2 50 160 http://moremuseum.org/omeka/files/original/21134aed4055469003b9c2b70b8fdb60.pdf 1352a8f4b525ad23034d0253b2845613 http://moremuseum.org/omeka/files/original/1e18da2753bc5a96522c0fa610676360.rtf 10c6c3f2fa06626a76814aeb894c6ad3 http://moremuseum.org/omeka/files/original/d009b657318c58889e5647c63e4e29df.pdf 6c6eb605f7a1209272988c7e182fd26e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Riccardo Baruzzi Description An account of the resource Riccardo Baruzzi (Lugo, 1976) is an artist who primarily works with painting and drawing, developing an investigation into the possibilities of representation between figuration and abstract synthesis. In recent years, with series such as P. P. (porta pittura, 2010) and Ordine (2014), he has explored the boundary between the material dimension of painting (that of “painting as an object”) and painting as a device of representation and narration. Baruzzi’s practice takes on different, interchangeable forms: painting and drawing, but also performance and installation, often overlap in order to challenge the uniqueness of the art object. Alongside his visual practice, the artist has consistently pursued research into sound, making use of the physical structure of diskettes to create objects that function as instruments/works. He employs these in his performances to establish gestural and formal affinities between rhythm, musical composition, and visual design, giving rise to a creative process based on reciprocal influences between sound and image. Creator An entity primarily responsible for making the resource Baruzzi, Riccardo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource D.X XY Description An account of the resource D.X XY is a dialogue on painting between two subjects, X and Y, presented in the first file, while in the second file provided by the artist the dialogue becomes a performance, enacted by two actors who perform a text written by the artist himself. The project thus consists of a dialogue between two figures who, somewhat in the vein of Didi and Gogo – the protagonists of Waiting for Godot by Samuel Beckett – develop a surreal, sarcastic, and often sensual discourse. The two interlocutors challenge each other in a nonsensical exchange in which the act of painting becomes the central generative force behind a series of references to painterly action, and often to the impossibility of bringing that action to completion. The performance revolves around a movable structure designed to display Baruzzi’s drawings, which are continuously replaced by the two performers. <a href="http://moremuseum.org/omeka/files/original/d009b657318c58889e5647c63e4e29df.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Baruzzi, Riccardo Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource application/pdf text/richtext Language A language of the resource Italian Type The nature or genre of the resource Text Rights Holder A person or organization owning or managing rights over the resource. Riccardo Baruzzi MoRE Museum Ideological reasons http://moremuseum.org/omeka/files/original/5c71b5e284548afe9b941817b533d1a0.jpg c575beff3136171830678597ce8189e0 http://moremuseum.org/omeka/files/original/7643590c9d71fbf29e6f02febb81ad21.jpg b647c10866b0259f110f43a554d164b6 http://moremuseum.org/omeka/files/original/002e3918f16b552bbcf3d10778bb0122.jpg 484fc2b12c6aab94eddd28154907fa09 http://moremuseum.org/omeka/files/original/1fb0f4658d5ac167767772e1e66ad667.jpg 10a0b3dc39423351ce629a9552540629 http://moremuseum.org/omeka/files/original/d010a35026fdf70c8fe4ced0899041cd.jpg f1e3b4e19a926eea912ce839ddc3597a http://moremuseum.org/omeka/files/original/ac118293042ba7671fa2429a21fc8c87.jpg 96b46703a755d0bfdb4d8217b76bbc13 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Andrea Kvas Description An account of the resource Andrea Kvas was born in 1986 in Trieste, he currently lives and works in Italy. His personal exhibitions include: the 2015 Staring Contest, Ermes-Ermes in Vienna, the double solo show Andrea Kvas and Nicola Martini at the Kaufmann Repetto gallery in Milan and in 2013 Campo the exhibition at the Museo Marino Marini in Florence. He has also participated in numerous collective exhibitions in various areas in Italy and abroad, such as the galleries Bugada & Cargnel in Paris, Francesca Minini in Milan, Chert in Berlin, CAR DRDE in Bologna and ZERO ... in Milan. He has presented his work in institutional spaces such as the Fondazione Bevilacqua la Masa in Venice, the Municipal Gallery of Contemporary Art in Monfalcone and the Macro in Rome, and in independent spaces such as Brown Project Space and Peep-Hole in Milan, and Cripta 747 in Turin. Creator An entity primarily responsible for making the resource Kvas, Andrea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Taccuino 2015 Description An account of the resource 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.  <a href="https://www.repository.unipr.it/bitstream/1889/3474/1/Andrea%20Kvas_Taccuino%202015.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Kvas, Andrea Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Andrea Kvas MoRE Museum http://moremuseum.org/omeka/files/original/538c261831d91452b08fcbd62a1f2445.jpg 24bdda6dfa9238e368d0e87dc9e1603b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugenia Vanni Description An account of the resource Eugenia Vanni (Italy, 1980, lives and works in Siena), graduates at the Academy of Fine Arts, Florence and at NABA, Milan. Her previous exhibitions were hosted in institutions as Museo MAN, Nuoro Italy; Museo Marino Marini, Florence; Museo di Villa Croce, Genoa; Museo del Santa Maria della Scala, Siena; Museo Internazionale e biblioteca della Musica, Bologna; FondazioneMuseo Miniscalchi-Erizzo, Verona; Museo MAC di Lissone, Museo Pecci, Milan. Her work has been presented within group exhibitions at the : “La lama di Procopio”, works by AGI Collection Verona, Casso (Pn), Dolomiti Contemporanee, curated by Gianluca d’Incà Levis and Giovanna Repetto; Untitled (La pittura come modello), CasaMasaccio | Contemporary Art, San Giovanni Val d’Arno, curated by Saretto Cincinelli and Cristiana Collu, 2016; An Archeology of the Oath, with Oscar Abraham Pabòn, Galleria Fuoricampo, Siena, curated by Lorenzo Bruni; “La sottile linea del tempo, works from AGI collection”, Fondazione Museo Miniscalchi-Erizzo, Verona, curated by Marinella Paderni, 2015; FuoriCampo Temporary Space, Brussels, Belgium, 2014; Oltre il Giardino, Palazzo Fabroni, Pistoia, curated by Ludovico Pratesi, 2013. She directes the Museo d’Inverno (seasonal contemporary art events), with Francesco Carone; the museum is hosted in the Contradadella Lupa in Siena since febraury 2016 Creator An entity primarily responsible for making the resource Vanni, Eugenia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto Description An account of the resource Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto is an unrealized pictorial work that returns to a “live" pictorial modality, in fact the project consists in painting Giovane che guarda Lorenzo Lotto by Giulio Paolini from 1967. The project Giovane che guarda Eugenia Vanni dipingere Giovane che guarda Lorenzo Lotto is therefore a short-circuit of meaning because Paolini’s work reproduces the Ritratto di giovane by Lorenzo Lotto. <a href="https://www.repository.unipr.it/bitstream/1889/3475/1/Eugenia%20Vanni_Giovane%20che%20guarda%20Eugenia%20Vanni%20dipingere%20Giovane%20che%20guarda%20Lorenzo%20Lotto.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Vanni, Eugenia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Eugenia Vanni MoRE Museum Ideological reasons http://moremuseum.org/omeka/files/original/de5c95c512f381715cb330a01b884801.pdf bae393152af593256c24b7ae47842bea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource MASBEDO Description An account of the resource MASBEDO are Nicolò Massazza (1973) and Iacopo Bedogni (1970). They live in Milan and work together since 1999. The two artists have worked together since 1999, focusing on video art and installations. They express themselves through the language of video, in different forms such as performance, theater, installation, photography and recently cinema. In Italy they are recognized among the most important video artists and innovators in the field of contemporary art. Thanks to their unique feature of re-union of different arts the multiplicity of languages becomes a single chorus. Their artistic research has focused on the theme of incommunicability, highlighting the paradox of our communication society. This has led them to produce very intimate pieces alongside work with a greater anthropological, social, and political feel. They strive to engage their audience by using the moving image as an immersive installation. MASBEDO have also worked with video-performances to engage their audience within the creative space and gestures created by the video itself. The work is a synthesis of theatre, performance, architecture, and video. MASBEDO’S artworks are collected by many important private foundations and the following public institutions: MART Museo d’arte Moderna e Contemporanea di Trento e Rovereto. Fondazione Merz, Turin. GAM Galleria d’arte Moderna Torino, Turin. Tel Aviv Art Museum. Da2 Museum, Salamanca. CAAM Centro Atlantico de Arte Moderno, Las Palmas. MACRO Museum of Contemporary Art, Rome. Junta de Andalucia, Spain. CAIRN Centre d’art contemporain, Digne. Creator An entity primarily responsible for making the resource MASBEDO Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Degna di Goebbels Description An account of the resource 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”. <a href="https://www.repository.unipr.it/bitstream/1889/3448/1/Masbedo_Degna%20di%20Goebbels.