La Macina di San CresciPieve di San Cresci 150022 Greve in Chianti (FI)ItalyTel. 055 8544793www.chianticom.com

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One page is an idea by Duccio Trassinelli and Demetria Verduci

The 99 turtles of Florenceby Silvano Porcinai

Con il patrocinio delComune di Greve in Chianti

April 9, 2016

Year 5 n. 1

represented a rather uniquestory, discussed and debatedfrom the perspective of thenatural balance, security,e d u c a t i o n a g a i n s t t h eabandonment of animals bypeople who should take care of,and also the great resistance andthe adaptability of these animalsto the environment.Hence the number 99, thechoice to realize 99. We maytherefore say that the 99 turtlesof Florence become to LaMacina, for Slow Art Day, the99 turtles by Silvano Porcinai.The turtle also is not alien to theevents, art and imagination - notto go too far – of the Florentineculture and also Senese; fromart to folklore, from heraldry tothe symbolism, just think: thetu r t l es by Giambolognasupporting the obelisk in thePiazza Santa Maria Novella, theFountain of Bacchus in Boboliby Valerio Cioli, to the districtof Tartuca in Siena with itsmotto: "vis et robur in meTartuca" and over a hundredturtles depicted in many thehalls of the monumental Districtof Palazzo Vecchio, they havedriven on their carapace a sail,a c c o m p a n i e d t h e L a t i nexpression "festina lente", thatis "make haste slowly", one ofthe symbols that the DucaCosimo I de' Medici took as apersonal enterprise.,At national and internationallevel, in art are numerous theexamples and references to theturtle: from Bosco di Bomarzoto the Fontana delle Tartarughein Rome, from the statues of theBuddhist temple Beomeosa toBusan in South Korea to theturtle of the Forbidden City inBeijing, China. And, morerecently, by The Blue Turtles by'Cracking Art group " made ofrecycled plastic and installed tothe Fountain of Aretusa in theisland of Ortigia in Siracusasymbol of the G8 about theenvironment, to The turtles by

From nature to the myth,from heraldry to art, from

literature to esoteric, fromscience to superstition, the turtleis animal full of charm andmystery, it has always beenconsidered a symbol of theproverbial slowness, but alsoprudence and wisdom, strengthand longevity, of the passage oft i m e , o f f o r c e i n h i sindestructible armor as opposedto the softness of the body.From late greek ταρταρο%χος,composed Τάρταρος, "Tartar"(mythological place), and *χω,"living", "act", the turtleaccording to greek-Romantradition, symbolizes theuniverse that manifests.Slow Art Day, every year, at thesame time around the world,creates events related to art andculture in museums, places andspaces, the most varied, notsurprisingly has the symbol of aturtle. The presence of this issignificant and points to thepurpose and meaning of thisinitiative that is: enjoy andbenefit from a few works, 5maximum, on which to pause,reflect and concentrate, tocounteract the general surfacemode, hasty, sometimes almostconvulsive , to visit the places ofart and culture and to see andread the works.And it is around the idea of thisanimal, and what can be, and isin the collective imagination ofthe various cultures and for theindividual, which rotates theproject of La Macina di SanCresci for the year 2016.A Florentine artist with hisadmirable skill and sensitivitytowards nature, towards theanimal world, to the creatureswi th the i r fea tures andbehaviors: Silvano Porcinai; aturtle symbol of Slow Art Day;the idea of an installation and anexhibition, an event that tellsone of facets of the Silvano’sworld complex and even -through the animal protagonist ̶ ̶the territory in which we liveand the will to live and reread it ,savoring it as sipping a glass ofthe best wine. These are thepillars of a happy marriage.The installation also takesinspiration from a true story inFlorence: the rescue andtransfer to Centro Ittiogenicodel Trasimeno of 99 turtles,found in the fountains ofFlorence, later gathered intotwo pools at the Cascine parkwaiting of their place in anappropriate environment. Theturtles, in this case marine, had

