Fontana in galleria
description: Since the beginning, the research of Franco Guerzoni was up-to-date and full of original ideas, even if in line with the most interesting experiences developing in Italy and abroad. Indeed, considering visual arts, that period was particularly rich and full of innovative solutions on both the conceptual and expressive level. This project, the fourth donated by the author to MoRE, dates back to a period between 1968 and 1969, when Guerzoni, then in his early twenties and at the end of his education, abandoned the traditional painting technique and started doing researches in the avant-garde, especially around Duchamp. He was spontaneously attracted by the most important international researches, such as the American Land Art and the Italian Arte Povera. These interests reflect in some of his works, not always realised, such as this project donated to MoRE. The concept behind the project was quite simple: Guerzoni wanted to bring inside the closed space of an art gallery a natural occurrence, the rainbow. The project included, as shown in the sketch, a field sprayer machine in the center of the room. It would have sprayed water, playing with the artificial light effects. The author, thinking about that installation – also with the collaboration of Luigi Ghirri, friend and companion of many art adventures – took some photographs in the countryside. These study series of water splashes investigated the nature of the rainbow and its visual perception. These conceptual photographs are the only evidence of the project. It remained unrealized due technical difficulties but also because it was more theoretical than realizable. The theme to bring the nature inside the culture was particularly strong in that period; Guerzoni itself thought to produce a black rose, as symbolic synthesis of the two elements. Read more.
creator: Guerzoni, Franco
date: 1969
contributor: Casero, Cristina
format: image/tiff
type: Still Image
type: Text

Lilium Bosniacum
description: Lilium Bosniacum is a project that was thought to be realized in collaboration with scientists (e.g. botanist). It would include experiments in order to see if the Bosnian constitution - based upon the Dayton Peace Agreement in 1995 - could be translated, one way or another, into “natural law”. Dayton Peace Agreement was reached in November 1995 at USA Air Force Base near Dayton (Ohio), and formally signed on 14th December 1995 in Paris. It brought peace to the country torn up by war which started on 6th of April 1992. Today, this peace agreement which also serves as the Bosnian constitution has become a political nightmare. Its complex structure makes any kind of progress in Bosnia seem impossible. Lilium Bosniacum (a.k.a. golden lily or Bosnian lily) is a lily native to Bosnia and Herzegovina. Bosnian Lily is also a symbol that has been used in Bosnia since Middle Ages and it became especially popular during the rule of Bosnian king Tvrtko I Kotromanić. With the invasion of Ottomans into the region and the fall of Kotromanić Dynasty, the symbol went out of use. On 1st of March 1992, when Bosnia and Herzegovina gained independence from Yugoslavia, lilies were brought back onto the Bosnian flag. In 1998, after the protests of political representatives of the former Herceg-Bosna and Republika Srpska, the flag of the Republic of Bosnia and Herzegovina was replaced. The idea of the project is to try and create a set of rules and genetically modify Bosnian Lily in order that it complies with the complex structure of Dayton Peace Agreement. In collaboration with scientists (e.g. botanist), the project includes experiments in order to see if this specific “constitutional law” can be translated, one way or another, into “natural law”. All of the process would be photographically and video documented, in order to produce a book/herbarium and a short video documentary. Finally the goal would be to register this “hybrid lily”, if successfully created, to the EU database of re…
creator: Hasanović , Ibro
date: 2014
contributor: Scipioni, Elena Lydia
format: image/jpeg
language: English
type: Still Image

Il fiore e la pietra
description: Il fiore e la pietra is a project of a urban sculpture for square in Turin, Italy. It was presented by the artist, on invitation by Gianni Romano, at the contest for young artists «Premio Artegiovane/Torino Incontra. Una porta per Torino» curated by Guido Curto, 6th Edition, 2002. The theme draws its first inspiration from B.C. comics by Johnny Hart: a frail flower dialogues with a stone. The ambiguity between solidity and frailty is symbolically set aside the then very adverse situation of FIAT, the most important manufacturing company of Turin, and the problem of the blue collar sleeping area. The environment in which the project was developed is typical of a still common situation in contemporary art: conceived to apply to a contest, it was never realized, as well as all the other projects presented, due to lack of funds. Read more.
creator: Hirsch, Debora
date: 2002
contributor: Bignotti, Ilaria
format: application/pdf
language: Italian
type: Still Image
type: Text

