Mind Bubbles is a project designed as an installation for the entrance hall of the head office of the Volksbank Wien, a building by the german architect Carsten Roth.The sculptures seem to be suspended in the air, as if a device had frozen them: a process that inflates, distorts, makes things bigger and smaller, creates unexpected shapes and new realities that become an inspiration for our everyday life. The reasons why the project remained unrealized haven’t been specified by the artist.
Read more.]]> http://hdl.handle.net/1889/2363]]> Read more.]]> http://hdl.handle.net/1889/2361]]> The possible commissioners and the reasons why the project remained unrealized haven’t been specified by the artist.
Read more.]]> http://hdl.handle.net/1889/2332]]> official page. Erwin Wurm declared that the project has been officially refused for formal reasons.
Read more.]]> http://hdl.handle.net/1889/2331]]> Read more.]]> http://hdl.handle.net/1889/2330]]> Big Suit Departing was conceived for Berlin Schönefeld Airport. The project consisted of a giant figure—10 × 3.5 m—suspended inside the airport hall at a 50% tilt.

The “dummy” has neither head nor limbs and is completely hollow, allowing passengers to see through it. The work is highly realistic, with details such as buttons, eyelets, and fabric meticulously rendered.

This characteristic is typical of Erwin Wurm’s work, which partially distorts the reality we live in.

This type of “monument” is not intended to celebrate the common man; rather, as in all of Wurm’s work, it seeks to glorify an exorcism of everyday life—a celebration of a different reality, of visionary and distorted perceptions.

Read more.]]> http://hdl.handle.net/1889/2327]]> Installation in 2 parts, 2009. Venice, Basin of the Arsenale, Gaggiandre, and Tese delle Vergini, Italian Pavilion.

Environmental dimensions. Light, water, photography, sound.

A) Outside: A semi-submerged photographic image of 60x20m. occupies the stretch of water of one of two ancient covered basins of the Arsenale. The image represents simultaneously two circles of water and the symbol of Infinity. A stone thrown in water has created the splitting of the first cell, giving rise to a multiplicative process. The photographic act freezes the action and renders eternal the instant and the becoming of time, Past and present, stasis and change, finite and infinite are simultaneously present: the place is real and virtual at the same time.

B) Inside: 12 light-boxes placed in the niches of the left wall of the Theater of the Virgin transform the wall in a great self-illuminating façade. Light and architecture are welded into a single radiating structure that transmits light within the building. On the floor in front, a water tank of about 16×16 m. reflects the architecture of light, generating the virtual image space. The still surface of the water is perturbed by the undulatory motion of concentric waves that propagate rhythmically from the center of the tank. The vibration of this liquid surface corresponds with the intangible sounds diffused into the great emptiness of the room: visual and sound waves interact, creating the vibrating movement of the water.
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]]> http://hdl.handle.net/1889/2001]]> The Rolls Royce project, proposed and never realized by the artist, comes from the need to create an exhibition for the Rolls Royce Art Programme, an initiative related to the famous brand of automobiles, which was created to support bold and innovative ideas related to contemporary art.
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]]> Ništa [Nothing] should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized.
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]]> ]]> Vitone in 2009 designed a memorial to the deserters from the Nazist army in the center of the city of Cologne,taking part in a competition, which he will not win.
The artist, who has lived and worked in Germany, meditates from a political point of view on the ambiguity of act of desertion. The monument that he projects is made of a flagpole of about 12 meters - with a flag on top of it, decorated with the infinity symbol - placed on an iron base on which a map is visible, a typical element of Vitone’s research (in this case the one of city of Cologne).
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]]> http://hdl.handle.net/1889/3005]]> Read more.]]> http://dspace-unipr.cineca.it/handle/1889/3004]]> The project is presented at the contest Premio ArteGiovane in 2002, Torino incontra l’arte. Una porta per Torino. Vitone proposes the realisation of an installation in the square, placed in front of Mirafiori, dedicated to Emilio Salgari, the writer who spent most of his life in the city of Turin.
The artist conceives to recreate a desert landscape washed by the sea, inspired by the stories of the series of novels “The Pirates of Malaysia”, a space that would have been crossed by the tram lines, stimulating in the passengers fantasies of adventures and mythical places.
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]]> http://hdl.handle.net/1889/2657]]> Foglie al vento is a project realised for the contest Arte per piazza Matteotti, organized by the city of Imola in 2010, that aimed at the creation of a monument to replace the memorial to the fallen of the First World War in the renovated Renaissance square.

