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"GAZZETTA H24": STREET ART, STORNARA JOINS THE WIPO REPORT ALONGSIDE THE GREAT CITIES OF THE WORLD SOURCE: https://www.gazzettah24.it/street-art-stornara-entra-nel-rapporto-wipo-accanto-alle-grandi-citta-del-mondo/ ------------------------------------------------------------------- From "ghost town" to global model cited in Geneva: the cultural bet of Stornara Life APS captures the attention of WIPO. --------------------------------------------------------------------  STORNARA (FG) - There is a Southern Italy that makes little noise. It lies among the fields of wheat and rural roads of Capitanata, far from the main routes of mass tourism. Until a few years ago, Stornara, in the province of Foggia, was the typical town that statistics dismiss with a cruel adjective: "peripheral." Today, its name appears in an analysis from WIPO, the "World Intellectual Property Organization", the United Nations Agency in Europe based in Geneva. "Stornara Life APS" alongside Berlin, New York, Los Angeles, Paris, and Melbourne. ------------------------------------------------------------------ A report that looks at the walls of the world The text is titled "From Local Scenes to Global Recognition: Talent Mobility in Street Art". It is authored by three WIPO economists, Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, and has been published in the "Creative Industries Insights" series. To build it, the authors started from data from the "Street Art Cities" platform. The technical note talks about approximately 74,000 geolocated works, collected and shared by street art enthusiasts worldwide. The fundamental questions are simple. Where does street art originate? Who travels to paint it? Which cities manage to attract outside talent? The first answer dismantles a common misconception. Street art is a profoundly local phenomenon. About one in five artists also works abroad, while the vast majority paint in their own city or in nearby ones. Among the few who cross borders, almost 40 percent are "highly mobile": they build an international artistic brand without severing their roots. These include the cases of Banksy, Os Gemeos, and Invader, whose walls appear on multiple continents. The authors use an effective term: street art is "glocal," rooted in its territory but capable of generating global circuits of talent and recognition. -------------------------------------------------------------------- The magnets of the world When asked which cities attract the most foreign artists, the map is fascinating. North America weighs heavily, with New York, Los Angeles, and Miami. Western Europe offers a dense network of opportunities, from Berlin to Amsterdam, from Vienna to Ghent, from Basel to Rotterdam, favored by the festival circuit and the freedom of movement within the Schengen area. Lisbon and Barcelona have focused on municipal support policies. Melbourne is the only representative from Oceania, and Northern Europe relies on Bergen, London, Belfast, and Stavanger. In this scenario of capitals and metropolises, the report includes an Italian exception, from Puglia, Foggia: Stornara, a small agricultural town of about 6,000 inhabitants, has been a destination for mural talents since 2018. It shows how street art can spark the rebirth of a community: thanks to the annual "Stramurales International Street Art Festival," born in 2017 from the strong will to combat urban and socio-economic decline by the founders of the social promotion association "Stornara Life APS,” Lino Lombardi and his local "Banda dei Fischietti," it has accumulated over 173 murals. About fifty of these are works by high-level international artists, with Google Trends data since 2017 showing notable interest in the mural tourism destination, indicating that the international festival has now captured national and international attention. It has also become the first academic case study in the world on a street art festival, "Street Art as Public Health Infrastructure," published in the prestigious academic journal "Harvard Health and Human Rights Journal" from Harvard University. Written by researcher Luciano Magaldi Sardella from Orta Nova and professor Matteo Mantuano from Lucera, this corresponds to the demonstration that an idea, an association, and the willingness of a community can change the identity of a place "forgotten by God." This is also recounted by those who have followed the story from the outside: the town, once little accustomed to visitors, now welcomes international tourists, individuals, groups, and schoolchildren who come to see its over 173 murals. ----------------------------------------------------------------- The secret is in density The data that has sparked pride in Stornara is this: it's not the volume that matters, it's the proportion. The organizers propose a simple indicator: works by foreign artists divided by the number of residents, multiplied by 100,000. With about over 50 international works and a population of a few thousand residents, Stornara reaches several hundred foreign works for every 100,000 inhabitants. This is a value that metropolises, with millions of residents, cannot approach. The meaning must be read accurately, and this is where the beauty of the matter lies. No one claims that Stornara has more foreign murals than New York. The point is that, in relation to its scale, few places in the world concentrate so much international art per inhabitant. The impact does not disperse in a megalopolis: it settles in every street, on every facade, in the daily life of those who live there. The most interesting part of the report looks beyond the ranking. The authors write that the value of street art extends well beyond the painted surfaces. Cities like Stornara demonstrate how urban art attracts tourism, generates media coverage, and can stimulate local businesses while strengthening community bonds and restoring the psychosocial well-being that could counter the perpetual Southern decline. However, the report adds a valuable warning: success depends on careful implementation and the involvement of artistic communities. Top-down initiatives risk being perceived as "predatory" by artists who care about the credibility of street art. The global model Stramurales appears to have avoided this pitfall. Field studies tell of walls donated by residents, week-long artist residences, and public discussions on the themes to be addressed. -------------------------------------------------------------------- The lesson of a town The report concludes with an idea that holds true for both Stornara and Berlin: the vitality of street art sinks its roots in local contexts. It arises from communities, speaks of their problems, and is made by artists immersed in their urban environments. The artistic family of "Stornara Life APS" understood this before many regional and local politicians, creating their walls into an open-air museum, a promise, and opening them to the world without ceasing to be themselves. In this official report from the Geneva Agency of the United Nations in Europe that measures the ability to attract talent, this results in, perhaps, the most precious value. Being cited alongside the great capitals of urban art while remaining, after all, a rural provincial town where every wall tells a colorful world of glocal stories. (translated)