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource MASBEDO Contributor An entity responsible for making contributions to the resource Scotti, Marco Language A language of the resource Italian Rights Holder A person or organization owning or managing rights over the resource. MASBEDO MoRE Museum Relation A related resource DSpace: <a href="http://hdl.handle.net/1889/3448" target="_blank" rel="noopener">http://hdl.handle.net/1889/3448</a> Date A point or period of time associated with an event in the lifecycle of the resource 2011 http://moremuseum.org/omeka/files/original/fbb64d23d53775fe15fc0d58f6ff959a.pdf 3b1c3dafa812385225bc37c6d559bacf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Invernomuto Description An account of the resource Simone Bertuzzi (b. Piacenza, 1983) and Simone Trabucchi (b. Piacenza, 1982) have been working together under the pseudonym Invernomuto since 2003. Moving images and sounds are the main tools they adopt when dealing with a precise, but wide variety of media. Invernomuto investigate sub-culture universes using different media in which common speech is both a sign of affection and a way to move closer to oral cultures and contemporary mythologies that are observed but also directly experienced. The declared inauthenticity of the materials they use plays a fundamental role in this process, which emphasizes the false and kitsch character of the mystifications by which they are inspired. Invernomuto has won numerous awards, including being finalists for the Furla Art Award in Bologna in 2013 and winning the MERU ART*SCIENCE Award at the GAMEC (Modern and Contemporary Art Gallery) in Bergamo. In 2014, they took part in Berlinale Talents in Berlin and received MIBAC funding to finish their first full-length film Negus, which was released in March 2016. Both artists also produce music individually, performing under the names Palm Wine and STILL. Creator An entity primarily responsible for making the resource Invernomuto Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Noises from above Description An account of the resource <div class="page" title="Page 3"> <div class="layoutArea"> <div class="column"> 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.  <a href="https://www.repository.unipr.it/bitstream/1889/3449/1/Invernomuto_Noises%20from%20above.pdf" target="_blank" rel="noopener">Read more.</a> </div> </div> </div> Creator An entity primarily responsible for making the resource Invernomuto Date A point or period of time associated with an event in the lifecycle of the resource 2005-? Contributor An entity responsible for making contributions to the resource Scotti, Marco Language A language of the resource Italian Rights Holder A person or organization owning or managing rights over the resource. Invernomuto MoRE Museum project abandoned by the artist http://moremuseum.org/omeka/files/original/106003f5cbce9b4c9ec59daaa8a1929c.tiff 8950f54a531bb0cc84d65807bacafde3 http://moremuseum.org/omeka/files/original/92ccbd417abbfdfbcc9c4aed8055cc50.odt 9204767aad0296f1e793a08583f1db97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Veit Stratmann Creator An entity primarily responsible for making the resource Stratmann, Veit Description An account of the resource Born in Bochum, Germany, Veit Stratmann is a visual artist based in Paris. His work revolves around questioning: can an artistic gesture be based on the notions of choice and decision-making – the postures of those who encounter the work? Can this decision-making and the infinite suspension of time involved in doing so become constructive material (Morgan Marlet describes this in her MA thesis on Veit Stratmann's work in the urban space as “suspending space to suspend time”)? If political action originates in the act of decision making, can an encounter with art gener-ate a permanent oscillation between political and artistic gestures? Can an artistic gesture undo the coherence of a space without affecting its physical integrity? Or create a “paren-thesis” or construct a loophole in its meaning in order to create the blurring of status? Can this become creative matter? Can an artist's work be a deflector? Can art be the departure point of observation rather than that which is observed? Stratmann's work is often done in and for public space. The presence of an object in public space does not necessarily confer a particular status to that given object. The encounter with an object in public space does not impose any particular status or behavioural code upon the public. Both the viewer and the work viewed define the nature and the quality of this encounter. Public space thus presents an ideal place for posing questions - and a way of transforming its fragile status into creative material. Veit Stratmann's personal history is also at the root of his work in public space and it has undoubtedly conditioned the social issues that underline his line of questioning. Born in Germany, he moved to France in 1981. This displacement of his personal “territory” and focal point from a