The project, that did not win the contest, consisted of the realization of a light installation in the arcade of one of the square sides. The idea of the artist was to place in the middle of each of the fourteen vaults of the arcade of Palazzo Sersanti a special lighting element that, through a dedicated optical system, would have projected on the ground the image of the same number of green Ginko Biloba leaves, replacing the preexisting lighting system.
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]]> http://hdl.handle.net/1889/2658]]> Two sentences, “Everything that happens” and “Always all around”, are printed on both sides of two banners, carried by two planes while performing some basic aerobatics manoeuvres. The two sentences are perceived as emotional quotes, auspicious signs, appearances in the sky of mind. An air show and an environmental, ephemeral art installation at the same time.
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]]> Monument for a Forgotten Education is a model version of the public monument of Mathias Goeritz and Luis Baraggan Torres de satellite (satellite towers) which is located in Mexico City and is assumed to be one of the most characteristic public projects of Mexican modernity.
Monument for a Forgotten Education is conceived with the aim to replace the walls of the Monument “Torres de satellite" made from reinforced concrete with chalkboard paint on wood, giving an emphasis to the educational awareness, rewriting the history of a certain modernity that deals with abstraction and collective amnesia. The aesthetic values of public monuments have thus been reverted as by the substitution of the original material as well as the different scale of the model.
Monument for a Forgotten Education is included to a production of works under the general title of Part Company. These works combine antithetical approaches to community living and social participation by two distinct figures of Mexican Modernism, Greek-Mexican activist Plotino Rhodakanaty (1828-1892) and Mexican artist of German origin Mathias Goeritz (1915-1990). The artist adapts models of public sculptures by Goeritz informed by research on Rhodakanatys’ political concepts. The constructions explore a broader context around social class, politics of sculpture, architecture and design, encompassing rather than isolating these two separate ideologies.
Understanding modernity's discourse through Goeritz's approach is an intriguing way to justify the rejection of memory (from collective to interpersonal relationships) and complements Rhodakanaty's ethics through which Goeritz cannot be restricted exclusively to the field of aesthetics, just as socialist narratives may not be solely perceived through a passive reception of a political message.
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]]> http://dspace-unipr.cineca.it/handle/1889/3002]]> The project never won the competition.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2055]]> Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto is an unrealized pictorial work that returns to a “live" pictorial modality, in fact the project consists in painting Giovane che guarda Lorenzo Lotto by Giulio Paolini from 1967. The project Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto is therefore a short-circuit of meaning because Paolini’s work reproduces the Ritratto di giovane by Lorenzo Lotto.
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]]> Read more.]]> http://hdl.handle.net/1889/2659]]> Read more.]]> http://hdl.handle.net/1889/2449]]> Read more.]]> http://hdl.handle.net/1889/2902]]> The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008, for the creation of two works of art for the MAXXI Museo nazionale delle arti del XXI secolo, Rome: one had to be designed for the atrium of the museum and another one for the outdoor areas.
The light work Esser Spazio had to be placed outside the MAXXI Museum, integrating the architectural environment with discretion and inhabiting the final steps of the square above the entrance to the museum. Uberti, coherent with its artistic research which often aims at drawing symbolic shapes and signs on the architectural and urban public space – sometimes with effects of displacement, sometimes to emphasize the characteristics and peculiarities of the place - in this case suggested a sentence, a motto and at the same time a call, asking the public to actively participate in the construction of the museum: then reflecting on the meaning of this new space for contemporary art, on its role in respect to the culture, but also on the shape of the city itself. The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008 by the Provveditorato interregionale per le opere pubbliche per il Lazio, l’Abruzzo e la Sardegna, in agreement with the PARC Direzione generale per la qualità e la tutela del paesaggio, l’architettura e l’arte contemporanee.
The work didn't win the competition.
Read more.]]> http://hdl.handle.net/1889/2333]]> Orbite is a site-specific project designed for the Palazzo della Regione Lombardia in Milan: on two of its façades (the south-east and north-west one) Uberti wanted to install the light drawing of a portion of the orbits of the solar system. The orbital map was taken from the NASA site and redesigned, scaled. The request was made to Massimo Uberti, along with four other international artists, by a manager of the Lombardy Region in 2009. The goal was the development of the new headquarters of the Lombardy Region with large, site-specific contemporary art works. The project Orbite was developed by Uberti in collaboration with N.O. Gallery, directed by Ilaria Barbieri Marchi. The cost of the project was € 200,000 and covered all expenses, from concept design to the set up and the communication plan. Until the delivery of the executive projects, the work was feasible. Once delivered, the reasons for non-completion have never been made public.
Read more.]]> http://hdl.handle.net/1889/2341]]> 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.
Read more.]]> http://hdl.handle.net/1889/2450]]> Il pop up che non si apre (The pop up that will not open) is an artist's book designed by Luca Trevisani in 2011. The artist starts from his series of works, printed on copper and cardboard, named Fly fishing (2010), to elaborate the structure of a pop up book. In this editorial project many of the attitudes and characteristics of the artist's work are visible, such as the sculptural gesture, the condition of equilibrium, manual skills and the chosen material: the paper. The project was initially designed as a self-production by the artist himself, and then proposed to the publishe cura.books, but it has never been realized for the high costs and because of the many difficulties in finding the necessary financial coverage.
Read more.]]> http://hdl.handle.net/1889/2443]]> 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]]> 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.
Read more.]]> http://hdl.handle.net/1889/2445]]> The Moons is a video that should have been part of a larger, realised project We used to call it: Moon. It consists of five short films which are almost drafts. The same scene is shot from the same standpoint, but with different lights and background music. In this scene, a strange landscape is composed of small sculptures that look like monuments. Two wooden spheres move and change position, representing the two moons of the title.
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]]> The Room is a film created by Marko Tadić using stop motion animation technique, but it was abandoned by the artist during the editing phase. The video represents a seance, or rather what happens in the room after everyone has left. The animation reveals furniture and objects moving, candles burning down, light effects and flashes similar to explosions, and the appearance of figures - toys and knick-knacks. In the closing scene, a small pottery cat looks into the fixed camera and in the background we can see the almost destroyed room.
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]]> The Travel Agency is the title of a film Annika Ström started working at in 2006. As the artist recalls in the report donated to the MoRE museum, it went through several phases and two productors, without never being realised: the script ”was about two women, one of which, wants to die, and one who wants to live. They contact an agency, which assists suicide. It is a Special Agency”. After a first financial failure, the project was sent to a new producer, who met the artist in 2014 and showed interest: unfortunately, as the artist recalls, nine months after the meeting, a director in the producer’s company announced in a radio interview her next film, with “thesame pitch as in Ström’s script”. The producer produce the new film. Annika Ström also states that “the producer and the director deny any plagiarism”.

