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Events in Art and Archaeology

Don Romualdo and Neri di Bicci: <EM>Magdalene</EM>Painted woodEmpoli, Collegiata di Sant’Andrea
Don Romualdo and Neri di Bicci: Magdalene
Painted wood
Empoli, Collegiata di Sant’Andrea
“Made Sculpture out of Wood and Colored It” : Sculpture from the 1400s in painted wood in Florence
FLORENCE  •  Galleria degli Uffizi  •  21 March - 28 August 2016
 
During the entire first half of the 1400s, painted sculpture – whether of wood, marble or terracotta – was the highest form of artistic expression for sculpture. The exhibit, for the first time ever, sets out to show the history of wooden, colored sculpture, through a core of 50 works, of 15th century in Florence. In Florence, the life of the workshops, where sculptors, painters and architects came together to discuss, compare and create, were of utmost importance for the work of the Masters of that time.

Galleria degli Uffizi Website


Contact: Galleria degli Uffizi
Piazzale degli Uffizi, 6
50122 Florence, Italy
Tel: (39) 055 238 8651

Parmigianino:<EM> Conversion of Saul</EM>&nbsp;Kunsthistorisches Museum, Vienna
Parmigianino: Conversion of Saul 
Kunsthistorisches Museum, Vienna
Correggio and Parmigianino: Art in Parma during the 16th century
ROME  •  Scuderie del Quirinale  •  12 March - 26 June 2016
 

The exhibition aims to allow visitors to avail themselves of a selection of masterpieces from some of the world's leading museums to compare and contrast the artistic careers of two of the greatest luminaries of the Italian Renaissance – Antonio Allegri known as Correggio (1489-1534) and Francesco Mazzola known as Parmigianino (1503-40). The formidable talent of these two artists alone placed the city of Parma in the early 16th century on an equal footing with the peninsula's other great art capitals, Rome, Florence and Venice. 

Correggio only travelled to Parma when he was already at the height of his career, in the late 1510s, but he was to remain in the city for the rest of his life.  Some twenty of his paintings, covering his entire career, have been selected to underscore the extraordinary emotive force and expressive range that the artist put not only into his religious works but also into his mythological paintings, which were to have such a huge impact on later artists, ranging from the Carracci brothers to Watteau and even to Picasso.

The exhibition Correggio e Parmigianino. Arte a Parma nel Ciquecento (Correggio and Parmigianino. Art in Parma during the 16th century) hosts such unquestioned masterpieces as the Barrymore Madonna from the National Gallery of Art in Washington, the Portrait of a Lady from the State Hermitage Museum in St. Petersburg, the Martyrdom of Four Saints from the Galleria Nazionale in Parma, the Noli Me Tangere from the Museo del Prado in Madrid, the School of Love from the National Gallery in London and the Danaë from Rome's Galleria Borghese.

The Parmigianino paintings on display include his large Bardi Altarpiece, the first work he ever painted at the age of only sixteen, a monumental St. Roch which he painted for the Basilica of San Petronio in Bologna, the Conversion of Saul from the Kunsthistorisches Museum in Vienna, the San Zaccaria Madonna from the Uffizi Gallery in Florence, his extremely celebrated Turkish Slave from the Galleria Nazionale in Parma and his so-called Anthea, one of the most sophisticated and mysterious portraits of the entire 16th century.



Scuderie del Quirinale Website


Contact: Scuderie del Quirinale
Via XXIV Maggio 16
Rome
Tel: (39) 06 69 62 71

Edward Kienholz:<EM> Five Car Stud,</EM> 1969–72 Photo: Delfino Sisto Legnani Studio
Edward Kienholz: Five Car Stud, 1969–72
Photo: Delfino Sisto Legnani Studio
Kienholz: Five Car Stud
MILAN  •  Fondazione Prada Milano  •  19 May - 31 December 2016
 

The exhibition brings together a selection of artworks realized between 1959 to 1994 by Edward Kienholz and Nancy Reddin Kienholz, including the well-known installation that gives the show its title.

Five Car Stud was created by Edward Kienholz from 1969 to 1972, and first exhibited at documenta 5 in Kassel, curated by Harald Szeemann.

