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( MENAFN - GlobeNewsWire - Nasdaq) The excellence of Italian fruit lands in Asian markets thanks to the European Art of Taste project, promoted by CSOItaly and co-financed by the European Union. BEIJING, Dec. 30, 2024 (GLOBE NEWSWIRE) -- The campaign aims to enhance the Italian agricultural tradition and make its excellent products - kiwis, fresh and processed tomatoes, oranges and apples - known to a public increasingly attentive to quality and health benefits. Europe and also Italy, with its long agricultural history, is recognised worldwide for its food products of the highest quality. The European Art of Taste project aims to convey not only the intrinsic value of its fruit, but also the deep connection between Mediterranean culture and agriculture. Italian fruit is cultivated using methods that respect nature, combining tradition and technological innovation to guarantee high standards of quality and food safety. "Italian fruit is much more than just a food. It is the expression of an age-old culture linked to the land, quality and sustainability," says Luca Mari, Head of European Projects at CSOItaly. "With the European Art of Taste project, we want not only to promote our products in Asia, but also to share the experience and values of 'Made in Italy', which combine authentic flavours and health benefits." The project also emphasises the importance of the Mediterranean diet, recognised by UNESCO as an intangible heritage of humanity. Fruits such as oranges, apples, kiwis and fresh tomatoes are the basis of this diet, known to promote longevity and the prevention of chronic diseases. The Asian market, which is increasingly sensitive to wellness and health, represents an extraordinary opportunity for Italian producers to promote fruit as an integral part of a healthy lifestyle. By introducing Italian fruit to Asian markets, the project aims to strengthen trade links between Italy and Asian countries, promoting Italian agricultural excellence. Quality fruit, sustainable and rich in flavour like that produced in Italy, responds perfectly to the demand for fresh and natural products that characterises Asian consumers today. Press Office: Renato Pagani ... - + 39 335 6939561 Giorgia Rizzi ... News about The European Art of Taste and CSO Italy The project The European Art of Taste – Fruit & Veg Masterpieces aims to promote and inform about high-quality European fruits and vegetables and is financed by CSO Italy and the European Union. The following Italian companies also participate in the project: RK Growers, Mazzoni Group, Apofruit, Origine Group e Oranfrizer. CSO Italy, founded in 1998, is a unique entity in Italy that associates many of Italy's leading companies in the production and marketing of domestic fruit and vegetables. Completing the range of members are important companies specializing in different areas of the fruit and vegetable supply chain, from packaging, logistics, processing, machinery, and distribution. CSO Italy's mission is to provide useful services to members to improve and make the Italian fruit and vegetable industry more efficient and competitive. A technical table at the service of the entire Italian fruit and vegetable supply chain to increase its competitiveness through synergy among operators. CSO ITALY, has 73 members, distributed as follows: 51 producer members, 14 supply chain members, 3 subsidizing members and 5 supporting bodies. Funded by the European Union. However, the views expressed are those of the author(s) alone and do not necessarily reflect the views of the European Union or the European Research Executive Agency (REA). Neither the European Union nor the awarding administration can be held responsible for them. A photo accompanying this announcement is available at MENAFN29122024004107003653ID1109040098 Legal Disclaimer: MENAFN provides the information “as is” without warranty of any kind. We do not accept any responsibility or liability for the accuracy, content, images, videos, licenses, completeness, legality, or reliability of the information contained in this article. If you have any complaints or copyright issues related to this article, kindly contact the provider above.

