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Croce Rossa al Job&Orienta Verona 2015:
Nei giorni 26-27-28 novembre in occasione dell'evento Job&Orienta, Verona fiere, ai nostri Giovani Volontari anche quest'anno è stato affidato il compito di organizzare ed allestire gli stand di Croce Rossa.
Su un'area di 130 metri quadrati saranno impegnati Volontari di Verona e provincia per mostrare le attività che il nostro movimento svolge sia a livello nazionale che internazionale.
In questa occasione tutti i ragazzi in visita dalle scuola verranno portati a conoscenza di che cos'è Croce Rossa cosa significa farne parte, potranno dunque vederla sotto tutti gli aspetti.
Presenteremo i percorsi informativi e di prevenzione, portati avanti dai Giovani di Croce Rossa, sui temi di: educazione alimentare, educazione stradale, educazione alla pace e prevenzione alcologica.
Saranno presenti i Truccatori, i quali durante la dimostrazione spiegheranno la motivazione e la necessità di questa attività in Croce Rossa.
Inoltre ci saranno in esposizione un ambulanza attrezzata per l'emergenza, ed il carrello del Posto Medico Avanzato (PMA) gestito dal Settore Emergenze, i quali spiegheranno che impiego ha questo presidio in determinate occasioni.
Sarà anche un occasione per far conoscere il nostro Comitato e le sue attività.
Ci troverete nel padiglione 7 angolo sud ovest, Verona Fiere.
In attesa dell'evento vi invitiamo ad essere curiosi e partecipare attivamente a queste iniziative.
Nell'arco delle tre intense giornate di Job&Orienta, numerosi sono stati i partecipanti, in tanti interessati a scoprire le attività di Croce Rossa.
I nostri Volontari a pieno ritmo hanno dato dimostrazione delle varie attività
e promosso il nuovo corso di accesso alla Croce Rossa Italiana - Comitato Locale Verona, corso che verrà presentato a gennaio presso il Centro Polifunzionale Don Calabria.
Per chi fosse interessato a far parte della nostra grande famiglia, in data giovedì 11 2016 alle ore 20:30
ci si incontra in via San Marco 121,Verona.
Il nostro lavoro continua...
The only way to access these homes in Corolla, Outer Banks, is via your 4 x 4 along the beach. There are no roads in or out of this area.
The last day of the camp was filled with poster design and presentation, games, cultural performances, and certificate for volunteers.
Tech photos from Rizing, by Jason Tseng. Runs through June 4, 2016 at Access Theater.
Living Tickets (no financial transaction required): fluxtheatre.org
Want Isaiah to take pictures of YOUR production? Email him now at isaiaht@gmail.com .
The last day of the camp was filled with poster design and presentation, games, cultural performances, and certificate for volunteers.
The American Center Dhaka hosted the Access Program Graduation Ceremony on May 18, 2017.
52 graduates received Certificate of Achievement from the Director of the American Center, Dhaka. During this occasion, The American Center also honored Access alumni Towfique Khan for winning the Alumni of the Month award by the State Department.
The Radical Access Movie Night took place at the Ohio Union on Sat. August 14th, 2017 (Laura Peshek/Ohio State University/Student Life)
In the fields of physical security and information security, access control (AC) is the selective restriction of access to a place or other resource while access. In the event of an emergency, not only the future of your business but people's lives hang on the reliable functioning of access control systems. Contact us: +65 62980012
Tarsila do Amaral
Oil on canvas
Tarsila do Amaral, 1886–1973
Desiring to be “the painter of my country”, Tarsila (as she signed her work) developed a distinctly Brazilian voice within modern art. The daughter of wealthy landowners, she enjoyed a privileged childhood on her family’s coffee plantations. Following private painting lessons in São Paulo, she moved to Paris in 1920 to enrol at the Académie Julian, a school famed for offering women artists access to life drawing classes.
Tarsila returned to São Paulo in June 1922, where she formed the Grupo dos Cinco (Group of Five) alongside Anita Malfatti, Mário de Andrade, Menotti Del Picchia and Oswald de Andrade, who became her partner. In 1923 she returned to Paris with Oswald, where they would reside until 1928. Tarsila’s art during this period became known for its vibrant colours, simplified forms and distinctly Brazilian themes.
