On Friday afternoon, the Vernissage of "TRACCE" was held.

"Tracce": A Century of Ceramic Art on Display in Vietri sul Mare. A collection of over sixty works spanning nearly a century, from the early 1900s to 2026: a journey of forms and gestures that have left a deep mark over time, capable of telling the story of the territory through its most vibrant material.

"TRACCE" is an anthological exhibition dedicated to the artistic and ceramic heritage of the Municipality of Vietri sul Mare. The collection includes over sixty works spanning nearly a century, from the early 1900s to 2026: a journey of forms and gestures that have left a deep mark over time, capable of telling the story of the territory through its most vibrant material.

A wonderful itinerary bringing together works from the editions of the "Journey Through Ceramics" competition—winners, awardees, or selected pieces—alongside works that have entered the municipal collection through donations, acquisitions, and loans for use. Each work is a trace: the sign of an encounter, a passage, a gaze that has left an imprint on the cultural history of Vietri sul Mare.

The exhibition—which will remain open until May 18—was curated by Rita Raimondi and realized by the Municipality of Vietri sul Mare – Department of Ceramics, strongly supported by the municipal administration led by Mayor Giovanni De Simone.

Given the significant number of available works, the exhibition will change over time, offering the opportunity to experience new emotions. "Tracce" returns to the community a living and evolving heritage, capable of crossing generations and reaffirming, over time, the power of matter that becomes art.

Source: Read the original article | Published: April 27, 2026

This year, the Henry-Moisand polyvalent high school in Longchamp celebrates its 80th anniversary. For the occasion, Jean-Paul Chanson agreed to speak with us about his time at the institution, having known it both as a student and later as a teacher until 2012. A meeting.

To talk and not forget anything about his years at the Henry-Moisand polyvalent high school in Longchamp, Jean-Paul Chanson brought what he calls his "CV." A large red binder, well filled, that traces his entire career. "It starts with my quarterly report cards, my school records…" he details.

When he arrived at the Longchamp training center, as it was called at the time, he was only 13 and a half years old. It was 1965. A child from Charmes, it was pushed by his primary school teacher that he ended up in Longchamp. He traveled by bicycle and only returned home once every two weeks. "Because I wasn't old enough to have a moped," he specifies.

“We were 17 in the room”

Those were formative years. He remembers sleeping at the castle. "We were 17 in the room," he adds. Because at that time, the training center's workshops were in the earthenware factory. "The Certificat d'Aptitude Professionnelle (CAP)…"

Source: Read the original article | Published: April 26, 2026

La Voz SANTIAGO SANTIAGO CIUDAD PATRICIA DONO

The exhibition "Arxila, auga e lume" (Clay, Water and Fire) runs until May 30.

25 Apr 2026. Updated at 04:50 h.

Xurxo Oro Claro presents his ceramic sculpture pieces in the paneled hall of the Colexio de Fonseca as part of the exhibition "Arxila, auga e lume", which will be on display until May 30.

Source: Read the original article | Published: April 25, 2026

Learn how to earn 20 Prize Tokens, efficiently beat the Baseball Cards mini-game, and unlock the X1 D-Mousifier in Mouse P.I. For Hire. The Prize Token Dispenser is located in the Little & Big Bar, right across from your private investigator office, and it won't budge until you hand over 20 Prize Tokens. That number seems manageable until you realize each token requires winning a game of Baseball Cards for $50 per match, with no guarantee of victory. Before spending hours on this grind, here's exactly what you need to know: how to earn tokens efficiently, how to avoid losing your money, and whether the final reward is really worth it.

What Is the Prize Token Dispenser and Where to Find It?

