352 research outputs found
To Feel, to Understand, to Act. Sustainability on Display
No full textThis essay describes the exhibition project Sostenibilart promoted by CYLAND MediaArtLab and the Centre for Studies in Russian Art (CSAR). Starting from an analysis of what is normally described with the term ‘sustainability’, we will examine how this concept is developed by the artists identified as ambassadors of sustainability. Their reflection on the theme is also expressed through the answers to three questions posed by the Author that allow a transversal reading of the project. The text will therefore consider the ideas that emerged in this interrelated exchange. Finally, we will consider participation in contemporary art to verify the significance of the contribution of the artists-ambassadors of sustainability to stimulate in the public a reflection – and eventually action – on the issues
La quotidianità della vita semplice: il realismo di Koržev
No full textThe author of the text Ksenia Karpova analyzes the recurrence of everyday references that can be found in Gely Korzhev's paintings.
The essay is part of the catalog of the exhibition "Gely Korzhev. Back to Venice" (Venice, Ca' Foscari Esposizioni, 10.05-3.11.2019)
My Boyfriend Came Back From The War: una narrazione visiva di Olia Lialina
No full textThe contribution proposes the analysis of Net Art’s world-famous masterpiece
of one of its founders: My Boyfriend Came Back from the War (1996) by Olia Lialina.
Combining black and white images and words, it evokes the encounter of two lovers who
have been separated so long by the war. With her work, Lialina shows us the potential for
interaction of the new screen – that of the computer. She experiments with a non-linear
narration, where users edit the story frames thanks to hypermedia platform, resulting in
a new relationship between author and public. Considering such operations, the paper
aims to highlight the work’s ludic connotation beside the impact of filmic narrative on
the web
Sostenibilart: Ambassadors of Sustainability. Project for a Dialogue between Art and Environment
No full textThis publication is the first result, although partial (but I hope that in the future it can develop, as it would be rele- vant, also through courageous exhibition events), of a much more articulated project. The idea took shape from my research in progress, which connects to my consequent and more recent teaching activity. The project is curated and promoted by the Centre for Studies in Russian Art (CSAR) of Ca’ Foscari University of Venice and by CYLAND MediaArtLab, in collaboration with other qualified institutions, including the Italian Section of the World Food Pro- gramme, the Kolodzei Foundation. It aims to constitute a format of transversal skills and a creative platform to support artistic and historical-critical voices from different parts of the world. The theme is now unfortunately well known to all, as it has also been indicated among the fundamental objectives of the 2030 Agenda for Sustainable Development, the action programme for people, the planet, and prosperity signed in September 2015 by the gov- ernments of the 193 member countries of the UN
The effect of turbulence modelling on the assessment of platelet activation
No full textPathological platelet activation by abnormal shear stresses is regarded as a main clinical complication in recipients of cardiovascular mechanical devices. In order to improve their performance computational fluid dynamics (CFD) are used to evaluate flow fields and related shear stresses. CFD models are coupled with mathematical models that describe the relation between fluid dynamics variables, and in particular shear stresses, and the platelet activation state (PAS). These models typically use a Lagrangian approach to compute the shear stresses along possible platelet trajectories. However, in the case of turbulent flow, the choice of the proper turbulence closure is still debated for both concerning its effect on shear stress calculation and Lagrangian statistics. In this study different numerical simulations of the flow through a mechanical heart valve were performed and then compared in terms of Eulerian and Lagrangian quantities: a direct numerical simulation (DNS), a large eddy simulation (LES), two Reynolds-averaged Navier-Stokes (RANS) simulations (SST k-ω and RSM) and a "laminar" (no turbulence modelling) simulation. Results exhibit a large variability in the PAS assessment depending on the turbulence model adopted. "Laminar" and RSM estimates of platelet activation are about 60% below DNS, while LES is 16% less. Surprisingly, PAS estimated from the SST k- ω velocity field is only 8% less than from DNS data. This appears more artificial than physical as can be inferred after comparing frequency distributions of PAS and of the different Lagrangian variables of the mechano-biological model of platelet activation. Our study indicates how much turbulence closures may affect platelet activation estimates, in comparison to an accurate DNS, when assessing blood damage in blood contacting devices
Biografie degli artisti
No full textTwo locations, a single project, a single catalogue. The two events La luce e il colore (Florence, Palazzo Pitti, Andito degli Angiolini, 16 April – 30 June 2024) and La forma e il simbolo (Venice, Ca’ Foscari Esposizioni, 17 April – 29 September 2024), promoted and supported by the Foundation for the Development of Art and Culture of Uzbekistan (ACDF), present for the first time in Europe the fascinating development of painting in Uzbekistan from the late 19th century until after the mid-1930s, when the dictates of Socialist Realism were imposed.
In little more than twenty years, an extraordinary and fruitful interaction took place between the most advanced artistic trends of the European avant-garde, filtered through the Russian artistic and cultural milieu, with Islamic artistic culture, which had dominated Central Asia for centuries, and with the long Uzbek tradition of ornamentalism, which characterised the art, architecture and applied arts of this region.
After the October Revolution, the People’s Commissariat for Education sent some fifty works by the historical avant-garde to Uzbekistan. From the late 1950s, Igor Savitsky collected in Nukus an enormous quantity of archaeological finds, handicrafts and folk art, works and graphic designs by Uzbek and Soviet artists, so creating the extraordinary collections of the museum that today bears his name.
