plane
genn gli ideas wlad pal mina qad na tienா brothers
and return to our individual mosquets
and then find out how in my impact
it is important to understand, not so well, how one is formed
but how one is formed
And, as with each of our lives, the collective way is formed
but I am unidaid way because
interacting with others
So, it is always good to know that we are the one,
each of us is the one that is, but it is the one in which you have lived.
And then it is what he has done, what he has managed to do,
what he has done, what he will do.
But of course it is not relevant to the training of our character,
our culture, our being,
and our life is due to a series of relationships with the others.
There is none of us is an island, a lost soul.
Each of us lives with the others, lives in the middle with the others,
and from the others, from the others he takes.
This is part of the training of a person.
I am no longer alive,
but I am in what I have been dreaming about.
And others who continue to fight,
will be born another rose,
in the name of those things,
they will be calling me every month.
I have done military acune,
I am like Toto, but I am serious.
And in that period with Roberto Franchini,
who was then my editor,
he started a collaboration
and began to frequent the edition of Turin,
then he was accepted in February 1980.
And there with Obbi Cesare,
in these his hair, a bit sagomati,
this cigarette eternally in the mouth,
in this way a bit disenchanted to face things.
It was already then the economy,
it came from the experience of the Gazette of the people,
and for us young people had a great fascism,
a great ascending,
it arrived precisely, it was a syndical leader,
and these things came out in the assemblies.
In the assemblies Cesare never spoke for the first time,
or if he spoke for the first time he gave, as it was said then,
a bit the line,
and above all we expected his conclusions,
it was his, among the lines of the discourse,
that helped us understand
what to do at that moment, how to reason.
Cesare was never a leader,
he was a companion,
a companion in the true sense of the word,
a vian dante with whom we did
a treaty of life together,
and I must say that it was a great journalist, Cesare,
a great journalist who conceived journalism
as a civil commitment,
a different thing from the political commitment,
and this is what he transmitted to us,
that at that time we were a bit younger than him, obviously.
I remember it at the end of the delegation,
in the long treaties for the non-contractable contracts,
where he destroyed the opponents,
that was the administrator, etc.,
with long speeches,
that brought them to these noteworthy moments,
and then to concessions to us journalists.
At the press, Cesare took care of the economy and me of spectacles,
but Cesare was a man of spectacles,
he loved it very much,
he loved it in all his declarations,
we can also see it here in the exhibition,
I have the Steylor in my shoulders,
there are many, there are many,
there are many tango,
there are many works inspired by tango,
so I think that the continuity of Cesare
in this world is important,
it is fundamental, we see it in how,
I am not certainly an art expert,
but I appreciate it very much,
I like his works very much,
perhaps calling paintings is not good,
calling sculptures,
I don't know, we call the works,
we call the works,
we call the joy of the soul,
we call the expressiveness,
and this is very close to the world of the show.
I remember his narrow hand,
he looked at you in the eyes,
with those eyes a little closed,
and with intensity he pressed your hand,
and you felt a unique person,
you felt really involved,
let's say, from his affection,
from his esteem,
from his capacity to love,
behind me you see landscapes,
one in particular,
Ranello,
almost a place of memory,
of his father,
Luigi Roccati,
Vigin Roccati,
painter and landscape artist,
painter of excellent quality,
prestige also,
perhaps he is for the right will,
he wants the
The sea is the one that is the territory of the geometric structure.
Because it shows the needs of the community to remember the births of the father
and also to talk about the relationship between the city and the man,
too man and a city.
The sea is the one that is the territory of the geometric structure.
How many meetings in the evening of the renaissance,
how many discussions, how many contrasts,
and Caesar had this great capacity.
For a man who thought that values such as freedom, democracy or guaglianza
should be obtained by fighting,
for him the fight had to have a complement
in the reconciliation of the different positions.
This capacity of commitment, of struggle,
and to find a solution that agrees
and that could satisfy the most possible.
This desire of equity after the fight.
Since the beginning the word has become
one of the essential elements of man,
such as bread, water and other resources.
The word of the image is only the words,
the words of the image are the symbols
that accompany the life of men for centuries.
They have become more and more incisive
in the hands of the indagile techniques.
So it was important to recover the word,
that is, Carl Levich said,
the future is 40.
There are always two parts,
as all the peoples had a time,
they always started from their history.
My history was that,
the word of the image was made every day.
In the renazions we were used to
reading the world through words
written through images
that came from all over the world.
Composing this we built a puzzle
that at least tried to be the photography of the world
as it went from bread to day to day
taking new forms.
