Skip to main content

Buon Compleanno Nonna

Buon Compleanno Nonna

(La tradizione del Calendario di stoffa)

di David Perry, scritto il 31 Marzo, 1998

Oggi cent’anni fa, vicino ad una piccola città agricola chiamata Sontag, nella Contea di Franklin, in Virginia, in una stanza di una casa di campagna illuminata da lampade al cherosene e riscaldata da generazioni, nacque una donna meravigliosa: mia nonna.

1898.

Quell’anno mi aveva da sempre affascinato. Chiedevo più volte: “Nonna, in che anno sei nata?”

Lei si sarebbe tolta lo spillo dalla bocca – tenuto li’ mentre cuciva alcuni vestiti, pantaloni o camice per un membro della famiglia, un amico o un cliente – e mi avrebbe detto:

“1898”.

Mi sembrava sempre esotico, questo vincolo di amore vivo per un altro secolo.

Ogni mattina di Natale l’intera famiglia poteva radunarsi attorno al tesoro della nonna o di “Zia Mildred’s”, cosi’ com’era conosciuta dai miei cugini. Li’, mi sarei seduto ai suoi piedi – curando l’albero di Natale orgogliosamente – e avrei distribuito i vari regali che i cugini e gli zii, le zie e gli amici avevano portato per la festa comune. Ogni famiglia aveva dei regali tradizionali: Claire faceva sempre fresche marmellate per tutti; Buster ed Estelle davano libri; le zie Helen e Blanche davano buoni pasto per i ristoranti, e una banconota da 10$ arrotolata in sciarpe o in materiale simile.

Il mio regalo annuale era (e lo e’ ancora) i calendari di stoffa – un tipo che purtroppo si vede poco in giro. L’anno si sarebbe dispiegato, decorato con ricami di cardinali, sagge frasi, disegni di slitte, e il popolare motivo di sempre: (quello ripetuto di mia nonna) “La cucina e’ il cuore della casa”.

Il nuovo anno arrivava, l’anno vecchio era messo da parte, lavato, e conservato con decadi di anni precedenti, per essere usato come panno da cucina, con il quale tenere in caldo le torte e i panini dal forno.

“Quando il 1968 tornerà?” Chiesi a mia nonna, mentre ripiegava quell’anno problematico e lo metteva nel cassetto.

“Perché?, figliuolo” lei sorrise toccando la mia guancia di bambino di sette anni. “Mai. Il 1968 non tornerà  mai più ”. Io guardavo mentre il tempo era avvolto nella stoffa, come ambra del sud, che spariva nell’armadio. 

Guardai ad ogni anno in modo differente, dopo quello. I giorni, i mesi, le stagioni -tutto si ripete – meno che gli anni…

…Mai più.

La casa di mia nonna in Richmond, Virginia ( la “grande città” dove le sorelle di campagna si trasferirono prima della Seconda Guerra Mondiale) era di suoni deliziosi e melodici odori. Pane al formaggio fatto al forno; “Campane d’argento” dal pianoforte; il sugo denso dell’arrosto e il porridge al mattino; “Gloria” alla sera.

Nei pomeriggi, mia nonna si sarebbe presa cura delle rose -e del suo mini “giardino di campagna” di fagioli, fagiolini e pomodori che si arrampicavano sullo stendino, nel suo curatissimo giardino. Era un luogo che dava sulla staccionata dei buoni vicini, e di sua sorella minore, Helen, la cui casa era direttamente dall’altra parte del vicolo. Blanche, la più piccola del trio di vedove, viveva a pochi isolati, dalla mia casa -la casa dei miei genitori- il quarto angolo del quadrato famigliare.

Svegliatasi prima dell’alba (sempre come una ragazza di campagna), mia nonna avrebbe fatto colazione. Dopo mezz’ora, mia madre ad io saremmo arrivati – tre generazioni che condividevano pochi minuti prima di andare ognuno per la sua strada: mia mamma al lavoro, il figlio e nipote all’angolo per aspettare l‘autobus per la scuola, mia nonna alla macchina da cucire, la cucina, il giardino e la pause delle 3 pm con “La Tempesta Segreta” e “Il Crepuscolo della Notte”.

