The sailors, however, could not see that the women had scaly claws for feet and long tails, and that there were bones at the base of their rocky perch.

“Do you think we really used to drown them?” Flavia asked softly.

“Signora Trota says her grandmother did,” Luca replied.

Flavia had to think why that name sounded familiar.  “Oh, that's Giordana and Arturo's mother, isn't it?  Aren't you worried she'll do something awful to Ciccio when she finds out?”

“Nah,” said Alberto.  “She wouldn't dare.”

“She'd be too scared what the neighbours would think,” Luca agreed.

They moved on, but Flavia lingered a moment for one last look at the picture before following.

The last room in the museum, on their way back out, was a little gift shop.  There were chocolate coins and hard candy gems for sale, and a few standard tourist wares like postcards and pencils, but the object that caught Flavia's eye was a snowglobe with a model of a sunken pirate ship inside it.  She picked this up and turned it upside-down, and watched the glitter inside swirl around the little ship like shoals of silvery fish.

“Shall I wrap that up for you, dear?” asked the woman minding the till.

Flavia looked up at her and swallowed.  “Do you think if I took this underwater, would it float or sink?”

“Oh, I'm pretty sure that would sink,” the woman replied.  “There's no air in it, and the glass is heavier than water.”

Flavia turned it over to see the price sticker on the bottom.  She had no real concept of what money was worth, having never used it herself, so she showed it to Giulia.

“It's a little expensive,” Giulia said.  It was certainly more than she would have paid for a silly souvenir for herself, but this was Flavia's special day.  “I think we can afford it if you really want it.”

“I've got some of the money I've earned in tips for deliveries,” Alberto offered.

The clerk packed the snow globe in tissue paper and put it in a bag, and Flavia asked to pay for it herself, so Giulia and Alberto gave her the money they'd pooled and she proudly counted it out.  This would normally have been the behaviour of a much younger child, so the clerk looked a little puzzled, but she wished them a nice day, and Flavia left the shop with a smile on her face.

The pirate's parrot was now sitting in the window, which was open a bit. It cocked its head, watching them go with a rather suspicious expression, and squawked again.  “Sea monsters off the starboard bow!”

“Bye, Fischietto!” Luca waved.

“Hang 'em from the yardarm!” the parrot replied.

[lecodellariviera]

Ugo Nespolo e il suo punto di vista sull'arte. A Imperia le opere in mostra alla Galleria del Castello di Imperia

video e servizio di Francesco Basso

La mostra personale del Maestro Ugo Nespolo “E se fosse un vento pop?” allestita alla Galleria del Castello di Imperia sarà visitabile fino al prossimo 21 settembre.

Cinquanta opere uniche, con un’intera sezione dedicata alla grafica, permettono di comprendere appieno la poetica del maestro piemontese, accompagnando i visitatori all’interno di un universo in dialogo con il tempo e in perenne divenire.

La mostra, a ingresso libero, resterà visitabile tutti i giorni escluso il lunedì, dalle 10.00 alle 12.30, dalle 16.00 alle 20.00, dalle 21.00 alle 23.00, da sabato 31 agosto a sabato 21 settembre compresi.

“E se fosse un vento pop?” vede la direzione artistica e la curatela di Federica Porro e Marco Bravo, della Galleria del Castello ed è realizzata con Studio Nespolo e Arte Pentagono. Vanta inoltre il patrocinio della Città di Imperia e la collaborazione della Rete Museale di Imperia e si svolge in concomitanza con la manifestazione delle Vele d'Epoca, evento di cui Nespolo firma il manifesto ufficiale.

Alla Galleria del Castello infine una piccola “metamostra” raccoglie in esclusiva gli scatti realizzati al Maestro Nespolo nel suo studio a Torino da Settimio Benedusi.