And so there were two essential elements,
such as water and air,
such as water and fire.
When we started, Cesar and I,
the writings were mostly tables.
The tables during the meetings,
during the assemblies,
stood up to explain
what was the situation,
the situation of the contract,
the situation of the category,
the situation of the gazette of the people,
which was really the experience
that we journalists of the 1970s
remember and we lived.
The self-management of the gazette
was a moment of great democracy,
a bit utopistic.
In the morning we found editors,
ex-capiservizio,
polygraphic collaborators,
typographers,
administrative employees,
and everyone could discuss
the news of the day
the ideas, the services, etc.
Of course there were very diverse oppositions.
If we were all united
on the achievement of the objective,
on how obviously there were different evaluations,
these things, these situations
that seemed so inconciliable,
Cesar with great wisdom
and also a great capacity
of mediation at a high level
of these situations
knew how to conduct
the daily struggle and struggle
to the objectives we had
and make the synthesis of the divergences
that were on this issue
that became fundamental.
The combativeness and unity
was the first objective
for which Cesar always fought
and did until the end.
That self-management I remember
to defend that dignity
and that place of work,
those sacrifices,
here is the great journalist,
the great man,
and you who find the magic of the little things
because these are the magic of the little things,
the magic that in his journalism
he was also able to transform
the numbers of the economy
in stories, involved, in people.
He did not make an arid journalism
but he made it so that
even by writing those numbers,
talking about finance,
talking about the economy,
talking about the companies,
talking about the games,
about the interactions
that come in those dimensions,
he has always tried
to look for the gaps
and to make the story emerge
of the people.
It seems to me that this
is the magic moment
in which we want to remember
the journalist,
the artist,
the father
and then his great love,
you Gigi,
your mother Luciana,
your wife,
your life.
my big breast bed
whatever colors you have
in your mind
I'll show them to you
and you'll see them shine
lay, lady, lay
lay across my big breast bed
stay, lady, stay
stay with your man if wild
until the break of day
let me see you make him smile
his clothes are dirty but his hands are clean
and you're the best thing
that he's ever seen
stay, lady, stay
stay with your man if wild
I need to find the materials
that help me to find the hands
find the touch
find
to feel the smell
for example of the materials
and the wood was
more
I started to cut
together the pieces of wood
and then cut
and cut
and color them
until
I became a bit
technical
complex technical
quite elementary
and once I took
the technical
I also found new spaces
with a saw
and a piece of wood
to make
pieces of the works
that came out great
theoretically
I started to cut
time
the pension was
Galeotta
because we were in contact
pensioned him
pensioned me
at Castell Nuerro Don Bosco
we already knew
the time
of the people's money
When he was a journalist, I was a young doctor involved in the liberation of mental illnesses in Manicomio.
As Conobbi Cesare was a love at first sight, a friendship between us that lasted six years until Cesare disappeared.
I didn't think that the reality of pension could create new friendship.
Friendship is a very rare thing. In my life I had two friends, one of them was young and the other was Cesare.
Cesare was a person who could make people laugh until tears and in the same way cry until tears to move.
He told you about the anecdotes that were extraordinary, so he was a man rich in past,
a man who lived in the present, but a man who always looked at the future.
In this look at the future, I have never felt once discouraged.
He followed me professionally in my career as an actress and director,
always encouraging me, always telling me to go ahead.
I want to show you Paris, as he always said.
Until one day I also asked him a piece of scenery for one of our shows,
which is here in our rooms, the grand Bambola di Bambole.
It was a great emotion to have it on stage.
There was also one of his cabillons on stage, his cabillons for cellos with other bamboles inside.
Coloring has helped me to find some densities a bit more certain, a bit more fixed,
that resisted to the mutation, even though I realize that
whatever you do, a piece of work, a piece of wood,
they reflect a culture, they reflect a taste, they reflect something
that is in the contemporary or that is in your past, present and future life,
that is, you get sensations.
Coloring has this fundamental value,
that gives you not only emotions,
but it also gives you a real relationship with what is the imaginary that you have of the world,
that allows you to photograph it,
just like you, however, using real materials that are not virtual materials.
And so you find spaces and you find worlds absolutely different,
a bit like opening a window in life and seeing that there is a new world inside
and you look for a bit of the journey of Tanay, a bit of the journey of Ulysses,
that allows you to navigate, navigate, navigate,
the difference of the internet where you navigate the virtual world,
instead you have the fortune to still navigate in a real world
that is made of ancient materials, ancient flavors,
that is made of ancient structures, of colors, that have their own physicality.