The Prize Token Dispenser is a locked cabinet inside the Little & Big Bar, the establishment right across from Spike-D's private investigator office. Approaching it triggers an on-screen prompt explaining the need for 20 Prize Tokens. The bar itself is a natural stopping point between missions, so you'll constantly walk past this thing before you have the means to open it. Note: The Prize Token Dispenser is visible from early in the game, but you cannot open it until you've accumulated all 20 tokens through Baseball Card victories. Tokens come from a single source: winning Baseball Cards matches. There is always an opponent available at the back of the Little & Big Bar, and each match costs $50 to enter. Victories yield one token; losses and draws yield nothing and cost you the entry fee. To build your card deck and improve your odds, you can find cards during missions or buy them at the Soup to Nuts store near the bar, according to Game Rant. Baseball Cards has a strategic element, but luck plays a large enough role that a solid deck doesn't guarantee consistent wins.

How to Avoid Losing Money

Here's what most players discover too late. Since losses cost $50 and yield nothing, a streak of bad luck can drain your wallet before you reach 20 tokens. Here's how it works: Save your game at the Typewriter in the Private Investigator Office before each Baseball Cards match. If you lose or draw, reload that save and try again. After each victory, go back upstairs and save before playing the next match. This loop keeps your money safe and guarantees progress. Without it, you'd need to spend a minimum of $1,000 for 20 wins, and potentially much more if luck turns sour. Warning: Draws count as losses for token purposes. You get nothing and lose your $50, so don't assume a draw is a neutral outcome.

What Do You Actually Get from the Prize Token Dispenser?

Once you hand over 20 tokens, the Prize Token Dispenser delivers the X1 D-Mousifier, a classic sci-fi ray gun that is immediately added to your arsenal. According to Polygon's guide, the weapon deals considerable damage per shot and becomes much more useful once you apply schematics to unlock its alternate fire mode: a continuous laser beam particularly effective against bosses.

Opening the Prize Token Dispenser also unlocks the trophy and achievement "Everyone Loves Ray Guns." The in-game description refers to the X1 D-Mousifier as "Spike-D's exclusive gun."

Is the X1 D-Mousifier Worth It?

Honestly, it depends on your patience for Baseball Cards. The X1 D-Mousifier is a solid weapon, and the alternate fire laser beam makes it really useful against bosses once upgraded. But as Polygon notes, it doesn't outshine the rest of your arsenal. Your standard pistol, the James Gun, and your shotgun remain viable options. If you enjoy the Baseball Cards mini-game, the grind is a natural extension of something you were already doing. If you find it repetitive after a few matches, ignoring the Prize Token Dispenser won't leave you under-equipped for the rest of the game. Note: The alternate fire mode is not standard. You must find or acquire schematics and apply them to the weapon to unlock the laser beam. The schematic system applies to weapons throughout the game, so if you've already upgraded other weapons, the process will be familiar. Polygon's guide on schematics covers the full upgrade process in detail. Danger: The continuous laser beam alternate fire, which is the X1 D-Mousifier's most powerful feature for boss encounters, is only available after applying the correct schematic. The base version of the weapon only fires single shots. For more tips on Mouse P.I. For Hire and guides for other weapons, missions, and puzzles, browse other guides on GAMES.GG.

Source: Read the original article | Published: April 23, 2026

During the months of May and June, the cultural spaces under the Ministry of Culture, Tourism, and Sports of the Province will open a new agenda of workshops aimed at children, adolescents, and adults. The proposals seek to promote creativity, learning, and participation through various artistic disciplines. All activities are fee-based and have limited spaces.

Workshop Details

The Initial Literary Workshop is coordinated by Mariel Zapata and is aimed at children aged 8 to 12. It will be held at the Historical Museum, located at Chacabuco 425, starting Monday, May 4, on Mondays and Wednesdays from 6:00 PM to 7:30 PM. For information and registration, contact 1127340600. At the Casa de la Cultura, located at San Martín 533, the Resin Creations workshop will take place, led by Lorena Rojas. It is aimed at adolescents and adults and will begin on Monday, May 4, with classes on Mondays and Tuesdays from 7:50 PM to 8:50 PM. Registration and information at 3834-232871. In the same space, El Rinconcito will also operate, coordinated by Erica Alejandra Burgos, featuring mixed media art and recycling techniques. It starts on May 4, with classes on Mondays and Wednesdays from 5:00 PM to 7:00 PM. Contact: 3834-685735.

