The Yugoslav Pavilion designed for the Paris Exposition in 1950 reflected the social and cultural climate following the Second World War, when the country was distancing itself from Stalinism and embracing the ideology of real socialism. There was a strong cultural revival, and the abstract and concrete historical avant-gardes were being reclaimed and analysed, especially Constructivism and the Bauhaus method. The search for a synthesis in the visual arts and architecture characterised the EXAT 51 programme and related 1951 Manifesto, signed by the Pavilion’s authors.
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]]> This project consists in a proposal for the redevelopment of the Gorbals Partnership, Glasgow. Inspired by the lyrical settings in which Ingmar Bergman often placed his romancing youth, isolated in nature, protected from judgement and convention, the artist aimed at creating a site that could encompass all stages of a lifetime and maintain the same soft touch and beauty throughout.
The artist statement was: “I would like to propose the creation of a wildflower meadow. For children to play, for teens to have sex, for adults to take walks and for seniors to remind them of their youth”.
Aleksandra Mir should have worked with a botanist to develop a meadow in five years, planting local species and restoring the traditional cycles of mowing and grazing.
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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]]> 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]]> This project is - in the artist’s intention - a “quasi-scientific experiment”, and consists of a permanent public sculpture, made of a prefabricated glass architectural structure  (approx 5x5m wide and 3m high) produced by a company that usually supplies similar commercial spaces (the artist given example is Kingspan). This space would be furnished following a survey carried out in five public-access buildings from each of the five UK major cities., with the expectation of identifying "the most generic and ubiquitous of design elements". The artist at the same time would collect different ‘codes of conduct’, which should also then be applied - all together - inside the installation. The access to the space would be granted to five people at a time, and thanks to an applied two-way mirror film, “those outside could observe the actions of those inside whilst those inside would experience a sense of isolation and immersion in their immediate confines”, while the rules would be enforced by a guard.
The concept revolves around the opportunity of exploring “a new idea of conscious surrender”, instead of the strategies of resistance and disobedience usually applied in the name of creativity and artistic freedom: Darbyshire research about the progressive and growing standardization of the designed space around us, which leads the spaces themselves to be less and less recognizable in respect to their function, here is declined alongside an investigation of the freedom that within these spaces we choose to give up for many different reasons. Starting from the writings by Georges Perec and Marc Augé, but also by socio-political theorists Franco “Bifo” Berardi and Mark Fisher, Darbyshire here comes to theorize a model to wonder "if in fact surrender could be more liberating than resistance", considering contemporary social pressures. The aim is to create a space that does not declare its function, which may appear anonymous and go unnoticed, and that leaves its user confused as to what is expected from it. 
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]]> http://hdl.handle.net/1889/2650]]> Attempting to find the “way out” of painting, and depict “the oscillation of matter”, Antun Motika tried to get closer to “the culture of light”. For Antun Motika one of the important and consistent fascinations was the obsession with “pure light” which in various manifestations stretches through his artistic production.

Antun Motika’s experiments with light and the optical fascination shape his idea of liquid painting.

Motika formed his most important breakthrough outside the field of painting in his various experiments with projections, light and movement, his various lumino-kinetic experiments.  Proposals and sketches for different light devices, like light easel, and different apparatuses of projection are found in Motika’s notebooks, gathering many notes on his utopian, imaginative propositions that remain that, designs of unrealized projects. Motika’s notebooks and experiments direct us outside the known artistic canon towards the the changes of artistic cartography of in 1960s. Pages from Motika’s notebook bring into light sketches for lumino-kinetic works, his experiments with light and projections, as plans for various dispositifs and possibilities of their display. Motika produced his projections with various customised projectors (slide projectors, diascopes, episcopes, overhead projectors), transparent backgrounds onto which he applied materials of different sources, organic and inorganic, insects, plants such as herbarium, then pigments, resin, liquids, in order to achieve surprising results upon their enlargement, projected to surfaces as screens.
