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Antonio Girardi sul tema: "Cultura Teosofica e Diritti Umani". L'occasione stata quella della pubblicazione da parte di Edizioni Teosofiche Italiane del libro di Girardi "Lungo le Vie del Cuore". Link diretto: http://www.flipnews.org/flipnews/index.php?option=com_k2&view=item&id=47 60:cultura-teosofica-e-diritti-umani ________________________________ Da: Societ Teosofica Italiana [mailto:sti@teosofica.org] Inviato: luned 18 luglio 2011 10.00 A: 'Societ Teosofica Italiana' Oggetto: Seminario Teosofico a Grado Gentile Sorella, Caro Fratello, nel prossimo mese di settembre (da venerd 23 a domenica 25) si svolger a Grado un importante Seminario, organizzato dalla Societ Teosofica Italiana, in collaborazione con il Centro Internazionale di Studi Teosofici  Adyar di Cervignano del Friuli. L iniziativa riprende la tradizione dei Seminari Teosofici di settembre, che per lunghi anni, grazie alla benemerita iniziativa di Giuseppina Liguori Fancio si sono svolti a Jesolo Lido. Il tema del Seminario, che prevede la presenza di importanti relatori, :  Teosofia e Gnosi . Un tema che rappresenta una certa novit nel nostro ambito di studi, ma che si collega strettamente con quanto affermava H.P. Blavatsky quando individuava, nella Gnosi, larghe tracce di quell'Eterna Saggezza che sta alla base della Teosofia.. Nel corso del Seminario verr effettuata anche una visita guidata alla Basilica di Aquileia, ricca di mosaici di alto contenuto simbolico sia della tradizione cristiana sia di quella gnostica. Per ragioni organizzative legate alla prenotazione alberghiera assolutamente necessario che venga rispetta il termine del 30 agosto per la prenotazione, cos come indicato nella scheda di iscrizione che Ti allego e che stata spedita con il numero di agosto/settembre della Rivista Italiana di Teosofia. Proprio per questo motivo Ti chiedo cortesemente di farTi parte attiva informando con la massima sollecitudine i Soci e i Simpatizzanti del Tuo Gruppo o Centro, in modo che vengano sensibilizzati in merito, consentendo un'ottimale organizzazione di questo importante evento. Sono certo che comprendi le ragioni di questa richiesta. Colgo l'occasione per porgerTi un cordiale e fraterno saluto, con l'augurio di Ogni Bene. Antonio Girardi (Segretario Generale della S.T.I.) ________________________________ bannerino.jpg  Vivere senza sforzo di Jiddu Krishnamurti Per la maggior parte di noi, tutta la vita si basa su uno sforzo, su una forma o l'altra di volizione. Non riusciamo a concepire un'azione senza volizione, senza sforzo. La nostra vita sociale, economica, e quella cosiddetta spirituale consistono in una serie di azioni finalizzate, che culminano sempre in certi risultati. E noi pensiamo dunque che uno sforzo sia essenziale, indispensabile. Ma cosa ci spinge a fare sforzi? Non forse, in parole povere, il desiderio di conseguire un risultato, di diventare qualcosa, di raggiungere un obiettivo? Se non ci impegniamo in qualcosa, temiamo di ristagnare. Abbiamo un'idea del fine che ci sforziamo costantemente di raggiungere; e quello sforzo divenuto parte della nostra vita. Se vogliamo trasformare noi stessi, se desideriamo produrre in noi un cambiamento radicale, facciamo uno sforzo tremendo per eliminare le vecchie abitudini, per resistere alle influenze solite dell'ambiente circostante e cos via. Dunque, siamo abituati a questa serie di sforzi allo scopo di trovare o raggiungere qualcosa, anzi, pi in generale, allo scopo di vivere. Ma un simile sforzo non forse tutto frutto dell'attivit del s? Non forse lo sforzo un'attivit egocentrica? Se lo sforzo nasce dal centro del s, finisce inevitabilmente per produrre ulteriore conflitto, confusione, infelicit. E tuttavia, continuiamo a fare uno sforzo dopo l'altro. Pochissimi tra noi si rendono conto del fatto che l'attivit egocentrica propria dello sforzo non serve a risolvere alcun problema; al contrario, acuisce la nostra confusione, infelicit, sofferenza. Sappiamo che cos, eppure continuiamo a sperare di riuscire in qualche modo a superare l'attivit egocentrica insita nello sforzo, l'azione della volont. Credo che comprenderemo il significato della vita se comprendiamo cosa significa fare uno sforzo. Attraverso lo sforzo si realizza forse la felicit? Avete mai provato a essere felici? E' impossibile, non