Ivan Theimer; from the much-discussed Turtles-iPad by theChinese artist Cai Guo-Qiang toinaugurate the new pavilion ofthe Aspen Art Museum inColorado, to the famous gallery"La Tartaruga" founded byPlinio De Martiis in 1954 inRome and the famous "signs ofthe Turtle ", works on paper thatwere made to realize by anyartist who exhibited, famousnames who linked their name tothat of the gallery; to theinstallation of the French artistRachid Khimoune under theEiffel Tower on the occasion of66th anniversary of the end ofWorld War II.This event and this installationof Silvano Porcinai, at the SlowArt Day 2016, wants to drawattention to how nature can beand has always been an essentialsource of inspiration for the manand then to the artist, not onlyfrom a formal point of view butalso symbolic, of collectiveimaginary, of story andfantasy, myth and legend, butalso to draw the attention on theart and how it is alwaysextraordinarily able to tell usand send us messages andevents.The 99 turtles will be a limitededition, signed by the artist thathas designed, but the idea is thatthe installation last only a fewhours; the intent is that theyshould be around, that someonewould take care ̶ as happened forthe 99 Florence’s turtles so theycan inspire, suggest, provokenew emotions, insights andthoughts in those who take itaway with itself.

SLOW ART DAY

CATERINA PACENTI

Silvano, la macina, the turtles:how did the event

DEMETRIA VERDUCI

When las t winterSilvano was here atSan Cresci for the

opening of an exhibition, struckby the charm of the place, withhis proverbial energy andpassion right next to the largeolive grindstone, he said: "Iwould love to do somethinghere ! "and I and DuccioTrassinelli wondered whatcould be the special value for ashow by Silvano Porcinai andwhat could be an opportunity.The idea was born anddeveloped in a completelynatural way.The occasion: the SLOW ARTDAY!Slow Art Day is an annual eventthat takes place simultaneouslyin about two hundred museumsand galleries worldwide. Theintent of its founder, Phil Terry,was to dedicate a day to the slowobservation of artworks; anopportunity to live an exhibitionin a different way.As a cultural association forfour years we participate in thisday that becomes a moment ofencounter with the artist andreflection about not more thanfive artworks.Identified the opportunity cameas a result another link: thesymbol of the Slow Art Day is aturtle and Silvano has anincredible ability to interpret theanimals, making them alive.But, was still missing a tesserato be the event even moresymbolic.I remembered that a few yearsago in Florence had happened afact related to the turtles; I wass t r u c k b e c a u s e t h eabandonment of animalsforever hurts. Then the turtleshad found a refuge and theepisode had ended positively. Ihad been too impressed with thenumber of turtles: 99.It did not take much time toconnect Silvano, the turtles andthis number 99 that alreadytasted of "limited edition".Of course, it could be the 99turtles of Florence by SilvanoPorcinai.But 99 is a great number! Wewere afraid that when we talkedto Silvano would place some,though justified, difficulties.He was enthusiastic. We were ata table in a bar in Grassina andwhile we exposed our idea, healready made sketches of turtleson a squared notebook.The turtles were taking shape,enveloped on one another, the

designs of shell were already artunder the hand of Silvano, andmore he was excited, more hisenthusiasm overwhelmed usand confirmed that the bondreally worked.Silvano told us that he wouldmade the terracotta turtles; not asingle cast, he would raise upone by one the 99 turtles, aswell, just like in nature, theywould have been wonderfullydifferent from each other.He began soon to mold themwith a manual skill that for anartist is source of creation."I've done 30, I brought them tocook at Terrecotte Mital inImpruneta, but now I go a weekin Venice," was the brief phonecall in a January day.After some time 49 turtlesknocked on our door. "I broughtthem here, so they can stay inthe garden and acquire an airmore experienced."Silvano Porciani is the truesculptor of our time, if he wasnot, would be invented, butthere is.Today, Duccio and I, during thisartistic journey that has broughtus to gain a deeper insightSilvano Porcinai, almost withcertainty we can say that if wehad asked to create 99 life-sizedinosaurs, he would not bepulled back. Silvano has arelationship with the three-dimensional shape that isunique: very narrow, visceraland all that is related to theanimal world, mythology,bullfighting fascinates him.Nonetheless he manages acharacter like Gino Bartali life-sized like a warrior who haswalked the streets winningthem, while representing himwith a bouquet of flowers inh a n d , h e s e e m s l i k e amythological monster thatattacks the climbs of a bicyclerace.As already for another greatartist, Marcello Guasti, on theoccasion of Slow Art Day 2013,we wanted to make a short videoon Silvano, a document toreflect on the artist and man.It would be simplistic to referSilvano to a classical interviewwith the artist; would be hishands to speak, the handsrecount the satisfaction of whoknows how to create usingthem.Borns a turtle, borns an artwork.Duccio met him several times inhis studio in Grassina to do theshooting, every time was anmmm

extraordinary experience madeup of memories, new impulses,interest.