general sense of “belonging” (in Germany) to an acute awareness of “not belonging” (in France) reoriented his perception of space, territory, separation and be-longing. He began to explore the possibilities of influencing his space without actually modifying it. Becoming aware of the limits of his space brought about questioning: how can the limits be made permeable? How can the interstices be used? How can these territories be adjusted, modified, transformed? The range of Veit Stratmann's artistic preoccupations is anchored in this socio-cultural and spatial questioning. Yet his line of questioning enters the sphere of “art” only when there is exchange with others – as many others as possible. This naturally pulls his artistic action towards the « polis » – public space (not the political space but the space of politics). This is where decision and choice-making, negotiation, stance-taking, limitations and borders take form and make sense. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Rhine Swing Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3447/1/Veit%20Stratmann_The%20Rhine%20Swing.pdf" target="_blank" rel="noopener">Read more.</a> <div>  </div> Creator An entity primarily responsible for making the resource Stratmann, Veit Date A point or period of time associated with an event in the lifecycle of the resource 2000 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource image/jpeg text/plain Language A language of the resource English Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Veit Stratmann MoRE Museum Relation A related resource DSpace: http://dspace-unipr.cineca.it/handle/1889/3447 Theoretical exercise http://moremuseum.org/omeka/files/original/d90bee4e8a8dfb88a237c7e12b4f0dc9.jpg ef943574e1ae507d53bb731b8bd6b4bd http://moremuseum.org/omeka/files/original/e1638108bc09f4e0749fe16e31281ea0.jpg 54e97ab90201b5230018378e14625af6 http://moremuseum.org/omeka/files/original/a59b89975b4a188138559decce3b8653.jpg 3d0f30ea08b95308822209864d075725 http://moremuseum.org/omeka/files/original/c35a9462913e2d5302b86a658ed10e8c.jpg 214a6ae2c62a3bced34f0620df51d118 http://moremuseum.org/omeka/files/original/52f160bb0d6d98ecfca0d60103c79bbc.jpg 757754b3a1cf963a03bdab0c38df2ff2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antonio Scaccabarozzi Description An account of the resource Antonio Scaccabarozzi was born in 1936 in Merate (Lecco-Italy). From 1951 in Milan, he attended the evening classes of the High School of Applied Art of Castello Sforzesco, in the Painting section. Involved in the Milanese cultural environment of those years, Scaccabarozzi frequented the Brera district where he met artists such as Carlo Carrà, Piero Manzoni and Lucio Fontana. Graduated in 1959, he moved to Paris, where he worked as a sceneries-painter and deepened the artistic languages of time and historical avant-gardes. The works by Scaccabarozzi of those years are clearly influenced by Hans Arp and Fernand Léger. After Paris are the stays in London, and two long trips to Holland and Spain. Since the mid-1960s, Scaccabarozzi redefined his works following the concrete, programmed and new abstract avant-gardes, defining his visual language as Equilibrio Statico-Dinamico [Static-Dynamic Equilibrium], with clear reference to Neoplasticism and European Cinetism. Back to Italy, in Milan, he moved for a short time to the “Botteghe di Sesto San Giovanni” [Sesto San Giovanni’s Workshop Quarter], where he met artists such as Castellani, Bonalumi, Vermi, De Filippi, Fabro and Nagasawa.  In the early seventies came the Fustellati, formed by a succession of cylindrical elements, obtained by working with a hollow cutter and practicing on the neutral support emerging or hollow modular elements of different and gradual size and extension. In the North-European area, Scaccabarozzi finds his ideal place for research.  In these early seventies also came the elaboration of a new cycle of work, entitled Prevalenze Prevalences]: the neutral support is animated by points that are first monochrome, then colored, placed on the canvas or table in an order resulting from an exact, mathematical calculation. In 1983 the artist began a new phase, conceptually starting from the idea that spreading a quantity of color is already painting, and thus freeing himself from the calculations and any obvious and obliged form of a predetermined scheme. These are Quantità libere [Free Quantities]. The Free Quantities brought Scaccabarozzi to experiment and choose a new material: the polyethylene sheet. The painting, lying on a transparent surface, stimulated Scaccabarozzi to reflecting on color as an isolated element. By combining this with glue, the artist created an amalgam which, when dried, made the color as autonomous, self-supporting element: if the Free Quantities are the body of painting, the “Essenziali” [Essentials] - so the artist names this cycle of work that started with the new decade of 1990s - become the “skeleton” of the painting. To his thirty years old research, have already been dedicated the first anthological exhibitions, still in the German area: from the “Retro-spective 1965-1993”, at the Galerie Hoffmann in Friedburg in 1993, to the Städtische Galerie “Villa Zanders” in Bergisch Gladbach in 1994. In the late 1990s, Scaccabarozzi returned to what had been the support of its Free Quantities: the polyethylene. Gradually, the polyethylene sheets become fluctuating chromatic membranes in space, suspended from the wall and ceiling by the nylon wire. Since 2002, “Ekleipsis (Polyethylene)” have been developed, consisting of two plastic sheets of different color. In 2003, Scaccabarozzi arrives at the “Banchise (Polyethylene)”: this is another variation on the polyethylene, as here the reflection is between the most exposed and highlighted sheet as dimension of painting, and the hidden one. Around 2005, the artist felt the need to go back to painting: he painted thin, oil-colored veils, on a base of colour on canvas or paperboard, to create a film absorbing and diffusing the atmosphere light. These were the Velature [Veilings]. An accident interrupted Antonio Scaccabarozzi's life in August 2008. His heritage has fully taken up by Anastasia Rouchota, who founded the “Antonio Scaccabarozzi Archive”. Fundamental is the monograph dedicated to the artist, edited by Flaminio Gualdoni and published by Corraini in 2016 in Italian, English and German, “Antonio Scaccabarozzi. Io sono pittore / I'm painter / Ich bin Mahler”. From 2017 Ilaria Bignotti is working as Special Project Manager, with the Archive’s professionals already involved in this project. The Catalogue raisonné of Antonio Scaccabarozzi is another goal of the Archive that is scheduled for the next years.  Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ambiguità dell’angolo Description An account of the resource Five projects of environmental intervention in a interior space, formed by two walls ending in a corner and a floor, named from A to E.  The first one, A, is dated 1978 and accompanied by the autograph and handwritten note of the artist: “Ambiguità dell’angolo contrapposta alla sua indicazione” [Ambiguity of the corner opposite to its indication] is a graphic reproduction of a parietal corner on which is drawn, joining the two walls, a straight line of dots. On the floor is drawn straight line of dots converging in the corner itself. The second, named B, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted passage of rectangular shape, open and not dotted on the base that ideally stays on the floor. The third, named C, consists of a graphic reproduction of a parietal corner, the two walls joined by a dotted rectangular shape whose base rests on the floor. The fourth, named D, consists in a graphical representation of a parietal corner, the two walls joined by a dotted triangle, with the base that joins horizontally the walls, and vertex which coincides with the corner in the meeting point between the two walls and the floor. The fifth, named E, consists of a graphic duplication of a double dotted parallel line that crosses the two walls and perpendicularly the corner of the environment. Through the use of a projector, the artist would have reproduced the pattern formed from points in succession using likely graphite. The dotted drawings deny the environmental depth and build illusively another perceptual space, a new environmental perspective. The project Ambiguità dell’angolo [Ambiguity of the Corner] critically analyses the real space and its theoretical conceiving through the perceptive operation, thus witnessing the enviromental vocation of the entire research by Scaccabarozzi.  In 1986 was held a partial realization of the project for the exhibition “Die Ecke=the corner=le coin”, at Galerie Hoffmann, Friedberg, and in 1988 at Wallis Kantonsmuseum, Sitten, Switzerland. There, Scaccabarozzi tries to represent the direct intervention in the space, using pictorial dots on a corner of the room, and publishing on the catalog six different projects of enviromental intervention, called Ambiguità dell’angolo [Ambiguity of the Corner], and dated 1978.Only the first one of those published, has been realized by the artist in the gallery and consisted in a simple horizontal line of dots, that crossed the corner and reached the two walls, proceeding in parallel with the floor.  The other projects, united in the book of unrealised projects by the artist, had more tecnical difficult for their realization, and they have never been realized.  