A life-sized reproduction of a scene of racial violence, Five Car Stud is considered one of the American artist’s most significant works. Despite the controversy and attention that it earned from critics right from its debut, the piece remained hidden from view in the storage of a Japanese collector for almost forty years. The artwork was only presented once again to the viewing public in 2011 and 2012 following restoration, first at the Los Angeles County Museum of Art and then at the Louisiana Museum of Modern Art in Denmark. Today the artwork is part of the Prada Collection, and is being shown for the first time ever in Italy, where it forms the central nucleus of an exhibition path that runs from the Sud gallery to the Deposito, and extends into an external space, presenting 25 artworks including sculpture, assemblages and tableaux realized by the Kienholzes from 1959 to 1994, as well as documentation material on the history and making of Five Car Stud.

Five Car Stud catapults the viewer into a nightmarish situation, immersing him and her in a dimension – either removed or forgotten – of extreme violence. More than forty years after it was first created, the artwork’s expressive force, its powerful symbolic charge and the lucidity of the accusation against racial persecution retain their original strength.

Among the other tableaux, assemblages and sculptures by Ed and Nancy Kienholz included in the exhibition are the wooden relief ‘Ore the Ramparts We Watched, Fascinated (1959), inspired by the American-Soviet space race; assemblages that incorporate or simulate monitors, such as The Death Watch (1976), Bout Round Eleven (1982) and The Twilight Home (1983); The Caddy Court (1986–1987), a grotesque and funereal representation of American Supreme Court justices; The Merry-Go-World or Begat by Chance and The Wonder Horse Trigger (1991–1994), a carousel which conceals an empathetic contemplation on the random determinism of birth; The Bronze Pinball Machine with Woman Affixed Also (1980), which reduces the female body to an object of pure sexual entertainment; Jody, Jody, Jody (1994), a tableau evoking a deplorable instance of child abuse; and one of the last works by the Kienholzes, 76 J.C.s Led the Big Charade (1993–1994), an installation that transforms baby dolls, wagon parts and different cultural and historical depictions of Jesus Christ into crucifixes, taking aim at religion in its institutionalized forms devoid of spirituality.



Fondazione Prada Milano Website


Contact: Fondazione Prada  Milano
Largo Isarco, 2
20139 Milano
Italy
Tel: (39) 2 5666 2611

Piero della Francesca: <EM>Madonna della Misericordia</EM>, 1445-1462, Olio su tavolaMuseo Civico, Sansepolcro
Piero della Francesca: Madonna della Misericordia, 1445-1462, Olio su tavola
Museo Civico, Sansepolcro
Piero della Francesca: Exploring a Legend
FORLI  •  Musei di San Domenico  •  13 February - 26 June 2016
 
The complex interaction of art and criticism, creative output and scholarship, is the aim of Piero della Francesca. From the success during his life – Luca Pacioli defined him “the king of painting” till being forgotten and newly discovered.
 
Some paintings by Piero, carefully selected to mark the evolving stages of that rediscovery, will therefore form the core of the exhibition. These will be accompanied by works by other great Renaissance artists, clarifying how Piero acquired his language and the defining role in the evolution of modern art assigned to him by recent scholarship. To illustrate Florentine culture of the 1430s and 1440s, when Piero’s career was launched, the show will display key paintings by Domenico Veneziano, Beato Angelico, Paolo Uccello and Andrea del Castagno, the leading artists of the period after Masaccio. The perspective preoccupation of Paolo Uccello, the emphatically sculptural figures by Andrea del Castagno and the chromatic effects sought by Domenico Veneziano and Beato Angelico, offer significant parallels for Piero in his twenties and thirties. The precocious influence of flemish painting will be seen in a fresco by the portuguese painter Giovanni di Consalvo from the Chiostro deli Aranci at the Badia Fiorentina, where the precision of the perspective construction is accompanied by an unusual attention to light and shade.

The travels which the artist undertook to northeastern Italy (Modena, Bologna, Rimini, Ferrara, Ancona) prompted the growth of a “cultura pierfrancescana” identified by modern scholarship in the works of Emilian artists (Marco Zoppo, Francesco del Cossa, Cristoforo da Lendinara, Bartolomeo Bonascia), also included here. Likewise, Piero’s painting was echoed in the Marches (Giovanni Angelo d’Antonio da Camerino, Nicola di Maestro Antonio), Tuscany (Bartolomeo della Gatta, Luca Signorelli) and Rome (Melozzo da Forlì, Antoniazzo Romano).

