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Italian postcard by CR (Compagnia Rotografica, Milan) / Diffida ASC, no. 2. Photo: Varischi Artico & C., Milano. Sent by mail in 1903.

Dina Galli (1877-1951) was a classic Italian comedian who also performed in Italian silent and sound cinema.

Dina Galli, born in Milan as Clotilde Annamaria Galli, was a real figlia d'arte. As a comedienne, with her flashing eyes, her pointed face, her wit, and irony, she soon conquered the Italian stage. After having joined the theatre company of Milanese actor Edoardo Ferravilla in 1890, she managed a decade later to enter the renowned Talli-Gramatica-Calabresi theatre company. For years she excelled in pochades by Feydeau, Hennequin, Veber et. al., such as La Dame de chez Maxim. During the First World War, she obtained successes with 'La Maestrina' and with 'Scampolo' by Nicodemi. Galli took sidesteps into silent cinema during the First World War: Veli di giovinezza, 1914; La monella, 1914; L'ammiraglia, 1915; all three were directed by Nino Oxilia, who was killed during the war. In 1917 followed Le nozze di Vittoria, which was directed by Ugo Falena. After that, Galli took to dramatic acting on stage in plays, in particular, the dialectical theatre by Giuseppe Adami in which Galli talked in vernacular Milanese, as in Felicità Colombo (1935), the role that stuck to her.

From the late 1930s on, Dina Galli regularly acted in Italian sound cinema of which Felicità Colombo (1937) and Nonna Felicità (1938), both directed by Mario Mattoli and previous stage successes of Galli, showed her skills. Other films she played in, in those years, were Nini Falpalà (Amleto Palermi 1933), Frenesia (Mario Bonnard 1939), La zia smemorata (Ladislao Vajda 1941), Il sogno di tutti (Oreste Biancoli/Laszlo Kish 1941), Stasera niente di nuovo (Mario Mattoli 1942), l biricchino di papà (Raffaele Matarazzo 1943), Tre ragazze cercano marito (Duilio Coletti 1944), Lo sbaglio di essere vivo (Carlo Ludovico Bragaglia 1945), Vanità (Giorgio Pastina 1946), and Sambo (Paolo William Tamburalla 1950). Her last, uncredited, role was in I cadetti di Gascogna (1950). After the Second World War, Galli returned to the stage with various comedies such as Noel Coward's Blythe Spirit, together with Rina Morelli, and Arsenic and Old Lace by Kesserling, both in 1945. Her last performance was in the revue Quo Vadis? (1950), together with Enrico Viarisio. Dina Galli died in Rome in 1951. She was one of Federico Fellini's favourite actresses.

Sources: Wikipedia, Sipario.it, arabafelice.it, mymovies.it, and IMDb.

And, please check out our blog European Film Star Postcards.

Travelers of Space and Time -The Immortal and Timeless Soul in Symbiosis with Matter by Daniel Arrhakis

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Travelers of Space and Time -The Immortal and Timeless Soul in Symbiosis with Matter by Daniel Arrhakis (2026)

Travelers of Space and Time: The Immortal and Timeless Soul in Symbiosis with Matter

The Rovingian Animistic Perspective of the Soul

The Rovingian animistic view conceives of the soul as a traveler of space and time, proposing a cosmological perspective where consciousness exercises the fundamental free will of the universe.

In this approach, the soul manifests and evolves through successive incarnations and experiences in multiple physical realities and unimaginable cosmologies. Matter, in turn, is not presented as a simple inert substrate, but rather as a living extension of the soul itself, forming a symbiosis in which the spirit expresses and renews itself.

The Soul as a Cosmic Traveler

In animism, it is recognized that not only humans, but also plants, animals, stones, and rivers possess a soul, consciousness, or vital breath. Rovingian animism expands on this view, considering the soul as a spark of energy that travels through the universe, manifesting and evolving in a symbiotic relationship with matter. In this relationship, soul and matter are inseparable: one does not exist without the other.