After some time, with the voicetone that seems a bit grouchy, hecalled again us : "I made 80, butnow I leave for Spain", his otherpassion.An artist is great also, or perhapsespecially in his human aspectsand Silvano is!

EXHIBITION:Opening Saturday April 9, 2016

4pm-8pmSunday April 10 : 4pm-8pm

La Macina di San CresciPieve di San Cresci – Greve in Chianti

IL TEMA

HANNO DETTO

LA MATERIA

Una Paginaonline su :www.chianticom.com Stampa : Tipografia Grevigiana

One Page

The artist talks

H a v i n g S i l v a n o a nextraordinary memory andawareness of his path as anartist, who better than he cantell his story, his life, hispassions and emotions.

Silvano: son of art, but not toomuch, the first steps insculpture. A life dedicated toart.

My father was a sculptor and,contrary to what one mightthink, was not him whoencouraged me, indeed. No onein the family wanted tocommence the career as anartist, I still remember mymother who recommended "notgo to the studio, you know thatyour father does not want, goaround like everyone else!". Infact, I could not enter in hisstudio, but sometimes, when hewas working in a room in thehouse or when you did notnotice, I stole with my eyes. Sowhen I started the school, Irealized that I had a rough ideaof everything that is the world ofsculpture; I knew how to meltthe wax, revive the clay andmany other techniques andsecrets of the art.He and I have always been verydifferent. My father lived in asimpler way than me, betweenthe studio and home, I havealways had the need to travel, tosee; He was the classic sculptorof marble, stone, his figureshave static and monumentalposture, I always liked model,make detailed figures, movesand dynamic. He was talentedand severe, he did not even seemy works, he told me that I wasnot capable, I was denied,however, he telling me onething, which I later realized wassacrosanct: "if in you have astudent who is good, if you wantto ruin him, always tell he'sgood and nice, and you havealready ruined. " I recognizethat he was right, we mustpersevere, improve, withoutever fitted to the head. And so Idid.When my father passed away , Ibegans with the real sculpture, Ibegan here, in his studio, I was22 years old. I remember oneday, while I was working, Iheard a big noise coming fromoutside, it was a huge swarm ofbees that had found an emptyhive under the pergola, and socame to take possession of thisnew "home"; I have held manyyears the swarm with its hive,where it was. It was as a signwell-wishing that life had notended, that this studio wasongoing.The sculpture took me rightaway, it was exciting, unlikeo ther sub jec t s , such asmathematics that I would not fitin my head, I soon realized to bev e r y w o r n , a l r e a d y i nelementary school. It wasduring the years the Institute ofPorta Romana that I began tomake molded, to work thematerial. I remember that for awhole year, the teachers askedus to make a plan with a leaf, aplan with geometric figures orwith volumes, I tried to use thatmethod when I became ateacher, but the students toldme: "I have already done it one,I've already made the leaf ". Ifelt like to slap them for theirlack of humili ty in notunderstanding the importanceand usefulness of perseverancein a subject.