A widely-accepted hypothesis suggests Piero’s language also made its mark in Venice, where the work of Giovanni Bellini and Antonello da Messina shows their awareness of his mode of expression.


Musei di San Domenico Website


Contact: Musei di San Domenico
Piazza Guido da Montefeltro
Forli
Italy
Tel: (39) 0543 71 26 59

MAXXI, <EM>InsideOut Project</EM> by JR. Costruiamo la comunità del XXI secolo
MAXXI, InsideOut Project by JR.
Costruiamo la comunità del XXI secolo
Extraordinary Visions: L’Italia ci guarda
ROME  •  MAXXI National Museum of XXI Century Arts  •  2 June - 23 October 2016
 

To mark the 70th anniversary of the Italian Republic, MAXXI is presenting a group exhibition featuring images by important Italian and international photographers who have focused on Italy: a poetic and yet documentary, socialand institutional “atlas” of the Italy of recent decades. On show are sublime and blighted landscapes, ideal cities and neglected suburbs, architecture and marginal urban spaces.

The exhibition layout presents four sections, enriched by videos and photo projections and by the special project Inside Out by JR, installed in the museum square.

Photographers:

Paola Agosti, Alterazioni video, Olivo Barbieri, Gabriele Basilico, Letizia Battaglia, Gianni Berengo Gardin, Massimo Berruti, Tommaso Bonaventura, Alessandro Imbriaco and Fabio Severo, Michele Borzoni, Andrea Botto, Silvia Camporesi, Giovanni Chiaramonte, Gianni Cipriano and Simone Donati, Mario Cresci, Tano D’Amico, Paola De Pietri, Franco Fontana, Giovanni Gastel, Luigi Ghirri, Guido Guidi, Francesco Jodice, Mimmo Jodice, Giuseppe Leone, Erich Lessing, Armin Linke, Ugo Mulas, Walter Niedermayr, Petra Noordkamp, Paolo Pellegrin, Massimo Piersanti, Mustafa Sabbagh, Ferdinando Scianna, Mario Spada, Hiroshi Sugimoto, Massimo Vitali, Francesco Zizola, Begoña Zubero Apodaca.

 



MAXXI National Museum of XXI Century Arts Website


Contact:

MAXXI National Museum of XXI Century Arts
Via Guido Reni 4A
00196 Rome

 

 


Tel: (39) 06 3225178

<EM>L’image volée</EM>, installation view
L’image volée, installation view
Thomas Demand: L’image volée
MILAN  •  Fondazione Prada  •  18 March - 21 August 2016
 

L’image volée (The stolen image) is a group show curated by artist Thomas Demand. The show includes more than 90 works produced by over 60 artists from 1820 through the present day. Demand’s idea for the exhibition is to explore the way we all rely on pre-existing models, and how artists have always referred to existing imagery to make their own. Questioning the boundaries between originality, conceptual inventiveness and the culture of the copy, the project focuses on theft, authorship, annexation and the creative potential of such pursuits.

The exhibition presents three possible investigations: the physical appropriation of the object or its absence; theft as related to the image per se rather than the concrete object itself; and the act of stealing through the making of an image.   

L’image volée is accompanied by an illustrated book published by Fondazione Prada with newly commissioned short stories by Ian McEwan and Ali Smith, essays by Russell Ferguson, Christy Lange and Jonathan Griffin, and contributions by Rainer Erlinger and Daniel McClean.



Fondazione Prada Milano Website


Contact: Fondazione Prada  Milano
Largo Isarco, 2
20139 Milano
Italy
Tel: (39) 2 5666 2611

Carsten Höller: Doubt
MILAN  •  Fondazione Pirelli HangarBicocca  •  7 April - 31 July 2016
 
 
Carsten Höller (1961, Brussels), who has a degree in agricultural entomology, has often been inspired by scientific research and experimentation to explore and transform the exhibition space through installations and sculptures that challenge the observer’s perception and call into question the very idea of art. Doubt presents a rich selection of historical works and new projects that alter the public’s physical and psychological sensations, and that destabilize the certainties of the world around them.