According to this view, the soul is not static; it progresses through a cycle of successive lives, learning and evolving in different worlds, physical universes, and temporal realities, whether distinct (Past, Future) or contemporary (Present). The relationship between soul and matter is characterized by symbiosis, where the physical body serves as an expression for the soul, and matter is shaped by spiritual energy. Thus, spirituality and matter coexist, not opposing each other, but complementing each other.

Learning and Evolution in Diverse Realities

This approach postulates the plurality of worlds, admitting the existence of multiple inhabited worlds, each with different types of matter, densities, and physical realities, suitable for various evolutionary levels of the soul. The process of reincarnation is seen as a school, where the soul assumes bodies appropriate to the environment of each planet, learning new lessons and evolving through experience in varied physical realities and relative temporal planes.

As it learns and purifies itself, the soul brings the matter that envelops it closer to its spiritual nature, making it less dense and more subtle. This universal and timeless evolutionary dialectic advances towards a balance between matter and spirit.

The Role of the Soul in the Cosmic Journey

The soul is seen as an active agent, an intelligent principle endowed with free will, capable of detaching itself from the denser lower worlds to return to higher, less dense planes.

It acts as an intermediary between the universal spiritual world and the physical form of matter, propelling evolution. In the animistic view, by recognizing the world as a society composed of human and non-human beings—encompassing humans, animals, and nature—the soul perceives its connection to the whole, evolving benevolently as an insatiable learner.

In short,

Rovingian Animism proposes a vision that merges spirituality, cosmology, and personal evolution.

The central idea is that consciousness is not merely a byproduct of biology, but the driving force that shapes the physical universe.

Here are the fundamental points of this perspective:

1 - The Soul as an Evolutionary Engine

The soul is not seen as a static entity, but as an active traveler:

- Free Will: Consciousness chooses its experiences.

- Continuous Learning: Each life is a "school year" in different worlds and times.

- Transcendence of Matter: The goal is to make matter more "subtle," bringing it closer to the spirit.

2 - Inseparable Symbiosis

Unlike philosophies that see the body as a "prison," here the relationship is one of partnership:

- Living Extension: Matter is where the soul expresses and renews itself.

- Interdependence: One does not fully exist without the other on the manifested plane.

- Balance: Evolution moves towards perfect harmony between the physical and the spiritual.

3 - Multidimensional Cosmology

Reality is not limited to what we see; the universe is a vast field of possibilities:

- Plurality of Worlds: Different densities and physical laws for different levels of soul. On planets with distinct physical realities, the soul assumes biological or energetic forms unimaginable to the human mind.

- Fluid Temporality: The soul can experience past, present, and future as simultaneous or successive realities.

- Expanded Society: The recognition of "non-human persons" (plants, stones, rivers) creates an ethic of total connection with the cosmos.

Key Point:

In Rovingian Animism, existence is a journey of benevolence and self-discovery, where the entire cosmos collaborates in the evolution of consciousness.

______________________________________________________________________________________________________

Viajantes do Espaço e do Tempo: A Alma Imortal e Intemporal em Simbiose com a Matéria

A Perspetiva Animista Rovingiana da Alma

A visão animista rovingiana concebe a alma como um viajante do espaço e do tempo, propondo uma perspetiva cosmológica onde a consciência exerce o livre-arbítrio fundamental do universo.

Nesta abordagem, a alma manifesta-se e evolui através de sucessivas encarnações e experiências em múltiplas realidades físicas e cosmologias inimagináveis. A matéria, por sua vez, não é apresentada como um simples substrato inerte, mas sim como uma extensão viva da própria alma, formando uma simbiose em que o espírito se expressa e se renova.

A Alma como Viajante Cósmica

No animismo, reconhece-se que não só os humanos, mas também plantas, animais, pedras e rios possuem alma, consciência ou sopro vital. O animismo rovingiano amplia esta visão, considerando a alma como uma centelha de energia que viaja pelo universo, manifestando-se e evoluindo numa relação simbiótica com a matéria. Nesta relação, alma e matéria são inseparáveis: uma não existe sem a outra.

