The Magdalena garden in Cuba


Magdalena's garden

The photos are from the garden of Magdalena Céspedes, a Cuban, who owns a garden, which she treats and irrigates daily and dedicates the time necessary to keep it tidy and luxuriant.

People who wish to contact you can send suggestions or simple messages by writing to [email protected] will be very grateful and will answer all the questions you want to ask them.

The garden

The garden (offiziell: "The Garden of Daniel Spoerri - Hic Terminus Haeret" Foundation) ist der Name eines Skulpturengartens bei Seggiano, rund 80 km südlich von Siena in der Toskana. Das 16 ha große Areal wurde Anfang der 1990er Jahre vom Schweizer Künstler Daniel Spoerri erworben und 1997 als Stiftung der Öffentlichkeit zugänglich gemacht. Barbara Räderscheidt ist Präsidentin der Stiftung, Vizepräsidentin ist die Künstlerin und Kuratorin Susanne Neumann. [1]

Seitdem hat Spoerri rund 40 Künstler dazu eingeladen, Skulpturen für seinen Garten zu schaffen oder sie dort auszustellen.

Hotel Vilon la barlady Magdalena Rodriguez

by Marina Betto

Every Thursday the lounge bar of the Hotel Vilòn invites you to participate in the new appointment launched by bartender Magdalena Rodriguez. I came to this living room when the cocktails were inspired by Cuba with Afro-Cuban jazz background music in the small indoor outdoor area full of plants and in the elegant rooms where a discreet and attentive welcome helps to make you feel at home.

Old Cuban

The Vilòn is a hotel housed in a wing of the imposing Palazzo Borghese, created by a set designer, an interior designer and a photographer, giving the impression of being welcomed in a private home which is why it is chosen in fact it is among the very few hotels. stars to have reopened in Rome already with some foreign guests.

The amatriciana of chef Gabriele Muro of the Adelaide restaurant at Vilon

This signature aperitif included Mojto (lime, mint, brown sugar, rum, soda and angostura), Daiquiri (lime, brown sugar and rum), Old Cuban (lime, mint, brown sugar, rum and Prosecco) , Cuban Ginger (rum, lime and ginger ale) with food pairing by chef Gabriele Muro with a contemporary and at the same time identity hand, his rigatoni all'amatriciana are perfect, a tribute to the Roman spirit but his origins in Procida are also felt in the elaborate finger food that mixes mullet and escarole, zucchini flowers stuffed with ricotta and chickpea hummus where the quality of the raw material is noticeable to the naked eye.

In the background Palazzo Borghese

After the aperitif, staying at "Adelaide" for dinner is almost taken for granted. In this period it is possible to dine in absolute safety on some selected terraces of the hotel as a couple or request a table for up to four people overlooking the secret garden of the sixteenth-century Palazzo Borghese and enjoy a view of rare suggestion on the Capitoline architecture and roofs (euro 250 per couple with wine tasting menu excluded while in all other spaces you can eat à la carte or with the tasting menu 80 euros).

Cuban inspiration for Magdalena Rodriguez's cocktails

For the next Thursday appointments from 6 pm (tables and seats by reservation) which will last until July, Magdalena Rodriguez Costa Rican by birth has always provided a mixed theme with different variations on savors, the Cuatro Grandes that is the Long Island Ice tea, Grateful Dead, Coco Loco, Bucanero and then the theme of the Beautiful Season with the American, the wrong Negroni, Luxurious Spritz and Bellini. Strong-willed and with character, this bartender juggles confidently among more than 40 rums, tequila, mezcal and gin that he has at his disposal, putting that pinch of tropical flavor in the glass with spices, flowers and aromatic herbs, always offering them with a beautiful smile. Even his mocktails, alcohol free cocktails, which in the summer season are a pleasure that gives well-being rich in fruit and vitamins are in great demand and is immediately "Pura Vida".

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Lungadige Galtarossa, 21
37133 Verona

Monday 14-18, Tuesday-Friday 9-13 and 14-18, Saturday 9-13 (in the afternoon by appointment)


Artemisa is a municipality in Cuba, the capital of the province of the same name. Before 2011 it was one of the 19 municipalities and the one with the largest extension and population of the ancient Province of Havana. Artemisa belonged to the Province of Havana from 1970 to 2010. From 1878 (the year in which the provinces of Cuba were formed) until 1969 it belonged to the province of Pinar del Rio. The municipality of Artemisa has an extension of 642 square kilometers and a population that exceeds 82 thousand inhabitants (2012). The municipality includes the city of Artemisa (46,000 inhabitants in 2012) and the villages of Las Cañas, El Pilar, Lincoln, Pijirigua, Mangas, Puerta de la Guira, Neptuno, El Coral is Cayajabos. It is located in the south-central of the current Artemisa province, 60 kilometers southwest of Havana. The municipality borders to the north with the municipalities of Mariel and Guanajay, to the south with the Gulf of Batabanó (which flows into the Caribbean Sea), to the east with the municipalities of Caimito and Alquízar and to the west with the municipality of Candelaria.

