In 1997, Aleksandra Mir proposed to the Public Art Fund to collect trees thrown away from the streets of New York City after the Christmas holidays and replant them in a common area until they had dried out completely. The project, while welcomed, was blocked by the city's fire department.
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This work by Echaurren also reflects some Duchampian elements and echoes. The unrealized project depicts a bronze sculpture of a monkey holding an iron with its right hand: if the animal is adherent to all the artist's work declined to the universe of primitives (such as the last film Pablo di Neanderthal, released in 2022 and directed by Antonello Matarazzo), the iron recalls in a veiled way Marcel Duchamp's famous phrase "Using a Rembrandt as an ironing board". As with the other works donated to MoRE, this project has no specific commission. The reasons for its not being realized are logistical and appear as theoretical exercises on which the artist continues to question himself.
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Pablo Echaurren's project, like many others, is elaborated through notes written in blue pen on a page of a squared notebook. The artist's intent is already clear from the title "Monumento Fortuito". In fact, in 2015 the artist plans to create a monument dedicated to Marcel Duchamp, an artistic operation that is rooted in the intentions and artistic methods typical of the French artist. For this work Echaurren thinks of the concept of “chance”, wanting to create the monument through the action of "picking up a leftover, a human waste from the street and electing it as an urban monument. The words "rectify it" and "place it on a pedestal" also emerges from the short text, all definitions come to Duchamp's work. With this operation, Echaurren works in the conceptual framework of the French artist, dedicating a work to him with his own design methods.
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The project consists of a combined installation of two spinning wheels that move a system of threads, the threads descend from a chrysalis attached to the ceiling. The quote is clear and obvious. In fact, Echaurren mentions the famous ready-made of 1912 but also the International Surrealist Exhibition held in 1942 at the Whitelaw Reid mansion in New York, organized by André Breton with the collaboration of Marcel Duchamp. This exhibition, in addition to being considered a "landmark exhibition" (Tate Papers, 2009; Stedelijk Studies Issue, 2015), presents an installation curated by Marcel Duchamp and created through a complex system of ropes woven throughout the exhibition space. This system allowed the visitor a partial and complicated view of the pictorial works set up on the wall. The French artist's operation was entitled “Sixteen Miles of String”. Echaurren's work combines the two Duchampian operations through the creation of an installation that, like the original design, wanted to occupy the entire exhibition space.
In addition to the combination of these two famous works by Duchamp, Echaurren also mentions “The Large Glass”, not directly but by elaborating an installation in which the string came out of the chrysalis that define the sex of the insects.
In fact, the threads would have started from the chrysalis to be subsequently taken from the two spinning wheels placed in the center of the room. Echaurren writes a handwritten note: “The insect bride Þ the male molds Þ females with wings”. This reference to the chrysalis also brings out the artist's attention to entomology. In fact, Echaurren has stated several times that as a young man he wanted to be an entomologist.
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Rouge Selavy is the title of a work that Echaurren designed in 1977, a fundamental year because on that very date the artist decided to (temporarily) abandon art to devote himself to politics. The artist writes with a blue pen over a lined notebook one of the first projects where the figure of Marcel Duchamp emerges. In fact, the unrealized work consisted of a performative action: to be exact, a parade. In the Eucharren notebook he writes: "making Duchamp banners", then creating "silent" banners (conceptual, we could say), which had to show only verbal elements such as the question mark and question mark made with a red marker. 
This because? Echaurren explains the reasons in the points below. The artist speaks of the concept of imagination and develops it under various aspects, affirming that the imagination does not stop at a banner, that the imagination must be brought onto the banner itself and finally the same banner is defined as "doubtful" and "without certainties".
The title of the work is a distortion, one of the first distortions made by Echaurren on the titles of Duchamp's works (see Mon Alice, a project on display inside MoRE). Indeed, the famous portrait as a woman by the French artist Rrose Selavy is transformed into Rouge Selavy. There is a desire to highlight red as the color of life, in fact the marker strokes on the page that draw the exclamation and question marks on the banners are red.