"GAZZETTA H24": STREET ART, STORNARA ENTERS THE WIPO REPORT ALONGSIDE THE GREAT CITIES OF THE WORLD SOURCE: https://www.gazzettah24.it/street-art-stornara-entra-nel-rapporto-wipo-accanto-alle-grandi-citta-del-mondo/ -------------------------------------------------------------------- From 'ghost town' to global model cited in Geneva: the cultural wager of Stornara Life APS wins the attention of WIPO. STORNARA (FG) - There is a Southern Italy that makes no little noise. It stands among the wheat fields and the rural roads of the Capitanata, far from the great routes of mass tourism. Until a few years ago Stornara, in the province of Foggia, was the typical town that statistics dismiss with a cruel adjective: 'peripheral'. Today its name appears in an analysis by WIPO, the 'World Intellectual Property Organization', the United Nations Agency of Europe headquartered in Geneva. 'Stornara Life APS' alongside Berlin, New York, Los Angeles, Paris, and Melbourne. -------------------------------------------------------------------- A report that looks at the walls of the world The text is entitled 'From Local Scenes to Global Recognition: Talent Mobility in Street Art'. It bears the signature of three WIPO economists, Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, and was published in the series 'Creative Industries Insights'. To build it the authors started from the data of the platform 'Street Art Cities'. The technical note speaks of about 74,000 geolocalized works, collected and shared by street-art enthusiasts all over the world. The underlying questions are simple. Where is street art born? Who travels to paint it? Which cities manage to attract talent from outside? The first answer dismantles a commonplace. Street art is a profoundly local phenomenon. About one artist in five also works abroad, whereas the great majority paints in its own city or in those nearby.  Among the few who cross the borders, almost 40 per cent are 'highly mobile': they build an international artistic brand without severing their roots. They are the cases of Banksy, Os Gemeos, and Invader, whose walls appear on more than one continent. The authors use an effective term: street art is 'glocal', rooted in its own territory but capable of generating global circuits of talent and recognition. ---------------------------------------------------------------- The magnets of the world When one asks which cities attract foreign artists most, the map is fascinating. North America weighs by size, with New York, Los Angeles, and Miami. Western Europe offers a dense network of opportunities, from Berlin to Amsterdam, from Vienna to Ghent, from Basel to Rotterdam, favoured by the festival circuit and by freedom of movement of the Schengen area. Lisbon and Barcelona have staked on municipal policies of support. Melbourne is the sole representative of Oceania, and Northern Europe relies on Bergen, London, Belfast, and Stavanger. In this scenario of capitals and metropolises, the report inserts an Italian, Apulian, Foggian exception: Stornara, a small agricultural town of about 6,000 souls, since 2018 has been a destination for mural talent. It shows how street art can trigger the rebirth of a community: thanks to the annual festival 'Stramurales International Street Art Festival', born in 2017 from the iron will to combat urban and socio-economic decline on the part of the founders of the social promotion association 'Stornara Life APS', Lino Lombardi and his Stornarese 'Banda dei Fischietti', it has accumulated more than 173 murals. About fifty of them are works by high-level international artists, with Google Trends data which since 2017 have shown a remarkable interest in the tourist-mural destination, a sign that the international festival has by now captured national and international attention. It has also become the first monographic academic case study in the world on a street-art festival, 'Street Art as Public Health Infrastructure', published in the prestigious journal of world academic standing, the 'Harvard Health and Human Rights Journal' of Harvard University. Through the work of the researcher Luciano Magaldi Sardella of Orta Nova and of Professor Matteo Mantuano of Lucera, all this corresponds to the demonstration that an idea, an association, and the availability of a community can change the identity of a place 'forgotten by God'. He who has followed the affair from outside also tells it: the town, once little accustomed to visitors, today welcomes international tourists, individuals, groups, and school parties come to see its more than 173 murals. -------------------------------------------------------------------- The secret is in density The datum which has kindled Stornarese pride is this: volume does not count, proportion counts. The organizers propose a simple indicator: works by foreign artists divided by inhabitants, multiplied by 100,000.  With about over 50 international works and a population of a few thousand residents, at Stornara one arrives at several hundred foreign works per 100,000 inhabitants. It is a value which the metropolises, with millions of residents, cannot approach. The meaning must be read with precision, and precisely here stands the beauty of the thing. No one maintains that Stornara has more foreign murals than New York. The point is that, in relation to its scale, few places in the world concentrate so much international art per inhabitant.  The impact does not disperse itself in a megalopolis: it deposits itself in every street, on every façade, in the everyday life of those who inhabit it. The most interesting part of the report is that which looks beyond the ranking. The authors write that the value of street art extends well beyond the painted surfaces. Cities such as Stornara demonstrate how urban art attracts tourism, generates media coverage, and can stimulate local commercial activities, strengthening the sense of community and restoring the psychosocial well-being which would distance the imperishable southern decline.  The report adds, however, a precious warning: success depends on careful implementation and on the involvement of the artistic communities. Initiatives dropped from above risk being perceived as 'predatory' by artists who have street credibility at heart. The global Stramurales model seems to have avoided the snare. Field studies tell of walls donated by residents, one-week artists' residencies, and public discussion of the themes to be addressed. ----------------------------------------------------------------- The lesson of a town The report closes itself with an idea which holds for Stornara as much as for Berlin: the vitality of street art sinks in local roots. It is born from communities, speaks of their problems, is made by artists immersed in their urban contexts. The artistic family of 'Stornara Life APS' understood it before many regional and local politicians, making of its own walls an open-air museum, a promise, and opening them to the world without ceasing to be itself. In this official report of the Genevan Agency of the United Nations of Europe which measures the capacity to attract talent, this turns out to be, probably, the most precious result:. To be cited alongside the great capitals of urban art and to remain, after all, a rural provincial town in which every wall tells a variegated world of glocal stories.

Seydi Ba denounced the judicial treatment of police violence that, according to him, occurred on November 21, 2020. He stated that police officers had struck nine young people, one of whom allegedly had his head smashed to the ground and another had a fractured wrist. He also indicated that an MP7 grenade, which he described as military equipment and of the same model as the one that killed Zineb Redouane, had been thrown into a windowless studio, all of it filmed. According to Seydi Ba, the commander of the IGPN revealed at the hearing that a preliminary investigation had been opened in 2022 and was still ongoing, six years after the events. He added that his clients had not been informed of this and that neither the president, nor the public prosecutor, nor the present lawyers were aware of it. He also denounced the lack of examination of phones, geolocation, and confrontation, as well as the fact that police officers had obstructed visibility on the videos. According to him, the IGPN had dismissed any intention on their part without the question being posed to them, and had shifted the responsibility to the public prosecution. Seydi Ba questioned the separation of this case and the absence of judgment for all the police officers in front of the criminal court. He said he had defended the idea of a single scene of violence before the investigating judges, adding that this approach was taken in cases concerning people without uniforms, but not in this one. He also indicated that several young people had received fines for not wearing masks that very evening, while they were, according to him, being beaten, handcuffed, and taken to the police station. He mentioned a possible forgery in a public document, whose author and usefulness remained to be determined, and said that the case had been left dormant. Seydi Ba announced that he would hold the state responsible and that the procedure would not stop there. #Justice #Police #Violence (translated)