The themes of fragility, uncertainty, sadness, the interest in the act of travelling and in the condition of the traveller, the focus on female protagonists, these are just a few hints we can grasp from the brief description of the artist showed here, that can also easily be found inside Annika Ström film production.
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]]> http://dspace-unipr.cineca.it/handle/1889/3243]]> This project was proposed by Annika Ström in 2016 as a public art commission, and was supposed to take place at night in Sergels Torg Square in Stockholm. It consisted of a night concert lasting approximately 15 minutes, during which the Jönköping Chamber Choir would have sung the lyrics and music by Annika Ström. In particular, as the artist reports in the file donated to MoRE Museum, it can be considered a larger-scale version of a performance the artist the artist did in 2015 at the Jönköping city café, with the Jönköping Chamber Choir and conductor Ove Gotting, where they sang the “phrases that appeared on billboards around Jönköping and on digital road signs on highway E4 nearby.”

In Stockholm, the choir would have been introduced by “fifty loud skateboards with lanterns on their wheels and hoods.” The same conductor would have parachuted down, and when the skateboarders had moved a short distance away and fallen silent, the choir would have sung the phrases projected onto nearby building façades. The performance would have been closed by the skateboarders, who would turn their lights on once more.

A sound recording and a vinyl record were to be produced after the show.

]]> http://dspace-unipr.cineca.it/handle/1889/3240]]> Invited to submit a project for a medieval hall in the UK, that should have been a collaboration with either local people or an organization, Annika Ström decided to present a performance based upon the idea of lonely men in their cars, supposed to be lonely dads. Fathers who were divorced and estranged from their children. Starting, as the artist states, from a reflection upon the car as a place of solitude and from her direct experience - a common trait to several of her artworks, here derived from her travels and from her recent experience of moving to England - this project was designed as a collaboration with local Father’s Rights organizations. The artist report and the preparatory collage archived here contains all the details of the performance, of the accompanying music - a popular culture quotation, playing a crucial role as it frequently happens in Annika Ström works - and of the way everything should have been filmed and documented:

“I planned to get at least 50 Dads. They would drive in to the square outside the medieval hall. One car for each dad. They would stop and remain in their car. They would all simultaneously pull down their car windows and play the same song; The very romantic Pietro Mascagni, as used as the sound track in Raging Bull by Scorsese.