cos? Ci si sforza di essere felici, ma la felicit non arriva mai. La gioia non si ottiene sopprimendo, controllando o soddisfacendo i desideri. Potete dare libero sfogo ai vostri desideri' ma alla fine resta l'amarezza. Potete sopprimerli o tenerli sotto controllo, ma il conflitto sempre in agguato. Dunque la felicit non scaturisce da uno sforzo, n si pu ottenere attraverso il controllo e la soppressione dei desideri. Ci nonostante, tutta la nostra vita consiste in una serie di rinunce forzate, di controlli, di cedimenti che poi si rimpiangono. E inoltre siamo costantemente sopraffatti e in lotta con le nostre passioni, con la nostra avidit e stupidit. Si pu forse negare che ci affanniamo, lottiamo, ci sforziamo nella speranza di trovare la felicit, di trovare qualcosa che ci dia un senso di pace e di amore? Ma possono l'amore e la comprensione nascere dal conflitto? Credo sia molto importante chiarire cosa intendiamo per lotta, conflitto o sforzo. Lo sforzo non costituisce forse una lotta per cambiare ci che in ci che non , oppure in ci che dovrebbe essere o dovrebbe diventare? In altri termini, lottiamo costantemente per evitare di affrontare ci che , o cerchiamo di allontanarcene, oppure ci sforziamo di trasformarlo o modificarlo. Un individuo veramente contento colui che comprende ci che e attribuisce ad esso il giusto significato. Quella la vera letizia; non dipende dal possesso di un numero maggiore o minore di oggetti, ma dalla comprensione totale del significato di ci che ; e ci si pu verificare soltanto quando si riconosce ci che , quando se ne consapevoli, non quando si cerca di modificarlo o cambiarlo. Lo sforzo consiste quindi in una lotta per trasformare ci che in quel che desideriamo che sia. Mi riferisco qui a una lotta di natura psicologica, non allo sforzo per risolvere un problema concreto, come ad esempio nel campo dell'ingegneria, in cui scoperte e trasformazioni sono puramente tecniche. Sto parlando soltanto di quella lotta che psicologica e che finisce sempre per prevalere sulle questioni tecniche. Si pu edificare con la massima cura una splendida societ, utilizzando le infinite conoscenze che la scienza ci ha fornito. Ma fin tanto che il conflitto e la lotta psicologici non vengono compresi, e le implicazioni e le dinamiche psicologiche non vengono superate, la struttura della societ destinata a crollare, come accaduto pi volte nel corso della storia. Lo sforzo una distrazione da ci che . Nel momento in cui accetto ci che , la lotta cessa. Qualunque forma di lotta o di conflitto sintomo di distrazione; e la distrazione, che si identifica con lo sforzo, sussiste inevitabilmente fin tanto che psicologicamente coltivo il desiderio di trasformare ci che in qualcosa di diverso. Innanzitutto dobbiamo essere liberi di percepire il fatto che la gioia e la felicit non si realizzano mediante uno sforzo. La creazione nasce dallo sforzo o piuttosto dalla cessazione dello sforzo? Quand' che si scrive, si dipinge o si canta? Quand' che si crea? Non c' dubbio: quando non ci si sforza di farlo, quando si completamente aperti, quando a tutti i livelli si in comunicazione totale, completamente integrati. Solo allora c' gioia e si pu dunque cantare o comporre una poesia o dipingere o dare forma a qualcosa. Il momento della creazione non nasce dalla lotta. Forse, se afferriamo la questione della creativit, saremo in grado di comprendere cosa intendiamo per sforzo. La creativit il risultato di uno sforzo? Siamo consapevoli nei momenti in cui siamo creativi? Oppure la creativit una sensazione di totale dimenticanza di s, quella che si prova quando non c' tumulto, quando si del tutto inconsapevoli del movimento del pensiero, quando c' solo completezza, pienezza, ricchezza dell'essere? E' tale stato il frutto di un travaglio, una lotta, un conflitto, uno sforzo? Non so se avete mai notato che, quando si fa qualcosa con facilit, rapidamente, non c' sforzo, ogni traccia di lotta assente; ma poich le nostre vite sono per lo pi una sequenza di battaglie, conflitti e lotte, non riusciamo a immaginare una vita, uno stato dell'essere, in cui ogni contrasto sia pienamente acquietato. Per comprendere questo stato dell'essere privo di contrasti, questo stato di esistenza creativa, certo che bisogna esaminare l'intero problema dello sforzo. Per sforzo intendiamo la lotta per