FRENCHRAPUS stated that GTA 6 would feature more scenes of male nudity than GTA 5. According to him, Jason and Lucia would have intimate scenes with limited nudity and no visible genitals, while naked characters would also appear outside of sexual scenes, notably in the background of missions and in areas accessible to players. He added that reviewers had discovered a location resembling a nudist colony, where many characters would be completely naked. FRENCHRAPUS also wrote that some countries had considered blocking the game's release and that, in South Korea, some commission members deemed it excessive. #GTA6 #JeuxVidéo #Nudité (translated)

The author warned that agreeing to what they called a new security architecture—NATO returning to its 1997 borders—would lead to the same scenario recurring first in Finland and the Baltic states, then in Poland, Slovakia, Czechia and Hungary. They suggested it might be less pronounced in Slovakia, Czechia and Hungary, using a derogatory characterization of those countries as deferential to Russia. #NATO #Security #Europe #FI #LT #LV #PL #SK #CZ #HU #RU

Impact, citing notably Juliette Campion, Franceinfo, RTL, Le Monde, and AFP, reported that the trial of Halima El Bakhti and Ahmed Touloub was ongoing before the assize court of Loir-et-Cher in Blois. Inass Touloub, aged 4, had been found dead on August 11, 1987, wrapped in a blanket in a ditch by the A10. According to Impact's report, forensic examinations revealed numerous injuries and concluded a long agony without care. At the hearing, Halima El Bakhti reportedly mentioned witchcraft and claimed that her husband and her in-laws made her eat foods that made her ill. She admitted to having hit her daughter and said she needed help to stop. The presiding judge recalled that three panels of psychiatric experts had found no mental illness in her causing her to lose contact with reality. The mother also disputed the testimony of her eldest daughter, who claimed to have seen her bite Inass. Ahmed Touloub, aged 74 and judged for complicity, admitted to having seen his wife throw Inass to the ground and hit the children. He said he was afraid to intervene and ultimately left without informing the police after discovering his daughter motionless. The parents blamed each other for abandoning her body before continuing their journey to Morocco with their other children. They both faced life imprisonment. #JusticePourInass #Procès #ViolencesFamiliales (translated)

"VIVERE PUGLIA": STRAMURALES: STORNARA IN THE “GLOBAL TOP 20” OF THE REPORT BY THE UNITED NATIONS AGENCY IN EUROPE” From “ghost town” to global model cited in Geneva: the cultural gamble of Stornara Life APS wins the attention of WIPO There is a southern Italy that is making quite a noise. It lies among the wheat fields and rural roads of the Capitanata, far from the great routes of mass tourism. Until a few years ago Stornara, in the province of Foggia, was the typical town that statistics dismiss with a cruel adjective: “peripheral”. Today its name appears in an analysis by WIPO, the “World Intellectual Property Organization”, a United Nations agency in Europe based in Geneva. So Stornara alongside Berlin, New York, Los Angeles, Paris, and Melbourne. A report that looks at the walls of the world The text is entitled “From Local Scenes to Global Recognition: Talent Mobility in Street Art. It is signed by three WIPO economists, Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, and was published in the “Creative Industries Insights” series. To construct it, the authors started from data from the “Street Art Cities” platform. The technical note speaks of about 74,000 geolocated works, collected and shared by street art enthusiasts around the world. The underlying questions are simple. Where is street art born? Who travels to paint it? Which cities succeed in attracting talent from outside? The first answer dismantles a commonplace. Street art is a profoundly local phenomenon. About one artist in five also works abroad, while the great majority paint in their own city or in nearby ones. Among the few who cross borders, almost 40 per cent are “highly mobile”: they build an international artistic brand without severing their roots. These are the cases of Banksy, Os Gemeos, and Invader, whose walls appear on several continents. The authors use an effective term: street art is “glocal”, rooted in its own territory but capable of generating global circuits of talent and recognition. The magnets of the world When one asks which cities most attract foreign artists, the map is fascinating. North America weighs in by size, with New York, Los Angeles, and Miami. Western Europe offers a dense network of opportunities, from Berlin to Amsterdam, from Vienna to Ghent, from Basel to Rotterdam, favoured by the festival circuit and by freedom of movement in the Schengen area. Lisbon and Barcelona have focused on supportive municipal policies. Melbourne is the sole representative of Oceania, and Northern Europe relies on Bergen, London, Belfast, and Stavanger. In this scenario of capitals and metropolises, the report inserts an Italian, Apulian, Foggia exception: Stornara, a small agricultural town of about 6,000 souls, has since 2018 been a destination for mural talent. It shows how street art can trigger the rebirth of a community: thanks to the annual festival “Stramurales International Street Art Festival”, born in 2017 from the iron will to combat urban and socio-economic decline on the part of the founders of the social promotion association Stornara Life APS, Lino Lombardi and his Stornara-based Banda dei Fischietti, it has accumulated more than 173 murals. About fifty of them are works by high-level international artists, with Google Trends data since 2017 having shown remarkable interest in the tourist-mural destination, a sign that the international festival has now captured national and international attention. Having also become the world’s first single-case academic study on a street art festival, “Street Art as Public Health Infrastructure”, published in the prestigious world-level academic journal, the “Harvard Health and Human Rights Journal” of Harvard University, by the researcher Luciano Magaldi Sardella from Orta Nova and Professor Matteo Mantuano from Lucera, all this amounts to proof that an idea, an association, and the willingness of a community can change the identity of a place “forgotten by God”. Those who have followed the story from outside tell it too: the town, once little accustomed to visitors, today welcomes international tourists, individuals, groups, and school parties who have come to see its more than 173 murals. The secret lies in density The figure that has ignited Stornara pride is this: volume does not count, proportion does. The organizers propose a simple indicator: works by foreign artists divided by inhabitants, multiplied by 100,000. With more than 50 international works and a population of a few thousand residents, Stornara reaches several hundred foreign works per 100,000 inhabitants. It is a value that metropolises, with millions of residents, cannot approach. The meaning must be read precisely, and precisely here lies the beauty of the thing. Nobody claims that Stornara has more foreign murals than New York. The point is that, in relation to its scale, few places in the world concentrate so much international art per inhabitant. The impact is not dispersed in a megalopolis: it settles in every street, on every façade, in the daily life of those who live there. The most interesting part of the report is the one that looks beyond the ranking. The authors write that the value of street art extends far beyond painted surfaces. Cities like Stornara show how urban art attracts tourism, generates media coverage, and can stimulate local commercial activities, strengthening the sense of community and restoring psychosocial well-being that would drive away the perennial southern decline. The report adds, however, a valuable warning: success depends on careful implementation and on the involvement of artistic communities. Top-down initiatives risk being perceived as “predatory” by artists who care about street credibility. The global Stramurales model seems to have avoided the pitfall. Field studies tell of walls donated by residents, week-long artist residencies, and public discussion of the themes to be addressed. The lesson of a town The report closes with an idea that holds for Stornara as much as for Berlin: the vitality of street art is rooted in local roots. It is born from communities, speaks of their problems, and is made by artists immersed in their urban contexts. The artistic family of Stornara Life APS understood this before many regional and local politicians, making its own walls an open-air museum, a promise, and opening them to the world without ceasing to be itself. In this official report by the Geneva-based United Nations agency in Europe that measures the capacity to attract talent, this turns out to be, probably, the most precious result: to be cited alongside the great capitals of urban art and to remain, after all, a rural provincial town in which every wall tells a colourful world of glocal stories. (translated)