The municipality is nicknamed "Jardín de Cuba" ("Garden of Cuba") due to its ancient coffee farms and flat landscape. It is also nicknamed "Villa Roja" due to the red color of the soil.

According to traditions, the municipality of Artemisa is named after the Artemisa herb (Artemisia vulgaris or Ambrosia artemisiifolia), a plant with an unmistakable fragrance and medicinal use that grew in those lands.

Contemporary Cuba

Gabi Scardi Chronology of the article 20 May 2012

History of the article

This article was posted on May 20, 2012 at 08:16.

The signs are discreet, but clear: although the elements of transformation are filtered and kept under control, reality is also changing in Cuba.
We can interpret in the light of this consideration the novelties of the eleventh Havana Biennale, inaugurated on 11 May with the title Prbcticas artнsticas e imaginarios sociales curated by Jorge Fernbndez Torres. Also significant from a symbolic point of view, as pointed out by the curator, is the fact that while in previous editions the Biennale was concentrated in the Fortaleza San Carlos de la Cabaсa, located in front of Habana Vieja, on the opposite side of the bay, this year it is open to the city, expanding in all its parts with exhibitions, installations, collateral events and live concerts. The spaces occupied are internal and external of various kinds: universities, streets, squares, and the Malecуn. This dissemination favors informal use and invites interaction. In fact, many of the interventions of the Biennale arise from collaboration and provide for a confrontation: that of an already solid personality with artists in the training phase, as was the case of Gabriel Orozco who, as a visiting artist, led the students of the ISA, Instituto Superior de Arte, in a work of rediscovery and infiltration within one of the most amazing architectural complexes imaginable or by René Francisco who, acting as a real conductor of ideas and energies, activated, in a garden citizen, the construction, by his students, of the Generosa City, a set of habitable structures all unique and different, but organically articulated to prefigure an ideal city.
A completely different kind of interaction was aroused by the queer South African artist Steven Cohen, who created a performance in the streets in which, prevented by impossible shoes, he tries to walk, giving a sensitive form to a sense of painful pain and unspeakable vulnerability. . Cohen thus tests the emotional availability of the audience when an expression of need is expressed. The artist claims that in Havana the spirit of empathy and the reactions of generosity on the part of the public have symptomatically exceeded all expectations.
Happy and imaginative, but not devoid of political implications, is instead the work of Glenda Leуn, an exponent of the large nucleus of emerging Cuban artists who live between Havana and Madrid. Leуn has drawn the maps of Havana and Miami at the two ends of a swimming pool: the swimming pool becomes an arm of the sea, "making a tub" becomes a way to foreshadow a possible relationship between two banks separated by a century of tensions and sit back sipping a Mojito on the edges of this miniature sea acquires the sense of a renewed geopolitical order and a recovered livability.
The main groups of works selected by the curator are found at the Wifredo Lam Center and at the Gran Teatro de La Habana. The first houses works by major Cuban artists: Carlos Garaicoa with the magnificent tapestries of the Fin de silencio series that meticulously replicate insignia and historiated inscriptions on the sidewalks of the city Marнa Magdalena Campos Pons and Neil Leonard who have created a performance on the themes of travel and transmission identity and Jorge Pardo, who installed a sophisticated carpentry in a room of the museum in which a wood paneling is carved that will gradually cover the room. The Grand Theater hosts works by artists of various origins. The layout of the exhibition is not stringent, but the countries represented are the most varied. This is not a foregone conclusion.
Born in 1984, before the seminal exhibition Magiciens de la Terre brought out the issues of multiculturalism, colonialization and postcolonialism in art, the Havana Biennial initially presented itself as a platform for the art of then non-central geopolitical areas, from Cuba same with the whole Caribbean area to Latin America, to India. Then, for some editions, with a complex context and a curatorial team that was struggling to renew itself, the exhibition was closed in on itself and maintained its importance as a showcase addressed within the country rather than as an incisive event on the international level. This year the international presences are numerous, and include the United States with great exhibitions such as that of the Ella Cisneros collection and that dedicated to African American female video artists, and with artists invited by the curatorial committee, each with its own following of gallery owners, curators, collectors. .
Among the collateral exhibitions there is, at the Museo del Ron, A Smell that Comes through my Window: Havana Cultura, a forward-looking initiative of the Havana Cultura Visual Arts Project to support a group of six young artists to whom the project offers funds and support. curatorial for the realization of a project. Italy was also present with a "Pavilion" curated by Raffaele Gavarro, who invited the artists Favelli, Mottola, Rocco Orlando, Senatore and Stampone.