La mostra coinvolge l’intera città: grazie alla collaborazione con la Rete Museale, formata da Municipia SpA e Cooperativa Solidarietà e Lavoro, un’opera del Maestro Nespolo è esposta in ciascuno dei tre musei di Imperia con l’idea di disegnare un percorso ideale che esplori i siti più rappresentativi e prestigiosi della città, in una comunicazione in parallelo con la Galleria e la mostra. Queste le opere esposte nei musei: M.A.C.I -Villa Faravelli: Retratos de mujeres; Museo Navale: Blues Cruise; Villa Grock: Cluster Chord.

Le opere di Nespolo esposte nei musei di Imperia saranno visibili durante i consueti orari di apertura (consultabili su https://www.imperiaexperience.it/it/cultura.html). In occasione di Vele d’Epoca, il Museo Navale sarà aperto eccezionalmente anche in orario serale mercoledì 11 e giovedì 12 settembre, con orario 17-22. Per informazioni: museiimperia@solidarietaelavoro.it

Durante il periodo dell’esposizione, saranno diversi gli eventi in programma. Si inizia venerdì 6 settembre con il laboratorio di lettura “in pigiama” pensato per bambini dai 6 agli 8 anni, a cura della libreria L’Armadilla. “Una notte al museo” si svolgerà dalle 21.00 alle 23.00 alla Galleria del Castello: si entrerà in un condominio molto speciale per scoprire quanti sono gli incastri possibili tra persone, animali e cose, per vivere bene e divertirsi. La partecipazione è a offerta libera in favore della OdV “Il Cuore di Martina”. Prenotazione necessaria a isegninelcassetto@gmail.com

- 3492537418, massimo 15 partecipanti.

Martedì 10 settembre si svolgerà sempre in Galleria il laboratorio di sartoria creativa “Il mostro mangiatutto”, per bambini dagli 8 ai 12 anni, a cura di Giulia Rivara e Simonetta Ottonello, educatrici professioniste, esperte nella realizzazione di laboratori creativi. Il laboratorio è dedicato al cucito creativo e tecniche miste, ed è ispirato all’opera “Comfort food” di Ugo Nespolo. Prenotazione necessaria a isegninelcassetto@gmail.com

- 3492537418, massimo 12 partecipanti.

[lamilanomagazine]