“VIVERE PUGLIA”: STRAMURALES: STORNARA IN THE “GLOBAL TOP 20” OF THE REPORT OF THE UNITED NATIONS AGENCY OF EUROPE SOURCE: https://www.viverepuglia.it/2026/11/12/stramurales-stornara-nella-global-top-20-del-rapporto-dellagenzia-delle-nazioni-unite-deuropa/207030/ ------------------------------------------------------------------- From “ghost town” to global model cited in Geneva: the cultural bet of Stornara Life APS captures the attention of WIPO There is a South Italy that does not make much noise. It lies among the wheat fields and rural roads of Capitanata, far from the main routes of mass tourism. Until a few years ago, Stornara, in the province of Foggia, was the typical town that statistics dismiss with a cruel adjective: “peripheral.” Today its name appears in a WIPO analysis, the “World Intellectual Property Organization,” a United Nations agency in Europe based in Geneva. So, Stornara stands alongside Berlin, New York, Los Angeles, Paris, and Melbourne. ------------------------------------------------------------------- A report that looks at the walls of the world The text is titled From Local Scenes to Global Recognition: Talent Mobility in Street Art. It is authored by three WIPO economists, Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, and has been published in the “Creative Industries Insights” series. To build it, the authors started from data from the “Street Art Cities” platform. The technical note discusses about 74,000 geolocated works collected and shared by street art enthusiasts worldwide. The underlying questions are simple. Where does street art originate? Who travels to paint it? Which cities manage to attract talent from outside? The first answer dismantles a common misconception. Street art is a profoundly local phenomenon. About one in five artists also works abroad, while the vast majority paint in their own city or nearby ones. Among the few who cross borders, nearly 40 percent is “highly mobile”: they build an international artistic brand without severing their roots. These include cases like Banksy, Os Gemeos, and Invader, whose works appear on multiple continents. The authors use an effective term: street art is “glocal,” rooted in its territory yet capable of generating global circuits of talent and recognition. -------------------------------------------------------------------- The magnets of the world When asked which cities most attract foreign artists, the map is fascinating. North America weighs in terms of size, with New York, Los Angeles, and Miami. Western Europe offers a dense network of opportunities, from Berlin to Amsterdam, from Vienna to Ghent, from Basel to Rotterdam, fueled by the festival circuit and the freedom of movement within the Schengen area. Lisbon and Barcelona have focused on municipal support policies. Melbourne is the only representative from Oceania, while Northern Europe relies on Bergen, London, Belfast, and Stavanger. In this landscape of capitals and metropolises, the report includes an Italian, Apulian, Foggian exception: Stornara, a small agricultural town of about 6,000 residents, has been a destination for mural talent since 2018. It shows how street art can trigger a community's revival: thanks to the annual “Stramurales International Street Art Festival,” born in 2017 from the determined will to combat urban and socio-economic decline by the founders of the social promotion association Stornara Life APS, Lino Lombardi and his local Banda dei Fischietti, it has accumulated over 173 murals. About fifty are works by high-level international artists, with Google Trends data since 2017 showing a remarkable interest in the tourism-mural destination, indicating that the international festival has now captured national and international attention. It has also become the first monographic academic case study in the world on a street art festival, “Street Art as Public Health Infrastructure,” published in the prestigious global academic journal “Harvard Health and Human Rights Journal” of Harvard University, by researcher Luciano Magaldi Sardella from Orta Nova and professor Matteo Mantuano from Lucera. All this corresponds to the demonstration that an idea, an association, and a community's willingness can change the identity of a place “forgotten by God.” This is also told by those who have followed the story from the outside: the town, once unaccustomed to visitors, now welcomes international tourists, individuals, groups, and school classes coming to see its over 173 murals. ----------------------------------------------------------------- The secret lies in density The data that has ignited pride in Stornara is this: it’s not the volume that matters, but the proportion. The organizers propose a simple indicator: the works of foreign artists divided by the population, multiplied by 100,000. With about over 50 international works and a population of a few thousand residents, Stornara reaches several hundred foreign works per 100,000 inhabitants. It’s a value that metropolises, with millions of residents, cannot approach. The significance must be read accurately, and here lies the beauty of the thing. No one claims that Stornara has more foreign murals than New York. The point is that, relative to its scale, few places in the world concentrate so much international art per inhabitant. The impact does not dissipate in a megalopolis: it settles in every street, on every façade, in the daily lives of those who live there. The most interesting part of the report looks beyond the ranking. The authors note that the value of street art extends well beyond painted surfaces. Cities like Stornara demonstrate how urban art attracts tourism, generates media coverage, and can stimulate local commercial activities while strengthening community bonds and restoring the psychosocial well-being that could fend off enduring southern decline. However, the report adds a valuable warning: success depends on careful implementation and the involvement of artistic communities. Top-down initiatives risk being perceived as “predatory” by artists who care about street credibility. The global Stramurales model seems to have avoided this pitfall. Field studies recount walls donated by residents, week-long artist residencies, and public discussions on issues to address. ----------------------------------------------------------------- The lesson from a town The report concludes with an idea that applies to Stornara as much as to Berlin: the vitality of street art is rooted in local foundations. It arises from communities, speaks of their problems, and is made by artists immersed in their urban contexts. The artistic family of Stornara Life APS understood this before many regional and local politicians, turning their walls into an open-air museum, a promise, and opened them to the world while remaining true to themselves. In this official report from the Geneva-based United Nations agency in Europe that measures the capacity to attract talent, this is likely the most valuable outcome: being mentioned alongside the great capitals of urban art while remaining, after all, a rural provincial town where every wall tells a colorful world of glocal stories. (translated)