When the song was finished, they were to slowly pull away, head to the motorway in a line towards Southampton, where I also had commission as part of the same project.

We were to hire helicopters to film the motorway, like a “News Copter” where the Lonely Dads would parade with their cars, missing their children.”

Reflecting upon roles and structures inside the families and in the society, here Annika Ström investigate in particular relationships, self-doubts and failures, designing the staging of a dramatic scene where cars would have invaded the historical setting.

The artist also wanted to install enormous disco balls inside the hall, but this project too remained unrealised.
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]]> http://dspace-unipr.cineca.it/handle/1889/3244]]> The project A Lighting System attempts to bring together the discourse on security and the machinery for producing good conscience — and control — into a single structure, as the ecological discourse is often used for that purpose.
Read more.]]> Veit Stratmann research makes use of the unrealised and the concept of unrealisability as a tool to deal with - in line with a conceptual tradition - political or economic-political discourses, often connected with the concept of security and with the structures of power, from a critical point of view and trying to give a clear form to the discourse while questioning the role of the artist himself, reflecting on impossibility and inefficiency as elements for the production of a project. The Rhine Swing is a project for a giant swing to be placed over the Rhine River, between the locations of Daubensand (Alsace, France) and Schwanau (Baden, Germany), a site identified by the artist for the relatively low amplitude of the river as well as the beauty of the landscape. A representation - not without irony - of the Franco-German cooperation, this project contains a first feasibility analysis through a study of the modalities of access, operation and use together with the security requirements, a study which reveal himself as a functional tool for the artist to criticise the design method and, more generally, the economic and political dynamics between the European countries.
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]]> The project donated to MoRE was initially conceived for London Frieze Art Fair. The artist submitted an application for Frieze Projects, curated by Nicola Lees of the Frieze Foundation, and she was among the finalists with a proposal of transformation of a space inside the exhibition complex. Her project intended to transform the cloakroom of the museum into a sewing and fashion atelier, open during the whole event. In this atelier the artist would have reproduced and reinterpreted the coats and clothes left by the visitors while they were visiting the exhibition, to create some original pieces of art. The project was not selected.
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]]> http://hdl.handle.net/1889/2860]]> Read more.]]> http://hdl.handle.net/1889/2660]]> 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.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2414]]> 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.
Read more.]]> http://dspace-unipr.cilea.it/handle/1889/2415]]> Cannocchiale ottico percorribile was designed by the artist for the 1968 Milan Triennale, dedicated to the theme of the Grande Numero, in the never-realised exhibition Interventi nel paesaggio. Inside this project artworks by young artists should have been exposed in town and city centers to offer an artistic vision of the world in scale with the physical environment.
In the oral reconstruction provided by his wife Franca Scheggi Dall’Acqua, in support of the two photographs of the project, the optical telescope should have been made in chromed steel and in collaboration with Italsider. Scheggi of this project produced a maquette, also in chromed steel. The Cannocchiale ottico percorribile was to be shown in Florence, between the Cathedral of Santa Maria del Fiore and the Baptistery, in line with Via de ‘Calzaiuoli and Via dei Martelli. The dimensions hypothesized by the artist had to be such as to accommodate about a man of medium height in it, who could have been following the inside path in all its lenght. The work unravels itself in a zigzag and irregular shape, such as to produce an effect of disorientation on the viewer, increased by a very dramatic interior lighting; in addition responding to the theme of the exhibition inside the Triennale it was also a reflection on the Florentine Renaissance perspective, made explicit with its placing in the square in Florence (Scheggi was a native of the city and soaked in humanities); but we can also place it among the top experiences of Paolo Scheggi related to the concept of tunnel and path in the dark that would then be developed in the following years, bringing us the environment ONDOSA (as reported in the bibliographies and biographies of the artist) or ONDOSA NERA (as shown on the projects of the artist himself) otherwise made for the show Eurodomus in Milan, 1970, and then destroyed.