Fondazione Pirelli HangarBicocca Website


Contact: Fondazione Pirelli HangarBicocca
Via Chiese 2
20126 Milano
Tel: (39) 02 66 11 15 73

<P>Mimmo Rotella: <EM>May I? (Posso?),</EM> 1963-1965 (detail). Photograph on canvasRobilant+Voena , London-Milan-St. Moritz © Mimmo Rotella, by SIAE 2016.</P>

Mimmo Rotella: May I? (Posso?), 1963-1965 (detail). Photograph on canvas
Robilant+Voena , London-Milan-St. Moritz
© Mimmo Rotella, by SIAE 2016.

Imagine: New Imagery in Italian Art 1960-1969
VENICE  •  The Peggy Guggenheim Collection  •  23 April - 19 September 2016
 
 
Curated by Luca Massimo Barbero, the exhibition attempts to document artistic experimentation in Italy during the 1960s, at the height of the economic boom. The show features works by artists such as Franco Angeli, Mario Ceroli, Domenico Gnoli, Giosetta Fioroni, Tano Festa, Fabio Mauri, Francesco lo Savio, Michelangelo Pistoletto, and Mario Schifano.

The Peggy Guggenheim Collection Website


Contact: The Peggy Guggenheim Collection
704 Dorsoduro
30123 Venice
Tel: (39) 041 24 05 411

<DIV style="LEFT: -99999px; POSITION: absolute">ppolito Caffi, “Venice: The Molo at Sunset”, 1864, Oil on canvas 43×59 cm Visita il <A href="http://correr.visitmuve.it/">Museo Correr</A></DIV>Ippolito Caffi: <EM>Venice: The Molo at Sunset</EM>, 1864Oil on canvas 43×59 cm
ppolito Caffi, “Venice: The Molo at Sunset”, 1864, Oil on canvas 43×59 cm

Visita il Museo Correr
Ippolito Caffi: Venice: The Molo at Sunset, 1864
Oil on canvas 43×59 cm
Ippolito Caffi (1809-1866): Between Venice and the Orient
VENICE  •  Museo Correr  •  28 May - 20 November 2016
 
 
The greatest retrospective of Ippolito Caffi ever shown. More than 150 paintings telling about the most original landscape artist of 19th century.

Visita il Museo Correr
The greatest retrospective of Ippolito Caffi ever shown. More than 150 paintings telling about the most original landscape artist of 19th century.

Visita il Museo Correr
The greatest retrospective of Ippolito Caffi ever shown. More than 150 paintings telling about the most original landscape artist of 19th century.

Visita il Museo Correr
The greatest retrospective of Ippolito Caffi ever shown. More than 150 paintings telling about the most original landscape artist of 19th century.

Visita il Museo Correr
150 years ago during the Battle of Lissa, Ippolito Caffi (1809-1866) lost his life on the sinking ship Re d’Italia, on which he had embarked to document the events of the war through his swift and accurate drawings. Caffi, born in Belluno but Venetian by choice, was an extraordinary painter and reporter, a restless observer of society and a convinced patriot. 150 years ago (almost a sign of fate!) the Veneto and Venice were annexed to Italy. Venice was the city that Caffi loved most, whose freedom he fought for and whose spectacular beauty he translated into painting, employing a capacity for synthesis unequalled during the entire nineteenth century. Now, to commemorate the coincidence of this double anniversary, the complete, impressive collection of his paintings, the property of the Venice Civic Museums Foundation, is to be shown after fifty years, in a major exhibition that is a tribute to the artist. Caffi was the most modern and original landscape artist of his time: his lightfilled paintings are unsurpassed in immortalising the soul of the places and peoples he encountered during his many trips throughout Italy, Europe and the Mediterranean basin. The collection on show is a virtually unexplored and extraordinary treasure in every respect. It consists of a group of more than 150 paintings that Caffi’s widow, Virginia Missana, donated to the city in 1889, together with many loose drawings and twenty-three albums. For this exhibition, Caffi’s paintings, normally conserved in the Ca’ Pesaro depositories, will be accompanied by their first catalogue raisonné, published by Marsilio.