‘I miei programmi”, avrebbe annunciato con un bacio, quando tornavo da scuola per aspettare il ritorno di mia mamma in quelle sere. (In anni futuri, la nonna – con una nota di stizza – passo’ a “La luce che guida”, non perdonando mai i produttori de “Il Crepuscolo della Notte” per aver ucciso Nicole dopo aver finalmente sposato Adam).

Donna di compassione buddista e di conversione metodista, respingeva il fumo, l’alcool, il gioco d’azzardo, e le opinioni della maggior parte degli evangelisti televisivi, che sempre la irritavano con le loro “maniere ipocrite”.

“Non ho mai visto niente di sbagliato nel danzare tuttavia”, lei avrebbe ammiccato, contraddicendo – ho sempre pensato – un adolescente di tendenze non del tutto ‘battiste’.

Le sue passioni erano pelare mele con le ultime notizie, il suo cespuglio di rose “Mr Lincoln”, la famiglia, e giocare a dama con il suo nipote più giovane che non la faceva mai vincere.

Appoggiando le sue mani sul piano e avendo suo nipote seduto di se’, insegno’ al giovane bambino come suonare “Notti silenziosi”, “La vecchia ruvida croce”, e inni e variazioni per i seguenti 30 anni.

La sua saggezza era: “Preoccupasi e’ come una sedia a dondolo, ti da’ qualcosa da fare, ma non ti porta da nessuna parte” e “Ogni lavoro che vale, vale la pena farlo bene”. Lei diceva inoltre a suo nipote chiacchierone che “Dio ha creato due orecchie e una bocca, dunque Lui vuole che ascolti il doppio di quello che parli”.

Nannie Mildred Tyree Hoard mori’ nel 1989 all’eta’ di 92 anni, essendo stata malata solo per poco tempo. Cinque anni prima, prese un aereo per la prima volta per vedere suo nipote minore laurearsi. Quattro mesi prima, lei tagliava ancora il prato. Una settimana prima, la sua memoria sorpassava quella di un server dell’ IBM.

A tutte le nonne, questa storia e’ per voi: scritta da tutti i vostri nipoti, con prosa limita dal linguaggio, ma con la poesia di un infinito amore.

MEDIA ADVISORY / REQUEST FOR COVERAGE: TUESDAY, DECEMBER 10

Media contact: David Perry & Associates, Inc. (415) 676-7007 / news@davidperry.com 

MEDIA ADVISORY / REQUEST FOR COVERAGE: TUESDAY, DECEMBER 10 

WHO: The Rainbow World Fund

WHAT: Unveils and dedicates the14th Annual WORLD TREE OF HOPE: A 23-foot holiday tree decorated with thousands of white origami cranes, each containing written wishes of hope and peace from children and individuals from around the world. The WORLD TREE OF HOPE is the largest annual origami decorated holiday tree in the world.

WHEN: Tuesday, December 10: 6:30pm – 8:30pm 

WHERE: Grace Cathedral / 1100 California Street / San Francisco

WEB: http://www.worldtreeofhope.org 

HOW MUCH: FREE and open to the public

HOW TO WISH: Wishes can be submitted online for free at http://www.worldtreeofhope.org/make-a-wish/Wishes are printed, folded into origami cranes and placed on the tree

EVENT DETAIL:  The dedication ceremony will feature attendance by Consul General of Japan Tomochika Uyama and performances bythe Grammy winning San Francisco Boys Chorus, Juanita MORE, Lambert Moss, Connie Champagne and Breanna Sinclairé with a blessing by The Sisters of Perpetual Indulgence with emcee Honey Mahogany.

