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History of pasta - Part Two

In Liber de coquina (XIV century), a famous medieval text of gastronomic literature, Ia lasagna is described as a type of pasta made from a sheet pulled by hand, cooked in water and topped with cheese:

De lasanis

Ad lasanas, accipe pastam fermentatam et fac tortellum ita tenuem sicut poteris. Deinde, diuide eum per partes quadratas ad quantitatem trium digitorum. Postea, habeas aquam bullientem salsatam, et pone ibi ad coquendum predictas lasanas.

Et quando erunt fortiter decocte, accipe caseum grattatum.

Et si uolueris, potes simul ponere bonas species puluerizatas, et pulueriza cum istis super cissorium.

Postea, fac desuper unum lectum de lasanis et iterum pulueriza; et desuper, alium lectum, et pulueriza et sic fac usque cissorium uel scutella sit plena. Postea, comede cum uno punctorio ligneo accipiendo.

The name given to this type of pasta is also to indicate Ia form the sheet once cut, not by chance that the English word losens (or loseyns or lozenge) and French Losange refer to its shape, rhomboid or diamond, taken by the pastry.

Other quotations from the lasagna to be found in various manuscripts of 1300: The Cookbook (Anonymous Tuscany), the text of a southern Anonymous but also the Cook Book (Anonymous Venetian):

Lasagne

If you do voy de quaressima lasagna, lasagne, and mussels in the toy coxere and Chapters monde noxious and well crushed and Maxey, and myths within the lasagna, and watch the smoke, and when space at the table, and polverizage de menestra species of zucharo.

The lasagna is also mentioned in the poetry of Jacopone (1230-1306), and chronicles Florence (years 1367-1370), written by Donald Pile, which speaks of a Sicilian in that city "had lasagnaia shop" in a paper in Genoa, where it refers to two lasagnari hired in 1351 by the owner Paganino Doria and boarded one of its ships .

than beam-matrix (lasagna), the pasta begins to take on different names and features: pappardelle, pancardelle, Croset, longevity, cutters, macaroni (in the pulp cut into thin ribbons), triticale, formentone, menudelli.

The "invention" of egg pasta, ravioli and tortellini

Since the Middle Ages and well-documented habit, typical of the Lombardy-Padana, add eggs to the mixture of wheat flour to make dough more valuable and consistent. Habit persisted, already a bit 'milder, Tuscany and Lazio, and disappeared almost entirely, when we arrived in Puglia, Basilicata and Sicily. Production areas, the latter, the largest wheat (in which, not coincidentally, will spread Ia tradition of dry pasta).

In Emilia Romagna, Tuscany, Liguria and Lombardy states also used to specify the number of eggs per kilogram of flour: usually 6-7, but 10 or more (even 40 egg yolks, as happens for tajarin Piedmont).

Starting from egg pasta, take body, always in the Middle Ages, the various regional traditions of filled pasta.

Next to the cake , evidently derived from it, thus was born the tortello .

The same Scappi Bartolomeo clarifies the concept:

" In this way you can do tortelletti the composition of all the pies and cakes overridden."

with eggs and flour, prescribes Liber de coquina tortelli is very subtle:

" flour ouis distemperetur cum, fac Tortella et que appointments dicuntur Crispell uel alio in Lagana, et

sint ualde tenuous."

In the Book of kitchen , a text dating from the fourteenth century, the anonymous author Tuscan specify:

" of pasta you can do instrumento omni you wants, horseshoe, buckles, rings, letters and every animal that you want. And puolo impious, if thou wilt and cocere in the pan with lard and Oglio and fish, and color as it wants .

tortello is therefore the envelope of any filling ( puolo replenish if you want ... ).

Vale, however, also vice-versa, ie the filling is not necessarily located inside the sheet, for there is the possibility of surrendering completely to the jacket, so here what the test called, not without ambiguity, ravioli .

The distinction between tortello and ravioli is rather clear at the above Liber de coquina, che propone di fare “ rauiolis ” della grossezza di un uovo da poter avvolgere in “ tortello gracili paste ”:

“ recipe uentrescam porci minute trittam siue pistatam cum ouis, caseo, lacte et speciebus aliis.

Et potes facere rauiolos diuersimode qui sic fiunt: In tortello gracili paste dure, inuolue de predictis ad quantitatem unius oui et coque in patella cum magna pinguedine.