Furthermore, this continuous use of the word imagination can only bring to the mind the famous slogan of the seventies "the imagination to power".
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This project, which has been presented directly by the artist with an e-mail, consists of just an idea: to pull one of the old trolly car of Los Angeles out of the ocean where they had been dumped, after the closure of this transport system. Reflecting on his native city, today completely dedicated to cars, on its past and on the processes of forgetting, Horvitz wants to brings back to light an episode – the throwing of the trollies into the ocean – that clearly becomes a metaphor.
The Los Angeles Railway was a system of streetcars that operated in Central Los Angeles and surrounding neighborhoods between 1901 and 1963 and there are several articles and photos that can confirm that during the Fifties a few of the discarded streetcars from the Los Angeles Transit Lines, created in 1945, were thrown into the ocean: in particular the July, 1959 issue of “Mass Transportation” magazine[1] featured an informative article about six ‘old’ Los Angeles Transit Lines streetcars being placed off the coast at Redondo Beach to create an artificial reef.
This work by David Horvitz can also be considered part of a wider reflection from the artist on the concept of water and time, which considers conceptual practices and applies “the fluid and impermanent dimension of the Fluxus movement and of Oriental culture”[2]. The search and recovery of a dumped trolly car then also become a poetic and surreal performative gesture, an ephemeral action that should have left several different traces, just like David Horvitz postal artworks, his stamps or his attempts to mimic the sound of the ocean using the human voice.
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[1] Metro Digital Resources Librarian, Before “Subway To The Sea,” There Was “Streetcar In The Sea”: Creating Artificial Reefs Off The Los Angeles Coast In 1959,  Metro's Primary Resources, Los Angeles County Metropolitan Transportation Authority, May 18, 2011, Available at: https://metroprimaryresources.info/before-subway-to-the-sea-there-was-streetcar-in-the-sea-creating-artificial-reefs-off-the-los-angeles-coast-in-1959/1324/

[2] M. Vecellio, The Water in you, in David Horvitz, nuvola, nuvola, oceano, nuvola, foschia, tu, Loom Gallery, Milano, 2018, s.p.

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Read more.]]> Artisti coraggiosi proposed by Pablo Echaurren in 1974 to Galleria La Margherita in Rome, involved the participation of the artist who, seating at a table inside the bare spaces of the gallery, equipped with papers, scissors and glue, would have asked the audience to join him in a performance: the visitors were asked to buy one of his work, deciding the price in advance, without knowing what they were going to buy. The hypothetical buyer was supposed to pay the artist in cash, with one or more notes, depending on his choice. The banknotes would become the artwork: cut, torn or intact, they would have been glued to sheets of paper and signed, as if they were traditional still lifes.
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Petar Dabac began by tackling the issue of conserving photographic heritage to protect the legacy of Tošo Dabac, his uncle. He proposed the establishment of a Museum of Photography in Zagreb to collect, store and copy photographic documents. The Museum would also have exhibitions, a library and a permanent display. Read more.

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Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches.
Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018.
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Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches.
Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018.
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Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches.
Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018.
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Viene e va is an installation by Liliana Moro that won the 7th edition of “Premio ArteGiovane – Torino incontra l'arte. Una porta per Torino” – conceived for the Iveco roundabout in Corso Giulio Cesare, Turin. The roundabout - that already presented two commas made of stone chippings on the grass – would host two groups of street lamps with a fixed light, one yellow and one white, with two street lamps with intermittent light at the centre, representing two lighthouses, whose function is to serve as a navigational aid for the sailors. 