First to take the stage at the Maison de la Radio et de la Musique, Gabriel Attal, Renaissance candidate for the presidential election, notably promised that there will be "no jobs cut" in the national education system if he is elected. #ServicesPublics #ÉlectionPrésidentielle2027 #FranceInfo (translated)

Actu Foot reported, citing RMC Sport, that the relationship between Zinédine Zidane and Kylian Mbappé remains to be built. According to the account, it may not necessarily be cold, but less warm than that between Mbappé and Didier Deschamps. The entourage of the captain of the Blues would have described two personalities that still needed to get to know each other, while no sign of complicity would have been observed during training sessions open to the media. Actu Foot also indicated that Mbappé's positioning on the left side may have created a disconnect. The staff reportedly struggled to understand why the player seemed isolated during the first gathering, but his entourage disputed this impression, suggesting rather a generational gap with the younger players. #Zidane #Mbappé #Football (translated)

“MY PUGLIA”: STORNARA IN THE WORLD TOP 20 OF STREET ART: THE “STRAMURALES” MODEL WINS OVER THE UN AGENCY IN GENEVA From a small agricultural center in Capitanata, often relegated to the margins of major tourist flows, to an international case study cited in Geneva alongside the world’s cultural capitals. Stornara, a municipality of about 6,000 inhabitants in the province of Foggia, officially enters the global elite of urban art thanks to the analysis of the World Intellectual Property Organization (WIPO), the United Nations agency based in Switzerland. ------------------------------------------------------------------- The international study and the data Recognition comes through the report “From Local Scenes to Global Recognition: Talent Mobility in Street Art,” authored by economists Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, and published in the Creative Industries Insights series. By analyzing about 74,000 geolocated works on the “Street Art Cities” platform, the researchers mapped the migratory flows of mural talent worldwide. The study highlights how street art is a “glocal” phenomenon: while only one in five artists works outside national borders, the centers capable of attracting international creatives become true regeneration hubs. Alongside metropolises such as New York, Los Angeles, Berlin, Paris, London, and Melbourne, the document notably points to Stornara as the only Italian rural exception. -------------------------------------------------------------------- The success of Stramurales and the academic impact The turning point for the Apulian village is credited to the social promotion association Stornara Life APS, led by Lino Lombardi and the local “Banda dei Fischietti.” Since 2017, through the annual Stramurales festival, the community has transformed the facades of the town into an open-air museum that today boasts over 173 murals, about fifty of which were created by internationally renowned foreign artists. A path of social redemption that had already drawn the attention of the global scientific community: the festival was indeed the subject of the monographic study Street Art as Public Health Infrastructure, authored by Apulian researchers Luciano Magaldi Sardella and Matteo Mantuano and published in the “Harvard Health and Human Rights Journal” of the prestigious American university. ------------------------------------------------------------------ The density factor and the lesson from below According to the WIPO analysis, Stornara's prominence does not reside in absolute numbers, but rather in the proportion: relating the more than fifty international works to the resident population, the Foggia municipality reaches an unmatchable density of foreign art per 100,000 inhabitants compared to large megacities. Art, in this way, does not disperse but becomes an integral part of daily life. Geneva economists also emphasize how the Stornara model has managed to avoid the risk of top-down initiatives perceived as artificial. The direct involvement of residents who voluntarily make the walls of their homes available, combined with artist residencies and open dialogue on social issues, demonstrates how culture can trigger tourism, economic output, and psychosocial well-being, providing a concrete response to the depopulation of the internal areas of southern Italy. (translated)

"MY PUGLIA": STORNARA IN THE WORLD TOP 20 FOR STREET ART: THE 'STRAMURALES' MODEL CONQUERS THE UN AGENCY IN GENEVA SOURCE: https://lamia-puglia.com/stornara-nella-top-20-mondiale-della-street-art-il-modello-stramurales-conquista-lagenzia-onu-di-ginevra/ From a small agricultural centre in the Capitanata, often relegated to the margins of the major tourist flows, to an international case study cited in Geneva alongside the world's cultural capitals. Stornara, a municipality of around 6,000 inhabitants in the province of Foggia, officially enters the global élite of urban art thanks to an analysis by the World Intellectual Property Organization (WIPO), the United Nations agency based in Switzerland. ------------------------------------------------------------------- The International Study and the Data The recognition comes via the report From Local Scenes to Global Recognition: Talent Mobility in Street Art, authored by economists Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera and published in the "Creative Industries Insights" series. Analyzing around 74,000 geolocated works on the "Street Art Cities" platform, the scholars mapped the migratory flows of mural talent around the world. The study highlights how street art is a 'glocal' phenomenon: although only one artist in five works outside national borders, centres capable of attracting international creatives become genuine hubs of regeneration. Alongside metropolises such as New York, Los Angeles, Berlin, Paris, London, and Melbourne, the document singles out Stornara as the sole Italian rural exception. ------------------------------------------------------------------- The Success of Stramurales and Its Academic Impact The turning point for the Puglian village bears the signature of the social promotion association Stornara Life APS, led by Lino Lombardi and the local 'Banda dei Fischietti'. Since 2017, through the annual Stramurales festival, the community has transformed the town's façades into an open-air museum that today counts more than 173 murals, around fifty of which were created by internationally renowned foreign artists. A path of social redemption that had already attracted the attention of the global scientific community: the festival was indeed the subject of the monographic study "Street Art as Public Health Infrastructure", authored by Apulian researchers Luciano Magaldi Sardella and Matteo Mantuano and published in the "Harvard Health and Human Rights Journal" of the prestigious American university. ------------------------------------------------------------------ The Density Factor and the Bottom-Up Lesson According to the WIPO analysis, Stornara's primacy does not lie in absolute numbers, but in proportion: relating the more than fifty international works to the resident population, the Foggia municipality achieves a density of foreign art per 100,000 inhabitants that is unattainable for the great megalopolises. In this way, art is not dispersed but becomes an integral part of daily life. The Geneva economists further emphasize how the Stornara model has succeeded in avoiding the risk of top-down initiatives perceived as artificial. The direct involvement of residents, who spontaneously make the walls of their own homes available, combined with artist residencies and open dialogue on social themes, demonstrates how culture can trigger tourism, economic spillover, and psychosocial well-being, offering a concrete response to the depopulation of the inland areas of the Mezzogiorno. (translated)