Another proposal is the Crochet Weaving workshop, led by Melisa Rivera, aimed at children aged 10 and up. It will be held at the Historical Museum starting Tuesday, May 5, on Tuesdays and Thursdays from 4:00 PM to 6:00 PM. Information and registration at 3834-577426. The Artisan Ceramics workshop will be coordinated by Rafael Guitian and will begin on Wednesday, May 6, at the Casa de la Cultura. Classes will be held on Wednesdays and Thursdays from 4:00 PM to 6:00 PM. Registration at 3834-406329. Finally, the Textile Flowers workshop will be led by Adriana Gabriela Barros and will begin on Friday, May 8, at the Casa de la Cultura. It will be held on Fridays from 5:00 PM to 7:00 PM and Saturdays from 10:00 AM to 12:00 PM. Information and registration at 3834-024880.

Source: Read the original article | Published: April 23, 2026

Until next Thursday, April 30, residents of Avellaneda can visit the exhibition "A Four Hands," an artistic proposal on display at the Avellaneda Municipal Institute of Ceramics (IMCA).

The exhibition is the result of the joint work of artists Luciano Polverigiani and Viví Posincovich, who propose an aesthetic dialogue where clay and fibers intertwine. Through this crossover of languages, the pieces build a sensitive universe that combines traditional craftsmanship with contemporary exploration.

It is an opportunity to explore and inhabit a common space where the visions of both creators merge into small visual narratives.

Visiting Days and Hours

The exhibition is open to the public at the Institute's headquarters, located at Av. Mitre 2724, Sarandí. Monday to Friday: 3:00 PM to 8:00 PM. Saturday: 10:00 AM to 5:00 PM.

Source: Read the original article | Published: April 23, 2026

At the Gallerie d'Italia in Naples this spring, time seems to fold in on itself. Not in a spectacular or overt way, but through a silent dialogue of surfaces, gestures, and gazes: this is where the exhibition Vortici. Alexi Worth in dialogo con la ceramica antica is born, running until July 5, 2026. The exhibition brings together two seemingly distant universes: on one side, the Attic and Magna Graecia ceramics from the Intesa Sanpaolo Collection; on the other, the canvases of Alexi Worth, a New York artist making his debut in Italy. Yet, more than a comparison, what emerges is a kind of resonance, a visual echo that spans centuries of image history. At the heart of the exhibition are nine paintings by Worth juxtaposed with an essential but significant selection of archaeological artifacts: three craters and one hydria from the Caputi Collection. The curation, led by Silvia Gaspardo Moro together with Richard Neer, a professor at the University of Chicago, does not follow an illustrative logic. It is not about explaining the past through the present or vice versa, but about activating a shared reflection on a specific theme: the symposium, the act of drinking, the ritual that transforms a daily gesture into a cultural experience.

It is precisely in the gesture that the eras meet. The figures painted on ancient ceramics, captured while raising cups or participating in the banquet, find a surprising correspondence in Worth's subjects: hands, chalices, fragments of nature. Minimal, isolated, almost suspended elements. In his canvases, there is no narrative, but an extreme concentration on the act and perception. Worth's style is distinguished by a controlled, almost restrained precision. The images appear familiar but never fully recognizable: they are everyday objects reworked mentally before being painted. In an era dominated by digital overproduction, the artist reclaims a slowness and physicality of the image, emphasizing the value of manual making. His surfaces, smooth and compact, seem to construct a mental space rather than a real one. In this sense, the dialogue with the ancient is not only thematic but structural. The ceramics, with their stylized figures and concise narratives, also operate by subtraction, by economy of signs. The result is a common ground where figuration and abstraction cease to be opposing categories and become complementary tools for questioning the gaze.

Vortici is not a spectacular exhibition in the traditional sense. It does not aim for accumulation or monumentality. On the contrary, it builds an intimate, almost meditative experience, where each work demands time and attention. The vortex evoked by the title is not visual but mental: it is the continuous movement between past and present, between object and image, between gesture and meaning. In this interweaving, Naples once again confirms itself as a privileged place for cultural stratifications. Here, where the ancient is an integral part of daily life, the encounter with a contemporary artist like Worth does not feel forced but natural. It is a dialogue that does not seek to amaze, but to challenge perceptual habits, inviting us to truly see what we often take for granted.