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Wealth manager St James's Place to cut 500 jobs as part of a £200m cost-cutting drive By DAILY MAIL CITY & FINANCE REPORTER Updated: 22:00 GMT, 2 December 2024 e-mail 1 View comments St James’s Place is making around 500 staff redundant as part of a £200million savings drive. The wealth management company plans to cut about one-sixth of its 3,200 corporate staff, it revealed in an internal memo first reported by the trade outlet Citywire. Earlier this year, St James’s Place said it would make £100million in cost cuts per year for the next two years, and that it expected to have made £500million in savings by 2030. The plans were announced as part of a strategy shake-up under chief executive Mark FitzPatrick, who joined last year. The layoffs will not affect the London-listed company’s stable of roughly 4,800 financial advisers across the country, who run their own smaller firms under the St James’s Place umbrella. Instead, the 3,200 corporate staff will be targeted by the cuts, a source familiar with the matter confirmed. Cost cuts: St James's Place plans to cut about one-sixth of its 3,200 corporate staff, it revealed in an internal memo first reported by the trade outlet Citywire RELATED ARTICLES Previous 1 Next Neglect imperils Royal Mail: Government should have learned... Political turmoil in France sends euro tumbling and... Share this article Share HOW THIS IS MONEY CAN HELP How to choose the best (and cheapest) stocks and shares Isa and the right DIY investing account A spokesman for St James’s Place said: ‘At our half-year results in July, we committed to saving £100million per year from the addressable cost base by 2027. Our cost reduction plans are focused on simplification and standardisation of processes within the business, but a programme of this size and scale will inevitably impact colleagues. ‘We have now begun consulting with colleagues to share our proposal for how this might impact roles, the outcome of which will not be known until next year.’ DIY INVESTING PLATFORMS AJ Bell AJ Bell Easy investing and ready-made portfolios Learn More Learn More Hargreaves Lansdown Hargreaves Lansdown Free fund dealing and investment ideas Learn More Learn More interactive investor interactive investor Flat-fee investing from £4.99 per month Learn More Learn More Saxo Saxo Get £200 back in trading fees Learn More Learn More Trading 212 Trading 212 Free dealing and no account fee Learn More Learn More Affiliate links: If you take out a product This is Money may earn a commission. These deals are chosen by our editorial team, as we think they are worth highlighting. This does not affect our editorial independence. Compare the best investing account for you Share or comment on this article: Wealth manager St James's Place to cut 500 jobs as part of a £200m cost-cutting drive e-mail Add comment Some links in this article may be affiliate links. If you click on them we may earn a small commission. That helps us fund This Is Money, and keep it free to use. We do not write articles to promote products. We do not allow any commercial relationship to affect our editorial independence. More top stories

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Hornets vs. Magic Injury Report Today – November 25Flamboyant is how one would describe Shaheel Shemont Flair, 26, of Naulu, Nakasi a name now popular in Fiji and abroad. Flair whose real name is Shaheel Sanil Prasad prefers to use a pseudonym. A sole breadwinner for a family of four, Flair said that he loves shopping at NewWorld Supermarket, Nakasi because of its cleanliness, variety and customer service. “It also has a very classy look and the wide range of meat and other goods that is available here is what attracts me to this supermarke,” Flair said. A meat lover whose favourite is chicken biryani cooked by his mother with potatoes says he does all their grocery shopping every fortnight while his mother goes to the market for the family’s supply of vegetables. “I love eating meat thus my shopping cart includes different varieties of meat and meat products, canned food, fruits and other essentials. “I spend around $250 to $300 for our grocery shopping and often bring my younger sister to push the trolley for me.” He shared that though we are encouraged to eat healthy food, the price of locally grown food often costs more than the imported food and pushes us towards unhealthy choices. “For example one bundle beans is $5 and that is not enough for one meal for a family of four so I would rather buy two cans of fish than vegetables which are locally produced but expensive.” Flair on talking about his fitness regime said that if he must lose weight he does not switch or leave certain foods but instead lessens his food portions and eating times. “I swear by yoga, and I think everyone should do it as we all love our food and at times it’s tough to forgo food we love to eat. “I used to have shoulder and back pain and that’s when I started my yoga journey by watching and learning simple poses on You Tube. Yoga is very underrated compared to workout centres or gyms but if only people knew the benefits of it — it would make a great difference in their life’s. “Yoga can be great complement to one’s love for food. It encourages mindfulness, allowing individuals to appreciate their food more fully, while supporting digestion, improving flexibility, reducing stress and boosting