Visita il Museo Correr
150 years ago during the Battle of Lissa, Ippolito Caffi (1809-1866) lost his life on the sinking ship Re d’Italia, on which he had embarked to document the events of the war through his swift and accurate drawings. Caffi, born in Belluno but Venetian by choice, was an extraordinary painter and reporter, a restless observer of society and a convinced patriot. 150 years ago (almost a sign of fate!) the Veneto and Venice were annexed to Italy. Venice was the city that Caffi loved most, whose freedom he fought for and whose spectacular beauty he translated into painting, employing a capacity for synthesis unequalled during the entire nineteenth century. Now, to commemorate the coincidence of this double anniversary, the complete, impressive collection of his paintings, the property of the Venice Civic Museums Foundation, is to be shown after fifty years, in a major exhibition that is a tribute to the artist. Caffi was the most modern and original landscape artist of his time: his lightfilled paintings are unsurpassed in immortalising the soul of the places and peoples he encountered during his many trips throughout Italy, Europe and the Mediterranean basin. The collection on show is a virtually unexplored and extraordinary treasure in every respect. It consists of a group of more than 150 paintings that Caffi’s widow, Virginia Missana, donated to the city in 1889, together with many loose drawings and twenty-three albums. For this exhibition, Caffi’s paintings, normally conserved in the Ca’ Pesaro depositories, will be accompanied by their first catalogue raisonné, published by Marsilio.

Visita il Museo Correr
150 years ago during the Battle of Lissa, Ippolito Caffi (1809-1866) lost his life on the sinking ship Re d’Italia, on which he had embarked to document the events of the war through his swift and accurate drawings. Caffi, born in Belluno but Venetian by choice, was an extraordinary painter and reporter, a restless observer of society and a convinced patriot. 150 years ago (almost a sign of fate!) the Veneto and Venice were annexed to Italy. Venice was the city that Caffi loved most, whose freedom he fought for and whose spectacular beauty he translated into painting, employing a capacity for synthesis unequalled during the entire nineteenth century. Now, to commemorate the coincidence of this double anniversary, the complete, impressive collection of his paintings, the property of the Venice Civic Museums Foundation, is to be shown after fifty years, in a major exhibition that is a tribute to the artist. Caffi was the most modern and original landscape artist of his time: his lightfilled paintings are unsurpassed in immortalising the soul of the places and peoples he encountered during his many trips throughout Italy, Europe and the Mediterranean basin. The collection on show consists of a group of more than 150 paintings that Caffi’s widow, Virginia Missana, donated to the city in 1889, together with many loose drawings and twenty-three albums. For this exhibition, Caffi’s paintings, normally conserved in the Ca’ Pesaro depositories, is accompanied by their first catalogue raisonné, published by Marsilio.


Museo Correr Website


Contact: Museo Correr
San Marco, 52
30124 Venice
Italy
Tel: (39) 041 24 05 211

<EM>Ken Domon: Master of Japanese Realism</EM>
Ken Domon: Master of Japanese Realism
Ken Domon: Master of Japanese Realism
ROME  •  Museo dell'Ara Pacis  •  27 May - 18 September 2016
 
 

Japanese photographer Ken Domon (1909–90) is recognized as a master of realism.

The show features about 150 photographs taken in black and white as well as colour between the 1920s and the 1970s, which illustrate the author's path towards social realism. From the first shots of the period before and during World War II, which display a vision linked to photojournalism and propaganda, through photography of the social sphere, the exhibit follows Ken Domon's production up to the crucial work documenting the tragedy of Hiroshima, which the photographer undertook as though in response to a call and a humanitarian duty.

The exhibition is accompanied by a catalogue published by Skira.



Museo dell'Ara Pacis Website


Contact: Museo dell'Ara Pacis
Lungotevere in Augusta
(angolo via Tomacelli)
00186 Roma
Italy
Tel: (39) 06 06 08

Prototypology: An Index of Process and Mutation
ROME  •  Gagosian Gallery Rome  •  14 January - 2 April 2016
 
 

Prototypology explores research and development in the work of thirty contemporary artists, tracing the evolution from idea to finished artwork through drawings, archives, maquettes, and bricolage. In doing so the exhibition establishes a typology of diverse drafts.