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http://hdl.handle.net/1889/3446]]>
Il palazzo di Atlante is a project for an environmental scale intervention, designed for the Ufficio Geologico building located at largo Santa Susanna, Rome. The place is currently abandoned, and was designed between 1873 and 1879 by the engineer Raffaele Canevari: this space is the starting point for a research that Tosatti documents in the attached file donated to MoRE, through a project and several diary entries corresponding to the different stages of the design process. It is possible to consider this artwork within a path that includes several works the artist dedicated to abandoned spaces - in particular we can mention Tetralogia della polvere (Novara, Casa Bossi, 2012) and also the recent cycle realized in Naples, Sette Stagioni dello Spirito (2013 - 2016) -: this ambitious work is considered by Gian Maria Tosatti as an arrival point he can face only after a series of experience, where he "started building rooms, larger or smaller, then dedicating myself to buildings and then finally building larger and larger artworks, sometimes even bigger than myself, and therefore requiring every time an evolution, a development of myself as an artist. "

The title refers to the Atlas Palace, a myth that appears in the Boiardo and Ariosto Orlando, and that here acquires a personal value for Tosatti as a place to deal with, but also in a relationship with the visitors, though the symbols of the labyrinth and the mirror, a central theme in the artist's research between 2011 and 2012. Through a practice divided between art and architecture, often described by Tosatti himself with an analogy with the room in the middle of the "zone" in the Andrei Tarkovsky film Stalker, a model of superimposition of identity and desire, here the artist tries to make the apparition of “castles and monuments” true, introducing in the project the themes of electricity and illusion:

“The culmination of the work will consist precisely in a large switch that visitors could turn off, letting darkness and silence fall over the entire building. It will therefore be necessary - also from the visual point of view – to rely on certain image of technology, related to electricity. Obviously the kind of technology that should be used is not be the most modern one, but the one that is present in a shared imaginary, consequently machines and tools form several decades ago, which aren’t used anymore”.

Studying the construction diary and the preparatory drawings we can also highlight the particular attention dedicated to the façade, upon which two “mirror flags” should have been installed to make "the invisible building" recognizable, and the structuring of a path through the different floors. A room should have contained, upon one of the tables that are already present inside the building, a glass of water and a bottle of Novalgina, a painkiller, together with an hidden mechanism that would have created a light and steady vibration to shake the water surface when placed upon the table. Another room was designed to provide the optical illusion of a rhino freely moving inside the space, so to anticipate the top floor switch, where the machinery would have been placed. Classical statues - originals or copies - should also have been present alongside the path, as an archetype of man and as a mirror for the visitor, while at the ground floor, currently occupied by an archaeological excavation, an artist intervention would have been necessary to turn it into a sculptural space.
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http://dspace-unipr.cineca.it/handle/1889/3246]]>
For the past few years, Mathis Collins has worked with cork harvesters, local populations of Mediterranean forests and villages and artists, and conceived works that focus on ecology, culture and economy of cork regions. Quercus Suber Utopia is a project for the making of a collective artwork, in the regions of South Europe and North Africa where grows Cork trees.
The sculptures produced for Quercus Suber Utopia, based on a discussion on community buildings, would to be exhibited in each of the other participating communities in a continuous process of exchange and activity. Produced with cork, the sculptures or scale models of the communities utopian collective space, was to set a pan-regional discussion and understanding of the contemporary ecological and economical crisis of cork trees.
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http://dspace-unipr.cineca.it/handle/1889/3003]]>
The idea behind Cartoneros, which came to him whilst travelling to Argentina in 2006 to implement the project on the Fasinpat ceramic factory (Fabrica sin patrones), an example of corporate self-management among the most significant of the country. Mele had been following the labor movement since 2000, after attending a demonstration staged by local workers, until he decided to return to Argentina in 2006. On this occasion he noticed the reality of the “cartoneros”. The economic crisis of 2001 caused the foreclosure of thousands of industrial plants and shops in Argentina, with a subsequent dramatic increase of 3,500 improvised workers for the collection of waste paper and cardboard around the cities. These workers seamlessly blended in with the blind frenzy of the metropolis, rummaging through the trash or dragging stacks of cartons. The project was supposed to include a large installation made of cardboard, stacked from and compressed between the floor to the ceiling, along with some paintings that the artist had painted during his stay in Argentina’s capital as well as an extensive photographic documentation of the workers’ lives, often carried out in secret among the city's neighborhoods.