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]]> This project, presented directly by the artist via email, consists of a single idea: to pull one of Los Angeles’s old trolley cars out of the ocean, where they were dumped after the closure of the city’s streetcar system. Reflecting on his native city—now completely devoted to cars—its past, and its processes of forgetting, Horvitz seeks to bring back to light an episode—the dumping of the trolleys into the ocean—that clearly serves as a metaphor.
The Los Angeles Railway was a streetcar system that operated in central Los Angeles and the surrounding neighborhoods between 1901 and 1963. Several articles and photographs confirm that, during the 1950s, 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 seen as part of a broader reflection by the artist on the concepts of water and time—one that draws upon conceptual practices and applies “the fluid and impermanent dimension of the Fluxus movement and of Oriental culture”[2]. The search for and recovery of a discarded trolley car thus become a poetic and surreal performative gesture—an ephemeral action meant to leave several different traces, much like David Horvitz’s 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.

]]> Read more.]]> 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.]]> 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.
Read more.]]> 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.
Read more.]]> 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.
Read more.]]> http://hdl.handle.net/1889/2663]]> 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]]> 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]]> Matthew Darbyshire project for Kettle’s Yard - which today is a department of the University of Cambridge and a gallery - was designed for the left side of the building, overlooking Castle Street: during the renovation works for the new education wing, rather than just a billboard the artist proposed a perforated building wrap, similar to those used in building sites where it’s possible to see a reproduction of the façade momentarily hidden. This would lead to a “coming soon” effect in the viewer, and then to subsequent feelings of ambiguity and confusion: Darbyshire instead of the trompe l’oeil of the real future building would have printed on the wrap the vision of a future development of the building in a "Thatcherite, low-cost vernacular" style, intended to be a dystopian cultural one stop shop for the contemporary England.
The aim was precisely to comment - through an image which represents architecture and its values – on the possibility that a cultural space such as Kettle’s Yard may in future turn into something different (even if the current renovation works just involved the education wing of the gallery). The title itself - ukfun-ky - refers to a possible “regeneration” of Kettle’s Yard, enacting a criticism of these processes and of the spreading of anonymous and interchangeable spaces in the urban pattern. There are specific references to the policies adopted in the eighties in the UK, which was made of "thoughtless and insensitive developments", was moved only by profit and that now seems to the artist so close to a revival.
The Director of the gallery disapproved and an alternative was formulated. 
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]]> http://dspace-unipr.cineca.it/handle/1889/2651]]> 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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]]>
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.
Read more.]]> TRITON: 1976-1977
LA LUCE DEL SUONO: 1984-1986]]> http://hdl.handle.net/1889/1999]]> Total Portrait of the City of Zagreb was a project for a documentary film on the city of Zagreb. The only document which has survived is a sheet of paper typed and signed by Tomislav Gotovac himself. He states his intention to observe the city as though it were a human being. The aim was to produce a “21st-century” film, a total vision of the city as a living organism. 
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]]> 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.
Read more.]]> http://hdl.handle.net/1889/2442]]> 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]]> City centre of Hamburg, Germany. Until the early 1990's there were still "empty places", brownfields, remains of World War II. One of these wastelands I loved very much. A square in the middle of the business centre. It was raw and unkempt, hardly used. Significantly, it had (unlike today) no name. It was so beautiful, because it was a rare place of the unresolved and unclear in the chic, rich inner city. On it the hidden traces of its past paired with the still unthinking possibilities of a future. I began to observe and document it closely. I went into archives and searched for everything that had ever been on this square in past years and centuries. Around 1990, new buildings began to be erected in the immediate vicinity and on the larger part of the square. Office, commercial and hotel buildings. Thus the inner city centre lost its last (aesthetically) open, disorganized area. I made two suggestions for the remaining part of the square. A) The remaining wasteland was to be surrounded by an extremely high fence. I should have the only key to the piece of land. B) A panorama building was to be erected on the square for my extensive archive on the fallow land and on "everything that had ever been there".