Untitled
description: Presented directly by David Horvitz via email, this unrealized project consists of a simple yet evocative proposal: retrieving one of the historic Los Angeles streetcars that were dumped into the Pacific Ocean after the dismantling of the city’s streetcar network. Starting from a little-known episode in the urban history of Los Angeles, Horvitz reflects on memory, loss, and the processes through which cities erase traces of their past. Read more.
creator: Horvitz, David
date: 2009-2019
contributor: Scotti, Marco
format: text/html
language: English
type: Email

Noises from above
description: This project started from the interest of the artists around the village of San Damiano, near Piacenza, the birthplace of Simone Bertuzzi and Simone Trabucchi. This area hosts both a NATO military base and a sanctuary dedicated to an apparition of the Virgin Mary during the early 1960s: this research was born from an attention focused both on the sound produced by the warplanes' exercises and the nature of the military space, and on the collective religious imagination, in search of a possible dialogue and common points, in the context of a small village alongside the Po Valley. The first version of the project took the form of a documentary based on several interviews and filming of the surrounding landscape: at this stage just two trailers were produced, based on two interviews, and a parallel version was conceived as a live media performance composed of two video projections and a live soundtrack. In 2007, after a first stop decided by the artists themselves, the project was rethought as an installation on two screens, where they could have worked with loops and small variations, starting from shorter narrative models. This also included two structures for the vision of the films and an ambient soundtrack. In addition, during the research, the artists had the opportunity to confront themselves with the artist William Xerra - who was born in Piacenza too - who in 1976 staged Le Apparizioni (Verifica del Miracolo) in San Damiano, a piece related to the Marian apparitions in the area, which included as witnesses figures such as Pierre Restany, Renato Barilli and Vanni Scheiwiller. While being used by Invernomuto in several presentations, publications, showcases and works - with images and references - Noises from Above has never reached a final form and has never been completed: still today the artists consider it stuck in a standby phase. Read more.
creator: Invernomuto
date: 2005-?
contributor: Scotti, Marco
language: Italian

stazione
description: 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. Read more.
creator: Jacir, Emily
date: 2009-2010
contributor: Lo Pinto, Luca
format: image/tiff
format: text/richtext
language: English
type: Text
type: Still Image

Untitled
description: In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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. 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.
creator: Jevšovar, Marijan
date: 1991
contributor: Scotti, Marco
contributor: Zinelli, Anna
format: image/jpeg
type: Still Image

Sketches for an unrealised magazine
description: 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.
creator: Khan, Hassan
date: 1995
contributor: Scotti, Marco
relation: http://dspace-unipr.cineca.it/handle/1889/3242
format: image/tiff
language: English
type: Text

A Better Britain
description: Scott King developed this project, CRASH!, together with historian and writer Matthew Worley on the occasion of the Map Marathon at the Serpentine Gallery. A Better Britain consists of a volume containing twelve projects, originally published as a programme for the Serpentine Map Marathon in London in 2010. Each project is presented through an image created by Scott King using a deliberately “low-fi” collage aesthetic, accompanied by a text by Matthew Worley that contextualizes the proposal. Each project addresses a specific aspect of contemporary Britain through a utopian/dystopian, and often satirical proposition. MoRE also conducted an interview with the authors about the projects, which was published on the museum’s website. Read more.
creator: King, Scott
creator: Worley, Matthew
creator: CRASH!
date: 2010
contributor: Scotti, Marco
format: application/pdf
language: English
type: Text
type: Still Image

Untitled
description: In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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.
creator: Knifer, Julije
date: 1991
contributor: Scotti, Marco
contributor: Zinelli, Anna
relation: DSpace: http://dspace-unipr.cineca.it/handle/1889/2662
format: image/jpeg
language: English
type: Still Image

Containers
description: A series of frames of big size are overlapped in order to create a new shape, that goes beyond the content of the frames itself. The project was part of a series of works focusing on representation, but the artist abandoned it because he was busy on other works and moreover he saw at Venice Biennale 2013 a similar project, Still the Same Place by Petra Feriancová and Zbyněk Baladrán inside the Czech pavilion. Read more.
creator: Koike, Kensuke
date: 2012
contributor: Romano, Gianni
format: application/pdf
format: image/jpeg
language: Italian
type: Text
type: Still Image