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http://dspace-unipr.cineca.it/handle/1889/3000]]>
This project was born in the aftermath of HH Lim's car accident which occurred on the highway on March 26th in 2005, while he was on his way from Rome to Naples for the opening of the inaugural exhibition of the PAN - Palazzo delle Arti di Napoli, The Giving Person. Il dono dell'artista, curated by Lóránd Hegyi, invited by the artist Yan Pei Ming who had visited Lim's exhibition at Fondazione Volume! in Rome a few days earlier. Despite the severity of the accident, Lim was unharmed and decided to proceed his journey abandoning the destroyed car on the side of the highway. The project was inspired by a series of events that occurred before the departure and during the trip, as well as a work of art by his friend Yan Pei Ming on display in the exhibition - a large red figure of a Buddha, similar to the one Lim has always been wearing on his neck - and ultimately the death of the pope a few days later. The project was never actually developed  as it remained a mere thought, an idea the artist had. Lim imagined a large public exhibition to thank the Pope: the work would have consisted of a series of montages made using Photoshop, showing some drawings of Lim – linked to the series of Words - superimposed on the front pages of the newspapers and posted during the funeral of Wojtyla, which took place on April 8th 2005 in the St. Peter's Square.
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http://hdl.handle.net/1889/2898]]>
Monolite in bilico consists of a block of slate or lava stone resting on its edge on top of an egg made of travertine from Trapani, and placed on a pedestal of white cement destined for an open space in the city of Gibellina. The exact placement and measurements were yet to be determined. The artist donated his project to MoRE and – given the occasion - recounted the complex history of his work: "After visiting the new town of Gibellina way back in December of 1979, invited by the mayor Ludovico Corrao, I thought of erecting a large monolith made of slate or better yet of volcanic lava, balanced on top of a travertine egg, which was then to be placed in one of the city squares as a symbol of rebirth and a representation of the force of nature. The egg is an archetype of mysterious and symbolic significance, the Sun in the yolk and the Moon in the glare, gold and silver, a reassembled dualism. From this union life is born and perpetuated. The egg prevails over the force of nature by holding up the monolith. That's why it is in the balance. Enthusiastic about the idea, the mayor immediately ordered works to be carried out on the egg. I even had the chance to see it finished, but I never got an answer about the monolith itself, which therefore remained unexecuted. Each time I inquired about the project, I've been given excuses and evasive answers. Thus I ceased to insist because I realized that something or someone was hindering the project. They even went so far as to deny that the egg had ever been made."
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http://hdl.handle.net/1889/2901]]>
The project by Giulio Paolini entitled Quadro generale (Overview) was developed by the artist between 2010 and 2012, and intended to be placed near the south steps within the Sully Wing of the Louvre Museum in Paris, which commissioned the piece. Although the artist's proposal had been approved in its final version in the summer of 2012, the initiative was not followed through for various reasons, including the appointment of a new director at the museum. The installation that Paolini had designed included a geometric structure in stainless steel, built around a square hanging from the ceiling in the center of the space. It contained fragments of plexiglass engraved with the same geometric designs which would have been placed on the surrounding walls, as if they had been scattered by an explosion of the nucleus. This complex structure, by its nature variable and cryptic although clearly structured, represents – as Paolini himself stated - the very idea of the museum: "some sort of 'big bang' of continued proliferation destined to an inexorable, vertiginous fragmentation until it almost exhausts much like a 'black hole' that prevents us to decipher it."
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http://hdl.handle.net/1889/2903]]>
Read more.]]> http://hdl.handle.net/1889/2902]]> Flavio Favelli conceives this project, together with the architect Flavio Gardini and the engineer Matteo Grilli, for a competition curated by Bartolomeo Pietromarchi.