Genova: "Il Sale della Terra", il progetto per l'inclusione socio-lavorativa

Genova: "Il Sale della Terra", il progetto per l'inclusione socio-lavorativa. Più di trenta mesi di lavoro, dall’agosto del 2020 al marzo del 2023, per lo svolgimento di trenta percorsi di inclusione socio-lavorativa e due ambiti di interventi continuativi: educazione e formazione, percorsi di inclusione sociale e d'accoglienza. Sono questi, in estrema sintesi, i punti fondamentali del progetto di agricoltura sociale "Il Sale della Terra", svoltosi in Valpolcevera e in Vallescrivia, coinvolgendo Regione Liguria e, in special modo, i Comuni di Busalla e Serra Ricco'. Oggi, presso la Sala della Trasparenza della Regione Liguria si rendono noti i risultati e le prospettive future di un settore che ha una valenza strategica per il possibile contributo allo sviluppo socio economico dei territori rurali e permette di creare nuove opportunità di occupazione e reddito per le imprese agricole, contribuendo all’inclusione sociali delle categorie fragili della popolazione. Il "Sale della Terra" è nato per avvicinare il mondo agricolo al sociale favorendo le attività di inclusione e riabilitazione sociale. È stato realizzato grazie al finanziamento della Regione Liguria tramite la misura 16.9 “Agricoltura sociale” del Programma di Sviluppo Rurale 2014-2022 per oltre 198 mila euro. Vi hanno lavorato 19 enti 40 addetti e 10 volontari con la presa in carico di cinquanta persone segnalate dai servizi socio sanitari del territorio metropolitano genovese. “Il Sale della Terra” con capofila il CEIS Genova (Centro di Solidarietà di Genova), è stato infatti portato avanti in partnership con 11 imprese agricole e con una stretta Alleanza delle Cooperative (CEIS Genova, Coserco, CISEF, Isforcoop, Confcooperative, Futuro Anteriore) supportate dai Comuni di Serra Riccò e Busalla. Le aziende che hanno partecipato sono: il Boschetto di Campi, Ottonello Rita, Agriturismo Terra e Cielo, Azienda Agricola il Mezzano, Risso Riccardo, Azienda Agricola La Fattoria di Marta, Torre Luca, Azienda Agricola Cascina Castello, Scolaro Maria Giulia, Autra Soc Semplice Agricola, Jb Rosefarm. "L'aspetto più importante del progetto il 'Sale della Terra' è la replicabilità e la sostenibilità di questi percorsi di agricoltura sociale - spiega il vicepresidente della Regione Liguria con delega all'Agricoltura Alessandro Piana - capaci di promuovere un profondo cambiamento culturale e del mondo lavorativo, la multifunzionalità delle aziende agricole, la costituzione e il consolidamento nel tempo di relazioni positive. Nonostante le difficoltà determinate dalla pandemia, il progetto si è svolto secondo le attività previste, coinvolgendo attivamente le realtà agricole e i destinatari finali delle azioni, sino a inserire gli idonei in percorsi di inclusione socio-lavorativa. Ringrazio pertanto tutti gli enti, le associazioni, le aziende, i partecipanti e i volontari che hanno portato avanti il 'Sale della Terra', esperienza che mostra un effetto positivo sul mondo agricolo e decisivo sul fronte della sensibilizzazione e sulla creazione di reti tra enti e soggetti diversi al fine di offrire la possibilità di servizi alla popolazione e di sostenere la persistenza dell’agricoltura in territori ad alto rischio di abbandono". “La connessione tra il settore agricolo e quello sociale realizza una funzione secondaria, ma non scontata, che l’agricoltura aveva già nella società rurale: ovvero quella della solidarietà, dell’integrazione e della valorizzazione della dimensione relazionale – dichiara l’assessore Giacomo Giampedrone - Il lavoro diventa così, grazie a progetti come ‘Il Sale della Terra’, la dimensione attraverso la quale è possibile sperimentare sé stessi all’interno di un contesto protetto, in una società realmente inclusiva. Grazie a questo progetto ben 50 persone hanno avuto l’opportunità di attivarsi in percorsi di inclusione lavorativa e reinserimento. Un risultato importante per il quale desidero ringraziare tutti coloro che lo hanno reso possibile: Ceis come capofila e gli altri Enti del Terzo Settore partner di progetto, i volontari e non ultime le aziende agricole dei comuni di Busalla e Serra Riccò che hanno aderito all’iniziativa, in un’ottica di welfare di comunità”. “Il progetto il 'Sale della Terra' è stato l’occasione di sperimentare percorsi virtuosi tra il mondo agricolo e quello sociale – afferma Aldo Castello del CEIS Genova capofila degli enti per il progetto Il Sale della Terra -; la partnership ha lavorato unita e collaborativa e sta continuando a sviluppare nuove opportunità legate all’agricoltura sociale. Auspichiamo che la regione finanzi anche nella prossima edizione dei fondi destinati all’agricoltura questa misura, per arrivare a creare attività stabili che possano innescare una cultura di collaborazione e sviluppo, soprattutto nelle aree interne del nostro territorio. Ringraziamo il personale della Regione per averci supportato e aiutato a realizzare il nostro progetto”. https://www.youtube.com/watch?v=NnCpIbMdKOw... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[ginostigliani]

#Gintonik del 26 gennaio 2023 con Giulia Ottonello.

A ogni appuntamento con la @sorrymom.it, non puo' mancare la nostra AMICA di radio @iva.stjepanovic, che all'interno dello spazio novità ci ha parlato della cantautrice genovese, che festeggia i suoi 20 anni di carriera con il lancio del nuovo singolo "Disco rotto"

[sticciousbee]

"The 2019 Cats movie is terrible. The cats look too creepy"

That's because you've never seen the italian costumes.