Untitled
description: In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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. 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. Kozaric's three works are in line with his research, which investigates – both through painting and sculpturing - the relationship between positive and negative: in one particular work, the artist reuses a cropped shape as a graphic mask in order to achieve what Seder calls "imperfect surfaces", a theme that traces back to the Gorgona period. Kožarić's particular interest in the valley of Merano, which is in relation to his personal memories, emerges both through the video interview taped in Brunnenburg as well the testimonies of the artists who participated in the residency. Read more.
creator: Kožarić, Ivan
date: 1991
contributor: Scotti, Marco
contributor: Zinelli, Anna
format: image/jpeg
language: English
type: Still Image

The Square Opposite the Townhouse
description: 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". Read more.
creator: Krause, Till
date: 1987-1995
contributor: Krause, Till
format: image/jpeg
language: Deutsch
type: Still Image

as yet untitled (Stairs)
description: The idea was to reflect on the art fair context which is a recurring impulse in the artist's work. Context is not neutral, and can sometimes be oppressive as in the case of an art fair. The proposal for Frieze London made reference to ambition and the competitive, attention grabbing motivation behind many projects for these art fairs. It would point to the competition for limited places and the curators’ power. The artist, caring very little about making a name for herself, uses the abbreviated 'G. Küng', which is meant to encapsulate a stance of resistance. The project would consist of really oversized photographic prints on the theme of "stairs.” She would photograph models in board or plaster, variations on the stair form. They would be difficult stairs, treacherous ones or impossible to climb stairs: their shape would mean that if you tried to climb them, they would topple over, or a step would have a broken part, or they would get taller and taller as you climbed. Enlarging the photos hugely, the images would be too tall for the pseudo-walls of the art fair, and the prints would stick out above the walls. Read more.
creator: Küng, Georgia
date: 2015
contributor: Scipioni, Elena Lydia
format: image/jpeg
language: English
type: Still Image

Taccuino 2015
description: Andrea Kvas donated to MoRE some unrealized works from his notebook. The design material in these sheets is very varied and includes sketches of shapes, the conception, and development of a new alphabetical code and some self-supporting pictorial structures. Although the projects are heterogeneous, the critical point of this material would seem to be the alphabetical code studied by the artist, this created by him to answer a question concerning abstract art. Read more.
creator: Kvas, Andrea
date: 2015
contributor: Rossi, Valentina
format: image/jpeg
language: Italian
type: Text
type: Still Image

Casa per uno Scultore (Casa per lo scultore Carmelo Cappello)
description: The project of the house for the sculptor Carmelo Cappello (Casa per lo scultore Carmelo Cappello) has for its own nature of academic exercise to be inevitably assigned to the sphere of 'unrealised'. However, if we leave out an analysis limited to the development of the theme proposed to the students for the course of interior design at the Faculty of Architecture, Politecnico di Milano, hosted by Carlo De Carli, we realize that this project and in particular the set of drawings Ugo La Pietra has entrusted to MoRE could be brought back within a path of continuous experimental exercise than in the earlier years of his research is aimed at proposing a reformulation of the relationship between the arts. Read more.
creator: La Pietra, Ugo
date: 1960-1962
contributor: Zanella, Francesca
format: image/jpeg
language: English
type: Still Image

Nodi Urbani
description: The documents donated by Ugo La Pietra and named Nodi Urbani constitutes, compared to the Progetto per la Casa dello Scultore Cappello, a further variation of the 'unrealised'. If the casa per uno scultore is a ‘theoretical’ academic exercise that engages even the pictorial research of La Pietra, the drawings titled Nodi Urbani represent the 'frame' of a series of lexperiments carried out in the years following his graduating in architecture at the Politecnico di Milano. Read more.
creator: La Pietra, Ugo
date: 1965-1968
contributor: Zanella, Francesca
format: image/jpeg
language: English
type: Still Image