"VIVERE CERIGNOLA": FROM THE FIELDS OF CAPITANATA TO THE UNITED NATIONS: THIS IS HOW THE MURALS OF STORNARA CHALLENGE THE WORLD’S CAPITALS SOURCE: https://www.viverecerignola.it/2026/11/12/dai-campi-della-capitanata-alle-nazioni-unite-cos-i-murales-di-stornara-sfidano-le-capitali-mondiali/207189/ STORNARA (FG) - The UN agency for Intellectual Property includes the Foggia village among the most attractive global hubs for urban art. Thanks to a grassroots festival that managed to turn around the fate of a small agricultural center. Neither the skyscrapers of New York nor the grand boulevards of Paris are needed to become a global reference point for contemporary culture. Sometimes, all it takes are the plastered facades of a village of six thousand souls, surrounded by the wheat fields of the province of Foggia, and the tenacity of a community that decides not to succumb to marginality. This is the story told in Geneva by the World Intellectual Property Organization (WIPO), which in its latest report on creative industries has spotlighted the artistic miracle of Stornara. ------------------------------------------------------------------- An Italian exception among metropolises The document, titled From Local Scenes to Global Recognition: Talent Mobility in Street Art, examines the global geography of murals, analyzing over 74,000 works mapped on a planetary scale. The goal of the economists behind the study - Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera - was to understand where international artists are active and which places can attract talent from abroad. In the map of cultural "magnets," giants like Los Angeles, Berlin, London, Barcelona, and Melbourne appear. Yet, amid these major capitals, the virtuous anomaly of Stornara stands out: a rural center that, thanks to the power of ideas, has managed to enter the select global elite of public art. -------------------------------------------------------------------- The winning bet of Stornara Life APS It all began in 2017, when the Stornara Life APS association, driven by Lino Lombardi and the "Whistleblowers' Band," launched Stramurales. The aim was not only aesthetic but deeply social: to counter economic decline and cultural isolation through shared beauty. In less than a decade, the village has transformed into an open-air gallery with over 173 wall works, including about fifty creations by international masters in the field. An open-air laboratory whose social impact has already been certified in the international academic realm, thanks to a study published in the "Harvard Health and Human Rights Journal" by researchers from Apulia, Luciano Magaldi Sardella and Matteo Mantuano, who analyzed urban art as a genuine infrastructure for public well-being. -------------------------------------------------------------------- The value of the human scale What impresses UN analysts is the proportional impact of the project. Relating the number of foreign works to the population, Stornara achieves an inconceivable per capita artistic concentration for any metropolis. Here, art is not confined to a peripheral neighborhood but inhabits every street and accompanies residents' daily actions. The WIPO report finally indicates the secret formula that makes this model replicable elsewhere: authenticity. Unlike top-down regeneration operations, often viewed with suspicion by the artists themselves, in Stornara, it is the residents who donate the walls of their homes, welcoming muralists into week-long artist residencies and participating in the selection of themes. A lesson in civic participation that demonstrates how even small villages in the South can speak to the world without losing their soul. (translated)

"VIVERE CERIGNOLA": FROM THE FIELDS OF CAPITANATA TO THE UNITED NATIONS: HOW STORNARA'S MURALS CHALLENGE THE WORLD CAPITALS SOURCE: https://www.viverecerignola.it/2026/11/12/dai-campi-della-capitanata-alle-nazioni-unite-cos-i-murales-di-stornara-sfidano-le-capitali-mondiali/207189/ STORNARA (FG): The UN agency for Intellectual Property has placed the Foggia village among the most attractive global hubs for urban art. The credit goes to a grassroots festival that has managed to reverse the destiny of a small agricultural town. You do not need the skyscrapers of New York or the grand boulevards of Paris to become a world reference point for contemporary culture. Sometimes the plastered facades of a town of six thousand souls, surrounded by the wheat fields of the province of Foggia, and the tenacity of a community determined not to surrender to marginality, are enough. This is the story told in Geneva by the World Intellectual Property Organization (WIPO), which in its latest report on the creative industries has shone a spotlight on the artistic miracle of Stornara. ----------------------------------------------------------------- An Italian Exception Among the Metropolises The document, entitled From Local Scenes to Global Recognition: Talent Mobility in Street Art, X-rays the world geography of murals, analysing more than 74,000 works mapped on a planetary scale. The aim of the economists who authored the study, Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, was to understand where international artists move and which places succeed in attracting talent from abroad. On the map of cultural 'magnets' appear giants such as Los Angeles, Berlin, London, Barcelona, and Melbourne. Yet, right among these great capitals, stands out the virtuous anomaly of Stornara: a rural centre which, thanks to the power of ideas, has succeeded in entering the narrow global élite of public art. ------------------------------------------------------------------ The Winning Wager of Stornara Life APS It all began in 2017, when the association Stornara Life APS, led by Lino Lombardi and the 'Banda dei Fischietti', launched Stramurales. The intent was not merely aesthetic, but profoundly social: to counter economic decline and cultural isolation through shared beauty. In less than a decade, the town has been transformed into an open-air gallery with more than 173 mural works, including some fifty creations signed by international masters of the field. An open-air laboratory whose social scope had already been certified in the international academic sphere, thanks to a study published in the Harvard Health and Human Rights Journal by the Apulian researchers Luciano Magaldi Sardella and Matteo Mantuano, who analysed urban art as a genuine infrastructure for public well-being. ---------------------------------------------------------------- The Value of the Human Scale What strikes the United Nations analysts is the proportional impact of the project. Relating the number of foreign works to the inhabitants, Stornara achieves a per-capita artistic concentration unthinkable for any metropolis. Here art does not remain confined to a peripheral district, but inhabits every street and accompanies the daily gestures of residents. The WIPO report finally indicates the secret formula that makes this model replicable elsewhere: authenticity. Unlike top-down regeneration operations, often viewed with suspicion by the artists themselves, in Stornara it is the inhabitants who donate the walls of their own houses, welcoming the muralists into week-long artists' residencies and participating in the choice of themes. A lesson in civic participation which demonstrates how even the small villages of the South can speak to the world without losing their own soul.