autorealizzarsi, per diventare qualcosa, non cos? Sono questo e voglio diventare quello; non sono quello, e voglio diventarlo. Nel diventare "quello" implicito il contrasto, la battaglia, il conflitto, la lotta. In questa lotta la nostra preoccupazione principale , inevitabilmente, l'autorealizzazione attraverso il conseguimento di un fine; noi la cerchiamo in un oggetto, in una persona, in un'idea, e ci richiede una costante battaglia, lo sforzo di diventare, di realizzare. Dunque, lo sforzo ci appare inevitabile; ma mi chiedo se lo sia davvero: proprio inevitabile lottare per diventare qualcosa? Da cosa ha origine tale lotta? Dovunque ci sia desiderio di autorealizzazione, in qualunque misura e a qualunque livello, c', per forza di cose, lotta. L'autorealizzazione il motivo, la spinta dietro lo sforzo; che si tratti del grande dirigente, della casalinga o del povero, in tutti c' la stessa battaglia per diventare, realizzare, andare avanti. Ma da dove scaturisce questo desiderio di autorealizzazione? Ovviamente il desiderio di realizzarsi, di diventare qualcosa, sorge quando si ha la consapevolezza di non essere nulla. Poich non sono nulla, poich sono inadeguato, vuoto, intimamente povero, lotto per diventare qualcosa; esternamente o internamente lotto per realizzarmi in una persona, in una cosa, in un'idea. L'intero processo della nostra esistenza consiste nel riempire quel vuoto. Essendo consapevoli del nostro essere vuoti e intimamente poveri, lottiamo o per accumulare oggetti esterni o per coltivare ricchezze interiori. C' sforzo soltanto quando si cerca di sfuggire a quel vuoto interiore attraverso l'azione, la contemplazione, l'acquisizione, il successo, il potere, e cos via. E' questa la nostra esistenza quotidiana. Sono consapevole della mia inadeguatezza, della mia povert interiore, e lotto per sfuggirla o per colmarla. Ma la fuga, l'eviramento, il tentativo di occultare il vuoto, comportano lotta, conflitto, sforzo. Ma cosa succede se non si fa alcuno sforzo per fuggire? Si vive con quella solitudine, quel vuoto; e nell'accettare il vuoto si scopre che ci fa emergere uno stato creativo che non ha nulla a che fare con la lotta, con lo sforzo. Lo sforzo sussiste solo fin tanto che cerchiamo di evitare la solitudine, il vuoto interiore, ma quando ci soffermiamo a osservare tale solitudine, quando accettiamo ci che senza evitarlo, scopriamo che a quel punto si realizza uno stato dell'essere in cui ogni contrasto pienamente acquietato, uno stato che creativit, e non il risultato di una lotta. Quando si ha comprensione di ci che - il vuoto, l'inadeguatezza interiore - , quando si vive con quella inadeguatezza e la si comprende appieno, ecco realizzarsi la realt creativa, l'intelligenza creativa che sola porta felicit. Perci l'azione, cos come la conosciamo, in realt reazione, un divenire incessante che negazione, evitamento di ci che . Ma quando si ha consapevolezza del vuoto senza alternative, senza condannare o giustificare, allora nella comprensione di ci che ecco realizzarsi l'azione, e tale azione l'essere creativo. Comprenderete questo se avrete consapevolezza di voi stessi in azione. Osservatevi mentre agite, non solo esternamente seguite il movimento dei vostri pensieri e sentimenti Quando avrete raggiunto la consapevolezza di tale movimento, vi accorgerete che il processo di pensiero, che comprende anche sentimento e azione, si basa su un'idea di divenire. Questa sorge soltanto quando c' un senso di insicurezza, che a sua volta emerge quando si consapevoli del vuoto interiore. Se siete consapevoli dei processi del pensiero e del sentimento, vi accorgerete che c' una costante battaglia in corso, uno sforzo per cambiare, per trasformare, per alterare ci che . E' questo lo sforzo per diventare qualcosa, e diventare qualcosa un tentativo diretto di evitare ci che . Attraverso l'autoconoscenza, attraverso la costante consapevolezza, scoprirete che la lotta, la battaglia, il conflitto del diventare, conducono al dolore, alla sofferenza e all'ignoranza. Solo se siete consapevoli della vostra inadeguatezza interiore e convivete con essa senza infingimenti, accettandola pienamente, scoprirete una straordinaria tranquillit, una tranquillit che non costruita, artificiale, ma che accompagna la comprensione di ci che . 