overall energy,” he added. Flair a popular social media influencer who uses technology daily to create and upload his contents says the changing digital world such as Artificial Intelligence (AI) is very intriguing but terrifying. “The way it generates photos and videos looks so realistic that it has become more easy for perpetrators to defame, humiliate, harass, bully and blackmail people through it.” Reflecting on a very low phase in his life a few years back, he said, that it is very important for people to know their self-worth and potential as this world can be a very cruel place to live in at times. “From my previous experiences I have learnt to enjoy the present and not to stress about the future or how people treat you as it is important to stay positive in all circumstances,” he shares.OMAHA — Creighton did it again. In an in-state women’s college basketball series with Nebraska largely dictated by what happens beyond the 3-point arc, the Jays rallied with six 3-pointers in the fourth quarter to beat No. 21 Nebraska 80-74 on Friday at Sokol Arena. At one point in the fourth quarter, the Jays made four straight 3-pointers. The Jays were 6 for 9 on threes in the fourth quarter and 13 for 29 for the game to give Nebraska its first loss to the season. The Jays outscored Nebraska by 24 points on 3-pointers. Creighton has won three straight in the series. Lauren Jensen had a game-high 31 points for the Jays with four 3s. Morgan Maly, a senior from Crete, scored 18. Alexis Markowski worked really hard for Nebraska, finishing with 26 points and 12 rebounds and calling for the ball inside where she often had an advantage. Britt Prince added 20 points in the first game against her hometown school. Nebraska led 55-52 to start the fourth quarter. For the final 10 minutes, one of the questions was how much did Markowski have left? And also, could the Huskers defend the 3-point line just a little longer? The Jays made two of their first three 3-point attempts to start the quarter to regain a 60-57 lead. Molly Mogensen had the first one, and Jensen the second for her fourth of the game. When Mogensen made another three the Jays led 72-66. The Jays sealed the deal when Prince missed a 3-pointer with seven seconds left and the Jays made their free throws. Nebraska led 22-19 after the first quarter. It was an entertaining start. The game started with Markowski going at Maly inside the paint, the Nebraska natives who played in the same club in Lincoln. There were five combined 3-pointers, with three for the Jays and two for Nebraska (each from Prince). Creighton used a 13-2 run that included three 3-pointers to take a 15-8 lead. But Nebraska got back in it with a steal and layup from Allison Weidner and a take to the basket from Callin Hake. Creighton added two more 3-pointers in the second quarter, but Nebraska was able to keep a lead at halftime 37-35. Reach the writer at 402-473-7435 or bwagner@journalstar.com . On Twitter @LJSSportsWagner. Get local news delivered to your inbox!

NoneSubscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Hyperallergic We’re funded by readers like you! If you value our reviews and news reporting, we need your support more than ever. Please join us as a member today. Already a member? Sign in here. Support Hyperallergic’s independent arts journalism for as little as $8 per month. Become a Member Scrawlspace is such a provocative title for an exhibition that before I saw it I assumed it had to be good. In some ways it is — deeply inquisitive where too many contemporary art exhibitions are merely declarative and well researched rather than organized willy nilly — but the premises of this show are in some instances cliché and a bit contradictory. Scrawlspace was conceived by Emily Alesandrini when she and her co-curator, Lucia Olubunmi R. Momoh, were both earning their master’s degrees at Tulane University. The term combines two words to suggest an area for writing that gives access to hidden parts of our spaces of habitation. Theirs is a straightforward curatorial proposition, as they explain in their brochure essay. The featured artists “examine the historically charged relationships Black Americans have maintained with writing, reading, and language, revealing new possibilities for and beyond words.” Certainly, in a show where the hypotheses are so exacting, these words matter, and they articulate a worthwhile goal. But this emphasis on “new possibilities” for language shows up in too many press releases and exhibition essays. Modernism got drunk on the idea of estrangement in order to make things new, and writers treat contemporary art’s hangover by drinking the same whiskey. Exhibitions can have other objectives: exploration; reminding viewers of forgotten things; sensitizing us to what may be ignored; fashioning something that sustains us. Alesandrini and Momoh also root the work in a particularly Black quest for freedom. Again from their essay: “Black artists have located room for resistance in writing—scrawlspaces, through which liberation can be felt and fostered.” They surmise from their research that the term originates in some lost or undocumented communication between cultural theorist Fred Moten and poet Harryette Mullen discussing the work of the Black feminist scholar Hortense Spillers in an essay examining oppressive language systems. So, the ideal of emancipation is entwined with the term. However, why is Blackness, which is a political designation, a cultural locale, and, most fundamentally, a state of being, confined to being an emblem of resistance and liberatory strategies? This association is asserted so frequently and widely in the contemporary art scene that it goes unquestioned. Yes, Blackness enables the country’s most self-serving PR statements — the Preamble to the Constitution and the Declaration of Independence — to approach being true. But as much as being Black should not be restricted to the trope of the magical negro , it should similarly not be constrained to the role of the poet warrior figure. Some Black people just want to make good food and watch their children grow. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Nevertheless, in some ways it makes sense that this exhibition is caught up in this confinement/liberty incongruity, given that writing is itself contradictory. To “write” means to compose a coherent text that is intended to be read and understood by others. Yet it also means to merely make marks — letters, words, or other symbols on a legible surface with an implement. It is about both making sense and making traces or imprints that may mean nothing for those other than the writer, and sometimes, it is coded and can be read only by a select group. Shinique Smith’s “Firedog” (2006) uses the latter tactic. This work of ink, spray paint, and collage on paper depicts the sweep and rhythmic calligraphy of graffiti. Whether this is a document of actual graffiti inscribed somewhere or just an example of the highly stylized ligatures and curlicues of the writing is unclear. But I imagine someone who grew up tagging, as Smith did, recognizing things here that I cannot. I do recognize the text in Lukaza Branfman-Verissimo’s “collective survival part one: won’t you celebrate with me” (2022). On a sandwich board with black lettering overlaid by multicolored chessboard motif on one side and many-hued letters interrupted by a black background on the other, the spaces typically present between words are gone, so it’s challenging and fun to read, in the way that Christopher Wool’s paintings can be. But when I decipher it I’m brought back to the beauty and bravery of Lucille Clifton’s lyric poem : “won’t you celebrate with me / what i have shaped into / a kind of life? i had no model.” The words are interspersed with the patterned motif in such a way that they together read as a kind of linguistic/design mosaic that might be its own dialect or idiolect. Despite the ponderous premise, in the show there are other moments like these that are celebratory, carefree, even spendthrift. Glenn Ligon’s “Study for Negro Sunshine #150” (2023) manipulates the close relationship between written and uttered words, showing how the phrase “negro sunshine” repeated starts to clump up in the space of the frame and lose hold of its sense. You know what this is like if you’ve said a word or phrase over and over again until it dissolves into an audio mist in which meaning is barely recognizable. This combination of oil stick, coal dust, and gesso on paper glints subtly as if the devolution from one state to the other were throwing off sparks in the transition. I also find myself appreciating Renee Gladman’s ink, acrylic, and pastel compositions on paper because the writing is so small that it’s illegible. It reminds me of how people sometimes whisper to themselves, intoning a koan, or a poem or affirmation. In her “Space Question Vector” (2021) I imagine that she is murmuring the location of these celestial bodies or the secrets of orbital patterns. Sometimes the gesture of having written is enough to indicate serious engagement, serious thought. By contrast, some works are so archly intellectual that they leave me cold, such as Jamilah Sabur’s paintings, in which neon letters and words are attached to a field of color that contains one smaller photographic image. And there are artists who I’ve been thrilled to encounter in the past, but whose art in this show is not as enthralling. This is the case with Kameelah Janan Rasheed’s pieces, such as “Each Sentence Is a Sponge” (2023), which, the caption tells me, has to do with the religious ecstatic experience of speaking in tongues or automatic writing. The problem is that the scribbles don’t come together as a coherent (that word again) story or documentation of an event. I don’t mind being trapped in an artist’s mind, but I need a bit of cheese to tempt me there. Making a case that the work means a certain thing when this thing isn’t in evidence ironically gets at the alchemy of language, but the artist doesn’t do that. As writers and readers, we are always conjuring things into existence that were not there a moment ago. Now I think of Audre Lorde’s poem “Coal ,” and her explanation of the difference between kinds of writing: I believe that Alesandrini and Momoh were after this ragged edge of language, where it falls apart into characters and forms hinting that something else was there, something impelling the act of writing. By exploring how this inflects Black experience in this nation, the show at its best creates a kind of portal to elsewhere. Scrawlspace continues at the 8th Floor gallery (17 West 17th Street, Chelsea, Manhattan) through December 7 . The exhibition was curated by Emily Alesandrini and Lucia Olubunmi R. Momoh. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. 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