Dear Tattooist
description: This project moves from the interest of the artist in the map - a recurring theme inside his research - and wants to explore this form of historical representation with tattoos, a declared fascination of Runo Lagomarsino: in fact his idea was to invite several tattooists from all around the world to draw a world map, and in particular “a personal interpretation of the world map”, without any limit or rule. This work, that has never been realized, could be seen as part of a series of practices through which the artist “examines how we come to know and speak about the conflicting geographies and temporalities of power”, investigating the map as way to measure, represent and control a territory, that contains in itself several contradictory truths and is strictly connected with an ideology, a vision or a point of view. In particular the use of metaphors and representations to study political and social environments here is declined through the potential multiple authorship of the tattooists that could have drawn the maps, and through the introduction of a technique usually connected with the idea of traveling and with the concept of identity. The tattoo, here a personal interpretation of something usually considered fixed, could have been another mean aimed at “the investigation of the historiographic, geographic and mathematical models that helped to ensure the colonialist domination of the world by Western modernity”. Read more.
creator: Lagomarsino, Runo
date: 2013
contributor: Scotti, Marco
format: application/msword
format: image/jpeg
language: English
type: Text
type: Still Image

Omaggio a Wojtyla
description: 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. Read more.
creator: Lim, H.H.
date: 2005
contributor: Scotti, Marco
format: image/jpeg
format: application/pdf
language: Italian
type: Still Image
type: Text

Caleidoscopi; Allora la luna
description: The project was commissioned by curator Roberto Daolio as part of a series of artworks intended for the top floor of the Department of Pediatric Oncology at Sant’Orsola Hospital in Bologna, in collaboration with the AGEOP Association. The invited artists were Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli, and Marco Vaglieri. For the hospital department, Losi conceived two projects: Caleidoscopi — colored prisms to play with, enclosed in balsa wood cases — and Allora la luna, a sort of luminous sign about two meters in diameter, designed for outdoor installation on one of the buildings facing the department windows. Both projects were meant to stimulate the imagination of young patients and help them forget their condition, even if only for a moment. The project was never realized due to various economic, technical, and logistical reasons. Read more.
creator: Losi, Claudia
date: 2004
contributor: Modena, Elisabetta
format: image/jpeg
format: application/pdf
language: Italian
type: Still Image
type: Text

Journey from the Yellow Sea to the Sea of Japan
description: Daniel Maier-Reimer's art is travel. Most journeys are summarized in a single photo, some in a small group of pictures. There is no picture of some journeys. Since 2013, Daniel Maier-Reimer leaves it to others to determine how his travels appear in exhibitions and publications. Read more.
creator: Maier-Reimer, Daniel
date: 2015
contributor: Krause, Till

Lost Pavillion
description: David Maljković's unrealized work was a reconstruction of the American Pavilion designed and built by John Johansen for the 1956 Zagreb Fair. The pavilion was meant to represent American presence at the fair, which had for many years, symbolized a bridge of exchange between Yugoslavia, Europe, the USA, USSR, Eastern and Western Bloc and non-alligned countries. David Maljković decontextualized the pavilion and proposed rebuilding it as part of a public art project in the city of Lyon, GrandLyon Habitat. Read more.
creator: Maljković, David
date: 2009
contributor: Rossi, Valentina
format: image/jpeg
format: application/msword
language: French
type: Text
type: Still Image

Untitled
description: In March 1991 the collector and publisher Francesco Conz, in collaboration with the 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.
creator: Mangelos
date: [1991]
contributor: Scotti, Marco
contributor: Zinelli, Anna
format: image/jpeg
language: English
type: Still Image

Monolite in bilico
description: 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." Read more.
creator: Marchegiani, Elio
date: 1979
contributor: Scotti, Marco
relation: Dspace:
format: image/jpeg
type: Still Image

18.20 (Progetto per il Piazzale Caio Mario)
description: The project, originally conceived for the public contest «Premio Artegiovane/Torino Incontra. Una porta per Torino», proposed to realize a kind of silent room in the middle of the traffic congestion, with walls made of streams of air that rise toward the high and create a total sound proofing. To delimit the area Marisaldi plans to position a balaustre that works as a boundary. The idea, as the artists explains, is to create a kind of shelter in the middle of the traffic that can become a place for a date or be reached by tram. Read more.
creator: Marisaldi, Eva
date: 2002
contributor: Modena, Elisabetta
format: image/jpeg
language: English
type: Still Image