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Gli artisti selezionati, a cui verr data comunicazione tramite mail e pubblicato elenco su www.apai.forumfree.it, come da bando allegato, dovranno ufficializzare l'accettazione e iscrizione a stretto giro, si proceder altrimenti a chiamare gli artisti successivi in selezione. Entro il 18 agosto dovranno pervenire la fotografia dell'opera, unitamente al passo del Vangelo che l'ha ispirata . Per maggiori info: info.apai@virgilio.it 00000006teosofia@antiguatau.itCentro Teosofico Paraclitus00000006teosofia@antiguatau.itCentro Teosofico Paraclitusinfo.apai@virgilio.itSMTPSMTP:INFO.APAI@VIRGILIO.ITinfo.apai@virgilio.it+nTinfo.apai@virgilio.itSMTPinfo.apai@virgilio.itReturn-Path: <info.apai@virgilio.it> X-Spam-Checker-Version: SpamAssassin on mail.register.it X-Spam-Status: No, score=1.2 required=5.0 Delivered-To: antiguatau-it-teosofia@antiguatau.it Received: (qmail 3492 invoked from network); 19 Jul 2011 17:09:23 -0000 Received: from unknown (HELO smtp2web.tin.it) (212.216.176.236) by vivaldi15.register.it with SMTP; 19 Jul 2011 17:09:23 -0000 Received-SPF: neutral (vivaldi15.register.it: 212.216.176.236 is neither permitted nor denied by SPF record at virgilio.it) Received: from feu3 (10.192.64.13) by smtp2web.tin.it (8.5.132) id 4D8B0FED074FFE0D; Tue, 19 Jul 2011 19:08:05 +0200 Received: from (93.41.169.244) by webmailvtin.alice.it; Tue, 19 Jul 2011 19:08:05 +0200 Message-ID: <131435e65ee.info.apai@virgilio.it> Date: Tue, 19 Jul 2011 19:08:05 +0200 (CEST) From: <info.apai@virgilio.it> Reply-To: <info.apai@virgilio.it> Subject: La Parola rivelata - Credenti ed Atei, un dialogo per ritrovarsi Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="----=_Part_51203_16358529.1311095285232" X-Originating-IP: 93.41.169.244 teosofia@antiguatau.itSMTPF6AeBd,8@La Parola rivelata - Credenti ed Atei, un dialogo per ritrovarsiinfo.apai@virgilio.itSMTPSMTP:TEOSOFIA@ANTIGUATAU.ITinfo.apai@virgilio.itz+nTinfo.apai@virgilio.itSMTPinfo.apai@virgilio.itinfo.apai@virgilio.it+nTinfo.apai@virgilio.itSMTPinfo.apai@virgilio.itCentro Teosofico Paraclitus+nTCentro Teosofico ParaclitusSMTPteosofia@antiguatau.itSMTP:INFO.APAI@VIRGILIO.ITLa Parola rivelata - Credenti ed Atei, un dialogo per ritrovarsiIPM.Note@0৸G@0৸Gtige 4yos7__substg1.0_37010102*,__substg1.0_3704001F*^__substg1.0_3707001F*]0__substg1.0_370A0102*\ __substg1.0_370E001F*[$@9l6F;2?P2@8AzB,OP,Q3d e,pqu v.} z ,    ,@6F(x)x5HF, 0?8@f  p=  p application/msword*H Regolamento Generale.docRegolame.doc     ࡱ> q` ԕG  8 \b 4 A  L   & & & & & & & hO, A A A A A A A A A A A A A A A A A  & & & , , , , , , , O, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,   La Parola Rivelata - Credenti ed Atei, un dialogo per ritrovarsi "The Revealed Word" - Atheists and Believers, a dialogue to find himself Selezione Artisti/Artists selection Articolo/article 1 APAI  Associazione per la Promozione delle Arti in Italia  organizza nella sala Alessandro IV di Palazzo dei Papi a Viterbo la Mostra di Arte  La Parola Rivelata  Credenti e Atei, un dialogo per ritrovarsi - in programma dal 2 all 11 settembre 2011, limitata a 40 artisti. L Evento nasce da un intento puramente culturale, in cui saranno coinvolti artisti credenti e non, che, pur su posizioni diverse, non dovranno rinserrarsi in un isolazionismo sacrale o laico, o acutizzare fondamentalismi ma, ognuno con i piedi piantati in un  Cortile separato, come il  Cortile dei Gentili di cui ha parlato il Cardinale Gianfranco Ravasi, presidente del Pontificio Consiglio della Cultura del Vaticano, nel suo intervento su  Jesus al Convegno del 12 febbraio 2011 a Bologna, promuoveranno un dialogo tra credenti e atei, senza tralasciare l etica ed il sincretismo laici, in cui i pensieri e le parole, le opere (nel caso di opere artistiche) e le scelte possono confrontarsi e persino incontrarsi. Il termine  laico , nonostante l attuale accezione dominante, contraddistingueva l'appartenente alla moltitudine degli uomini in contrapposizione agli appartenenti a una comunit chiusa, tale termine fu poi usato in ambito religioso per indicare colui che, appartenente alla moltitudine dei fedeli, non appartenente alla gerarchia del suo clero. Il sacro autentico non si oppone al profano ma lo chiama al dialogo sui valori fondamentali dell Etica e dell Arte. Questa l essenza della mostra che viene proposta:  La parola rivelata . Sar una libera interpretazione degli Artisti, che, attraverso la propria creativit, saranno chiamati a confrontarsi sulla parola e la vita di Ges attraverso i Vangeli, con l uso delle varie tecniche in loro possesso: la pittura, la scultura, la fotografia, la video-arte, le installazioni ecc. APAI - Association for the Promotion of the Arts in Italy - organizes at Palazzo dei Papi in Viterbo the exibition "The Revealed Word" - Atheists and Believers, a dialogue to find himself - to be held from 2 to 11 September 2011, limited to 36 artists. The event stems from a purely cultural context in which artists will be involved and non-believers, which, although of different positions, it will lock up in an isolationist sacred or secular, or worsen, but fundamentalism, each with its feet planted in a "Court" separate, as the "Court of the Gentiles" spoken of by the Cardinal Archbishop Gianfranco Ravasi, president of the Vatican's Pontifical Council for Culture, in his speech on "Jesus" at the conference of February 12, 2011 in Bologna, will encourage dialogue between believers and atheists, in which thoughts and words, the works (in the case of artistic works) and the choices can compare and even meet. The term "secular", despite the current dominant meaning belonging to the multitude of distinguished men as opposed to belonging to a closed community, this term was later used in religious context to indicate that one belonging to the multitude of the faithful, is not belonging to the hierarchy of his clergy the real sacred to the profane, but not opposed calls for dialogue on the core values of ethics and art. This shows that is the essence of the proposal: "The revealed word." It will be a free interpretation of the artists who, through their creativity, will be called to confront the word and the life of Jesus through the Gospels, by the use of various techniques in their possession: painting, sculpture, photography, video art, installations, etc. Articolo/article 2 Sono ammessi alla manifestazione: Artisti conosciuti o ancora sconosciuti a livello nazionale e internazionale. Gli Artisti potranno partecipare alla selezione inviando la documentazione e le notizie tecniche richieste: breve curriculum e una fotografia di un opera formato jpg del proprio repertorio. Il Comitato organizzativo, stiler la graduatoria della selezione e avviser i primi 40 Artisti accettati a partecipare entro il 23 luglio. Gli Artisti convocati dovranno a questo punto inviare ufficiale adesione con contestuale pagamento della quota di iscrizione a strettissimo giro (entro e non oltre il 25 luglio). In assenza di conferma, si proceder a chiamare i successivi Artisti in classifica. Le suddette comunicazioni dovranno pervenire a mezzo mail ( HYPERLINK "mailto:info.apai@virgilio.it" info.apai@virgilio.it) contestualmente alla prevista quota di iscrizione (euro 50,00 per Associati APAI, euro 50,00 + 25,00 per quota associativa semestrale per i non Associati). La fotografia in formato jpg dell opera definitiva che verr presentata in mostra corredata del passo del Vangelo cui si riferisce dovr pervenire a  HYPERLINK "mailto:info.apai@virgilio.it" info.apai@virgilio.it entro e non oltre il 18 agosto 2011. Are admitted to the event: Artists known or unknown, nationally and internationally. Artists may confirm their participation for the selection by sending the required documentation and technical information: a brief curriculum vitae and a photograph of a work in jpg format. The organizing committee, will establish the ranking of the selection and notify the first 40 artists accepted to participate. Strictly within the Artists July 23 squad will have to send official with the simultaneous payment of membership fee. Without confirmation since 25 july, we will proceed to call the next Artists in the standings. These notices must be sent by mail (info.apai @ virgilio.it) together with the planned fee (EUR 50.00 per APAI Associates, EUR 75.00 for non-Members). A photograph in jpg format of a definitive work joined to the related gospels words must be sent since August 18th to info.apai@virgilio.it. Articolo/article 3 Sono ammesse tutte le tecniche, le correnti e le tendenze artistiche: pittura, scultura, grafica e disegno, fumetto, installazioni, fotografia, video, ed altro. Non sono previste limitazioni nelle