Et loco paste, potes inuoluere in pellicula que uoluitur in circumstancia uentris eduli uel alico alio simili. Colora ut uis ”.

Nel corso del XIV secolo, i ravioli in particolare e, più in generale , la pasta ripiena saranno citati da molte altre fonti.

Giovanni Boccaccio (Decameron VIII - 3) for example describes , the mouth of Maso del Saggio, the land of plenty:

"And there was a mountain of grated Parmesan cheese on top of which were people that nothing else did they make macaroni and ravioli, cooked in broth capons, and then gittavan then down, and so on and seize more if you had none, and from there ran a stream of Vernaccia, the best I ever drank, not by having drop of water.. "

In the fifteenth century, the dumplings will collect a great happened in the kitchen rich and noble, as demonstrated in the art coquinaria Libro de Maestro Martino, cook first and then the Sforza Reverend Monsignor Chamberlain et Patriarch of Aquileia, which is stationed in Rome:

"Meat Ravioli in time.

To make ten times menestra: remove meza pounds of old case, et Another case of a pocho et a pound of fat belly pork fat overo tettha of a heifer, et cocila boiled so that it is well
defeat.

Dapo beat it well to remove bone et herbe well beaten, et pepper, cloves, et zenzevero; et Giongo the breast of a capon Sherebiah bono best pesto. And all these things distemperale concomitantly.
Dapo make him the dough very thin, et liga this matter will be pasta como Vole.

And these ravioli are not maiori of a meza chestnut, et Place it in them in to cook capon broth, or meat bona, yellow facto Zafra it boils. Et Lassale boil for spatio de doi Paternostro.

Dapo menestra Make it, put it over when scratched et et sweet spices mixed concomitantly. And like you Raffiolo Possoni do breast Fasani et et partridge other volatile ".

All this has the agnolini, in Lombardy (in Mantua to be precise), the agnolotti , Piedmont, the anolini in Parma and Piacenza, the tortellini , between Modena and Bologna, the Cappelletti, in Romagna, and so on.

More recently the same Pellegrino Artusi, the most considered the father of Italian cuisine , describes the ravioli use of Romagna:

" exclude the chard or spinach, here's the recipe for the ravioli all ' Use of Romagna:

Ricotta, 150 grams.

flour, 50 grams.

grated Parmesan cheese, 40 grams.

Eggs, and a red one.

Salt, to taste.

Do everything on the pastry dough and pour over a layer of flour to give it a cylindrical mesh sizes fourteen or fifteen equal pieces fashioned way . Then boil them for two or three minutes in unsalted water and toss with cheese and gravy, or serve as a side dish to a stew or a stew. "

And again, the ravioli alla Genovese:

" These, indeed, should not be summoned ravioli, because the real ravioli not made of flesh and not wrapping in pastry .

Artusi The same is confirmed that for ravioli dough is meant to be cooked without housing.

Resales and corporations

During the Middle Ages are spreading, especially in the north, the first small production activities and the sale of homemade pasta, and very popular in some cities are the corporations of lasagnari and vermicelli.

The birth of these corporations clearly demonstrates a growing appreciation of this food.

In 1311, a Florence, born the Art of cooks and lasagnari , the presence of manufacturers of pasta is also attested in Milan, Padua, Reggio Emilia, Venice, Bologna, and a bit ' later (in the sixteenth century), also in Rome.

In a manuscript of the eleventh century Arab physician Ibn Abul Hasan al Muchtar Botlal, but illuminated by artists from the valley in the fifteenth century, the Tacuina sanitatis has documented the reality of these workshops, which begin to work even dried pasta (durum wheat) importing raw material from the south.

The pasta was heaped strictly hand, and spread the dough with a rolling pin.

The tools used by craftsmen of the dough (almost exclusively women) were simple: a table (spianatoio), a rolling pin, some knives, the iron frames and wires used to make formats (such as macaroni Sicily), defined precisely pulp iron.

---

Writing In Christening Cards From Godmother

And now ... something easy

ESCALOPES LEMON

(veal escalopes with lemon sauce)

The "scaloppine al limone" or "al marsala" are well known northern-italian dishes that have become, nowadays, very popular along the whole peninsula.

This recipe is actually very simple, furthermore, instead of the classic veal scaloppine, other kinds of meat can be equally used (e.g. sliced chicken breast) - the final result will, as usual, depend on the quality of the ingredients.

