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Grazie ad Adriano Olivetti negli anni 1950 e 1960 l’Italia sviluppò un’industria dei grandi computer elettronici, ottenendo eccellenti risultati con l’ “Elea”, competitiva con i concorrenti americani. La scomparsa dei creatori dell’impresa e l’insipienza della classe dirigente italiana pose fine a quella intrapresa. General Electric, erede del sogno Olivetti, realizzò in Italia gli elaboratori GE 115 e GE 130, distribuiti in tutto il mondo. L’Autore di questa autobiografia, allora giovane progettista nei grandi centri di ricerca dell’Olivetti, descrive azienda, macchine e protagonisti di quel periodo d’oro dell’elettronica informatica italiana. Il testo si pone come la continuazione, ma a ritroso nel tempo, del libro che l’Autore scrisse sulla Fiat degli anni 1976-1996 (“Fiat - I segreti di un’epoca”), non si esime dal toccare temi scottanti, denunciando le debolezze dell’oligarchia finanziaria del Paese che condusse all’abbandono del settore, e delinea i grandi temi socio-economici del tempo, dal “miracolo economico” fino all’“autunno caldo” del 1969. Si spinge fino a valutare quanti guai avrebbero potuto essere risparmiati all’Italia se avesse prevalso l’illuminata visione propugnata da Adriano Olivetti. L’ultimo capitolo racconta la cessione della telefonia Olivetti, che l’Autore visse nel 1996 da vice-presidente dell’azienda d’Ivrea, ormai prossima alla fine.

An exhibition catalogue of artworks by Gloria Stern. Stern's new series of work on canvas explores the exchange between viewer and artwork, questioning what goes on in the imagined space between the viewer and the viewed. The artwork expresses its own personality, Stern suggests, and often it speaks back to us. Stern has created a rich synthesis of past idioms and abstract forms. 'The Viewer' refers to a new consideration of art that treats the artwork as a launching point for an experience, not a final contact. In this new series Stern is shifting the lens, diverging from a narrative representation of life, to a more personal vision. The Viewer poses, "a kind of performative allegory on the relationship of viewer and viewed and their violation of borders," according to catalogue writer Martina Copley.* "It seems perplexingly in Stern's work that the view itself is viewing us." Stern exposes the contingencies that escape our habits of seeing, orchestrating paintings that seemlessly shift from the real to the imaged. She "exposes the contingencies that escape our habits of seeing," says Copley. Gloria Stern's past exhibitions include Helen Gory Galerie (1996 and 1999), Gallery 101 (2003, 2005 and 2007), and Artman Gallery (2012). She has displayed works at the Melbourne International Art Fair (2002) and the Boroondara Town Hall Gallery. She has been recognised in several awards including Finalist positions in the Williamstown Contemporary Art Prize (2009) and the Calleen Art Award at Cowra Regional Art Gallery (2010 and 2011). Her works are featured in the collections of Cowan Design, Melbourne, and the City of Boroondara Collection, Melbourne. Her paintings have been acquired for private collections in Australia, UK, USA, and New Zealand. She will be included in two upcoming exhibitions at The Town Hall Gallery (Booroondara), curated by Mardi Nowak: 'Ten Years of Collecting,' and 'Act of Seeing.' *Martina Copley, artist, writer and curator. Excerpts from "The Viewer," Artman Gallery catalogue essay, October 2013.

Several important museums in Europe began their life attached to academies of art. One of the very few that survives encased within an art school is the picture gallery of the Academy of Fine Arts in Vienna. It became the first public museum in Vienna, t

In die unendlichen Weiten des Universums entführen die anregenden, organischen und farbenreichen Gemälde von Martina Fischer. Dem intensiveren Blick des Betrachters ins Kleine und Große öffnen sich nun die Bilder der seit 1999 in Meersburg und nun in Überlingen beheimateten Künstlerin, gezeigt in einer umfassenden Werkschau in Hagnau am Bodensee. 0Makrokosmos oder Mikrokosmos? Schaut man vielleicht gerade durch ein Elektronenmikroskop in einen Organismus? Oder durch ein Teleskop in unendliche Weiten? Solche oder andere Vorstellungen assoziieren die Bilder von Martina Fischer. Martina Fischers Bilder bewegen sich zwischen Abstraktion und Illusion. Sie irritieren und faszinieren, weil Fischer Grenzen zwischen Innen- und Außenwelt auflöst. Fischers „abstrakter Naturalismus“ ist ihre ganz individuelle Fortsetzung einer langen malerischen Tradition. Ihre Bilder transportieren den Betrachter durch Raum und Zeit. Nach Einzelausstellungen in Mailand, Berlin, Luxemburg und New York ist die Ausstellung der erste große Rückblick auf ihre Malerei der letzten vierzehn Jahre.