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                    <text>Cover of the book entitled&amp;nbsp;&lt;em&gt;Come si diventa artisti&lt;/em&gt;, published by&amp;nbsp;Centro Studi Jartrakor, which Pietroiusti helped to found in 1992.</text>
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                    <text>Project file inside&amp;nbsp;the book entitled &lt;em&gt;Come si diventa artisti&lt;/em&gt;, published by Centro Studi Jartrakor, which Pietroiusti helped to found in 1992.</text>
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                  <text>The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.&lt;br /&gt;Visual artist, founder and coordinator of research centers (e.g. the  artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.</text>
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                <text>The projects, partially realised, aimed at creating arbitrarily identities of not existing artists and critics who actively took part to the art system with their pretended and artificial professionalism through fake works and statements or even exhibition well communicated and promoted. The goal was to cause a short circuit in the art system to stress the subtle borderline between reality and fiction, but also between what is arbitrary and what belongs to the specific art system in order to prove its predictability. The projects dates back to 1987-88 and has been described also in the publication How to become an artist in 1992.&lt;br /&gt;A partial realisation of the project has been the creation, together with a team of curators, of an invented artist who realised some works and took part to some experimental exhibitions.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/1776/1/CESARE%20PIETROIUSTI_Mine%20Vaganti.pdf" target="_blank" rel="noopener"&gt;Read more.&lt;/a&gt;</text>
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                    <text>Scan of the catalogue of the exhibition&amp;nbsp;&lt;em&gt;Exhibit A: Eight artists from Europe and America&amp;nbsp;&lt;/em&gt;curated by Henry Bond, staged at the&amp;nbsp; Serpentine Gallery in London in 1992.</text>
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                    <text>Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti&amp;rsquo;s projects</text>
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                  <text>The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.&lt;br /&gt;Visual artist, founder and coordinator of research centers (e.g. the  artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.</text>
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                <text>The project, entitled &lt;em&gt;Finestre&lt;/em&gt; since its first conception, has undergone several revisions and can be considered only partially realised. The idea of opening windows on adjoining rooms to offer the spectators an unusual continuity of vision between contiguous spaces is conceived initially as a real demolition of the walls of the building hosting one of the seats of Vivita 2 Gallery of Ciotti and Camillo D'Afflitto in Florence (adjacent to an old abandoned cinema). This idea was abandoned for technical and practical difficulties, and in January 1990 the artist realized a different version of the project (inside Vivita 1 gallery in Florence) by exhibiting on the walls of the gallery pictures of the adjoining rooms that were recessed inside the walls that should have been tore down to produce a kind of trompe l’oeil effect (as can be seen in an undated sketch found among the artist's papers that probably dates back to 1989).&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/1773/1/CESARE%20PIETROIUSTI_Finestre.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                  <text>The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.&lt;br /&gt;Visual artist, founder and coordinator of research centers (e.g. the  artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.</text>
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                <text>This unrealised project dates back to 1990 and has been published by Jartrakor in 1992. The idea was to test the relativity of individual definitions by asking to a certain number of people to identify an object in their home that satisfies certain requirements such as the relation form-function or that has a specific aesthetical or emotional value for its owner. The objects should then have been exhibited with a very precise setting (e.g. according to the alphabetical order of the owner's names) regardless of the value of each object, responding to a principle of seriality. The theme of this research, that is the “definitions” and the involvement of a generic audience on the most important topics of contemporary art, can be found also in the “Enquiry about art works”, an unrealised project in which the author supposes to ask to common people to create in their mind an art work in details. Thus, among the author's unrealised projects we can see also several projects of unrealised exhibitions, an element that confirms once more his interest for the exhibition practices of the art system. This project was not commissioned.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/1774/1/CESARE%20PIETROIUSTI_Inchieste%20oggetti.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                    <text>Scan of the catalogue of the exhibition&amp;nbsp;&lt;em&gt;Exhibit A: Eight artists from Europe and America&amp;nbsp;&lt;/em&gt;curated by Henry Bond, staged at the&amp;nbsp; Serpentine Gallery in London in 1992.</text>
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                  <text>The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.&lt;br /&gt;Visual artist, founder and coordinator of research centers (e.g. the  artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.</text>
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                  <text>The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system.&lt;br /&gt;Visual artist, founder and coordinator of research centers (e.g. the  artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system.</text>
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                <text>&lt;span&gt;In 2000 Pietroiusti prepares the draft of a project for a "Museum of forgotten artists”; the idea was to look for artists which were very valuable but forgotten, in order to write an alternative history of italian contemporary art for the last three decades. This project was never realized, but it is possible to find similarities with some other projects realized by the artist. Coherently with his research on the art system, Pietroiusti has indeed imagined an exhibition of artists who gave up working. This idea too is linked to the enquiry on the social role of the artist and his function; for this reason, the idea described in a notebook comes together with a later note that refers to an exhibition of artists that are not recognized by the system, but by a limited and non influential number of people or even just one single person, simply because they produced some art works. Through this project Pietroiusti underlines the importance of one element of the system, that is the necessity to be recognized as an artist, an event that in most cases requires a first acknowledgement by the members of the system itself, a theme on which the artists returns with the institution of a &lt;em&gt;Museum of exiled Italian contemporary art&lt;/em&gt;, an itinerant museum without a place that collects marginal and ignored artistic experiences. The project of an exhibition of artists who gave up working was then partially realized thanks to the collaboration with two curators, M. Clark and M. Dickenson, on the occasion of the exhibition &lt;em&gt;democracy! Socially Engaged Art&lt;/em&gt; at London's Royal College of Arts in May 2000.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/1777/1/CESARE%20PIETROIUSTI_Museo%20degli%20artisti%20dimenticati.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Since 2000 in the artist’s notebooks we can find several information and notes about the project of a retrospective exhibition that has never been realized.&lt;br /&gt;One note dated 2001 sketches out the idea of an exhibition of artists who developed ideas similar to Pietroiusti's ones or who even accused him of stealing their ideas. With this project Pietroiusti continues his reflection on the concept of authenticity, uniqueness, physical and intellectual property of the art work.&lt;br /&gt;One more hypothesis, dating back to 2002, rather refers to an exhibition in which the artist planned to exhibit all his art works and to exchange them with new projects realized in collaborations with the visitors or inspired by them.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/1778/1/CESARE%20PIETROIUSTI_Progetti%20per%20una%20mostra%20retrospettiva.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                <text>The artist developed a never-realized project for the production of different typologies of certificates of authenticity, like for instance one attesting a person's own identity, or unrealized art works or sophisticated certificates printed on papyrus for objects of little value (e.g. A one cent coin). The unrealized project is coherent with the author's research that often investigates ironically the economic system and the attribution of a commercial value to objects.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/1772/1/CESARE%20PIETROIUSTI_Certificati%20di%20autenticità.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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