As soon as you will learn to prepare the classic recipe, it won't be difficult to create new kinds of scaloppine by adding or substituting some of the ingredients.

Ingredients (4 portions):

400g thin sliced veal escalopes;

1/2 glass dry white wine;

The juice of 1 whole lemon;

1 tablespoon butter, 2 tablespoons extra virgin olive oil (EVO);

Salt, some flour.

Preparation (about 15 minutes):

Beat the scaloppine flat (take care - don't rip them), make a couple of cuts around each scaloppina so that they don't change their shape while frying, pour some flour in a large dish and place the scaloppine one by one in the dish; turn them in the flour in order to cover each scaloppina with a thin layer of flour, beat with your hands and gently shake the scaloppine to allow the flour in excess to fall down.

Place the scaloppine on a clean dish and put a large non-sticking pan on high heat, add the butter and the EVO and allow the butter to melt. Once the butter is completely melted, put the scaloppine in the pan and fry them on both sides, remove the scaloppine once they're very slightly coloured (they're not supposed to be fully done yet) put them on a warm dish and sprinkle some salt on each scaloppina.

Empty the frying pan and clean its bottom e.g. by using a paper towel. Pour both the wine and the lemon juice (possibly without seeds) in the pan and put it again on high heat.
Once the liquid in the pan begins to boil, add all the scaloppine and allow to slowly cook until the liquid gets creamy and the scaloppine are done (usually a couple of minutes).

Serve hot and "buon appetito".

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GENDER EXTREME + ART NIGHT ITALY

have

BODY BARE AND THE I

flesh spirit art

contemporary art practices shamanic body art theater extreme

When art meets contemporary shamanic practices and body art extreme underground scene born, ' event naked body The IO. A show of raw meat and spirituality at the scene of Kollatino Underground Rome. In Body art and performance art in the body is the focus of extreme practices, rituals.

performance art is an art form where the action of an individual or group in a particular place and at a particular time constitute the work. It can happen anywhere and at any time or for any length of time.

Shamanism is the oldest method of using an altered state of consciousness for healing and problem-solving. The shamans were the first healers and helpers in the life and death, the early sages and visionaries. The

includes art forms body art done on the body, or works with the body consisting of the body.

Nudity is a sacred state (in fact the sacred is at the naked love sacred and profane). Nakedness means exposure, winning modesty, without reservation. The naked body creates resistance and embarrassments in almost all cultures. The victory of spirit over flesh occurs when the body is considered to be mere matter, container constructed out of the taboo. "You can not shoot a naked man" (Grossmann) [...] The body is naked, and nudity is in itself a state of communication. The eroticism that accompanies the body is never quiet, no sign of calm situations, vice versa has something left. Eroticism orgiastic, according to Bataille, is by its very essence a dangerous excess, a contagion that threatens the explosive possibilities of life. During the orgy ritual, which disrupts the order that precedes it, we can not determine how much and when the ecstasy of erotic and religious ecstasy able to reconcile .[...] GB

The combination of these elements allowed the emergence of "naked" I "Corps" - contemporary art, shamanism, theater, bodyart extreme

Marco Fioramanti, artist, painter and performer, proposes actions that refer to the celebration of a rite through a thought common to all: "Triptych : the knockdown, the Adoration, the offer. "evokes the spirit world, with immediate repercussions in real life, and the use of real shamanic practices which have directly participated in and documented in Nepal.

The naked body is shown in his pride, his genitals exposed : Julius Kaiser Kyrahm and won the "Premio Arte Laguna - section performance" with their human installation "Obsolescence of Gender" which talks about transsexuality and contemporary art rediscovered in actions, body art the best channel of expression for this first decade of the 2000 getting rid of sexual taboos.

The Salem's Hole, a group of body art extreme all-girl offers performance between blood, fakirs and infliction.

Kyrahm with Bloody Cirkus collaboration, will investigate the relationship between extreme body art and Christian iconography: a tribute to the American artist Ron Athey Kyrahm with whom he feels he has a strong spiritual connection.