An essential yet dense exhibition, demonstrating how even a few elements, when intelligently related, can generate new possibilities for reading. And perhaps, just as in ancient symposia, what matters is not only what is seen, but what happens in the shared space of the gaze. Info: gallerieditalia.com

Source: Read the original article | Published: April 23, 2026

With its 250 kilometers of border with Switzerland, French customs have their work cut out for them in the Franche-Comté sector. Every day, thousands of vehicles and goods cross this border. To improve the efficiency of controls and streamline the ever-increasing traffic at entry points, French and Swiss authorities are now betting on a "smart border," based on collaboration. Another strategic location is under particular scrutiny by Franche-Comté customs: Dole Jura international airport, which sees thousands of tourists pass through each year.

The Growing Challenges of E-commerce

E-commerce is a growing challenge for customs services. Every year, more than 1.5 billion packages are delivered to Franche-Comté's postal sorting centers. Among the 227 seizures made by customs officers in 2025, Franche-Comté customs officers encountered some notable items, including 144 pyrotechnic devices, 15,700 doses of "erectile honey," and 4,350 doses of Kamagra, a derivative of Viagra with harmful health effects. Other e-commerce controls concern textile products (clothing and shoes) and illicit goods. Counterfeit websites are flourishing online, and in the event of a customs check, it's often a double penalty: not only is the counterfeit product seized, but the recipient is also prosecuted. Far from being trivial, this mission of the customs remains essential to preserve French brands and, more generally, the activity of traditional commerce.

Tobacco, Cigarettes, and Narcotics: Record Seizures for Customs

Franche-Comté customs officers often make headlines with the increasingly frequent drug seizures carried out in the territory. And the figures presented by the authorities speak for themselves. In 2025, almost 14 tons of tobacco were seized, including 12 tons discovered by the Lons-le-Saunier brigade in a Bulgarian truck. Narcotics seizures are also on the rise. This mainly concerns cannabis (6 tons seized) and cocaine (307 kg). In June 2025, for example, Besançon customs officers intercepted over 1,862 kg of cannabis pollen concealed in a shipment of olives.

Cash Also a Concern

Possession of cash is not in itself an offense when crossing a border. However, amounts over €10,000 must be declared, which is far from being done by everyone. For instance, €48,000 was discovered in a private vehicle by Pontarlier customs officers. In June 2025, a joint operation by Swiss and French customs officers in Delle led to the seizure of €327,000 in undeclared cash.

Household Waste in the Sights of Customs

Household waste collection in Switzerland is chargeable. Therefore, to avoid paying for collection, some Swiss citizens do not hesitate to cross the border to deposit their waste on the French side. Even household waste is prohibited from crossing borders. In total in 2025, 138 fines were issued.

Yves Quemeneur

Source: Read the original article | Published: April 22, 2026

Yesterday in Potenza, a strong smell of gasoline near the Palace of Justice triggered an environmental alarm. The odor was particularly noticeable in the courthouse parking area, where rainwater runoff converges from the nearby Via Viviani, a zone containing a fuel station that has now been seized. The report, received by the local police, quickly activated the inspection machinery. The on-duty magistrate from the Public Prosecutor's Office also intervened on-site, ordering the seizure of the refueling facility, believed to be the potential source of the hydrocarbon discharge into the runoff water. Technical checks confirmed the presence of volatile organic compounds attributable to hydrocarbons between Via Viviani and Via Nazario Sauro. The origin of the contamination remains under investigation, while all procedures mandated by environmental regulations were immediately activated to ensure public safety and environmental protection.