Read more.]]> http://hdl.handle.net/1889/1998]]> Five projects of environmental intervention in a interior space, formed by two walls ending in a corner and a floor, named from A to E.
The first one, A, is dated 1978 and accompanied by the autograph and handwritten note of the artist: “Ambiguità dell’angolo contrapposta alla sua indicazione” [Ambiguity of the corner opposite to its indication] is a graphic reproduction of a parietal corner on which is drawn, joining the two walls, a straight line of dots. On the floor is drawn straight line of dots converging in the corner itself.
The second, named B, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted passage of rectangular shape, open and not dotted on the base that ideally stays on the floor.
The third, named C, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted rectangular shape whose base rests on the floor.
The fourth, named D, consists in a graphical representation of a parietal corner, the two walls joined by a dotted triangle, with the base that joins horizontally the walls, and vertex which coincides with the corner in the meeting point between the two walls and the floor.
The fifth, named E, consists of a graphic duplication of a double dotted parallel line that crosses the two walls and perpendicularly the corner of the environment.
Through the use of a projector, the artist would have reproduced the pattern formed from points in succession using likely graphite. The dotted drawings deny the environmental depth and build illusively another perceptual space, a new environmental perspective.
The project Ambiguità dell’angolo [Ambiguity of the Corner] critically analyses the real space and its theoretical conceiving through the perceptive operation, thus witnessing the enviromental vocation of the entire research by Scaccabarozzi.
In 1986 was held a partial realization of the project for the exhibition “Die Ecke=the corner=le coin”, at Galerie Hoffmann, Friedberg, and in 1988 at Wallis Kantonsmuseum, Sitten, Switzerland. There, Scaccabarozzi tries to represent the direct intervention in the space, using pictorial dots on a corner of the room, and publishing on the catalog six different projects of enviromental intervention, called Ambiguità dell’angolo [Ambiguity of the Corner], and dated 1978.Only the first one of those published, has been realized by the artist in the gallery and consisted in a simple horizontal line of dots, that crossed the corner and reached the two walls, proceeding in parallel with the floor.
The other projects, united in the book of unrealised projects by the artist, had more tecnical difficult for their realization, and they have never been realized.
Recently, for the recent two-men show at Galerie Hoffmann in Friedberg, and dedicated to Scaccabarozzi and Gary Woodley in july-september 2016, Anastasia Rouchota, heir of the artist and founder and director of the Scaccabarozzi archive, reproduced in a room only the project already made in 1986.
Coming back to this historical exhibition, and coherently with the exhibition program of the gallery, among the invited artists were the protagonist of the North and East European neo-concretist and conceptual: Getulio Alviani, Gianni Colombo, Maurizio Nannucci and Antonio Scaccabarozzi from Italy, François Morellet from France, Klaus Staudt and Ludwig Wilding from Germany, Julije Knifer from Yugoslavia, and Herman De Vries from Netherland.
The catalog plays, also graphically, wuith the exhibition topics, containing handwritten texts, sketches and conceptual drawings. In her text, Verena Auffermann starts quoting the Philosophische Bemerkungen by Ludwig Wittgensteinand, and through the philosophical lens of the XIX century, from Artur C. Danto, Richard Serra to Gertrude Stein, she reflects on the relation between space and thought of space, retracing the function and the projectual and metaphoric meaning of the corner in the painting of the last century, starting from Cézanne and Malevich for introducing the 109 artists of the exhibition in 1986.