A alma, segundo esta visão, não é estática, ela progride através de um ciclo de vidas sucessivas, aprendendo e evoluindo em diferentes mundos, universos físicos e realidades temporais; sejam elas distintas (Passado, Futuro) ou contemporâneas (Presente). A relação entre alma e matéria é caracterizada por uma simbiose, onde o corpo físico serve de expressão à alma, e a matéria é moldada pela energia espiritual. Assim, espiritualidade e matéria coexistem, não se opondo, mas complementando-se.

Aprendizagem e Evolução em Diversas Realidades

Esta abordagem postula a pluralidade dos mundos, admitindo a existência de múltiplos mundos habitados, cada qual com diferentes tipos de matéria, densidades e realidades físicas, adequadas a diversos níveis evolutivos da alma. O processo de reencarnação é visto como uma escola, onde a alma assume corpos apropriados ao ambiente de cada planeta, aprendendo novas lições e evoluindo por meio da experiência em realidades físicas variadas e planos temporais relativos.

À medida que aprende e se purifica, a alma aproxima a matéria que a reveste da natureza espiritual, tornando-a menos densa e mais subtil. Essa dialética evolutiva universal e intemporal avança em direção a um equilíbrio entre matéria e espírito.

O Papel da Alma na Jornada Cósmica

A alma é vista como um agente ativo, um princípio inteligente dotado de livre-arbítrio, capaz de se desprender dos mundos inferiores mais densos para retornar a planos superiores, menos densos.

Atua como intermediária entre o mundo espiritual universal e a forma física da matéria, impulsionando a evolução. Na visão animista, ao reconhecer o mundo como uma sociedade composta por pessoas humanas e não humanas — englobando humanos, animais e a natureza — a alma percebe sua conexão com o todo, evoluindo de maneira benevolente como um aprendiz insaciável.

Resumindo,

O Animismo Rovingiano propõe uma visão que funde espiritualidade, cosmologia e evolução pessoal.

A ideia central é que a consciência não é apenas um subproduto da biologia, mas a força motriz que molda o universo físico.

Aqui estão os pontos fundamentais dessa perspetiva:

1 - A Alma como Motor Evolutivo

A alma não é vista como uma entidade estática, mas como uma viajante ativa:

- Livre-Arbítrio: A consciência escolhe as suas experiências.

- Aprendizagem Contínua: Cada vida é um "ano letivo" em diferentes mundos e tempos.

- Transcendência da Matéria: O objetivo é tornar a matéria mais "sutil", aproximando-a do espírito.

2 - Simbiose Inseparável

Ao contrário de filosofias que veem o corpo como uma "prisão", aqui a relação é de parceria:

- Extensão Viva: A matéria é onde a alma se expressa e se renova.

- Interdependência: Uma não existe plenamente sem a outra no plano manifestado.

-Equilíbrio: A evolução caminha para uma harmonia perfeita entre o físico e o espiritual.

3- Cosmologia Multidimensional

A realidade não se limita ao que vemos; o universo é um vasto campo de possibilidades:

- Pluralidade de Mundos: Diferentes densidades e leis físicas para diferentes níveis de alma. Em planetas com realidades físicas distintas, a alma assume formas biológicas ou energéticas inimagináveis para a mente humana.

- Temporalidade Fluida: A alma pode experienciar passado, presente e futuro como realidades simultâneas ou sucessivas.

- Sociedade Alargada: O reconhecimento de "pessoas não humanas" (plantas, pedras, rios) cria uma ética de ligação total com o cosmos.

Ponto Chave:

No Animismo Rovingiano, a existência é uma jornada de benevolência e autodescoberta, onde o cosmos inteiro colabora na evolução da consciência.

La Cañada_0519 by Thomas Willard

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(spacial dialectic)

Pleasures by phthaloblu

The B&B we stayed in during our stay in The Hague was incredibly comfy and our hosts were interesting, charming, great conversationalists and so welcoming. This curtain was hanging in the bathroom. The english translation reads:

First look from morning's window

The rediscovered book

Fascinated faces

Snow, the change of the seasons

The newspaper

The dog

Dialectics

Showering, swimming

Old music

Comfortable shoes

Comprehension

New music

Writing, planting

Traveling

Singing

Being friendly.