The studio is a liminal zone for sourcing, modifying, and testing. Derived from the Italian word schizzare (splash), a "sketch" represents the initial impulse from mind to hand, the developmental process whereby form begins to emerge. In the laboratory of the studio, bricolage is often used as an instinctual method in the construction of prototypes.

The exhibition includes new works and archival material from Michael Heizer, Takashi Murakami, Albert Oehlen, and Robert Therrien, among other artists. Studies for sculptures by Dan Graham, Claes Oldenburg, Tatiana Trouvé, and Rachel Whiteread reveal moments of process that lead to epiphanies. Monumental, civic, everyday, and otherworldly gestures are visible in a range of preparatory drawings and proposals.

Artists: Vladimir Arkhipov, Richard Artschwager, Nina Beier, Will Boone, Mike Bouchet, Chris Burden, Jason Dodge, Aleksandra Domanović, Dan Graham, Loris Gréaud, Michael Heizer, Carsten Höller, Thomas Houseago, Allan McCollum, Takashi Murakami, Albert Oehlen, Claes Oldenburg, Steven Parrino, Giuseppe Penone, Kirsten Pieroth, Ry Rocklen, Nancy Rubins, Arcangelo Sassolino, David Smith, Rudolf Stingel, Robert Therrien, Mungo Thomson, Tatiana Trouvé, Cy Twombly, Rachel Whiteread



Gagosian Gallery Rome Website


Contact: Gagosian Gallery Rome
Via Francesco Crispi 16
00187 Rome
Italy
Tel: (39) 6 42 08 64 98

Events in Dance

Twyla Tharp Dance
ROME  •  Auditorium Parco della Musica  •  26 June 2016
 

Twyla Tharp Dance

Programme:

Country Dances  (1976)
Choreography: Twyla Tharp
Music: American Folk
Costumes: Santo Loquasto
Lighting: Jennifer Tipton

Brahms Paganini (1980)
Choreography: Twyla Tharp
Music: Johannes Brahms
Costumes: Ralph Lauren
Lighting: Jennifer Tipton

Beethoven Opus 130 – Anteprima
Choreography: Twyla Tharp
Music: Ludwig van Beethoven
Costumes: Norma Kamali
Lighting: Stephen Terry



Auditorium Parco della Musica Website



Detailed schedule information:
21h

Contact: Auditorium Parco della Musica
Viale Pietro De Coubertin, 30
00196 Rome
Italy
Tel: (39) 06 80 24 11

Events in Jazz

Trio Barolo /Franco D'Andrea Piano Trio
ROME  •  Auditorium Parco della Musica  •  24 June 2016
 
 

Trio Barolo
Remy Poulakis, vocals
Francesco Castellani, trombone
Philippe Euvrard, bass

Franco D'Andrea Piano Trio
Franco D’Andrea, piano
Aldo Mella, bass
Zeno De Rossi, drums



Auditorium Parco della Musica Website



Detailed schedule information:
21h

Contact: Auditorium Parco della Musica
Viale Pietro De Coubertin, 30
00196 Rome
Italy
Tel: (39) 06 80 24 11

Events in Pop Culture and Cinema

Books that have made Europe
ROME  •  Accademia dei Lincei  •  31 March - 22 July 2016
 

"The exhibition was designed to show that Europe means plurality of cultures because, with the Mediterranean Sea, it was at the junction of three continents (Africa, Asia and Europe)," curator Roberto Antonelli told AFP.

"It is no coincidence that so many cultures and languages crossed here," he said at a presentation to the press.

Nearly 190 works are displayed in the library of the prestigious Lincean Academy in Rome's Trastevere district, a science academy founded in 1603 and named after the lynx, an animal with the sharp vision science demands.

Books, manuscripts, codices and encyclopedias in Latin, Greek, Chaldean, Arabic and Hebrew, borrowed from Roman and Vatican libraries, are on display in over 40 display cases -- eight of which are bulletproof.

They show "that it is culture which unites us as Europeans. That is the strong message which emerges from the exhibition, even more than its great scientific value," said Rosanna Rummo, head of Italy's state libraries.



Accademia dei Lincei Website


Contact: Accademia dei Lincei
Via della Lungara, 10
00165 Roma
Italy
Tel: (39) 06 68 02 71



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