Kyrahm initiated the project "Fragment-Shares and the fetish art" creates sculptures and paintings using relics from the actions of important artists like Ron Athey's performance art, Cuco Suarez, Stelarc, Annie Sprinkle and many others. He collaborates with artists, photographers and sculptors who transformed his performance in fees and reproducible palpable, as "Our Lady crying blood" of Saturn threw, picture of the performance of Kyrahm "Sacrifice". During the evening will be screened a short video made with Julius Kaiser of his research that has moved the body artist in the festival of performance art in the world. In

scenery sculptures by young artist Claudia Padoan.

The event is organized by GENDER EXTREME ART Kyrahm and Julius Kaiser, a project that promotes the performing arts with a focus on expressions subject to censorship. Part of the proceeds will be donated to the printing of international glamor magazine / underground NIGHTITALIA ArtMag.

with Marco Fioramanti, Bloody Cirkus, Salem's Hole, Virginia Colonnella, Nike Brass Alghisio, Illebas Orlac, Giorgia Calisi, Claudia Padoan, Jurij Zoltan Kurgan Ferpecto, Liliana Urbina, Julius Kaiser, Kyrahm

Kollatino UNDERGROUND THEATRE
April 17, 2010 h. 21:30
Street Georges Sorel, 10 - ROMA

info and reservations
340.6479392 - 333.5300128
info@extremegenderart.it

www.myspace.com / extremegenderart
http://nightitalia.wordpress.com/2008/12/29/night-italia-n ° - 1 /
www.kollatinounderground.org/


NIGHT ITALY
originates from the New Yorker magazine NIGHT, founded in 1978 by Anton Perich, painter, video artist and photographer for the magazine "Interview" by Andy Warhol, and a twenty-year partnership between artist Anton Perich Emperor Marcus Fioramanti.
project began as a non-profit information and communications, made voluntarily by a number of artists (and others) who, after experience in various fields, have decided to unite to help bridge the gap lacerating critic who has grown up in the increasingly widespread cultural conformism.
Its aim is to give life, ending more or less regular, a collection of special books, mainly through pictures, with text in multiple languages, across Europe, documenting some of the key issues related to contemporary visual arts, music, the costumes, the satire, in order to create an open debate on the reality closer to us. Will
therefore emphasize and give voice - especially images - to those cultural dimensions almost always hidden, which has brought the same dignity, rights and quality of big export fees. Information, this necklace, which passes through the official channels of the libraries and the less visible, often the most interesting centers of underground, to unearth new and exciting reality.
wants to be a point of reference for those who believe in freedom of information and not a slave to the interests of any kind. It was created with the belief that another world is possible, may be especially in the field of art and culture.

EXTREME ART GENDER
Extreme Gender Art promotes the performing arts. It 's a project Kyrahm and Julius Kaiser, among the first to Rome to propose expressions complained of Body Art in clubs, in contemporary art exhibitions and stage performances. The idea has infected other events that are now beginning to approach the issues up until a few years ago strictly underground scene. "What we would like is that the spread of this subculture, however, retains the deeper meanings of body art that has ancient origins," said Kyrahm conceptual artist and body artist "I started ten years ago, extensive research on the concept of change and metamorphosis, from changes in the state of the body in various stages of life, the aesthetics of extreme bodyart. I feel the urge to bring in clubs, theaters and exhibitions of contemporary art here born in Italy in the contexts of artistic expression just as the underground rave party extreme body art. This is because our performance "Obsolescence of the" winner of the prestigious Laguna Art Prize 2009 and selected among the 30 + beautiful performance in the world in the U.S. in 2008 has been consistently criticized as presenting a series of nudes of some transsexuals who have specifically involved . I thought that Italy would need a cultural change not only linked to the dismantling of the taboo of nudity, but also the concept of pain. There are pains socially accepted, as to do a job that we hate all the days of our lives, then horrified davati practices of the fakirs alone sight of blood. Direct comparisons with other artistic experiences a high level of performance art abroad, I found that my need was a thought shared by the likes of Franko B. We have received support and declared estimated by international artists from our initiative, whereas it is not easy to carry since the current Italian situation. However, the festival "Mut-secular activities" that we held last September at the Theatre and the clock which I created the concept, won the challenge to propose expressions born in very different contexts: with artists of the 70 actions, body extreme art, installations. After that event, something has changed and other Business events typically try to approach the extreme expressions of body art. "

PERFORMANCE

terrified 's WORSHIP THE OFFER Mark Fioramanti
with Virginia Colonnella, Illebas Olrac, Giulia Calisi
is an invitation to attend the celebration of a ritual. The ritual, anthropologists tell us, is an action that has a re-direct demonstration purposes and communicative, for this to happen without being blocked by the apparent nonsense of its re-direction (ie let's pretend that ...) we need to establish an agreement with the artist, which is our case, in a sort of alliance with him. The artist I want to be a shaman. The shaman is a man "artistically productive" shaman becomes, one is forced to do so. Fioramanti says: Finished the intervention is over the magic and power of the artist, the ritual will begin again when / if there will be again the awareness and the need to transform the creative energy in the artistic product and each time I make tool that past away. [...]