"THE SIPPONTINO": STORNARA IN THE "GLOBAL TOP 20" OF THE REPORT FROM THE UNITED NATIONS AGENCY FOR EUROPE From "ghost town" to global model cited in Geneva: the cultural bet of Stornara Life APS captures the attention of WIPO. There is a Southern Italy that doesn’t make much noise. It lies between the wheat fields and rural roads of Capitanata, far from the major routes of mass tourism. Until a few years ago, Stornara, in the province of Foggia, was the typical town that statistics dismiss with a cruel adjective: "peripheral." Today, its name appears in an analysis from WIPO, the World Intellectual Property Organization, a United Nations agency in Europe based in Geneva, alongside Berlin, New York, Los Angeles, Paris, and Melbourne. A report that looks at the walls of the world The document is titled "From Local Scenes to Global Recognition: Talent Mobility in Street Art." It is authored by three WIPO economists, Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, and was published at the end of May 2026 in the Creative Industries Insights series. To construct it, the authors began with data from the "Street Art Cities" platform. The technical note discusses around 74,000 geolocated works, collected and shared by street art enthusiasts worldwide. The underlying questions are simple. Where does street art originate? Who travels to paint it? Which cities can attract talents from afar? The first answer dismantles a common misconception. Street art is a deeply local phenomenon. About one in five artists also works abroad, while the vast majority paint in their own city or nearby. Among the few who cross borders, nearly 40 percent is "highly mobile": they build an international artistic brand without severing their roots. These include the cases of Banksy, Os Gemeos, and Invader, whose works appear on multiple continents. The authors use an effective term: street art is "glocal," rooted in its local territory but capable of generating global circuits of talent and recognition. The magnets of the world When asked which cities attract the most foreign artists, the map is fascinating. North America is significant in size, with New York, Los Angeles, and Miami. Western Europe offers a dense network of opportunities, from Berlin to Amsterdam, from Vienna to Ghent, from Basel to Rotterdam, favored by the festival circuit and the freedom of movement of the Schengen area. Lisbon and Barcelona have focused on municipal support policies. Melbourne is the only representative from Oceania, while Northern Europe relies on Bergen, London, Belfast, and Stavanger. In this landscape of capitals and metropolises, the report includes an Italian exception, from Puglia, Foggia: Stornara, a small agricultural town of about 6,000 souls, has been a destination for mural talent since 2018. It shows how street art can trigger the revival of a community: thanks to the annual "Stramurales International Street Art Festival," founded in 2017 out of a strong desire to combat urban and socio-economic decline by the founders of the social promotion association "Stornara Life APS," Lino Lombardi, and his Stornara-based Fischietti Band, over 173 murals have been created. About fifty are works by high-level international artists, with Google Trends data since 2017 showing a remarkable interest in the mural tourism destination, indicating that the international festival has already captured national and international attention. It has also become the first monographic case study in the world on a street art festival, "Street Art as Public Health Infrastructure," published in the prestigious academic journal "Harvard Health and Human Rights Journal" of Harvard University, by researcher Luciano Magaldi Sardella from Orta Nova and Professor Matteo Mantuano from Lucera, all demonstrating that an idea, an association, and a community's willingness can change the identity of a place "forgotten by God." It is a sentiment echoed by those who have followed the story from the outside: the town, once unaccustomed to visitors, now welcomes international tourists, individuals, groups, and school classes who come to see its over 173 murals. The secret is in the density The data that has ignited Stornara's pride is this: it’s not the volume that counts, but the proportion. The organizers propose a simple indicator: the works by foreign artists divided by the inhabitants, multiplied by 100,000. With around 50 international works and a population of a few thousand residents, Stornara achieves several hundred foreign works per 100,000 inhabitants. It is a value that metropolises, with millions of residents, cannot approach. The meaning should be read precisely, and therein lies the beauty of the thing. No one claims that Stornara has more foreign murals than New York. The point is, in relation to its scale, few places in the world concentrate so much international art per inhabitant. The impact does not disperse in a megacity: it settles in every street, on every facade, in the daily life of those who live there. The most interesting part of the report looks beyond the ranking. The authors write that the value of street art extends well beyond the painted surfaces. Cities like Stornara demonstrate how urban art attracts tourism, generates media coverage, and can stimulate local businesses while reinforcing the sense of community and restoring the psychosocial well-being that could keep the eternal Southern decline at bay. However, the report adds a valuable warning: success depends on careful implementation and the involvement of artistic communities. Top-down initiatives risk being perceived as "predatory" by artists who care about street credibility. The global Stramurales model seems to have avoided this pitfall. Field studies describe walls donated by residents, one-week artist residencies, and public discussions on the themes to be addressed. The lesson of a place The report concludes with an idea that holds true for Stornara as much as for Berlin: the vitality of street art is rooted in local roots. It arises from communities, speaks of their problems, and is made by artists immersed in their urban contexts. The artistic family of Stornara Life APS understood this before many regional and local politicians, turning their walls into an open-air museum, a promise, and opened them to the world without ceasing to be themselves. In this official report from the Geneva-based United Nations agency in Europe that measures the capacity to attract talent, this appears to be, perhaps, the most valuable outcome: to be cited alongside the major capitals of urban art while still remaining, after all, a rural provincial town where every wall tells a vibrant world of glocal stories. (translated)