Promise. Progetto per la recinzione del cantiere del Museion di Bolzano
description: The project was proposed for the enclosure of the construction site of the museum contemporary art in Bolzano in 2008, on the occasion of the inauguration of its new location realised by the Berlin studio KSV Krüger Schuberth Vandreike in the city centre. The artist was invited to take part to an initiative called Arte in cantiere together with some other artists; the chosen project in the end was the work A Change Of Mind by the Scandinavian artist duo Elmgreen & Dragset. The Promise project is an allusion, explicit in its title, to a promise, an expectation introduced by a series of small resin sculptures (20 cm high) hold in 12 plexiglass display cases placed on the perimeter of the museum’s fence, every 2,20 meters. Inside the cases (round-shaped, 25 x 30 x 20 cm) an hostess show the twelve movements of the “pre flight briefing”, performed by the flight assistants before each take off. Two cases present an the back tent open with a view on the museum construction site. The idea was to realise the small sculptures with a software for 3D-modelling through a process of rapid prototyping (a technique already used by the artist in some other projects). The cases were supposed to be illuminated from below with neon lights, as in a light box, to make the artist’s work visible at night. Read more.
creator: Marisaldi, Eva
date: 2007
contributor: Modena, Elisabetta
relation: DSpace: http://dspace-unipr.cilea.it/handle/1889/2422
format: image/jpeg
type: Still Image

Cinema Italia
description: This unrealised project has to be considered in relation with Ritz, a project for the realization of an outdoor movie theatre inside a park in Trento proposed the year before (2004), and it consist in the proposal to place of a permanent movie theatre at the P.A.V. (Parco d’Arte Vivente) of Torino, project of the artist Piero Gilardi realized in collaboration with the landscape architect Gianluca Cosmacini. The project, unrealized due lack of sponsorship, consisted in the facade of a movie theatre in deco style outlined in black on a white background, that recalls a movie theatre seen by the artist in the small city of Anzola Emilia (Bo), on a 4 x 3 meters wing made of painted bricks (as “a big A4 paper sheet”), as can be seen in the sketch that documents this work. On the facade are two entrance doors with their tents and lamps placed on each side, while on the top of it can be seen a decoration with three figures that ironically represent three reindeers as they usually appear on Christmas illuminations and decorations and that frame the sign “Cinema Italia”. Read more.
creator: Marisaldi, Eva
date: 2005
contributor: Modena, Elisabetta
relation: DSpace: http://dspace-unipr.cilea.it/handle/1889/2418
format: image/jpeg
type: Still Image

Ritz
description: Ritz is a project conceived for the installation of an outdoor movie theatre inside a park in Trento, commissioned by the cultural association Numero Civico. The project, that was not realised, 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. Read more.
creator: Marisaldi, Eva
date: 2004
contributor: Modena, Elisabetta
relation: DSpace: http://dspace-unipr.cilea.it/handle/1889/2417
format: image/jpeg
type: Still Image

Metto in moto il prato e partiamo
description: 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. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Marisaldi structures the project into two proposals: the first consists in the publication of a book of pictures to be placed in the bedside tables of the rooms of the parents of the children staying in the hospital, while the second is the production of a textile bag – convertible into a chair - to be filled with toys that could be taken home once the children recovered and were discharged from the hospital. The project was not realized due to a series of economical, technical and logistic reasons. Read more.
creator: Marisaldi, Eva
date: 2004
contributor: Modena, Elisabetta
format: image/jpeg
language: Italian
type: Still Image

Ambivalentna tautologija
description: Ambivalentna tautologija is dated 2013. The idea was to display a picture of Martek’s studio in the studio of Goran Trbuljak (Varaždin, Croatia, 1948). Although it was never carried out, thanks to documents describing it, we can say that the work was realised in the form of a statement. Read more.
creator: Martek, Vlado
date: 2013-2014
contributor: Modena, Elisabetta
format: image/tiff
type: Text
type: Still Image

arte arte arte
description: arte arte arte (art art art) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. Read more.
creator: Martek, Vlado
date: 2003
contributor: Modena, Elisabetta
format: image/tiff
type: Text
type: Still Image

Mislim na umjetnost
description: Mislim na umjetnost (I think of art) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. Read more.
creator: Martek, Vlado
date: 2017
contributor: Modena, Elisabetta
format: image/tiff
type: Text
type: Still Image

Pjesma se ne vraća u abecedu
description: Pjesma se ne vraća u abecedu (Poem is not coming back into the Alphabet) should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. Read more.
creator: Martek, Vlado
date: 2012
contributor: Modena, Elisabetta
format: image/tiff