The body is naked, and nudity is in itself a state of communication. The eroticism that accompanies the body is never quiet, no sign of calm situations, otherwise there is something sinister. Eroticism orgiastic, according to Bataille, is by its very essence a dangerous excess, a contagion that threatens the explosive possibilities of life. During the orgy ritual, which disrupts the order that precedes it, we can not determine how much and when the ecstasy of erotic and religious ecstasy fail to reconcile. The components of primitive societies actively participated in the celebration of the rite. This happens when the thought is common to all. The public should know that one thing is the picture or icon that is. The artist is not a copy of reality is not reality, but re-creates. Through unconscious identification with the artist, is carried out in public with a psychological process similar to the one he experienced in creation.
During the performance we can recreate the same time experienced by the artist. The ideal situation to get the most enjoyment possible would be to escape the control of the ego. which urgently needs an interpretation, but declined, then the meanings are evoked projective and your aesthetic response consists of pure enjoyment and evaluation. Just like during childhood or in primitive societies.

The ritual gives rise to the divine powers, evokes the world of spirits, and has immediate repercussions in real life or, and is the same, the reality is translated into action through the dramatic performances. In their first expressions of the ritual, art, drama, were one thing, and then emerged from this triad is the myth .. In primitive times the myth was inseparably connected to the ritual, only the latest myth is separated from the ritual, when the community pre-Neolithic hunters and gatherers turned into farming communities, and thus to emotional reactions resulting from the changing of the seasons. The purpose of the ritual is not to answer the questions, but to confirm the vitalistic sense of community that celebrates it.
Shamanism is a method used to interpret and communicate the myths of the group through the technique of re-creative individual - the shaman / artist - by strengthening the collective psyche. There can be a form of shamanism without any artistic activity. Today it is not necessary to pass through the psychopathological condition that characterized the hypnotic state of the shaman. The identity of the social group is greatly fragmented and no longer has the compactness of the primitive times. But the power of art and the artist to be able to create a different reality, however, new models or aesthetic interpretation remain. My representation is not etiological - too much criticism is - does not meet the "why" is not speculative, but simply responds to "how". to paraphrase the great Wittgenstein, I mean, I do not provide answers, I merely "describe" is for you to look for connections.
The artist / shaman has the face, hands, genitals sprinkled with red dust. red is the color of life. On the face because he has to support the look terrifying and sublime divinity on their hands because they bear the tender; genitals because they are the source of life.
GB

INSTALLATION HUMAN "OBSOLESCENCE OF THE GENUS
of Kyrahm + Julius Kaiser

The naked body and the ego, the mask and the stereotype
A framework ginoandroide. Let to merge the process of reshuffling and poetry. The skin as biological sex, male, female. Gender as a sense of self, man, woman. Route, crossing transition. A row of naked bodies is progressing slowly. Each subject, a story. Holding hands. Changing sex is painful as the birth. The gold masks on the face do not hide the identities: they are recognizable as the nuances of the genre. Solitary creature takes over women. Pat the bodies one by one. Labor is hard, the meat material to be modeled. The rite of investiture between bands with raised, pants, jacket and tie is the return on the contrary. Changing sex is not becoming, but return man. It is no longer necessary to wear the mask: the self is revealed


Kyrahm kind of obsolescence and Julius Kaiser joins the body art to philosophical concepts of queer theory Judith Butler and considerations on the body of Stelarc and Orlan. Laguna Art Prize winning work of 2009 (performance section) has been selected among the thirty best performance gender exploration of the world in the U.S. in 2008. Kyrahm, conceptual artist, has developed the performance in collaboration with Julius Kaiser making the transformation from woman to man on the scene.
the strains of solemn music the lights come on: a row of naked bodies is progressing slowly with their faces covered. At each end can be recognized a male (an actor) and female (the artist Kyrahm). At the center of two transsexuals who have not completed the process of reallocation. The first cross was born male and now has the breast and even the penis, the second trans-born female: got rid of the breast, but still has a vagina. All kinds of nuances are so exposed, explicit. Initially you feel a buzz embarrassed the public who then fell silent when Julius makes his transformation from woman to man in the initiation ritual wearing men's clothes. Once the dressing, remove all masks. It 'a gesture of liberation: the self is revealed. The thunderous applause explodes, the audience is moved.