"IL SIPONTINO": STRAMURALES: STORNARA IN THE 'GLOBAL TOP 20' OF THE REPORT OF THE UNITED NATIONS AGENCY IN EUROPE. SOURCE: https://www.lagazzettadisansevero.it/stramurales-stornara-nella-global-top-20-del-rapporto-dellagenzia-delle-nazioni-unite-deuropa/?fbclid=IwY2xjawVibZVleHRuA2FlbQIxMABwZG9mAWJyaWQRMHE3R3FDUWVMVnBtN1NiRGRzcnRjBmFwcF9pZBAyMjIwMzkxNzg4MjAwODkyAAEfJpk9OBrbzNPPuzmmZTsbvjf1RRRRwgltWvqpPTryHt2mv-Z5rTEy1ifxBXU_aem_ciFpxVBzVKZmCZU0twovqQ From 'ghost town' to global model cited in Geneva: the cultural gamble of Stornara Life APS wins the attention of WIPO. There is a Southern Italy that is making quite a noise. It lies among the wheat fields and the rural roads of the Capitanata, far from the great routes of mass tourism. Until a few years ago Stornara, in the province of Foggia, was the typical town that statistics dismiss with a cruel adjective: 'peripheral'. Today its name appears in an analysis by WIPO, the World Intellectual Property Organization, the United Nations agency in Europe based in Geneva, alongside Berlin, New York, Los Angeles, Paris, and Melbourne. A report that looks at the walls of the world The text is entitled From Local Scenes to Global Recognition: Talent Mobility in Street Art. It is signed by three WIPO economists, Egbert Amoncio, Alexander Cuntz, and Alessio Muscarnera, and was published at the end of May 2026 in the Creative Industries Insights series. To build it, the authors started from the data of the Street Art Cities platform. The technical note speaks of around 74,000 geolocated works, collected and shared by street art enthusiasts all over the world. The underlying questions are simple. Where is street art born? Who travels to paint it? Which cities manage to attract talent from outside? The first answer dismantles a commonplace. Street art is a profoundly local phenomenon. Around one artist in five also works abroad, while the great majority paint in their own city or in those nearby. Among the few who cross borders, almost 40 per cent are 'highly mobile': they build an international artistic brand without severing their roots. Such are the cases of Banksy, Os Gemeos, and Invader, whose walls appear on several continents. The authors use an effective term: street art is 'glocal', rooted in its own territory but capable of generating global circuits of talent and recognition. The magnets of the world When one asks which cities attract foreign artists most, the map is fascinating. North America weighs in by size, with New York, Los Angeles, and Miami. Western Europe offers a dense network of opportunities, from Berlin to Amsterdam, from Vienna to Ghent, from Basel to Rotterdam, favoured by the festival circuit and by freedom of movement in the Schengen area. Lisbon and Barcelona have bet on supportive municipal policies. Melbourne is the only representative of Oceania, and Northern Europe relies on Bergen, London, Belfast, and Stavanger. In this scenario of capitals and metropolises, the report inserts an Italian, Apulian, Foggian exception: Stornara, a small agricultural town of around 6,000 souls, since 2018 a destination for mural talents. It shows how street art can trigger the rebirth of a community: thanks to the annual Stramurales International Street Art Festival, born in 2017 from the iron will to fight urban and socio-economic decline on the part of the founders of the social promotion association Stornara Life APS, Lino Lombardi and his Stornara Banda dei Fischietti, it has accumulated more than 173 murals. Around fifty of them are works by high-level international artists, with Google Trends data that since 2017 have shown considerable interest in the tourist-mural destination, a sign that the international festival has now captured national and international attention. Having also become the world's first monographic academic case study on a street art festival, 'Street Art as Public Health Infrastructure', published in the prestigious world-level academic journal, the 'Harvard Health and Human Rights Journal' of Harvard University, by the researcher Luciano Magaldi Sardella from Orta Nova and Professor Matteo Mantuano from Lucera, all this amounts to proof that an idea, an association, and the willingness of a community can change the identity of a place 'forgotten by God'. Those who have followed the story from outside also tell it: the town, once little accustomed to visitors, today welcomes international tourists, individuals, groups, and school parties who have come to see its more than 173 murals. The secret lies in density The figure that has ignited Stornara pride is this: volume does not count, proportion counts. The organizers propose a simple indicator: works by foreign artists divided by inhabitants, multiplied by 100,000. With around more than 50 international works and a population of a few thousand residents, in Stornara one reaches several hundred foreign works per 100,000 inhabitants. It is a value that metropolises, with millions of residents, cannot approach. The meaning must be read precisely, and precisely here lies the beauty of it. Nobody claims that Stornara has more foreign murals than New York. The point is that, relative to its scale, few places in the world concentrate so much international art per inhabitant. The impact is not dispersed in a megalopolis: it settles in every street, on every façade, in the daily life of those who live there. The most interesting part of the report is the one that looks beyond the ranking. The authors write that the value of street art extends far beyond the painted surfaces. Towns like Stornara demonstrate how urban art attracts tourism, generates media coverage, and can stimulate local commercial activities, strengthening the sense of community and restoring the psychosocial well-being that would drive away the perpetual southern decline. The report adds, however, a valuable warning: success depends on careful implementation and on the involvement of artistic communities. Top-down initiatives risk being perceived as 'predatory' by artists who care about street credibility. The global Stramurales model seems to have avoided the pitfall. Field studies tell of walls donated by residents, one-week artist residencies, and public discussion of the themes to be addressed. The lesson of a town The report closes with an idea that holds for Stornara as much as for Berlin: the vitality of street art is rooted in local roots. It is born from communities, speaks of their problems, and is made by artists immersed in their urban contexts. The artistic family of Stornara Life APS understood this before many regional and local politicians, making its own walls an open-air museum, a promise, and opening them to the world without ceasing to be itself. In this official report of the Geneva agency of the United Nations in Europe that measures the capacity to attract talent, this turns out to be, probably, the most precious result: to be cited alongside the great capitals of urban art and to remain, after all, a rural provincial town in which every wall tells a colourful world of glocal stories. (translated)