Before the death of my father Iwas afraid even to show what Iwas doing, he would not Ibecome a sculptor, but agoldsmith; because he have hada hard career as sculptor. In partI satisfied him. After attendingthe Art Institute, I worked formany years as a goldsmith, Idevoted myself to this job thatgave me a living, earningmoney, and basically I liked,however in parallel I cultivatedwith my passion for sculpture. Istarted early to invest somesavings to buy the material andsmall castings, which I wasfortunate to sell soon and,during the years when I did theteacher, I devoted Saturdayevenings, Sundays and everyspare moment to sculpture,always in solitude. I believe thatloneliness has encouraged me tostudy the sculpture; I consider tobe a happy loner, not a sad andgloomy lonely.I have always been a greatfrequenter of museums anddoing 'gorging' of art historybooks, everything gave meincentives in the direction of thesculpture.In short, no one wanted I did thesculptor, but I went againsteveryone because that was theonly thing that gratified me,gave me satisfaction, I saw that Iimproved, I felt a bit 'like on apedestal and, with hindsight, thegoldsmiths over the years haveall gone "in his legs straight"and I, by the sculptor, I haveinstead a life of satisfaction. Idid well not to listen toanybody!I taught for many years inTuscany: Florence, Siena,Pistoia, Grosseto. In Grossetowas a good experience, therewere projects, new things tothink about and carry on, it wasexciting for all of us professors.The students told me who theyare enchanted to see "blend" myhands while correcting theirworks.There are professors with agood dialectics, who can dissecteach topic, in my opinion I wasnot very good at this. Withregard to the teacher-studentrelationship, I read a Leonardo’sthought; he says that to learnare necessary the student andthe teacher, both silent, and thestudent has to look, weigh, thegestures of the teacher.You cannot do it at the school,but in a studio with a singlestudent, I think is a good thing.However, I believe that I wasbetter as a sculptor than aprofessor.The sculptor’s career is noteasy made only of satisfaction,there are difficulties; in the timeI will overcome many, theexperience helps to solve thetechnical difficulties. Nowwhen I start a work I can have agood result without anythoughts, corrections, withouthaving to redo the drawings toclarify ideas, without losing toomuch time.As for the other problems,sometimes I had some crises,lasted at most a few months, butevery time I was aware that Istarted to sculpt. The last timehappened last year; fromOctober I began again to workinApril, I did nothing, but insideI thought and thought to newworks or subject, gave the"menta l tweaks" to thesculptures I had in mind to do.Another difficulty for artists isto live of their work, I have

never been greedy for money,but it is important to sell theworks, it’s necessary to be ableto move forward, and as far asI'm concerned, the money isrequired even to be able to getaround, with the bicycle; nomoney to appear, not that; Itmust be modest and humble, Ithink, to give everything in thework. My whole life has beendedicated to the art.

The natural, infinite source ofinspiration: Silvano and hisreal and imaginary animals.

The animal world has alwaysbeen for me a fantastic universe,fascinating and mysterious fromwhich to draw. I know him quitewell, having grown up in thecountryside. I was lucky in thissense, instead of "socializing",as once said you were doing, Iwent, even alone, along therivers, the forests, to catch fish,look for nests, to catch thehedgehog, I was attracted by the

the earth and its creatures. Inever had any fear of animals, Ifear most is the man who attimes is just stupid.I've always been a sculptor ofanimals, still remember the firstlittle sculpture that I sold, was amagpie resting on a rock, I was25 years old. Then I maderoosters, wild boars, goats,owls.I am fascinated by the beautyand the character of the animals.I made St. Peter's fish and wildboar skulls, inventing theBanquets of the Argonauts,when I lived in Grosseto; I madeso many, I liked the subjectalthough it has not had a greatfortune. I make real animals butalso fantastic as the series ofChimeras.However, perhaps the work inwhich more apparent my loveand interest in the animal worldis , in the mainLa Lavandaiasquare of the Grassina town.T h e m o n u m e n t w a scommissioned to me severalmm

years ago, and because I grownup in Grassina was not difficultto imagine the scene of thewoman who washed clothes.The subject was alreadyestablished, but in the base ofthe monument went wild,inserting a large variety ofanimals ̶ snakes, frogs, prayingmantises ̶ and one, in particular,that reminds me of thebeginning of my career as asculptor: the crab.I was nineteen at the time of mythesis; finished the school atPorta Romana, I spent a yeardrawing crabs, so much so that Istill remember exactly how theyare made, to the smallest detail.Near my house was a river fullof crabs, I went there and I tookthem, males and females, thefemales in the morning left outall small crabs ̶ who are insidethe mother's abdomen, side byside, as many "little panzers" ̶through a large plaque under the"belly", then in the evening, orto the question whether, putmmm

them in, until they were big andself-sufficient. When I made LaLavandaia no longer had thesedrawings, but I went to memoryso much was sharp memories.However the animal thatfascinates me most is definitelythe horse, is what I findaesthetically more beautiful,m o r e e l e g a n t , m o r eproportionate and what I mostloved. My curiosity about thisanimal comes from when I waslittle, from the stories of myfather who often spoke of thehorses he had when he was atwar in Africa. The passion wasfed over time thanks to thenumerous fairs and exhibitionsequine in Verona and Citta diCastello where I began to attendover the years. I learned later tomount the horse, when I wasfifty, I learned for practice tostay in it. I had two horses: thefirst was pretty tame, the othermore character.Many times I represented in theclay this animal, which forcenturies has been man'scompanion in the job, in the war,in the transport, in everything. Idealt often with the theme of thehorse and man: from knight toSan Martino. I still rememberwhen I made the horseBrandano, who died during thePalio, the owner had crematedhim, as in antiquity, and held abox with his ashes at home.