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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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]]> 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 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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]]> Proposed as part of the Monuments for the USA exhibition in 2005, the project involved the construction of two monumental ears, respectively placed on the East and West coasts of the United States.
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]]> Testa di Pinocchio è il progetto proposto da Liliana Moro in occasione della mostra itinerante Playgrounds and Toys, organizzata dall’associazione con sede a Ginevra Art for the World e curata da Adelina von Fürstenberg, con l’intento di sensibilizzare il pubblico sul gioco come diritto fondamentale, spesso negato, di ogni bambino. In particolare la rassegna invitava artisti, architetti e designer di tutto il mondo a proporre progetti di parchi giochi e giocattoli destinati a bambini costretti a vivere in condizioni di ingiustizia sociale. Il progetto, proposto in occasione della tappa all’Hangar Bicocca nel 2005, prevedeva la realizzazione di una “casa gioco” per bambini a forma di testa di Pinocchio, con un’apertura sulla bocca da cui sarebbe dovuto partire uno scivolo, delle altalene realizzate con pneumatici pendenti dalle orecchie e dei finti mattoncini sulle pareti laterali per permettere ai bambini di arrampicarsi.
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]]> http://dspace-unipr.cineca.it/handle/1889/3443]]> The project, which can only be reconstructed today through a series of e-mails preserved inside the archive of Giancarlo Norese, consists of a proposal for an event at the Tate Modern in London andstarted from an invitation sent by the curator of the events section of the museum, which opened the previous year. The project should have initially taken place in June 2001 and initiaaly consisted in two days dedicated to the creation of relationships between spaces, artist-run and independent ventures, at an international level, through a convivial moment that should also have included the sharing of food, as well as content, publications and projects. Subsequently reduced to a single day, it is not finally realized because the responsible curator finds a lack of focus in the project.
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]]> In this drawing Franco Guerzoni speculates - with a theoretical exercise nearer to utopia than to a real project - about the possibility of realising flying carpets. On this drawing we can find, together with shapes and images by Guerzoni himself, a poetry written by his friend Adriano Malavasi.
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]]> http://hdl.handle.net/1889/2703]]> Read more.]]> Read more.]]> The project consists of an Artist’s book structured on several levels of interpretation which, through images and texts, outlines the moments in which the combination of signs reveal the "forms of the content."
The artist's book designed by Maria Adele Del Vecchio is a “personal and abnormal semiology", a product of culture which reveals the contradictory nature of signs and the message they express using a poetic approach, rather than a scientific one. The hypothesis proposed by the artist has been enriched by readings related to semiotics and structuralism, and is nurtured by the belief that reality is entirely composed of signs and that deciphering these signs, composes a more complete picture of reality.
The photographs taken are stumbles, glimpses beyond which the artist sees the grids on which life is structured: educated moments that reveal a karst essence along with underlying coordinates.
In a brief pastiche, the artist juxtaposes parts of texts by Witold Gombrowicz and James G. Ballard, tracking down a common vision. Well matched and mutually interpenetrating, photographs and texts compose a set of parallel references woven so as to form a large subtext.
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]]> http://dspace-unipr.cineca.it/handle/1889/3001]]> 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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]]> Stonehenge II is a proposal for a work in a public space by Aleksandra Mir.
Originally presented to the Artangel/Times open commission in 1998 (and subsequently rejected), the proposal was to build a Stonehenge replica close to the original, to reduce the volume of pedestrian traffic and save this piece of cultural heritage from further destruction. To compensate for the necessary limited access to Stonehenge I, Stonehenge II would allow full access and promote a wide range of activities on its grounds. The project was proposed a second time to students on the Royal College of Art curating course, who were asked to join the artist in the production of the project over the summer of 2001 (also rejected). The scale model was constructed in 2002–03. Aleksandra Mir continues to further her ambition to realize this work and hopes to make contact with interested parties who wish to assist.