tecniche, negli stili o nelle tendenze artistiche, purch ci si attenga al tema della Mostra ed al rispetto della sacralit del luogo ospitante. Pur nel rispetto dell ampia libert di tendenza e di espressione, APAI ha facolt di escludere dalla manifestazione quelle opere che non dovessero risultare rispondenti allo spirito della mostra stessa. Ad ogni artista sar consentito presentare una opera, a meno che non si tratti di un trittico o pollittico, corredata del passo del vangelo da cui stata ispirata, le cui misure complessive comunque non dovranno superare m 1,50 x 1,20 (compresa cornice e passe par tout - per uniformit, per la cornice si dovr usare delle bacchette di legno grezzo dello spessore di 2 cm), non verranno accettate opere eccedenti le misure indicate. E obbligatorio munire le opere di idonea attaccaglia centrale. Per motivi di sicurezza le opere pittoriche e fotografiche dovranno pervenire senza vetro. Le opere scultoree non dovranno superare il peso di 20 kg (per pesi superiori consultare la segreteria) ed essere munite di proprio supporto. La loro altezza non dovr superare m.1,50 con base di appoggio non superiore a 1,00 x 1,00 m. La dislocazione delle opere e gli itinerari artistici della manifestazione sono a cura dell Organizzazione. Gli spazi espositivi di Palazzo dei Papi, che evoca memorie storiche di antichi avvenimenti, ricordi di conflitti di potere, di povert di ricchezza e di dolore ma per i viterbesi il simbolo stesso della citt, offrono delle condizioni standard che prevedono i pannelli espositivi e spazi di pavimento con adeguata illuminazione; per esigenze che richiedano un allestimento particolare si prega di informare tempestivamente la direzione per discuterne la possibilit di realizzazione. Non ammesso utilizzare le pareti usando chiodi, viti e quant altro possa danneggiare la sala espositiva, in caso di accertata non ottemperanza saranno applicate sanzioni. All techniques are allowed, and the current trends in art: painting, sculpture, graphic design, installations, photography, video, and more. There are no limitations in the techniques, styles and trends in art, as long as you adhere to the theme of the exhibition and to respect the sacredness of the site host. While respecting the broad trend and freedom of expression, APAI has the right to exclude from the event should not be works that respond to the spirit of the exhibit. Each artist will be allowed to direct an opera, unless it is a triptych, or Pollitt, with the frases related the  Vangeli , whose total measurements, however, should not exceed m 1,50 x 1,20 (including frame and passe par tout - for consistency, we recommend use of raw wood rods with a thickness of 2 cm) will not accept work in excess of the indicated measures. And 'compulsory to fit the works of a suitable central hanger. For security reasons, the paintings and photographs must be sent without glass. The sculptures must not exceed a weight of 20 kg (for weights over see the office) and be provided with their support. Their height must not exceed m.1, 50 with a base not exceeding 1.00 x 1.00 m. The locations of the works and the artistic itineraries of the event by the Organization. The exhibition spaces of the Palais des Papes, evoking memories of ancient historical events, memories of conflict of power, wealth and poverty of pain but for Viterbo is the symbol of the city, offering the standard conditions and will provide the panels and of floor space with adequate lighting, for special needs that may require a set up please inform the management to discuss the possibility of realization. You may not use the walls using nails, screws and anything else that could damage the exhibition hall, in the event of proven non-compliance penalties will be applied. Articolo/article 4 Gli Artisti, entro i termini stabiliti, invieranno alla segreteria organizzativa la scheda di conferma della loro partecipazione ed il regolamento firmato in ogni sua pagina per accettazione, contestualmente al versamento della quota, come descritto nella scheda. Il contributo di partecipazione serve a coprire parte delle spese di gestione e organizzazione della Mostra e comprende i seguenti servizie costi di organizzazione: assicurazioni, costi di progettazione grafica e di realizzazione del catalogo. APAI pur curando con la massima attenzione l