In 1928, her painting ‘Abaporu’, a simplified solitary figure with distorted proportions, provoked a fascinated reaction among her peers. It inspired Oswald to write the ‘Manifesto Antropófago’, which proposed artists engage in “cultural cannibalism” that would metaphorically “devour” wide-ranging influences to create something new and uniquely Brazilian. Despite Tarsila sometimes being sidelined as a muse to Oswald’s writing, he insisted that his manifesto put into words ideas that originated in her paintings.
The economic crash of 1929 dramatically changed Tarsila’s luxurious lifestyle and she subsequently separated from Oswald. In 1931 she held an exhibition in Moscow, following which she attended meetings of the Brazilian Communist Party. Paintings from this period, such as ‘Second Class’ (1933), reflect her more socially aware perspective.
During the 1950s she returned to her style and themes of the 1920s, and a series of exhibitions cemented her reputation as one of Brazil’s foremost artists.*
From the exhibition
Brasil! Brasil! The Birth of Modernism
(January - April 2025)
A major exhibition featuring over 130 works by ten important Brazilian artists from the twentieth century, capturing the diversity of Brazilian art at the time.
In the early 20th century a new modern art was emerging in Brazil. Starting in the 1910s and continuing into the 1970s, Brazilian artists were adapting contemporary trends, international influences and artistic traditions to create a new type of modern art; art informed by the vibrant cultures, identities and landscapes of Brazil.
Everyday life in Brazil was the subject of this new modernism and the Indigenous identity and Afro-Brazilian experience were among the many influences these artists drew upon in their work. This was a group of people looking inward at their rich cultural resource to set a new course for modernism that was borne out across South America.
The exhibition will bring an expanded view of Brazilian Modernism to UK audiences, showing work by artists who have historically received less exposure in this country, including Anita Malfatti, who spearheaded the movement, and Tarsila do Amaral, now internationally celebrated as a leading female figure of Brazilian Modernism. The exhibition will also include the self-taught artists Alfredo Volpi and Djanira da Motta e Silva, an artist of indigenous descent, Afro-Brazilian artist Rubem Valentim and performance artist, Flávio de Carvalho.
This exhibition explores a rich period of Brazilian art history through the work of ten artists, active between 1910 and the 1970s. A flourishing in the arts – including painting, sculpture, graphic design, architecture, music and literature – swept across the country, and was known collectively as Brazilian Modernism.
This was not a defined movement but rather a coming together of different cultural figures who campaigned for Brazil to move away from the old-fashioned, traditional forms of art that were rooted in the colonial (1500– 1815) and Imperial (1815–89) periods before Brazil became a republic in 1889. As a young, ambitious and optimistic nation, Brazil wanted to create its own distinctive identity.
It rejected European tastes for academic art and typical subjects such as historical allegories and religious scenes in favour of those that reflected and celebrated the country’s cultural diversity.
Brazil has a significant Indigenous population but one that has been increasingly marginalised following the influx of immigrant settlers that began during the colonial period. Portuguese colonists forcibly brought more than four million enslaved people from West Africa across the Atlantic, with the abolition of slavery only taking place in 1888. Later, significant populations of Italians, Japanese, Germans and Syrians settled in Brazil, further enriching its extraordinary ethnic diversity. Although many modernists lived and studied abroad, mainly in Europe or the US, they returned to Brazil determined to fashion a new artistic identity that looked inwards rather than outwards for inspiration.
Aside from incorporating modern approaches to art, artists travelled across the country reflecting on the different peoples and places they encountered and integrating them into their work. This exhibition celebrates this sixty year period, revealing the gradual move from the representational to the abstract.
[*Royal Academy]
Taken in the Royal Academy
A Bartlett Brothers access cover.
Malachi Bartlett moved to Witney from Devon in 1836 and from 1852 worked in partnership with his son William Christopher. In 1960 Bartlett Brothers became a limited company.
Time Pools: Accessing the Aquifer.
The League of Imaginary Scientists in collaboration with The University of Memphis.
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April 6 through May 24, 2013.
Opening reception Friday, April 5 from 5 to 7:30.
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(These images are field photos of research trips leading up to the final exhibition) more here: www.memphis.edu/amum/timepoolsstatement.php
On April 29, 2016, English Language Fellow Kim Chilmonik lead discussions and activities with the University of Battambang’s English Access Microscholarship Program students about being successful in a future job. The Access students had been studying and learning about jobs all week and the Fellow was invited to facilitate the culminating class of the week.