WHY: Wishes are powerful: they are the seeds of action. For the 14th year, those seeds bear fruit. At 23 feet tall with up to 17,000 delicately folded origami paper cranes, the Rainbow World Fund World Tree of Hope is a visible symbol of a world hungry for connection and peace. The process is simple: Wishes are sent in from around the world, printed, and folded into paper origami cranes by a diverse team of more than 300 Rainbow World Fund volunteers including members ofSan Francisco’s LGBTQ and Japanese American communities, survivors of the Hiroshima atomic bomb, local children, and life-sentence prisoners from San Quentin. The origami “crane wishes” are then placed on the tree.  The process takes over 2500 hours. Wishes will be added to the tree throughout December and are accepted year round. Founded by Jeff Cotter in 2000, the 501(c)3 nonprofit Rainbow World Fund is the world’s first and only all-volunteer, LGBTQ-based humanitarian aid organization. The Fund works to help people affected by natural disasters, hunger, poverty, disease, oppression and war by raising awareness in, and funds from, the LGBTQ community to support LGBTQ and non-LGBTQ people locally and around the world. The Tree was inspired by the story of Sadako Sasaki, the Japanese child whose journey and death several years after the bomb was dropped in Hiroshima transformed the origami crane into a symbol of world peace. The Rainbow World Fund’s World Tree of Hope is the largest annual origami decorated holiday tree in the world. 

Manny’s Installs 15 foot long LED Election Day Countdown Clock at 16th & Valencia in San Francisco

Media contact: David Perry & Associates, Inc. (415) 676-7007 / news@davidperry.com

Manny’s Installs 15 foot long LED Election Day Countdown Clock
at 16
th & Valencia in San Francisco


Noisebridge creates and installs digital display counting down
the days, hours, minutes, and seconds until the polls close at
8pm Election Day: November 3, 2020Election Day. 

5 December 2019 – San Francisco, CA:  Manny’s (3092 16th Street at Valencia, San Francisco – www.welcometomannys.com)makes no secret of its mission between now and the 2020 President Election: Defeat Donald Trump. To drive home the message, Manny’s has installed a 15-foot-long LED Election Day Countdown Clock, the work of artist Noah Haber and Noisebridge: a Mission district non-profit hackerspace for artists and audiences interested in the intersection of art, technology, and creative expression

 “What happens in the next year will define our politics and democracy for generations,” says Manny Yekutiel, 30, who founded and runs the eponymous community engagement space and café dubbed “the New Hampshire of California” (KCBS Radio) for its hosting of myriad political events including hosting 17 Democratic presidential candidates. “We must defeat Donald Trump and restore trust to the Office of the President. In keeping with Manny’s goal of creating physical space for civic engagement we, along with a group of hackers led by Noah Haber from Noisebridge, have created this uniquely San Francisco political statement.”

Facing Valencia Street at 16th, the clock and is currently counting down the days, hours, minutes, and seconds until the polls close at 8pm on Election Day: November 3, 2020. The “Countdown Clock” is believed to be the only publicly facing programed countdown clock of its kind in the country.

“The hope with this large bright countdown clock is to serve as a visual reminder of exactly how much time we have left to do everything we can to win the election in 2020,” says Yekutiel.  “San Francisco has a reputation of getting involved and leading for progress. We’re proud to have partnered with our Mission neighbors at Noisebridge to use technology and art to remind San Francisco that the time is now.”


Since opening its doors on Election Night 2018, Manny’s has become an epicenter of community involvement, dialogue and civic engagement having served over 50,000 people, staged over 400 events, donated space to more than 150 area nonprofits and charities by hosting 17 presidential candidates. Also, besides receiving copious media and public attention, Manny’s was recognized for his above-and-beyond achievements by the California State Senate as “Small Business of the Year.” 

Manny’s is a people powered, community focused meeting and learning place in the heart of San Francisco that combines a restaurant, political bookshop, and civic events space. Manny’s goal: to create a central and affordable place to become a better informed and more involved citizen. Manny’s offers its events space to nonprofits, activists and civic organizations to spread their message and do their work as well as hosting its own civic and arts related programming. Manny’s kitchen is run by the non-profit, Farming Hope, which hires formerly homeless and formerly incarcerated individuals and trains them in the food skills needed to work in the restaurant industry.