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]]> 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]]> stazione is the title of a public intervention conceived by Palestinian artist Emily Jacir for a collateral project of the 53rd Venice Biennale titled Palestine c/o Venice in 2009 but never realised. Jacir’s initial idea was to translate the names of each of the 24 vaporetti stops along route #1 of the water bus route into Arabic and to place the Arabic translations on all the stops next to their Italian counterparts. 
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]]> Read more.]]> http://hdl.handle.net/1889/2361]]> 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]]> This project represents, first and foremost, a reflection on the feasibility of art projects and on the relationship between the artist and the commissioning body within the contemporary art system. Through the irony and poetic approach that would characterize his later projects, the artist ultimately questions broader dynamics and meanings.
In this work, conceived when Jonathan Monk was still a student at the Glasgow School of Art, the artist presents a series of proposals for projects that are, by their very nature, impossible to realize — crazy, as he himself describes them. Closely connected to the designation of Glasgow as European Capital of Culture in 1990, Small Proposals Book is a handmade book containing the presentation of six public art interventions for the Scottish city. These are bound together with a (fake) response letter for each proposal from the official to whom the artist would supposedly have submitted the project, the Visual Arts Officer Tessa Jackson. Both the images and the response letters were, of course, produced by the artist himself.
The visual part, through the reuse of everyday images that are exaggerated and stereotypical, aims to emphasize the deep irony and the implicit critique of the dynamics associated with this type of intervention. Jonathan Monk pretends to propose bringing the pyramids to Glasgow Green, moving the Golden Gate Bridge over the River Clyde (although the image used was actually that of the Humber Bridge, which is why the proposal is rejected in the fictional response letter), restoring driving orientation to continental standards, transplanting one of the giant sequoias from Redwood National and State Parks, moving Stonehenge to redevelop the fountain in Kelvingrove Park, and finally relocating Disneyland for a year to the parking lot of the St. Enoch Centre.
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]]> http://hdl.handle.net/1889/1757]]> This project consists of an A4 sheet of paper with handwritten notes in both Arabic and English, along with sketches in black ink. It is the only existing document of a planned magazine that Hassan Khan intended to produce with some friends at the time, but which was never realized. Still a rough draft, this sketch can now be interpreted in light of Khan’s current practice – which includes visual arts, writing, and music – mapping themes related to the present geopolitical and social situation. Contemporary life in Cairo was a fundamental reference point, alongside diverse cultural influences including William Blake, punk, the philosophical mysticism of different traditions, various avant-garde movements of the twentieth century, modernist cinema, and experimental music. A magazine could have represented a way to subtly address these themes and engage with popular culture at the same time, without being explicit.
Read more.]]> http://dspace-unipr.cineca.it/handle/1889/3242]]> 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]]> FRONTIER - The Line of Style, an open and evolving platform, based on two complementary operational phases: one dedicated to the artistic development of urban art and one dedicated to a deeper theoretical background. The artist, invited to conceive a pictorial work for the city's historic Gasometer, imagines a continuous narrative centred on the figures of two enormous dogs biting their tails and carrying on their shoulders the allegory of two cities or two sides of itself (Bologna?): one that lives in joyful harmony and one that, as a character shows, walks in a balance on a wire.
Read more.]]> 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]]> 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]]> Scala by Valerio Berruti consists of a project for a mural on the walls of a large staircase inside a 19th-century building in the center of Alba, recently renovated for its new use as the headquarters of a well-known local bank.
Once again, childhood is the central subject of the preparatory sketch, featuring a nearly stylized figure of a young girl whose minimal drawing achieves a striking expressive power. It is an image of poetic lightness, evoking in each viewer memories of past years, family ties, and, more broadly, the notion of memory.
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]]> http://dspace-unipr.cilea.it/handle/1889/2106]]> 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".
Read more.]]> Project for the realization of a sculpture for the roundabout located at the entrance of the village of Verduno, in the heart of the Langhe region, where Valerio Berruti chose to live and establish his studio inside a deconsecrated church.
It is a tribute to his homeland, the Langhe, observed through the innocent and carefree gaze of childhood, a subject and metaphor for an ideal world, symbol of a purity inevitably lost with maturity.
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