The artist envisiones the creation of an outline of the old nuclear power plant in Caorso, opened in the Seventies and closed only eight years after. The power plant was dismantled in 2009 by the company Sogin, Società Gestione Impianti Nucleari (Nuclear Power Plants Management Company), which also promoted the competition. Starting from the premises of the designation letter, Favelli conceives a complex full-sized work which represents the shape of the former power plant as a memorial, a sculpture dedicated to the history of a placereflecting a much debatedissue of the last forty years such as the one of nuclear energy. The artwork consist of the full scale creation of the former power plant's outline - width 24.98 cm and height 9,98 cm - countoured by yellow neon. The work could remind of a triumphal arch, even if it doesn't celebrate political or military achievements, but instead it becomes a simulacrum of the power plant itself, a memory-sign of the building's exact structure, employed   to try to salvage the remembrance of the landscape. Its urban dimension makes the viewer enter a state of temporal bewilderment, almost a déjà vu, an alteration of memory through the construction of an ephemeral architecture. The project was canceled due to a change in the company's management.
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http://hdl.handle.net/1889/2859]]>
The two figures “I remember I have seen a mosque inside the Amun Temple in Luxur” and “Development of the decoration of an Etruscan vase according to a nineteenth-century portrayal” were to be part of a broader and more structured project, centred on the theme of the potential image, a topic very dear to the author. The original project envisaged the presence of a third figure representing a mental image, merely potential, hence rendered in a writing. The conceptual nature of such an image would have not allowed any visual depiction. The presence of a fourth figure, devoted to the utopian possibility of exposing films with the only power of thoughts, was merely a working hypothesis. This work, of a cleary conceptual nature, was therefore to be centered on the theme of the “potential image”. Such topic takes on great importance for both the artist's production and the cultural context in which this project was conceived.
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http://hdl.handle.net/1889/2704]]>
Stelle e lucciole was conceived between 1969 and the early Seventies, and it is one of the first episodes of the prolific collaboration between Franco Guerzoni and Luigi Ghirri, which produced interesting and relevant results. These photographs revolve around the intention of the two artists and friends to capture in a single frame the starry sky and the bright trails of light left behind by fireflies. Indeed, Ghirri shot many takes of that picture, but he was not able to achieve the results he was aiming for due to technical issues. Guerzoni donated these photographs to MORE. To define this project as unrealized would not be fully correct; therefore, as Guerzoni himself agreed, it should be rather described as an unresolved, interrupted project, unable to achieve its expected outcome.
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http://hdl.handle.net/1889/2702]]>
The unrealized project of Giovanni Ozzola, titled Un solo orizzonte, consists in a video installation of five projectors that simultaneously show on the same wall different videos of horizons, filmed in five different places with the same degree of latitude, thus following the parallel. It wasn’t realized for logistical reasons, due to the venue.
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http://hdl.handle.net/1889/2701]]>
This project proposes an intervention in the area in front of the entrance of the Hepworth Gallery in Wakefield. Darbyshire here articulates the space through three elements: an unfinished Arts and Crafts half-hipped gable structure in developers vernacular, a B&Q pergola - B&Q is the well-known UK chain dedicated to DIY and gardening - and a medieval trebuchet orientated towards the new David Chipperfield designed gallery.
The three signs arranged in the area recall frequent themes in the artist's research, such as a critic to the homogenisation of contemporary design, to the standardization of the spaces, and the questioning of the regeneration processes carried out by government agencies and/or private developers, and stand opposite to the minimalist, award-winning and iconic museum building designed by an archistar
Officially, the work has not been realised for a planning issue. 
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http://hdl.handle.net/1889/2652]]>
Read more.]]> http://hdl.handle.net/1889/2659]]> Read more.]]> http://hdl.handle.net/1889/2664]]> Read more.]]> http://hdl.handle.net/1889/2660]]> Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - La Livre, which was never completed.
During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive.
At Brunnenburg, Knifer proposed his classic "meander" theme, a geometric structure characterized by the contrasts between black and white, which he introduced at the end of 1959 as a form of "anti-painting". Nena Dimitrijević identified it as a synonym of his "artistic identity" and claimed that he, inspired by Primary Painting and Hard Edge aesthetics, adopted a form of conceptualization of the artistic practice which identifies with a single pictorial solution, a symbol that is the sublimation of radical will.
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http://dspace-unipr.cineca.it/handle/1889/2662]]>
Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - La Livre, which was never completed.
During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive.