And so, of course, you live in a world
that is what has accompanied you for the rest of your life,
that has probably accompanied you for centuries.
Suan è morto senza riso pianto
è morto di vecchiaia il primo grido
Bandiere Rosia, Roma e Amilano
un vento nuovo corre per l'Italia
Suan è morto Franco è chi non spaglia
un vento nuovo Franco è non ha tempo
C'erono due dimensioni, c'erono la dimensione reale, del reale
e poi c'erono la dimensione del sogno, dimensione uniric, dimensione della fantasia
perché tutte due eravamo d'accordo che eravamo tutte due pazzi
tutte due eravamo enamorati della follia, la follia, follia bianca, follia che vuol dire creatività, fantasia,
vuol dire utopia, visione, però quando era hora di metere i piedi per terra
puntavamo sempre all'uomo per aiutarlo.
E basta guardare quelsetaccio, quelsetaccio con quelli uomini
kon il fagotto di spalle che sanevanno via, story di ieri, story di oggi
che lui era presentato, la storia di migranti, di quelle che fanno fatica,
di quelli che hanno cercato una terra promessa anifà che c'è che una terra promessa oggi,
di quelli cacciati ieri di quelli cacciati oggi,
quel grido per significare che la povertà non è mai una fatalità
ma la povertà è il frutto d'injustice, di soprofazione, di egoismi
e io sono convinto che il grande giornalista Cesare Locati,
poi capore d'attore delle pagine dell'economia, ci direbbe oggi
fosse qui tra queste sue opere che questa crisi non è una crisi economica sulla faccia di questa terra
o meglio non è solo una crisi economica,
queste è innanzi tutto una crisi politica edetica mondiale
che anche radici in casa nostra, frutto di egoismi, di scelte sbagliate
allora queste opere parlano di giustizia, parlano di diritti,
denunciano le soprofazioni, denunciano quelli che hanno fatto un feticcio del potere
quelli che hanno calpestato la legalità, la dignità delle persone
qui c'è il giornalismo, c'è l'arte, c'è la vita che si saldon insieme
perché la personna humana non è fatta di pez che viaggia ogni dimensione per la propria strada
ma si fondono profondamente insieme
mi ha fatto piacere vederlo camminare su quelle colline
vederlo in una primavera inoltrata, mi pare d'avera intuito in quela stagione
perché ho capito che lui da cittadino, da uno che avea calcato i corridoi
che avea calcato i pabimenti delle redazioni, che avea calcato i marchapiedi della cronaca
camminava con quel suo passo straordinario e particolare
su quelle colline con la legerezza e la concretezza di un contadino
credo che lui avesse grande, grandissimo rispetto
anche per questo tipo di humanità
ecco, era suo humanità che mi ha sempre sorpreso
sua capacità di mettere a suo agiole persone
questo mettersi sempre e soltanto dalla parte di chi sente
di poter aiutare qualcun altro
e ultimo rikordo e per quell film che Luigi ha girato
la sua, chiamiamo la tesi di fine corso a Londra
santo che ora he ditto che è il matrimonio?
alle 5
alla 5 della tarda?
si, sende il toro nell'arena
e che ora sono adesso?
sono le 5 e mezza
però è stardissimo
stai tranquilla che arriviamo
si trattava di fare un scen di ballo
in cui il corteo delle persone
continuavano a dansare davanti alla macchina da presa
e in testa il corteo c'erano Cesare e Luciana
che dansavano e venivano dansando fin dentro l'obiettivo
dietro l'obiettivo c'era Luigi che filmava
e diceva ancora una volta
ancora una volta
ancora una volta
vorremmo tanto
poter dire ancora una volta
todo punto por favor
graxias
solo le pido a dios
che in la la la me sei diperente
che la rese ca muerte no me encuentre
la si hai sola sin aver yo lo suficiente
solo le pido a dios
che in la la me sei diperente
che la rese ca muerte no me encuentre
la si hai sola sin aver yo lo suficiente
solo le pido a dios
che in la la la me sei diperente
e su monstruo grande e quiza frede
e su monstruo grande e quiza frede
e su monstruo grande e quiza frede
e su monstruo grande e quiza frede
որիճռիվ enterprises
Րադ կավ,
որի որի մասա� Festival
՜այ մադը,
և ՚ան,
էան,
me karta
green
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Վածի,
Նեռ էղ չատ,
Օօմ Հն բա,
օր հիճ  որի,
ლლლლლლლლლლლლლლლ