Prazno miesto
description: Prazno miesto [Empty mind] should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. Read more.
creator: Martek, Vlado
date: 2014
contributor: Modena, Elisabetta
format: image/tiff
type: Text
type: Still Image

[Project for a book]
description: Project for a book (2017) consists of three A4 sheets of paper, the draft for a book which was never published, donated as source of inspiration and research. Read more.
creator: Martek, Vlado
date: 2017
contributor: Modena, Elisabetta
format: image/tiff
type: Text
type: Still Image

Degna di Goebbels
description: This project for an unrealised film was based on a Reiner Werner Fassbinder 1975 piece, Der Muell, die Stadt und der Tod (Garbage, the City and Death), an adaptation of Gerhard Zwerenz's novel Erde ist unbewohnbar wie der Mond (1973). The film's working title, Degna di Goebbels, is taken from one of the signs exposed during the violent protests that broke out in Germany and prevented the show from being staged in the country until 2009, due to accusations of anti-Semitism, linked to the character of the rich Jewish businessman, one of the main character of the representation, and the violent monologues on this theme. MASBEDO's work consisted in staging and shooting a performance with an actress, Silvia Calderoni, in a wood performing the theatrical text with a megaphone, until she reach a tombstone where the title phrase has been engraved, surrounded by a pack of wolves. The film should have had an original soundtrack composed by Carlo Boccadoro. This project is particularly significant inside the research of Nicolò Massazza and Iacopo Bedogni between video and performative, and can now be reconstructed through some photos from the set - -, several e-mails excerpts which reconstruct the various processing and - also graphic - design phases of the tombstone. As declared by the same artists, "The shooting was interrupted during the first day, and the tombstone thrown into the trash”. Read more.
creator: MASBEDO
date: 2011
contributor: Scotti, Marco
relation: DSpace: http://hdl.handle.net/1889/3448
language: Italian

Cartoneros - Buenos Aires
description: 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. Read more.
creator: Mele, Sandro
date: 2006
contributor: Scipioni, Lydia Elena
format: image/tiff
language: Italian
type: Still Image

Abat-jour
description: 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. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Mezzaqui proposes the creation of an abat-jour lamp to the placed on the bedside tables of the patients’ rooms, in the memory of her childhood. The project was not realized as a result of a number of economical, technical and logistic reasons. Read more.
creator: Mezzaqui, Sabrina
date: 2004
contributor: Modena, Elisabetta
format: image/jpeg
language: Italian
type: Still Image

The Great Ears
description: 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. Read more.
creator: Mir, Aleksandra
date: 2005
contributor: Mir, Aleksandra
contributor: Scotti, Marco
format: image/jpeg
language: English
type: Still Image
type: Text

Wildflower Meadow
description: 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. Read more.
creator: Mir, Aleksandra
date: 2001
contributor: Mir, Aleksandra
contributor: Scotti, Marco
format: image/jpeg
format: application/pdf
language: English
type: Still Image
type: Text

CityForest
description: 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. Read more.
creator: Mir, Aleksandra
date: 1997
contributor: Mir, Aleksandra
contributor: Scotti, Marco
format: image/jpeg
type: Still Image

Narvik Superstars
description: This project, commissioned by the Narvik City Council and Artscape Nordland, proposed to realise a star in the pavement for every child born in during the next 5-7 years in Narvik. This Norwegian city threatened to become vacated, with this work the harborfront would have been covered in stars, made by the same company that provides those for Hollywood's Walk of Fame, and every year a ceremony would have been held to reveal the new ones. The goal of the project is to turn the exclusive into the popular through a local recycling of the "star culture", where every newborn baby will become a star in its own life. Simultaneously the project represented a local mobilization to increase the population of Narvik. Due to budget cuts, the project was cancelled in 2006. <o:p></o:p>Read more.
creator: Mir, Aleksandra
date: 2004
contributor: Mir, Aleksandra
contributor: Scotti, Marco
format: image/jpeg
type: Still Image

Stonehenge II
description: 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. Read more.
creator: Mir, Alexandra
date: 1998-2001
contributor: Mir, Alexandra
contributor: Scotti, Marco
format: image/jpeg
type: Still Image