Conz decided to include the works of Mangelos, who died in 1987, asking the remaining members of the group to place their signature on the back as sort of an homage. The three works signed by the members of Gorgona and presented for the exhibition are respectively attributed to the manifesto for energy, the series of landscapes dedicated to Pythagoras and the series dedicated to the dialogues.
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http://dspace-unipr.cineca.it/handle/1889/2661]]>
La Livre, which was never completed.
During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive.
During his stay, Jevšovar created three different works of art. In two of them, both dated March 5th, he placed a quadrangular figure on the center of a white background, while in his third work, dated March 6th, he proposed a rectangular strip of color on a brown background. The works are therefore linked to the central theme of the artist's research, which is an attack on tradition - not ironically as it was in Dadaism, but rather looking at the surface as a central problem of pictorial structure.
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http://hdl.handle.net/1889/2663]]>
The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. Cini was invited to be part of the project together with artists Emilio Fantin, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri.
For the department Cini thinks the project PlasticOplalà 1, 2, 3, a series of site-specific interventions whose idea is to create a small botanical garden outside of the pavilion, in the semi-abandoned garden of the pediatrics department. The project was not realized as a result of a number of economical, technical and logistic reasons.
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http://hdl.handle.net/1889/2451]]>
Read more.]]> http://hdl.handle.net/1889/2449]]> Read more.]]> http://hdl.handle.net/1889/2448]]> Read more.]]> http://hdl.handle.net/1889/2447]]> Meet the tale and represent it; Take care; Sculpting with hot beeswax). The book was made and donated to the department , while the laboratories were not realized, due to a series of economical, technical and logistic reasons.
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http://hdl.handle.net/1889/2446]]>
Simpatia Cosmica (Cosmic sympathy), conceived for the communication room diagnosis (BCM), and De mi amor mi canto, for the area where the remains rest. The project was not realized due to a series of economical, technical and logistic reasons.
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http://hdl.handle.net/1889/2445]]>
Caleidoscopi (Kaleidoscopes), colored prisms to play with, enclosed in balsa wood cases, and Allora la luna (Then the moon), a sort of luminous sign with a diameter of about two meters designed for outdoor installation, to be placed on one of the buildings in front of the windows of department: both projects were meant to stimulate the imagination of young patients and to allow them to forget their condition for a moment. The project was not realized as a result of a number of economical, technical and logistic reasons.
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http://hdl.handle.net/1889/2444]]>
Il Respiro di uno spazio / Livella il cielo is a project created by Luca Trevisani in 2011 and donated to the museum MoRE in 2014. The artist through his working methodology, that starts here from a scientific data, designs a system of pipes that pass through a house, the network of tubes is sectioned and receives the rain and other weather elements, the water level therefore changes according to atmospheric events. The water, among other things, is also the subject of an artist book, Water Ikebana Stories about solid & liquid things (Humboldt Books, 2014), published by Luca Trevisani. 
The project donated to the museum has not been realized due to the lack of a commisioner and of a suitable location for the development of the work.
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http://hdl.handle.net/1889/2450]]>
Tiramolla 1992 is a project presented by Liliana at the documenta 9 of Kassel, directed by Jan Hoet with a team constituted by Pier Luigi Tazzi, Denys Zacharopoulos e Bart de Baere. The place chosen for the work was the Neue Galerie and the project was particularly complex and elaborated with the support of an engineer of a specialized firm. The plan was to stretch a steel cable till the museum’s last wall; this should go through the whole length of the building and come outside, where it should be anchored at the artist’s car, a red Fiat 126, left turned on with the engine running. The steel cable (that has been reproposed in the work exhibited in Kassel instead of this project, Tiramolla) would have passed therefore through the whole exhibition’s space, suggesting to the viewer a different understanding of the place and converging outside towards an object connected with the artist’s everyday life: her car. Technical and structural problems were the main reason it hasn't been realized; the project was also considered too dangerous.
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http://hdl.handle.net/1889/2442]]>
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.
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.
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http://hdl.handle.net/1889/1778]]>
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 Museum of exiled Italian contemporary art, 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 democracy! Socially Engaged Art at London's Royal College of Arts in May 2000.