evento in ogni suo dettaglio declina ogni responsabilit per eventuali refusi o errori. Il contributo serve anche a responsabilizzare gli Artisti partecipanti e ad evitare rinunce che potrebbero compromettere il buon esito della manifestazione. Pertanto, l eventuale ritiro in qualunque momento della conferma di partecipazione alla manifestazione, qualunque sia il motivo del ritiro, non dar agli Artisti rinunciatari alcun diritto al rimborso delle quote versate. L Organizzazione allestir un servizio di trasporto e spedizione delle opere, sia per la partecipazione che per la restituzione, il cui costo, seppur calmierato rispetto agli attuali prezzi degli spedizionieri, sar a totale carico di tutti gli artisti che ne usufruiranno. Artists, on time, the secretariat will send the card to confirm their attendance and the regulation signed on each page for acceptance, paying the fee, as described herein. The participation fee is to cover the costs of management and organization of the exhibition and includes the following services and costs of organization, insurance, costs for graphic design and construction of the Catalogue. APAI while taking care with the utmost attention to every detail of the organisation is not responsible for any typos or errors. The contribution also serves to empower artists and participants to avoid waivers that could affect the success of the event. Therefore, the possible withdrawal at any time of confirmation of participation in the event, whatever the reason for its withdrawal, will not give to Artists renounced any right to reimbursement of fees paid. The organization will set up a transport service and shipping of works, both for participation and for the return, the cost, than current prices calmed even though the shippers will be charged in full of all the artists who will use it. Articolo/article 5 L ente organizzatore assicurer la sede espositiva per furto, incendio e responsabilit civili, solo nel periodo dell esposizione. E facolt di ogni Artista provvedere all'assicurazione per furto, e danni che possono subire le opere durante le operazioni di trasporto, di allestimento permanenza e disallestimento. Tutte le polizze dovranno contenere la clausola di rinunzia all'azione di rivalsa sia nei confronti del Centro Espositivo che dell'Ente Organizzatore, sia nei confronti degli altri espositori. L'espositore non assicurato ammesso ugualmente alla mostra assumendo in prima persona le responsabilit previste dal presente articolo. The organizer will provide the venue for theft, fire and civil liability, only during the exposure. E 'power of each artist to provide insurance for theft, and damage which may occur during the works of transport, construction and permanent dismantling. All policies shall contain the clause of renunciation of action is to obtain relief in respect of which the Organiser Exhibition Centre, both in relation to other exhibitors. The exhibitor is not insured is admitted to the exhibition also take personal responsibility under this Article. Articolo/article 6 L allestimento sar curato dall Associazione APAI, pertanto la disposizione dei lavori sar di esclusiva competenza della stessa. Gli Artisti dovranno consegnare l opera, munita di proprio supporto (cavalletto o base per le sculture) il 1 settembre dalle ore 15,00 alle ore 18,00 - o il 2 settembre dalle ore 10,00 alle ore 12,00. The exhibition will be curated by the APAI, so the provision of work will be the sole responsibility of same. Artists must deliver the work, equipped with its own stand (stand or base for the sculpture) on September 1 from 15.00 to 18.00 hours - or 2 September from 10.00 to 12.00. Articolo/article 7 Gli Organizzatori, per favorire l'afflusso degli operatori specializzati e dei visitatori Italiani e Stranieri, svolger una adeguata azione pubblicitaria, interessando specifici organi di stampa e veicoli pubblicitari. Gli Artisti si impegnano a partecipare attivamente alla manifestazione poich si intende creare momenti di dialogo e illustrazione delle opere tra Artista e Pubblico. The organizers, to facilitate the flow of skilled operators and the Italian and foreign visitors, will be a proper advertising campaign, involving specific organs of the press and advertising channels. The artists are committed to actively participate in the event because you