with: Ferpecto, Ezio Gaudio, Liliana Urbina, Jurij Zoltan Kurgan, Julius Kaiser and Kyrahm


SACRIFICE living bodies moving with Bloody Cirkus II Kyrahm

The performance is a tribute to his friend and artist Kyrahm American artist Ron Athey that start search on the relationship between extreme body art and Christian iconography.
In "Sacrifice" is a true crucifixion with the technique of suspension. On stage, the artist Kyrahm crying real blood by removing a series of needles stuck in the ark eyebrows.

Bloody Cirkus, are artists of extreme body art and fakirs of the underground scene of Rome.

DOLCE RITA Kyrahm
Kyrahm of ten years working on a thorough research on the concept of change and metamorphosis, change of status of the body at different stages of life, the aesthetics of bodyart extreme, to the processor gender. The Performance "Sweety Rita" is a reflection on the body and the spirit that change as a result of a disease that destroys the perception of self. The mirrors and the mirror reflects not only the social image that sometimes is hard to recognize the revolution but also of what is considered important and "you realize you are alive when you are sick"



AND TOMORROW As late as yesterday - 2nd ver. Julius Kaiser
Fragments of a false memory in search of reconstruction.
Installation on human loss and remembrance.
with: Jurij Zoltan Kurgan and Julius Kaiser



ELIZABETH Salem's Hole
The group of girls body art offers an all-female show extreme between blood and infliction. Pain practices among fakirs broken glass cuts on the scene, body piercing is part of the rite of passage from childhood to adulthood.



ART SHOW - ART SHOE Mark Fioramanti
performer Nike Nike with Brass Brass Alghisio
Alghisio, Illebas Olrac, Giorgia Calisi carpets and human male

Already in 2008 the first proposal in New York (Apollo Braun Store, Lower East Side), then in Sarzana (Sconfinarte Festival), this action takes account of a phenomenon shared by all animals in nature, which always leave behind their own impressions, one of the endless descriptions of the world. The model will wear the special shoes with high heels whose sole has been artistically transformed to become an array of engraving. The striking impression of the show provides "good tracks" along the walkway composed for the occasion by the alternation of male nudes.

ARTISTS

Marco Fioramanti
Born in Rome in 1954. Painter and performer, he began his artistic career in the mid 70s. He graduated in engineering with Giorgio Croci (1979), then elaborates on the aesthetic perception studies with Peter and Enrico Montani Garroni. Co-founder of the Movement Trattista (1982), for four years he moved to West Berlin where he completed the installation against the wall with the Volkswagen Group and founded the Multimedia Trattista Berlin (Edinburgh Fringe Festival and Theater Festival München 1986). 89 in New York develop the relationship totem / skyscraper. Carries out field research in China, Tibet, Morocco, and on shamanism in Nepal. In 1991 he ZEITGEIST BERLIN performance at the Palazzo delle Esposizioni in Rome. Since 2001, she seminars on the relationship between art, perception and everyday life and artistic and editorial direction. In 2007 he was appointed artist-curator of the Italian pavilion of the XXIV Biennale of Alexandria in Egypt. It's one-man band of the international journal of art Night Italy. From 30 years experience of different materials aiming at recovery of the signs, behavior and the initiation rites of ancient cultures. His works are in museums and public and private collections in Italy and abroad. He currently lives and works in Rome.