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http://hdl.handle.net/1889/1777]]>
cancelled by the commissioner a few days before the opening. An alternative version of this project can be found in the book published by Jartrakor Study Center in 1992; it was based on the possibility to invite people with distinctive features that usually are easy to be recognized (such as ecclesiastics) but dressed “normally, in order to create in the spectator a sensation of undefined oddity. The same project has been described inside the catalogue of the exhibition Exhibit A at the Serpentine Gallery in London, focused on the problem of the role and meaning of the “exhibition”.
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http://hdl.handle.net/1889/1775]]>
Read more.]]> http://hdl.handle.net/1889/1774]]> Finestre 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).
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http://hdl.handle.net/1889/1773]]>
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.
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http://hdl.handle.net/1889/1776]]>
the other one donated to MoRE, Lorenzo Scotto di Luzio works on the opposites, inserting in a totally neutral setting – a distinctive trait of the Eastern world – an element with a strong “western” connotation, that represent the commerce and that clashes with the unspoiled landscape of the desert. In the idea of Scotto di Luzio, the staircase is defunctionalized and will not need any maintenance, it should deteriorate and become a relic, an abandoned monument, almost “commemorative” of a past world. Even here the artist hides a paradox, perhaps a joke: the celebration of the western cult just inside the eastern world, two concepts and two cultures that come together to create a sort of epiphany of the vision, just like a “mirage” in the desert. The artist, in the review of the project, calls it a “bachelor machine”, a sterile and unproductive device, a sort of ready-made on a large-scale, defunctionalized and completely out of context, designed not to be placed in the hall of a museum but in the desert, an aseptic and neutral space.
The project was born withouth clients, and with the willingness to propose it to some commissioners in the Emirates, but has never been proposed to any possible commissioner.
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http://dspace-unipr.cilea.it/handle/1889/2414]]>

The first two projects of the same title, TRITON, deal, on a different level of detail, with the same event that, mainly involving sound, designed for a duration of seven days, would have involved the entire city of Bonn, starting from the river, on which he passed on a barge that housed the orchestra. It would have been a form of homage to the great composer Beethoven not only in terms of sound/ environment, but also from a visual point of view, considering that in the project this aspect is lagerly considered.

LA LUCE DEL SUONO, a project for “a concert of lights and sounds” that would have involved a vast area of the Danube river and nearby land, conceived by Mosconi in 1984 and presented for the 1986 edition of the festival “Ars Electronica” in Linz, is the result of the further development of a core part of the same imaginative unit that shaped TRITON.
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TRITON: 1976-1977
LA LUCE DEL SUONO: 1984-1986]]>
http://hdl.handle.net/1889/1999]]>
the other project donated to MoRE, but also a performative research that approaches both the avant-garde of the Seventies that the more recent trends of the Nineties, and that is penetrated by a Neapolitan sense humor with ancient roots (remembering Totò and Eduardo de Filippo) that conceals melancholy and irony.
The project was created in collaboration wirh the Krome Gallery (Berlin), but a second gallery has never been found.
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http://dspace-unipr.cilea.it/handle/1889/2415]]>
is proposed by the artist the following year with some changes for the P.A.V. (Parco d’Arte Vivente) of Turin. The project, originally thought to be placed inside a wood, consists in the facade of a movie theatre outlined in black on a white background, on a 4 x 3 meters wing made of painted bricks (as the artist explains, “a big A4 paper sheet”). The facade recalls a liberty-decò style building, with the introduction of eclectic elements, and it refers to a movie theatre the artist saw in Antananarivo, Madagascar. To enter the theatre the audience needs to move around the wall, beyond which are placed four seats in concrete destined to be covered with moss. The seats address the landscape instead of the wall, that therefore becomes a wing and hides the watchers. Even though the project won the competition, it was not realised in the end because it was not possible to find an agreement with the neighbour that lived nearby the place that was identified as the most suitable for the realization and for other logistic and organizational reasons.
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http://dspace-unipr.cilea.it/handle/1889/2417]]>