Die Kristallader
description: Die Kristallader (The Crystal Vein) is a project in public space that Helen Mirra developed in 2014 as part of a competition for the city of St. Gallen in Switzerland. The assignment of the competition was that the artistic intervention should connect the newly built Natural History Museum, which is located in the periphery, with the city center. Helen Mirra's project proposal was an irregular "line", a crack in the asphalt filled with a shiny metal that leads from the city center to the Natural History Museum on a path carefully defined by the artist. The shiny crystal vein guides the visitors on a 3 km long walk through St. Gallen, allowing them to perceive the surroundings, time and movement in a different way. The jury ultimately chose another submitted project, so that the Crystal Vein was never realised. Read more.
creator: Mirra, Helen
date: 2014
contributor: Rekade, Christiane
format: application/pdf
language: English
type: Text
type: Still Image

Small Proposals Book
description: 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. Read more.
creator: Monk, Jonathan
date: 1990
contributor: Scotti, Marco
format: image/jpeg
language: English
type: Still Image

Portrait of the Artist in a Building
description: This project consists of a series of portraits of the artist, made exclusively from photographs of buildings taken while Jonathan Monk was inside them. The artist was not meant to be the only person in the building, but the only one involved in the project. The selected buildings were the Eiffel Tower in Paris, the TV Tower in Berlin, the BT Tower in London, the CN Tower in Toronto, and the Empire State Building in New York. The result would have been a series of photographs of these buildings, with the artist invisible in the image yet actually portrayed at the top of each structure, looking directly into the camera lens. The project was ultimately abandoned by the artist. Read more.
creator: Monk, Jonathan
date: 2002
contributor: Scotti, Marco
format: audio/mpeg
language: English
type: Oral History

Tiramolla 92
description: 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.
creator: Moro, Liliana
date: 1992
contributor: Zinelli, Anna
format: image/jpeg
language: Italian
type: Still Image

Preferisco il rumore del mare. Concorso di progettazione Piazza Verdi - La Spezia
description: The project, realised in collaboration with Studio 5 + 1 AA, was presented in 2009 on the occasion of the design contest to renovate Piazza Giuseppe Verdi from an architectural and artistic point of view. The contest was promoted by city of di La Spezia and P.A.A.L.M.A. (Premio Artista Architetto La Marrana Arte Ambientale) in collaboration with Fondazione Cassa di Risparmio della Spezia. The project was shortlisted among the top five entries. The title-manifesto of the project, I prefer the sound of the sea, is the title of a film directed by Mimmo Calopresti (2000), inspired by a verse of Dino Campana. The idea was to realise a flooring with a decoration made of tiles and rubberized asphalt whose colours were inspired by the mosaics of Fillia, Prampolini e Mazzoni inside Palazzo della Posta. Moreover, they wanted to place inside the square 99 red and blue trumpets, connected to the tide predictions centre in Genoa. The trumpets would have emitted a whistle, registered by the artist, in case of high tide. Read more.
creator: Moro, Liliana
creator: Studio 5+1AA
date: 2009
contributor: Modena, Elisabetta
relation: DSpace: http://hdl.handle.net/1889/3444
format: image/jpeg
format: application/pdf
language: Italian
type: Text
type: Still Image

In bocca al lupo
description: In bocca al lupo – (ed. “in the mouth of wolf” that is a way to wish good luck in Italian) isan artwork proposed by Liliana Moro for the 3rd International Sculpture Award of the Piemonte Region in Italy, promoted by the Piemonte Region and organized by the Association Piemontese Arte. The project included the creation of a large sculpture in the shape of a wolf in the public park of Savigliano, which could be accessed through a spiral staircase. Like Testa di Pinocchio (the Pinocchio's Head), in this work Moro referred to an iconographic repertoire linked to the world of childhood, combining it with a reflection on public space and with the relationship between interior and exterior. Read more.
creator: Moro, Liliana
date: 2002
contributor: Zinelli, Anna
relation: DSpace: http://dspace-unipr.cineca.it/handle/1889/3442
format: image/jpeg
language: Italian
type: Still Image
type: Text

Testa di Pinocchio
description: 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. Read more.
creator: Moro, Liliana
date: 2003
contributor: Zinelli, Anna
relation: DSpace: http://dspace-unipr.cineca.it/handle/1889/3443
format: image/jpeg
format: application/msword
language: Italian
type: Still Image
type: Text