want to create opportunities for dialogue and illustration of the works of artists and audiences. Articolo/article 8 Ciascun partecipante concede agli Organizzatori i diritti di riproduzione delle opere e dei testi rilasciati ai fini della pubblicazione del catalogo e della eventuale pubblicazione delle stesse sul sito web dell Associazione APAI e delle altre forme di comunicazione e attivit che l Organizzazione riterr opportune. Gli autori minorenni, se selezionati, potranno accedere alla pubblicazione solo previo consenso scritto dei genitori. La pubblicazione nel catalogo non da adito a chicchessia a richieste di compensi, rimborsi spese o diritti d autore. Ciascun partecipante autorizza espressamente gli Organizzatori, nonch i loro delegati, a trattare i dati personali trasmessi in base alla L. 675/96 e successive modifiche. Each entrant grants to the organizers the rights to reproduce works and other documents released for publication of books and eventual publication of the same on the website of APAI and other forms of communication and activities that 'Organization deems appropriate. The authors minors, if selected, will be accessible only publication prior written consent of the parents. Publication in the book does not call for anyone to requests for fees, expenses or royalties. Each participant expressly authorizes the organizers and their delegates, to process personal data supplied pursuant to L. 675/96 and subsequent amendments. Articolo/article 9 Le norme del presente regolamento generale sono necessariamente molto riassuntive e non esprimono in maniera completa e dettagliata la complessit del lavoro organizzativo. Il presente regolamento generale si intende pertanto integrato da tutti i comunicati e lettere circolari che verranno diramati a quanti altri collaborano alla realizzazione della manifestazione. E' facolt degli Organizzatori, qualora concorrano opportuni motivi, variare luogo della sede espositiva, dandone tempestiva notizia a tutti gli interessati. APAI si riserva il diritto di apportare al presente regolamento tutte quelle modifiche che riterr opportune per il buon andamento della manifestazione, impegnandosi a darne tempestiva comunicazione agli artisti partecipanti. Provisions of this regulation are necessarily very general summary and does not make a complete and detailed the complexity of the organizational work. This Regulation will therefore generally complemented by all the press and circular letters that will be branched to many others collaborate to the event. E 'power of the organizers, provided it helps the appropriate reasons, change the place of the exhibition, giving timely notice to all interested parties. APAI reserves the right to make this Regulation all those changes deemed necessary for the smooth running of the event, pledging to give timely notice to the participating artists. Il presente regolamento, firmato dall'Artista - in ogni pagina-, dovr essere spedito insieme alla Scheda di Adesione. This Regulation, signed by the artist - in each page, must be sent along with the subscription form. Data/date Firma/signature Per ulteriori informazioni contattare l Organizzazione/ For more information, contact the organization:  HYPERLINK "mailto:info.apai@virgilio.it" info.apai@virgilio.it - tel 333 5994451 Gli aggiornamenti verranno tempestivamente pubblicati anche sul sito  HYPERLINK "http://www.apai.forumfree.it" www.apai.forumfree.it Updates will be promptly published on the site www.apai.forumfree.it DyK yK :mailto:info.apai@virgilio.itDyK yK :mailto:info.apai@virgilio.itDyK yK :mailto:info.apai@virgilio.itDyK yK :http://www.apai.forumfree.it@@NormalCJsH mH tH _HaJDADDefault Paragraph Fontdid Table Normal.a44l44l (k(No ListModulo vuoto AE$$$d*$1$@& ]^`$a$-DM Y568:;<7S*CJOJPJQJ@phsHmHH*>*KHEHfHq  textstyleE$$$ddd*$1$@& ]^`$a$-DM Y568:;<7S*CJOJPJQJ@phsHmHH*>*KHEHfHq NN artists-title56CJOJPJQJph*L"Corpo del testo 2E$$$d*$1$@& ]^`$a$-DM Y568:;<7S*CJOJPJQJ@phsH mH H*>*KHEHfHq 2Corpo del testoE$$$d*$1$@& ]^`$a$-DM Y568:;<7S*CJ OJPJQJ@phsHmHH*>*KHEHfHq BModulo vuoto BE$$$d*$1$@& ]^`$a$-DM Y568:;<7S*CJOJPJQJ@phsHmHH*>*KHEHfHq XXCollegamento ipertestuale CJph,>*bNormaleE$$$d*$1$@& ]^`$a$-DM Y568:;<7S*CJOJPJQJ@phsHmHH*>*KHEHfHq ((hps CJph00hps atn CJphg-docE$$$ddd*$1$@) 0 00#7$|. 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