December 15th is Extended Deadline for Submission to International Ocean Film Festival

media contact: David Perry & Associates, Inc. (415) 676-7007 / news@davidperry.com 

December 15th is Extended Deadline for Submission to International Ocean Film Festival

January 9th is Student Submissions Deadlines

Filmmakers around the world encouraged to submit works that inspire people to appreciate and care for the ocean by revealing its wonders through independent films.

17th annual celebration of features films about marine life, the ocean, coastal cultures and conservation takes place in San Francisco March 12 – 15, 2020

www.intloceanfilmfest.org 

29 November 2019 – San Francisco, CA:  Coming off its sold-out annual “Off The Reef” benefit earlier this month honoring “Ocean Champions” Dr. Sylvia Earle and Greta Thunberg (en absentia), San Francisco’s International Ocean Film Festival is gearing up for its 17th annual Festival, March 12 – 15, 2020. Filmmakers around the world are encouraged to submit their films for consideration by December 15. The deadline for student filmmakers is January 9. Open to middle and high school students internationally, the contest offers prizes of up to $500 per category.  Entry details for both competitions may be found online at www.intloceanfilmfest.org

“Next year is an election year of incredible importance: perhaps the most important presidential election as far as what the next president might do to protect – or not protect —  our oceans,” said Ana Blanco, Executive Director for the International Ocean Film Festival. “We’re expecting an even more robust selection of envelope pushing films than ever before.”

According to Blanco, for the 2019 Festival, a record 148 submissions were received from around the world, including films from the USA, Canada, the United Kingdom, Ireland, Malaysia and Germany. Submissions may include films of all genres – documentaries, narratives, shorts, and animation films of all lengths. Subjects may focus on all oceanographic themes including but not limited to: ocean exploration, wildlife, environmental, conservation, oceanography, seafaring adventures, maritime issues, ocean sports and coastal cultures. Student film submissions are limited to five minutes in length.

Since its launch in 2004, the San Francisco-based International Ocean Film Festival has attracted thousands of spectators of all ages from around the world, including film enthusiasts, sea athletes, educators, and environmental supporters. Since then, the Festival has presented over 560 films from 40 different countries and featured post-film Q&A sessions with visiting filmmakers, special panel discussions with content experts, and the Annual Free Student Education Program. It was the first event of its kind in North America, inspired by the well-established ocean festival in Toulon, France, which has continued to draw large audiences for more than 40 years.

Current sponsors for the 17th Annual International Ocean Film Festival include National Marine Sanctuary, BigBus of San Francisco, Gray Line Tours, SSA, Alcatraz Cruises, the Port of San Francisco, the Consul General of Canada, and Pacific Gas & Electric. 

The 17th Annual International Ocean Film Festival takes place March 12 – 15, 2020 at San Francisco’s Cowell Theatre at Fort Mason Center for Arts and Culture. The International Ocean Film Festival is a registered 501(c) 3 non-profit. www.intloceanfilmfest.org and social at: 

One-Night-Only “Out of the Crate” Art Sale

Media Contact: David Perry / (415) 676-7007 / news@davidperry.com 

Wednesday, December 4: 5pm – 8pm in Palm Springs

One-Night-Only “Out of the Crate” Art Sale Featuring 60 Never-Before-Seen Paintings 

by Late Spanish/Brazilian Artist
María Eugenia Casuso

10% of All Proceeds Benefits The Pancreatic Cancer Action Network

Palm Springs Airport Self Storage
3950 Airport Center Drive

pastedGraphic.png

María Eugenia Casuso
(1941 – 2008)

25 November 2019 – Palm Springs, CA: “It is rare for an artist to possess such a profound graphic language, to release ego and face art like a faithful servant – like a saint, or a zen master.  María Eugenia Casuso is one of those rare artists who fits that mold” (Jacob Klintowitz, Panamericana Escola del Arte e Design – São Paulo, Brasil). For the serious collector, it is even rarer to discover an artist hitherto unknown – an artist who is so completely of a time and place. Such an artist is Spanish/Brazilian painter María Eugenia Casuso. On Wednesday, December 4 (5pm – 8pm) in Palm Springs, 60 never-before-seen works will be sold in a special one-night-only art sale at the Palm Springs Airport Self Storage Center (3950 Airport Center Drive, off of Ramon).  These rare, large-scale, geometric paintings are certain to cause a stir in Mid-Century Modern-centric Palm Springs. 10% of all proceeds will benefit the Pancreatic Cancer Action Network.  Refreshments will be served. 