Stop for a while and look at these lions on drugs

[jamiehayterz]

Top 10 Italian musical theatre performers?

Uh…. I’ll try XD

Filippo Strocchi

Vittorio Matteucci

Giulia Ottonello

Giò di Tonno

Francesa Taverni

Laura Franquillo

Flavio Gismondi

Paola Fareri

Federico Marignetti

Giulia fabbri

(TBH after the top 5 they are in no particular order and whatever ok XD)

[love-little-lotte]

Grizabella Appreciation Post

“All alone with the memory, of my days in the sun”

Okay, so not all of us are big fans of Cats. But you can’t deny that its showstopper song, Memory, is one of the greatest female solos in musical theatre. It’s been covered by famous artists, including Barbra Streisand. So, here is an appreciation post dedicated to actresses who played Grizabella.

Alice Redmond

Anastasia Lange

Angelika Milster

Anita Louise Combe

Antje Monteiro

Betty Buckley

Bev Harrell

Beverley Knight

Carol Nielsson

Chimene Badi

Chrissie Hammond

Cornelia Drese

Debra Byrne

Delia Hannah

Delta Goodrem

Dianne Pilkington

Elaine Paige

Erin Cornell

Gay Marshall

Giulia Ottonello

Hilde Norga

Jane McDonald

Jessica Hendy

Joanna Ampil

Judi Dench

Kathryn Holtkamp

Kelli Provart

Kerry Ellis

Laurie Beechman

Lea Salonga

Leona Lewis

Lila Deneken

Linda Balgord

Liz Callaway

Loni Ackerman

Ma-Anne Dionisio

Madalena Alberto

Mamie Parris

Maria del Sol

Marianne Benedict

Marti Webb

Masha Karell

Melissa Grohowski

Natalia Sosa

Nicole Scherzinger

Paula Lima

Pernilla Wahlgren

Pia Douwes

Prisca Demarez

Rocio Banquells

Rosemarie Ford

Ruth Jacott

Sonia Swaby

Sophia Ragavelas

Stephanie Lawrence

Susan McFadden

Tricia Tanguy

[navigamus-blog-a-vela]

SAIL 2017 - A Rapallo le prime regate 2017 del Dinghy 12' Classico - 2017

Si è aperta a Rapallo, durante il week end dell’8 e 9 aprile 2017, la stagione 2017 del Dinghy 12' Classico con la prima delle cinque prove previste per la 16ma edizione del Trofeo Dinghy 12' Classico.   La regata, organizzata dal Circolo Nautico Rapallo, ha visto la presenza di 34 partecipanti in rappresentanza di 6 Nazioni (Francia, Germania, Italia, Olanda, Polonia e Svizzera), che si sono sfidati nelle perfette condizioni offerte dal Golfo del Tigullio portando a termine un totale di cinque prove vivaci e dal livello tecnico molto alto. La classifica generale ha visto primeggiare Fabio Mangione (CN Rimini) che su AL si è anche aggiudicato il premio per la prima imbarcazione Veteran (costruita tra il 1913 ed il 1975). Roberto Benedetti (CV Toscolano Maderno) ha chiuso al secondo posto su Abbidubbi, la barca dell’armatore genovese Marco Giudici che, con al timone lo spezzino Dani Colapietro, si è già aggiudicata le ultime due edizioni del Trofeo Dinghy 12’ Classico. Sul terzo gradino del podio è salito il Campione Italiano in carica Toni Anghileri (Canottieri Lecco) a bordo di Absolutely Free. Primo nella categoria Master e quarto in overall, Emanuele Ottonello (CN Ugo Costaguta) su Giulia, seguito al secondo posto Master da Attilio Carmagnani (YCI) su Karma-Sutra e da Vincenzo Penagini (YCI) su Strepitosa 3 in terza posizione Master. Danilo Chiaruttini e Isabella Corti si sono aggiudicati infine la vittoria nella categoria “Equipaggio Doppio” e il primo posto nella categoria imbarcazioni “Vintage” (costruite dal 1976 al 1999) con la loro barca Testavuota. Sempre nella categoria "Vintage" Luca Napoli (AVM Santasevera) su Pegaso si è classificato al secondo posto seguito da Marco Colombo (CV Bellano) su O Terror Do Mundo, in terza posizione. I premiati della prima tappa del XVI Trofeo del Dinghy 12’ Classico hanno ricevuto le vele in ceramica blu ideate dell’Architetto dinghista Paolo Briolini e realizzate artigianalmente da Stefano Puzzarini, dinghista anche lui, e dalla sua compagna Cristina. Nella serata di sabato gli equipaggi sono stati ospiti alla cena di gala organizzata dal Circolo Nautico Rapallo, che da sempre è uno dei punti di riferimento della Classe Dinghy 12. Il prossimo appuntamento per i Dinghy 12' sarà a Punta Ala dal 21 al 23 aprile per la tappa di Coppa Italia.