Kyrahm

Born May 10, 1980 in Rome, Kyrahm is a conceptual artist, body artist and performer.
ten years working to extensive research on the concept of change and metamorphosis, change of status of the body at different stages of life, the aesthetics of bodyart extreme, to the processor gender. Process performance and the apocalyptic strong emotional impact.
"In my paintings and my sculptures, the theme of extreme change has been a constant applicant, but my research would go further and only through the artistic language of performance art I have reached the completeness, because through the body artist is a spectator is involved in synesthetic ".
Among his performative "Chrysalis" enclosed in a cocoon for 30 hours in a square in Rome, with links to websites 24 hours at 24, inaugurated the Festival of body art and performance measures Profane-Mut, which she wrote and edited. Its installation human Sacrifice-tableaux in Motion II "explores the relationship between body art extreme Modifications and Christian iconography, a tribute to the American artist Ron Athey, with which the artist is in constant contact and where there is a real crucifixion by the technique of suspension with hooks that stick to the meat and the artist weeps blood at the scene by removing needles from the upper brow. Obsolescence of this kind is part of his research, which speculates on the changing sexual identity.
His performances all have a photo where she spoke consideration personally, creates sculptures and paintings representing the version of its tangible and irreproducible performance requirements in Italy and abroad.
horizontal activity in both the underground scene in which host exhibitions of contemporary art, has collaborated in the writing of theses on body art. His performances are also in products of video art, created in collaboration with AlessandroM.
He is currently working on the project "Fragment-actions and the fetish of art with its collection of memorabilia of the performances of international artists like Ron Athey, Cuco Suarez and many others. May
will cure the performance section of Mitreo Contemporary Art of Rome.

Julius Julius Kaiser Kaiser
is a performer and drag king-change from woman to man in the international scene Queer. It deals with performance art since 2007 when he met the artist with whom Kyrahm start a fruitful collaboration resulting in experimental performances, the first "living pictures (tableaux vivants) and then the" Human Installations "(Human Installations).
His artistic work has its origins in the testing and performance that explores the social roles of gender and power relations existing between them and representing them through the language of ironic entertainment Drag King, the disclosure of which in Italy is the most authoritative exponent. He
facilitated the presence of Diane Torr and Judith Halberstam in Italy and organized the first International Drag King Festival in Italy in July 2008, Kings' Village. She holds workshops and seminars, often host themed meetings.
E 'protagonist in several documentaries and short films and participated in numerous national and local television broadcasts. Julius spoke of Kaiser
major media including the news program and the RAI TG3 regional Odeon TV, national newspapers such as the Unit, D-La Repubblica delle Donne, Panorama, La Repubblica, Liberation, Business Italian, Modern Woman, Dnews addition to the main Italian underground media, U.S. and Norway. Julius Kaiser was a guest Rai3 of the show "Let Well Summer" hosted by Michele Mirabella and Arianna Ciampoli. It 'was a guest of Paola Maugeri per La25 Now airing on La7 and Italy Morning on Channel Italy. He attended the salon of "Comizi of Love" on SKY Discovery Channel. He participated in the transmission of the Day and Transeurope MTV broadcast on All Music.

Kyrahm + Julius Kaiser
Together they have won awards internationally important.
Installation human "Obsolescence of Gender", already presented in Berlin, are chosen among the top thirty World-class performance at the tenth edition IDKE, the festival "Gender Exploration" most authoritative in the world, and now selected as the winning work performance section of the International Art Prize Arte Laguna 2009 at the Arsenale in Venice.
participate in exhibitions of contemporary art: "Il Filo d'Arianna" at the Tower in Prendiparte Art Fair Off (Bologna 2009) and at the Tower of the Rocca Albornoz (Narni) and presents the performance "Care". In autumn 2008
create Extreme Gender Art, a project that organizes events, promotes innovative performing arts with an emphasis on arts censorship.
the summer of 2009 involved with the performance of "The Flower of the Sea" at the event side of the Venice Biennale "Blue Wedding" with Annie Sprinkle, Beth Stephens and Beatrice Preciado.
have produced and developed the body of performance art festival "mutations Profane" in Kyrahm wrote the concept, the clock at the theater in Rome. A challenge that has combined extreme body art of rave parties, installations, happenings, actions of the artists of the 70
collaborate and participate in the performance art festival in the world.

Claudia Padoan Claudia Padoan
young Roman artist performer, he always asked about what the body could comunicare.L 'absolute predominance of matter is transformed into the performance of the sculptures in lightness and transparency of forms.
Claudia For the event the artist will be present with his sculptures, which have a simple and essential beauty away from technicalities and tinsel distracting from the meaning you want to enjoy.