The love for the bike

I always liked the bike, when Iwas a boy, it was a real mediumthat could make a difference.I remember that I wenteverywhere by bike, to Greve,to Pontassieve, to Sesto; whohave not the bike or who notused was bound to Grassina andsurroundings. It was a way tosee other places, or to ventureout. I never liked the "home"life, the routine, not for me.Sometimes I saw women,housewives, and I thought:What they lose to stay always athome, who knows if some girlamong them would have thedesire to hop on a bike and go tosee the world !? In the pastoutside of own country wasoften considered an unknownworld.I remember that in a day and ahalf I was leaving from Grassinaand arrived in Rome, I stoppedthe night in Viterbo and fromthere I was leaving to arrive inthe morning, always keeping inmind the images of the worksthat I already knew through thebooks and that I saw inmuseums of Rome. The bicyclealways gives me that sense offreedom and I feel the needoccasionally to mount on yourbike and go.The hard work of sculpture hasnever scared me, I've neverheard, I'm used to hard work,cycling is very hard, I've beeneverywhere, I turned Spain intofar and wide. When I go cyclingare the moments of greaterlucidity and inspiration for thesculpture, invested from all thatoxygen the brain works with anincredible lightness and I thinko f n e w s u b j e c t s , n e wcompositions, new figures,sometimes I carry in my mindfor years some ideas beforecoming to their achievement.

April, 9 2016

One Page

The love for the bike

I always liked the bike, when Iwas a boy, it was a real mediumthat could make a difference.I remember tha t I wenteverywhere by bike, to Greve, toPontassieve, to Sesto; who havenot the bike or who not used wasb o u n d t o G r a s s i n a a n dsurroundings. It was a way to seeother places, or to venture out. Inever liked the "home" life, theroutine, not for me. Sometimes Isaw women, housewives, and Ithought: What they lose to stayalways at home, who knows ifsome girl among them wouldhave the desire to hop on a bikeand go to see the world !? In thepast outside of own country wasoften considered an unknownworld.I remember that in a day and ahalf I was leaving from Grassinaand arrived in Rome, I stoppedthe night in Viterbo and fromthere I was leaving to arrive in themorning, always keeping in mindthe images of the works that Ialready knew through the booksand that I saw in museums ofRome. The bicycle always givesme that sense of freedom and Ifeel the need occasionally tomount on your bike and go.The hard work of sculpture hasnever scared me, I've neverheard, I'm used to hard work,cycling is very hard, I've beeneverywhere, I turned Spain intofar and wide. When I go cyclingare the moments of greaterlucidity and inspiration for thesculpture, invested from all thatoxygen the brain works with anincredible lightness and I think ofnew subjects, new compositions,new figures, sometimes I carry inmy mind for years some ideasb e f o r e c o m i n g t o t h e i rachievement.I have made and sold many worksinspired by bullfighting, butabove all, being part of abullfighting club, I rewardedwith the prize Emotion with mysculptures, about fifteen of thegreatest bullfighters of Spain;they come in Milan to receive theaward , they come as " shrinkingviolet" - as Garberi said - notmmm

cocky and exuberant as youmight imagine.Among them arethose most educated, cultured,and the most humble, but insidethe arena it’s necessarycourage, to win, to avoidsuffering the animal's fear.When the bullfighters enter thearena always have a great fear,they spend hours and hours tofocus, in which Slim deal; theday fighting, said Belmonte, hisbeard begins longer and longer.I like the end of the bullfighters,ended careers, they go to livealone, in a mountain range, in acampaign; perhaps because Iassociate it to my art, alone inmy studio.In Spain I could "fight smallcows”, you must know how to"play" and control emotions,because they come at you; it isnot so pleasant the animalfeeling, however small, thatcomes to you . Once I waschased by two bulls, fortunatelyone had an injury to its leg, Iknew it would be tripped andfell sooner or later, but the fearwas stronger, I slipped away.Another time I was rather themesh of a cow’s ranch in SanJosé de Malcocinado and, at onepoint, appeared a Sementales,which corresponds to thestallion for the horses, who,annoyed, half a meter awayfrom me, on the other hand themesh began giving warheadswith horns on the ground, andflew splinters, stones and dust.Many times I have representedthe subjects of bullfighting,bulls and bullfighters; onceeven tried to group severalworks of this kind in a show Idid in Greve in Chianti, in theMuseo di San Francesco, whereI arranged many sculptures ontwo large red bullfighter capesthat I had put on the altar of theoratory. It was one of thoseshows that was not successfuland feedback, but you must alsodo the shows not succesfully,and then come the ones that giveyou the most satisfaction, in thisway you have to take thesculptor's life.