This is museum quality work,” said Karyn Mannix of Contemporary Art. “This is an opportunity that true art aficionados should not miss.”

Mannix presented some of the larger scale paintings by Casuso at last month’s Art San Diego Fair and will feature additional works by Casuso at the upcoming Art Palm Springs during February’s Modernism Week.

“My aunt was an incredibly talented artist,” says Alfredo Casuso, who along with his husband David Perry are producing this unique event. “When we opened the crates from Brazil, we were astounded by the output. We had no idea this much of her art had remained, unknown for so many years, in storage.”

“It was, literally, like finding hidden treasure,” continued Perry, for over 30 years a specialist in cultural and arts marketing. “Art is about emotion and passion. Buying and selling art should be fun and accessible. That’s why we’re doing this sale in addition to some of the more standard art-fair opportunities more common for such works. Also, we want to thank the folks at the Palm Springs Airport Self Storage for taking part in this fun and unique event.  They’ve been terrific.”

Born in Santander, on Spain’s northern coast on the Gulf of Biscay, María Eugenia Casuso emigrated as a teenager to Venezuela with her parents. There she studied art and interior design at the renowned Emma Illes Art Academy in Caracas. Referred by the Director of the Academy, she started her professional vocation, rising quickly to the top of her career at Decovensa, one of Venezuela’s most sought-after interior design firms where she worked for 10 years. 

These were “the boom years” in Venezuela, andMaría Eugenia’s unique talents were called upon for some of the country’s most important companies.  In 1972 she became a Venezuelan citizen and married Andras Dobroy: a Hungarian / Brazilian executive, the head of Marketing for Chrysler Europe and himself a onetime film actor of some repute in his native Hungary. The couple lived in Paris and Brussels for several years before moving to São Paulo in 1978. There María Eugenia began a period of intense creativity resulting in her participation in popular contemporary exhibitions at the Galería Porta, Rio Claro and Americana galleries in São Paulo followed by her one solo exhibition in Galería de Arte André.  

“The theme of María Eugenia’s work is the structure of space, the rhythmic possibilities of the heart, and geometry,” wrote Jacob Klintowitz, Director of the prestigious Panamericana Escola del Arte e Design in São Paulo.“She thinks of the canvas as a deterministic universe in which shapes evolve in harmonious movements. The juxtaposition of these shapes creates a visual rhythm and gently guides the eyes of the viewer. Other times, the shape turns in an apparently infinite space like a dancing goddess creating the reality of the world. They are shapes living in a spontaneous and predetermined dialog. Her paintings seem effortless, yet it is evident that their creation required tremendous concentration, a laborious study of geometric matters, and a vital energy of astonishing proportions. Hers is a form of painting which is organized, severe, detailed and planned. Yet, that rigor doesn’t affect the feeling that they are only possible through existential examination. The shapes may dance in space, yet they are tied to an expert and sensuous thought.”

Inexplicably, María Eugenia stopped painting after 1987, although astute buyers and designers sought her out over the years, she having produced a considerable body of work that still graces homes, offices and corporate lobbies throughout Brazil. 

Diagnosed with pancreatic cancer in July 2007, she died surrounded by family in January 2008. In the intervening decade, a hitherto unknown trove of María Eugenia’s art was discovered. Now, this unique artist makes her North American debut – truly something special for the discerning collector.

pastedGraphic_1.png

Catalogue Cover: “Pinturas: María Eugenia Casuso”
Galería de Arte André in
São Paulo / 27 October – 7 November 1987)

pastedGraphic_2.png