The term Cuba could come from Arabic qubbah, hence the word Sicilian cubba, dome that covers a reservoir for the collection of water or spring. It is a particular construction of Arab origin that has resisted over the centuries, which still collects the waters of an antidistant spring and which represents a very important work from an archaeological and architectural point of view, unique of its kind in Sicily. of the rare buildings still existing with some typical characteristics of the "dammusi", square in shape and with a roof similar to a dome, used to collect rainwater.

The cube, like the gebbie, the twill, there gibbiuna, there cunnutta of water, i wattals and i mills, are the proof of a cultural and technological tradition of immense historical value, which must be recovered and safeguarded from oblivion. [2]

The building was the source of water supply for the inhabitants who resided in the medieval district of Calatubo: the waters of a nearby spring were conveyed by means of particular drains with the same functions as the Persian qanat, a system of pipes of origin Arab that, thanks to the slopes, made the water resurface in the reservoir. The fountain is made up of an internal chamber containing water, communicating with an external basin (large animal drinking hole) which in turn, in turn, brought the excess water back to other small drinking holes (for smaller animals) now lost. forever. The drinkers, the result of the need for various breeding activities, were built in times following the depopulation of the town of Calatubo, due to the forced escape of the Saracen peasants due to the ethnic cleansing conducted by Frederick II.

Garden Edit

According to ancient testimonies and legends, a garden and a thick palm grove surrounded Cuba: the palm trees provided shade, cooling them during the hot summer and making it possible to grow fruit trees and vegetables, introduced into the territory. [3]

The Arab-type garden reveals a great symbolism: it had a rectangular shape and the area surrounded by walls and divided into four parts (like the four sacred elements, namely fire, air, water and earth) it is crossed by water channels, with a fountain placed in the center. [3]

The restoration work was part of the Three-year Plan of Public Works 2012/2014 and were financed through the GAL (local action group) "Golfo di Castellammare", with the contribution of the Municipality of Alcamo (for the restoration, consolidation and redevelopment of the site), exploiting the P.S.R. Sicily 2007-2013 (Rural Development Program), concerning the protection and requalification of the rural heritage. [1]

The final purpose of the restoration was to reactivate the use of the same plant, together with that of keeping the memory of the ancient community alive, safeguarding the protection of the property for the purposes of public use. [2] After these works, Cuba has become a place of attraction for tourists.

The team of technicians was composed as follows: Enza Anna Parrino: general coordination and restoration project Patrizia Minà: technical-scientific coordination Riccardo Faraci: restoration project and construction supervision Gaetano Cusumano: restoration project and construction supervision, with the external collaboration of the association cultural "Salviamo il Castello di Calatubo" which has taken care of some historical and human aspects demonstrating the protagonism and importance that the ancient complex has covered over time for the vast fief of Calatubo.

A legend linked to the Cuba of Roses, tells of a lush garden near the Castle of Calatubo: in the early 1700s, here was the rose garden of Baroness Donna Gaetana De Ballis, the last baroness of the noble family who owned the castle of Calatubo and of the feud from 1584, [3] and wife of Giuseppe Papè Prince of Valdina and Protonotaro of the Kingdom.

The beautiful Gaetana was married by Prince Papè (much older than her) out of pure interest, deprived of true love, she poured all her affection towards her son Ugo Papè who was soon directed by his father to take vows, becoming one of the greatest bishops of the diocese of Mazara del Vallo (still remembered today for his works).

Once again deprived of love, the baroness, who became a princess at the time of marriage, poured all her affection towards her beloved roses, which she cultivated secretly so as not to be seen by courtesans and residents according to legend, they bloomed only with night and in his presence, and since she died in 1769, the roses stopped blooming. But it is said: that every year, on the night of February 19, his ghost, with a candlestick in his hand, leaves the Castle of Calatubo to travel around Cuba in search of his beloved flowers.

Other legends are linked to the ancient Arab reservoir it is also said that Cuba was known for its recognized peculiarity of prophesying the looming nefarious future, through the reflections of the full moon in the mirror of its clear waters.

Another ancient legend recalls the story of the eternal love between two young nobles linked to baronies of opposite factions, during the terrible period (1300) of the fratricidal baronial wars for the management of fiefs. A story of love and death that has nothing less than the more famous story of Romeo and Juliet.


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