Daniele papuli biography of martin

In the 1st century CE, the appearance of the codex marked nothing less than a revolution in Rome, as it made the use of the scroll gradually obsolete.

The world is a huge book, observed the mystical philosopher Ibn Arabi in the 12th century. In the West it was also during the 12th century that books started to be divided into chapters, with a logical sequence and an overall plan. But beyond its contents, texts and images, the book presents a material form peculiar unto it. It is probably and above all this material form that explains its lasting success. The book came about from the fold, which enables it to stay upright, and be opened and closed. The fold divides spaces without separating them, at once apart and together, face to face, front and back, outside and inside, all brought together in one and the same volume. Otherwise put, the book makes it possible to think about the continuous in discontinuity, and the discontinuous and continuity.

With the general upsurge of electronics, since the screen has been competing with the realm of paper, and despite all the various fears expressed, the bookthat perceptible objectis holding its own.

As a supreme cultural object, the book introduces into our thinking and our behaviour a special relation to time, the body, truth and the world which it contains and reveals. It thus contrasts with the computer which, without beginning or end, broadcasts truths which are many and varied, temporary, and constantly unfulfilled. Its organic body, made of hide and paper, glue, ink and thread, introduces a physical, intimate relation which no electronic object will ever be able to offer. Devouring a book is not just a metaphor and the vocabulary of the book often reveals its kinship with the human body, conjuring up the head, the skin, the back, and the nerves It is not surprising, nowadays, that a great many artists have developed a deep interest in the book and its material form, transforming it, manipulating it, and appropriat

Pieke Bergmans, Francesco Binfare', Pietro Consagra, Alessandro Ciffo, Alessandro Mendini, Roberto Mora, Gianni Osgnach, Daniele Papuli, Andrea Salvetti e Matteo Thun

Dilmos. As the leader of design both in Milan and throughout the world, Dilmos was founded in 1980 as a furniture showroom that exhibited the quintessential tokens of modern and contemporary design.

Since 1985, concurrently with the exhibition dedicated to Alessandro Mendini, it has focused its interests on design pieces as poetic mediums, vehicles for communication and interaction between the creator and interlocutor.

Thus, Dilmos is a place for reflection and for proposing new paradigms for living, for functioning, for the link between form and function, art and design.

The exhibition. We are offering the event 9 + uno (nine plus one), on the occasion of Fuorisalone 2015.

Ten items will be exhibited by their ten designers: Pieke Bergmans, Francesco Binfare, Pietro Consagra, Alessandro Ciffo, Alessandro Mendini, Roberto Mora, Gianni Osgnach, Daniele Papuli, Andrea Salvetti and Matteo Thun.

These 9 artists are already present in the Dilmos exhibition repertoire, and one is PietroConsagra, one of the most influential sculptors of the 20 th century. The concept of the "Mobile frontale" (frontal furniture), which was designed for private use in 1956, is a limited co-edition by the Archivio Pietro Consagra and Dilmos. The original is on display at the Trienniale of Milan exhibition event dedicated to arts and foods (running from April 9 - November 1, 2015).

Physical descriptions and narrations for each piece have been provided by the designers, who were asked to contextualize their works in terms of their inspiration and method of experimentation. We were pleased to have maintained these descriptions as unique and original as they were rendered.

PIEKE BERGMANS

"Illusion I" Table

ash veneered mdf

high-tech, full color imprint

cm 210x90x78

2013

"Having chosen a

The former French Roman Catholic Diocese of Saint-Papoul, now a Latin titular see, was created by Pope John XXII in 1317 and existed until the Napoleonic Concordat of 1811.

The seat of the diocese was at Saint-Papoul, in south-west France, in the modern department of Aude; it was some distance northeast of the main highway between Carcassonne and Toulouse, where there was already a Benedictine monastery, founded in the eighth century and dedicated to Saint Papoul. The bishop of Saint-Papoul was suffragan of the Archbishop of Toulouse.

The diocese existed until the French Revolution. It was one of the diocese scheduled to be suppressed under the Civil Constitution of the Clergy (1790). Under the Concordat of 1801 its territory was taken over by the Diocese of Carcassonne.

History

In his bull of erection, issued on 22 February 1317, Pope John XXII stated that the population in the diocese of Toulouse was growing at such a pace that the Bishop was no longer able to govern his people effectively; and that therefore, having consulted with the cardinals, he had decided to promote the diocese of Toulouse into an Archbishopric and Metropolitanate, with four new dioceses, one of which was Saint-Papoul.

The Benedictine abbey of Saint-Papoul was converted into the Cathedral, and the monks were organized into a Cathedral Chapter consisting of twelve Canons led by a Prior Major (rather than Dean or Provost, since they remained a monastic community). In 1670 the Chapter was converted into a college of twelve secular Canons, with a Provost and four prebendaries.

The Pope also made the church of Castelnaudary into a Collegiate Church of twelve Canons, with a Dean, a Sacristan, a Precentor; there were also to be three hebdomadary priests, 24 chaplains, two deacons and two subdeacon

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