The result of this mingling is the remarkable collections of the Uzbek State Museums in Nukus and Tashkent, of which a careful selection is now being presented, exhibited and published for the first time in Europe.
In the catalogue, edited by Giuseppe Barbieri and Silvia Burini, professors at the Ca’ Foscari University of Venice and directors of the Centre for Studies on Russian Art, a series of essays explores the historical and cultural context of this very fertile period, illustrating it with the 175 works on display
NH3-SCR reactions over a wall-flow filter for the combined removal of NOx and soot from Diesel exhausts
No full textBibliografia
No full textTwo locations, a single project, a single catalogue. The two events La luce e il colore (Florence, Palazzo Pitti, Andito degli Angiolini, 16 April – 30 June 2024) and La forma e il simbolo (Venice, Ca’ Foscari Esposizioni, 17 April – 29 September 2024), promoted and supported by the Foundation for the Development of Art and Culture of Uzbekistan (ACDF), present for the first time in Europe the fascinating development of painting in Uzbekistan from the late 19th century until after the mid-1930s, when the dictates of Socialist Realism were imposed.
In little more than twenty years, an extraordinary and fruitful interaction took place between the most advanced artistic trends of the European avant-garde, filtered through the Russian artistic and cultural milieu, with Islamic artistic culture, which had dominated Central Asia for centuries, and with the long Uzbek tradition of ornamentalism, which characterised the art, architecture and applied arts of this region.
After the October Revolution, the People’s Commissariat for Education sent some fifty works by the historical avant-garde to Uzbekistan. From the late 1950s, Igor Savitsky collected in Nukus an enormous quantity of archaeological finds, handicrafts and folk art, works and graphic designs by Uzbek and Soviet artists, so creating the extraordinary collections of the museum that today bears his name.
The result of this mingling is the remarkable collections of the Uzbek State Museums in Nukus and Tashkent, of which a careful selection is now being presented, exhibited and published for the first time in Europe.
In the catalogue, edited by Giuseppe Barbieri and Silvia Burini, professors at the Ca’ Foscari University of Venice and directors of the Centre for Studies on Russian Art, a series of essays explores the historical and cultural context of this very fertile period, illustrating it with the 175 works on display
Adabiyotlar ro‘yxati
No full textTwo locations, a single project, a single catalogue. The two events La luce e il colore (Florence, Palazzo Pitti, Andito degli Angiolini, 16 April – 30 June 2024) and La forma e il simbolo (Venice, Ca’ Foscari Esposizioni, 17 April – 29 September 2024), promoted and supported by the Foundation for the Development of Art and Culture of Uzbekistan (ACDF), present for the first time in Europe the fascinating development of painting in Uzbekistan from the late 19th century until after the mid-1930s, when the dictates of Socialist Realism were imposed.
In little more than twenty years, an extraordinary and fruitful interaction took place between the most advanced artistic trends of the European avant-garde, filtered through the Russian artistic and cultural milieu, with Islamic artistic culture, which had dominated Central Asia for centuries, and with the long Uzbek tradition of ornamentalism, which characterised the art, architecture and applied arts of this region.
After the October Revolution, the People’s Commissariat for Education sent some fifty works by the historical avant-garde to Uzbekistan. From the late 1950s, Igor Savitsky collected in Nukus an enormous quantity of archaeological finds, handicrafts and folk art, works and graphic designs by Uzbek and Soviet artists, so creating the extraordinary collections of the museum that today bears his name.
The result of this mingling is the remarkable collections of the Uzbek State Museums in Nukus and Tashkent, of which a careful selection is now being presented, exhibited and published for the first time in Europe.
In the catalogue, edited by Giuseppe Barbieri and Silvia Burini, professors at the Ca’ Foscari University of Venice and directors of the Centre for Studies on Russian Art, a series of essays explores the historical and cultural context of this very fertile period, illustrating it with the 175 works on display
Rassomlarning tarjimai holi
No full textTwo locations, a single project, a single catalogue. The two events La luce e il colore (Florence, Palazzo Pitti, Andito degli Angiolini, 16 April – 30 June 2024) and La forma e il simbolo (Venice, Ca’ Foscari Esposizioni, 17 April – 29 September 2024), promoted and supported by the Foundation for the Development of Art and Culture of Uzbekistan (ACDF), present for the first time in Europe the fascinating development of painting in Uzbekistan from the late 19th century until after the mid-1930s, when the dictates of Socialist Realism were imposed.
In little more than twenty years, an extraordinary and fruitful interaction took place between the most advanced artistic trends of the European avant-garde, filtered through the Russian artistic and cultural milieu, with Islamic artistic culture, which had dominated Central Asia for centuries, and with the long Uzbek tradition of ornamentalism, which characterised the art, architecture and applied arts of this region.
After the October Revolution, the People’s Commissariat for Education sent some fifty works by the historical avant-garde to Uzbekistan. From the late 1950s, Igor Savitsky collected in Nukus an enormous quantity of archaeological finds, handicrafts and folk art, works and graphic designs by Uzbek and Soviet artists, so creating the extraordinary collections of the museum that today bears his name.
The result of this mingling is the remarkable collections of the Uzbek State Museums in Nukus and Tashkent, of which a careful selection is now being presented, exhibited and published for the first time in Europe.
In the catalogue, edited by Giuseppe Barbieri and Silvia Burini, professors at the Ca’ Foscari University of Venice and directors of the Centre for Studies on Russian Art, a series of essays explores the historical and cultural context of this very fertile period, illustrating it with the 175 works on display
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