The artist talks

About the artist

Silvano Porcinai born inGrassina in 1950, where he livesand works. He graduated at theArt Institute of Florence sectionGoldsmith. Son of art ̶ fatherGiulio Porcinai was a sculptorand teacher of sculpture at thesame Institute ̶ he began todevote himself to sculpture atthe age of eleven years and in1971 working as a goldsmith.Then he was a professor ofsculpture and modeled atdifferent art schools of Tuscany:Florence, Pistoia, Grosseto andSiena.After his first solo exhibition inFlorence at the Donatello Groupin 1977, and participation in thefirst (1975) and second (1977)Rassegna di Scultura dantescacontemporanea and the first(1978) and second (1980)Sculpture Biennale at Stia(Arezzo), a rising career led himto expose: in Venice, Paris,Padua, Florence, Milan, Miami,New York, Geneva, Bologna,London, Impruneta, Greve in

Arezzo, Pisa and to participatein 2012 at Venice Biennale.He is Vatican member of theAcademy of Medal’s Art, of theDonatello Group and the Anticacompagnia del paiolo, Emeritusof the Academy of Arts ofDrawing in Florence, sculptureclass. On behalf of the ClubTaurino of Milan, of which is amember, he annually makes theEmocion Award, which ishanded to the winners of Ferie ,the big tour taurico. Recentlyone of his bronze sculpture wasplaced in Kyoto in Japan.His works are in numerouscollections and public andprivate spaces.

If the stereotype of the artist isthat of a man who lives to makeart much to forget what time itis; to be so far away fromtechnology, the media, the massmedia, how close to poetry, toculture, to nature, to thepleasures of life, then Silvano isa true artist, in the lifestyle andabove all in the spirit.The art seems to be the only oneneeded, the only constant needthat he has always felt, the onlyreal and instinctive reason for alifetime. At this in fact he hasdedicated his sleepless nights,his hard-working days of hecticand enthusiastic activities. Andsometimes, when fatigue andfrustration seemed to havegained the upper hand, hiscreative nature prompted him,stronger than before, toovercome every moment, everypain, every disappointment.His temperament, his characterand his love for sculpture can befelt in every space: the studio,the garden, the house thatbecome, seamless, a gallery, asort of Wunderkammer wherecoexist nature, objects of themost varied; a chamber ofwonders that over the years hasbecome the equivalent of a full

Silvano Porcinai, a life at the art’s service

life made of great passions, richand lived without limits,withoutregard to the labels andconventions.It is precisely for these reasonsthat those who loves Silvano,loves him as he is, and whoobserves with curiosity andcritically his art, finds stronglyin it the unique and singularpersonality of Silvano artist, butabove all Silvano man. Thestrength of his work isdisruptive, as he is, theexpression is believable, true,the shape is moved, full of foldsand facets, the volumes clearand determined, sometimesslender; everything has anaturalness and a truthfulnessthat are not only the result of anundeniable and extraordinarytechnical capabilities, ease ofexecution and ideational and av i v i d i m a g i n a t i o n a n dimaginat ion, but a lso asensitivity to the object and tonature which is perhaps alwaysbeen his most faithful muse.Sincere his love for art andsculpture, great his passion,enthusiasm and emotion inshaping the dirt, to be, under hishands, sublime form; texturalforms of ethereal forms.

La presente pubblicazione non rappresenta una testata giornalistica in quanto viene pubblicata senza alcuna periodicità.Non può pertanto considerarsi prodotto editoriale ai sensi della legge n. 62 del 7.03.2001

CATERINA PACENTI

April 9, 2016