The deployment of forces on the ground was massive: in addition to the Fire Brigade, who also intervened on judicial orders, technicians from ASP, ARPAB, the Municipality, and Civil Protection were present. Technicians from Acquedotto Lucano were also involved, conducting a series of inspections on the local water network to rule out any critical issues. Meanwhile, the collection and removal of the contaminated water have been entrusted to a specialized company, while the area has been secured and placed under constant monitoring. Authorities have reassured citizens: at present, no dangerous situations for people or property have been recorded.

Federica Pistone

Source: Read the original article | Published: April 20, 2026

Lotus Moon: A Tribute to Ōtagaki Rengetsu

The exhibition Lotus Moon , curated by Katia Bagnoli and Bruno Riva, is a choral tribute to the silent grace and strength of Ōtagaki Rengetsu (Kyoto 1791–1875), one of the most extraordinary figures in the 19th-century Japanese artistic landscape. A poet, calligrapher, and ceramicist, her long life traversed pain and wonder, leaving a luminous trace of humanity on her artistic production. The exhibition title Lotus Moon refers to the meaning of Rengetsu itself, the name the artist assumed at just 33 years old after the loss of her two husbands and children, when she embarked on monastic life. The exhibition invites the public to enter an intimate dialogue between the written word, the calligraphic gesture, and the ceramic form—where poetry and matter meet according to a wabi-sabi aesthetic, essential and profound, which draws on the Japanese aesthetic and philosophical concept celebrating the beauty of impermanence and incompleteness. Her production mainly contemplates simple everyday objects, including vases, tea bowls, and sake bottles, on which she incises her poetic compositions, infusing them with a unique style. To this extraordinary core of works—in a journey that evokes a light weaving—are added contemporary calligraphic and pictorial works by Bruno Riva and Katia Bagnoli, as well as the ceramics of Ekaterina De Andreis. For this exhibition, Ekaterina De Andreis created one hundred ceramics using traditional techniques, incised by Bruno Riva and Katia Bagnoli in respect of Rengetsu's style, so that her spirit can still reverberate in the present like a quiet light. The contemporary calligraphies are also not copies but interpretations: personal responses to an ancient voice that continues to speak through the rhythm of poetic verses and the brush, and in the measure of silence. Rengetsu's "Lotus Moon" thus reflects the sensitivity of today's artists while keeping its own light intact. The two exhibition venues and installations are conceived as a diffused itinerary that invites the visitor to move through the space as in a meditative walk at a gentle pace, following the steps of Rengetsu, who moved with grace and without interruption between poetry, ceramics, and calligraphy.

“Crossing cities, cultures, languages, this encounter between Japanese and Italian artists, between past and present, renews the subtle fabric of philosophical and aesthetic exchanges that for centuries have united East and West.”

The exhibition gathers thirty original works by Ōtagaki Rengetsu, exhibited for the first time in Italy, alongside a collection created specifically to celebrate Rengetsu's vision by Ekaterina De Andreis, incised by hand by Bruno Riva and Katia Bagnoli—not copies, but dialogues inspired by the verses that accompanied her search and that fragile balance between form and spirit that still makes the 'wandering nun' a beloved figure in Japan today.

Exhibition Details

Lotus Moon is held in Milan from April 28 to May 8, 2026, in a diffused itinerary across two venues, stops of a single narrative: At Studio TOMA , Via Moscova 25 (opening Tuesday, April 28, 2026, 6:30 PM), original works by Rengetsu will be exhibited alongside calligraphic dialogues by Bruno Riva, Katia Bagnoli, and Elena Cristina Toma with other calligraphers from Shodo.it, sometimes intertwined with the brushstrokes of painters Shoko Okumura, Laura Serri, and Claudia Verri. The other venue, Ekadea studio at Via Plinio 42 (Wednesday, April 29, 2026, 6:30 PM), hosts ceramic works by Ekaterina De Andreis and a selection of calligraphic and pictorial works on Japanese paper by calligraphers and painters from Shodo.it. The exhibition is preceded from April 8 by two visitable installations: at the Consulate General of Japan at Via Privata Cesare Mangili 2/4, while other works are displayed in the window of Boutique Toma at Via della Spiga 2.

Source: Read the original article | Published: April 19, 2026