Bertolt Brecht

Sleep cannot hide the thoughts splitting through my mind by al shep

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Splitting (also called all-or-nothing thinking) is the failure in a person's thinking to bring together both positive and negative qualities of the self and others into a cohesive, realistic whole. It is a common defense mechanism used by many people. The individual tends to think in extremes (i.e., an individual's actions and motivations are all good or all bad with no middle ground.)

The concept of splitting was developed by Ronald Fairbairn in his formulation of object relations theory it begins as the inability of the infant to combine the fulfilling aspects of the parents (the good object) and their unresponsive aspects (the unsatisfying object) into the same individuals, but sees the good and bad as separate. In psychoanalytic theory this functions as a defense mechanism. It is a relatively common defense mechanism for people with borderline personality disorder in DSM-IV-TR.

Splitting creates instability in relationships because one person can be viewed as either personified virtue or personified vice at different times, depending on whether he or she gratifies the subject's needs or frustrates them. This along with similar oscillations in the experience and appraisal of the self lead to chaotic and unstable relationship patterns, identity diffusion, and mood swings. The therapeutic process can be greatly impeded by these oscillations, because the therapist too can become seen as all good or all bad. To attempt to overcome the negative effects on treatment outcome, constant interpretations by the therapist are needed.

Splitting contributes to unstable relationships and intense emotional experiences, something that has been noted especially with persons diagnosed with borderline personality disorder.

Treatment strategies have been developed for individuals and groups based on dialectical behavior therapy, and for couples. There are also self-help books on related topics such as mindfulness and emotional regulation that have been helpful for individuals who struggle with the consequences of splitting.

Borderline personality disorder

Splitting is a relatively common defense mechanism for people with borderline personality disorder. One of the DSM IV-TR criteria for this disorder is a description of splitting: "a pattern of unstable and intense interpersonal relationships characterized by alternating between extremes of idealization and devaluation". In psychoanalytic theory, people with borderline personality disorder are not able to integrate the good and bad images of both self and others, resulting in a bad representation which dominates the good representation. This school hypothesizes that they consequently experience love and sexuality in perverse and violent qualities which they cannot integrate with the tender, intimate side of relationships.

Narcissistic personality disorder

People matching the diagnostic criteria for narcissistic personality disorder also use splitting as a central defense mechanism. Most often the narcissist does this as an attempt to stabilize his/her sense of self positivity in order to preserve his/her self-esteem, by perceiving himself/herself as purely upright or admirable and others who do not conform to his/her will or values as purely wicked or contemptible. Given "the narcissist's perverse sense of entitlement and splitting ... [s]he can be equally geared, psychologically and practically, towards the promotion and towards the demise of a certain collectively beneficial project".

The cognitive habit of splitting also implies the use of other related defense mechanisms, namely idealization and devaluation, which are preventative attitudes or reactions to narcissistic rage and narcissistic injury.

2022_25jan"THE AWARENESS MUSCLE HAS TO BE TRAINED EVERYDAY" CARTON by Thierry Geoffroy / Colonel : Artist

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

is the critical run

and other emergency art format

CRITICAL RUN / Debate Format

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

www.emergencyroomscanvas todo .org/criticalrun.html

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

----

Interesting publication for researches on running and art

www.emergencyrooms.org/formats.html

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------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

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#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

#biennalevenice

Institutional Critique

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

Culture, Collective History, Group of Portraits, Photographic Source

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

Personal Histories, Alter Egos and Avatars

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

—-

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

www.emergencyrooms.org/criticalrun.html

www.emergencyrooms.org/formats.html

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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

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for activating the format or for inviting the installation

please contact 1@colonel.dk

www.colonel.dk/

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Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

,now art,copenhagen,denmark

2022_10Feb"THE AWARENESS MUSCLE HAS TO BE TRAINED EVERYDAY" CARTON by Thierry Geoffroy / Colonel : Artist