FROM http://www.navigamus.info/2017/04/a-rapallo-le-prime-regate-2017-del.html

[zazoomnews]

Che fine ha fatto Giulia Ottonello di Amici? Oggi ha 36 anni e fa l’attrice [FOTO]

http://dlvr.it/Rflzyf

[musicvilla]

A due puntate dall'inizio del serale, i quattro cantanti ancora in gara ad Amici 2020 si apprestano a pubblicare i loro dischi. Gli album di Gaia Gozzi, Giulia Molino, Nyv e Jacopo Ottonello... via Rockol Music News

[pacomatteolicalzi-blog]

How to make money out of your Art

The problem for every creative is to find a way to generate money out of their passion and creativity. Even the most original and talented Filmmaker has to find a way to make sure his work won’t be just a product shown online to friends and family but it will actually finance their future projects and sustain them economically. Everybody at the start of their career struggle getting paid for their work and most of the times people start working for free on projects hoping to reach higher positions or be discovered by somebody who can potentially push your  career further, so working for low budgets or for free could totally let us reach our goals but it arrives the moment when we would need to monetise our efforts in order to produce more creative works or just simply paying our bills.But how do we make sure our price is competitive for the market but still fair for the amount of work we do? Pricing our work is hard, deciding to value your work with a high budget would definitively make people think your work is good and worthy of that money but at the same time might scare some clients who can’t afford that budget or just rather not take the risk and rather contact a cheaper creative. From the other side, what I noticed, is that if you present yourself as a cheap creative, you might receive more offers but the clients would think the service you are offering doesn’t have a big value. What I found important is to know the client first and see what his background is and see how much he/she can afford and plan something in that budget that can look great even if not expensive. Sometimes the budget might cover just the expenses of realizing the video but if the artist or client is popular on social media or market it could be a good opportunity to put your name out there and hope somebody else is gonna commission you some other work later.

“It’s worth bearing in mind that agencies – which have the responsibility and cost implications of staff and associated overheads – charge anything between £500 and £900 per day. As a freelancer, you won’t be able to charge anything near this amount; unless your skills are very niche and in-demand. So do your research and come up with a suitable figure that reflects your sole status.” (Cowan, 2017)

It will be really important to get people know you especially if you wanna start making money when there are no agencies who wanna represent you yet and you’ll have to look for clients by yourself.