“The corner
Separates outside from inside
The corner
is dimensional
The corner
defines limits
The corner
Is a man-made design
The corner
Is a closure
The corner
Separates itself from the ‘out-there’
The corner
Is essential to a triangle
The corner
Is the corset for spatial thinking
The corner
Is an ideal playground for optical illusion”.
(Die Ecke = the corner = le coin 1986, s.p.)

]]> ]]> The project consists of an environmental intervention proposed by the artist for the facade of the Merate School of Maternity at the “Concorso Legge del 2% Scuola Materna (ente morale) di Merate” [Competition of the 2% Law for Merate nursery School], as indicated by Scaccabarozzi in a photograph reproducing the maquette he made, and probably entitled “Da un’idea del 69” [From an Idea of the 69], shown in the Collection by Mr. Antonio Spini of Robbiate. This project starts from the research held by Scaccabarozzi from the end of sixties and first half of seventies, and belongs to the series of Fustellati. These works come from the analysis of the movement in the relation between surface, depth, light and perception, in a space conceived as field of possible and potential variations.
These paths, both conceptual both processual, bring the artist to realize works formed by a series of cylindrical elements obtained working with a hollow cutter and making on the neutral support modular elements, both emerging both hollow, of different and gradual dimension and extension.
Partially raised, inclined, orientated and colored, positioned in a rhythmic and sequential movement on the support itself, the Fustellati are an invitation to the eye and an incitement to the potentiality of perception. From that derives also the title of the project given by Scaccabarozzi for the nursery School of Merate in 1975: Rotazione continua orizzontale [Continous horizontal rotation]. From the analysis of the collage realized for the participation to the competition, the yellow completes and stresses the perceptive path of the cylindrical elements on the pictorial-environmental surface, thus intensifying the visual and cinetic-virtual potentialities of the project itself, if it would be realized.
Writing about this phase of the artistic research by Scaccabarozzi, in the monograph dedicated to the artist, in collaboration with the Archive and published in 2016 by Corraini, Flaminio Gualdoni stressed the double presence of “[…] the physical objectivity of the work and the physiology of perception, un-aestheticity compared to current expectations, the spectator’s active participation and complicity in the work as a facilitator of aesthetic expectation, a not decisively random situation: most of all, the strong and complete involvement of the temporal dimension in a process which, until that moment, one’s own evaluation system was based on the space and the psychological duration of the experience, rather than the physical […]”. (Gualdoni 2016, p. 43).
The fact that this specific project was devoted to pre-school children emphasized the educational, ethical and aesthetic value given by Scaccabarozzi to his artistic works, and needs further reflection on his artistic intention about the principles and value of the game. Two years before his participation to this competition, questioned by Ernesto L. Francalanci and Paolo Cardazzo about the ludus component in his work, Scaccabarozzi responded succinctly: “I play with people who want to play for real/I play very seriously”. (Francalanci 1973, s.p.).
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]]> http://hdl.handle.net/1889/3441]]> UNTITLED aims at creating a photo archive of places and monuments which are significant for foreign citizens based in Italy. Geography, iconography and memory are pivotal for this project, created to give a visual identity to the rich cultural diversification characterising Italian contemporary society. At the same time UNTITLED focuses on landscape and monument identity in this era. This installation had two chances to be shown and presented: in Milan, Quartiere Giambellino, in 2011, and in 2015 in Trieste.
Read more.]]> Read more.]]> island of Favignana, in the south of Italy, to reproduce themselves, and according to the artist to make a journey of love. On this occasion the fish goes through a maze made up of fishing nets to end up inexorably in the death chamber, where they are harpooned and killed. The action has been designed by the artist as a game of reversing roles, in which the men take the place of the tuna and unaware they are ready to participate to the last moment of their life, just waiting to be slaughtered by other men. It is a transposition of the man from hunter to prey, from victim to victimizer, an inversion that creates alienation and a violent trauma. All these elements lead the viewer to a possible kind of visionary hallucination, where the role of Presicce is no longer that of the protagonist of his own performance but of an expert Director of expert careful towards the construction of a new appearance. This performance also draws inspiration from a short aphorism by Carmelo Bene in which the actor claims that the public should pay the cost of the show with his own life.
Because of its utopian nature, it has never been possible to realize the performance.
Read more.]]> http://hdl.handle.net/1889/2054]]> In October 2004, Marko Pogačnik created a series of urban sculptures in Zagreb as part of the "Urban Intervention" project. They were part of a cycle that the Slovenian artist had been developing since the 1980s, entitled Lithopuncture. He saw this as a kind of acupuncture applied directly to the Earth's surface at certain "energy points", rather like acupuncture practised on the human body in relation to the chakras. Four years later the works were partially removed.
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]]> Read more.]]> http://hdl.handle.net/1889/1772]]> 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.
Read more.]]> 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]]> The project, part of the author's critique of the system, addresses the issue of how contemporary art is experienced and of the so-called art system in general.
An initial version of the project was developed starting in 1991. In one of the artist’s notebooks, we can find notes about a solo exhibition that was supposed to take place in a private gallery in Rome at the beginning of 1992 but was never realized, probably because the art dealer feared a possible misunderstanding of the performance.
The project, in fact, was based on the participation of a group of prostitutes, invited and paid to attend as guests. Their presence was meant to provoke a sense of alienation in the spectators, who would perceive something unusual compared to a typical vernissage.
The performance was to be documented through photographs and audio recordings, but it was canceled by the commissioner a few days before the opening.
An alternative version of the project appeared in a book published by the Jartrakor Study Center in 1992. It was based on the idea of inviting people with distinctive, easily recognizable features (such as clergymen), but dressed “normally,” in order to evoke in the viewers a subtle sense of unease or strangeness.
The same project was later described in the catalogue of the exhibition Exhibit A at the Serpentine Gallery in London, which focused on the question of the role and meaning of the “exhibition.