Bloody Cirkus
One of the most important groups in Italy that offers extreme Body Art. DJ sets, VJ sets and Body performance, perfectly harmonized in a mixture Metro underground to create a unique live in Italy with a lot of suspensions, and hooks, creating dream-like performance over the fakir. Bloody
Cirkus, founded by Nicholas Cinalli, professor of cultural anthropology at the Faculty of Roma3, a researcher at the Catholic University of Lima and UB Barcelona, \u200b\u200bwas born June 24, 2006 and officially adopted in July 2006 as the main contributor, Ezio Gaudio, street juggler, fire-breathing-eating and "doctor of the smile" at hospitals in the land of Sicily. Bloody Circus comes to fight, but fight differently from all other forms of struggle: the birth to show the real life through a play, starring fake actors, film and theater do not know anything, but are formed only from the experiences of life, marked by suffering daily from the pain of non-marked love, killed by non-compliance. Through spectacle and performance, Bloody Cirkus will be seeking to represent scenes of everyday life, where suffering is caused of injustice, hatred and disrespect, emerge where those feelings are destroying every human soul, and those same sentiments are marked and highlighted by the blood of the wounds that the characters, in turn, will confer on his body. It 's so that the body itself becomes the symbol of not if, the body that we have so much and decorations is exposed to the mercy of everyone and becomes a piece of paper written with the blood for all, a piece of meat ready to give himself to those who is in front.
The body in its individuality is the cause of many evils. We, however, we make the sacrifice and give ourselves as love and marriage, becomes both message and gift.

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CARCIOFI ALLA GIUDIA
(Jewish style fried artichokes)

Ingredients (4 portions):

4 big "romanesco" artichokes;
1 litre extra virgin olive oil , some salt.

Preparations (about 1 hour):

First cut the artichokes about 15cm long (including the stem) and remove only the external leaves of each artichoke (it is usually enough to remove the first two layers only). slice the pointy extremities of the artichokes while holding them tight with your free hand , slighty open the artichokes starting from the centre and remove the hair from the core using the knife and/or a small spoon.
Peel the artichoke's stem, removing the external fibres only - in this case there's no need to wash the artichokes (treat them like precious mushrooms...).

Pour the extra virgin olive oil in a 20cm steel pot (the pot has to be about 15cm tall) and put the pot on high heat.

Allow the oil to reach the right temperature (about 200°C) and plunge the artichokes in the hot oil (take always care).

Let the artichokes fry for about 15-20 minutes - if the fork easily enters into the stem (use it as an indicator) the artichokes are done.
Remove the artichokes from the oil, let them drain and cool down a little - keep however the oil warm.

Once the artichokes are cool enough, open them with caution (they should be relatively soft) and try to shape them like a large and flat flower.
Allow the oil to reach the frying temperature and plunge again the artichokes (one by one) in the hot oil trying to keep the leaves submerged.
After a few minutes, the artichoke will look like an open flower, the colour of the leaves will uniformly turn to light brown and the whole artichoke will look (and taste) very, very, very crispy.

Drain on paper, serve extremely hot and enjoy.....

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I am back!

Hi everybody,

I'm finally back from my holidays.

After a long time I was finally able to prepare one of my all-time favourites namely, the famous "Carciofi alla giudia"

It's an old roman recipe and the preparation is quite simple it is however necessary to know a couple of tricks.

The "carciofi alla giudia" are basically deep fried artichokes, this means that both the artichokes and the frying oil has to be of the best quality possible.

There are many different artichoke varieties, the most common, at least in Italy, are the "violetto" and the "mammola".

The "violetto" is tulip-shaped and provided with long pointy thorns, the "romanesco"  is much bigger and round and has tiny little thorns (take anyway care - they're pointy).

The violetto is usually eaten raw while the romanesco gives its best cooked or deep fried.

The origin of artichokes is unknown, though they are said to have come from the North Africa, where they are still found in the wild state. ^ 

 

The english name of the artichoke comes from the arabic term "Ardi-Shoki" which means "ground thorny".  in many other european languages (e.g. italian or spanish) the present name comes from the arabic word "al-kharshuf".

The cardoon, a naturally occurring variant of the same species, is native to the South Mediterranean, and is often present in many ancient roman recipes.

Artichokes were cultivated in Sicily during the Greek occupation .

In this period the leaves and flower heads, which cultivation had already improved from the wild form, were eaten. The Romans, who called the vegetable carduus received the plant from the Greeks. Further improvement in the cultivated form appear to have taken place in the Muslim period in northern Africa.