Working as a freelance has his perks, you don’t have to wait for other people to push you but you could potentially make you money starting from now and you can also consider yourself as your own boss and choose your schedules and pick the clients you prefer to work with. Potentially sounds the best option ever, because you can focus your energy in projects who represent your style and could potentially make you grow as an artist, from the other hand you have to consider that is not a secure income! When you work as a freelancer you have to start thinking in managing your money really well, if you earn a lot this month it doesn’t mean you’ll earn the same the month after so it makes it a bit hard to plan upfront. Another thing you ‘ll have to think about is the time you ‘ll have to spend looking for clients and making connections because that time will provide you the work you will probably do few months after or later. What could be stressful could be as well managing several customers at the same time because you agreed on two or more jobs at the same time and later on you will realise all those jobs require more time than you actually have and if you don’t do your very best to reach all the client’s expectations  you might lose some of those.What is sure that while you are looking for your dream job you can still build your portfolio. When I first realized this video called “Parasomnia”

http://www.pacomatteolicalzi.com/portfolio/parasomnia-video/

The main reason was to create a personal research project about my emotions and state of mind but I made sure I envolved Stylists, makeup, artists, set designers, models, dancers and mostly Fashion Designers who could see and share my work and that later on commissioned me other work later. While you are looking for clients and connections a good approach is to participate in contests of any kind that will allow you to win cash prizes or exhibitions. The photos shoot with the video “Parasomnia”http://www.pacomatteolicalzi.com/portfolio/parasomnia/ Got me a Second Prize in Fine Art for the Golden  Camera Awards and got exhibited in Kiev at M17 Contemporary Art Center  https://m17.kiev.ua/ . I also won with this video  http://www.pacomatteolicalzi.com/portfolio/woman-will-save-the-world/realised with a beloved crew called Chicken Mc Frame that I was part of a First Prize in the “Woman will save the world” Contest Sponsored by Maggie Jeans that gave us a pretty consistent cash prize and connected us with some other clients and the first to come up was the lovely and talented singer Giulia Ottonello who commisioned us with Maggie Jeans and CCube Creative Agency a video for her single “Playboy”

“http://www.pacomatteolicalzi.com/portfolio/giulia-ottonello-playboy/ .

So it doesn’t matter what the cash prize is but which doors that particular contest can potentially open for you. That work will make people know you and you can use that money to buy new gear or to plan another project. While you are looking for clients and entering material to contest what you could also do could be looking for jobs there are not in the town you live. First of all, remember that this is a digital era and you can potentially create a whole video or pictures not including the client and just send it to him or her via web or if you think a bit bigger the budget might cover the expenses of a flight. The American Singer Anomie Belle after seeing my work paid me a ticket to go to Seattle to shoot a video for her single Lovers http://www.pacomatteolicalzi.com/portfolio/lovers-anomie-belle/ It was overall a worthy experience even if the budget wasn't’ too big and if it wasn’t for Copyright issues I had to face later on with this Artist , but this is another story and even bad experiences make you a stronger person and a more prepared creative when it comes to managing yourself through contracts. What is important when you first start is to value your work and make sure your clients value it as well, everything is relative but make sure you are happy with the circumstances and that those circumstances are respected.

1.Cowan Katy , Essential tips on how much to charge for your freelance work, 2017, https://www.creativeboom.com/tips/tips-on-how-much-to-charge-for-freelance-work/

[dismappa]

Giampiero Ingrassia e Giulia Ottonello in Cabaret

Giampiero Ingrassia e Giulia Ottonello in Cabaret

Teatro Nuovo di Verona Rassegna Divertiamoci a teatro 1-2-3 marzo 2016 Incontro con il cast mercoledì 2 marzo ore 18.00 (more…)

[allinfoit]

GIULIA OTTONELLO in concerto con "I MIEI COLORI - LIVE TOUR 2015

GIULIA OTTONELLO in concerto con “I MIEI COLORI – LIVE TOUR 2015

(@Giulia8nello) il 25 settembre a TRAVAGLIATO (Brescia) e il 26 settembre a GENOVA (more…)

[jamiehayterz]

Giulia Ottonello as Sally Bowles in Cabaret

[jamiehayterz]

Cabaret, Italian tour 2015/2016

Du kennst mich wohl, mein Herr, Ach, lebe wohl, mein Herr. Du sollst mich nicht mehr sehen, Mein Herr.