Recently, for the recent two-men show at Galerie Hoffmann in Friedberg, and dedicated to Scaccabarozzi and Gary Woodley in july-september 2016, Anastasia Rouchota, heir of the artist and founder and director of the Scaccabarozzi archive, reproduced in a room only the project already made in 1986. Coming back to this historical exhibition, and coherently with the exhibition program of the gallery, among the invited artists were the protagonist of the North and East European neo-concretist and conceptual: Getulio Alviani, Gianni Colombo, Maurizio Nannucci and Antonio Scaccabarozzi from Italy, François Morellet from France, Klaus Staudt and Ludwig Wilding from Germany, Julije Knifer from Yugoslavia, and Herman De Vries from Netherland. The catalog plays, also graphically, wuith the exhibition topics, containing handwritten texts, sketches and conceptual drawings. In her text, Verena Auffermann starts quoting the Philosophische Bemerkungen by Ludwig Wittgensteinand, and through the philosophical lens of the XIX century, from Artur C. Danto, Richard Serra to Gertrude Stein, she reflects on the relation between space and thought of space, retracing the function and the projectual and metaphoric meaning of the corner in the painting of the last century, starting from Cézanne and Malevich for introducing the 109 artists of the exhibition in 1986. “The corner  Separates outside from inside The corner  is dimensional The corner  defines limits The corner  Is a man-made design The corner  Is a closure The corner  Separates itself from the ‘out-there’ The corner  Is essential to a triangle The corner Is the corset for spatial thinking The corner  Is an ideal playground for optical illusion”.  (Die Ecke = the corner = le coin 1986, s.p.) <a href="https://www.repository.unipr.it/bitstream/1889/3445/1/Antonio%20Scaccabarozzi_Ambiguità%20dell%27angolo.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Antonio Scaccabarozzi MoRE Museum Relation A related resource DSpace: http://hdl.handle.net/1889/3445 Date A point or period of time associated with an event in the lifecycle of the resource 1978 Technical reasons http://moremuseum.org/omeka/files/original/09685912a70bef2ff00e4eeb60c0b6a2.jpg 6de6575711868387f72962fd3f0154af http://moremuseum.org/omeka/files/original/88d108c62c5fe01abef97e13bd01da3f.jpg e6fede01065f113c9383a109fa4e8e35 http://moremuseum.org/omeka/files/original/d58d4e0252ea928f34c1cf7277cbb507.jpg fbef4946e1024a22dd5cfb975faddf04 http://moremuseum.org/omeka/files/original/807352e3d990a2ce3c252ecb54643982.jpg 32646d6aae68b52fa3788db8dca19675 http://moremuseum.org/omeka/files/original/31e3e7416ed1798761c290681fde2b33.jpg 51bd57e9346c2234b6a47f2fbfe50ad9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antonio Scaccabarozzi Description An account of the resource Antonio Scaccabarozzi was born in 1936 in Merate (Lecco-Italy). From 1951 in Milan, he attended the evening classes of the High School of Applied Art of Castello Sforzesco, in the Painting section. Involved in the Milanese cultural environment of those years, Scaccabarozzi frequented the Brera district where he met artists such as Carlo Carrà, Piero Manzoni and Lucio Fontana. Graduated in 1959, he moved to Paris, where he worked as a sceneries-painter and deepened the artistic languages of time and historical avant-gardes. The works by Scaccabarozzi of those years are clearly influenced by Hans Arp and Fernand Léger. After Paris are the stays in London, and two long trips to Holland and Spain. Since the mid-1960s, Scaccabarozzi redefined his works following the concrete, programmed and new abstract avant-gardes, defining his visual language as Equilibrio Statico-Dinamico [Static-Dynamic Equilibrium], with clear reference to Neoplasticism and European Cinetism. Back to Italy, in Milan, he moved for a short time to the “Botteghe di Sesto San Giovanni” [Sesto San Giovanni’s Workshop Quarter], where he met artists such as Castellani, Bonalumi, Vermi, De Filippi, Fabro and Nagasawa.  In the early seventies came the Fustellati, formed by a succession of cylindrical elements, obtained by working with a hollow cutter and practicing on the neutral support emerging or hollow modular elements of different and gradual size and extension. In the North-European area, Scaccabarozzi finds his ideal place for research.  In these early seventies also came the elaboration of a new cycle of work, entitled Prevalenze Prevalences]: the neutral support is animated by points that are first monochrome, then colored, placed on the canvas or table in an order resulting from an exact, mathematical calculation. In 1983 the artist began a new phase, conceptually starting from the idea that spreading a quantity of color is already painting, and thus freeing himself from the calculations and any obvious and obliged form of a predetermined scheme. These are Quantità libere [Free Quantities]. The Free Quantities brought Scaccabarozzi to experiment and choose a new material: the polyethylene sheet. The painting, lying on a transparent surface, stimulated Scaccabarozzi to reflecting on color as an isolated element. By combining this with glue, the artist created an amalgam which, when dried, made the color as autonomous, self-supporting element: if the Free Quantities are the body of painting, the “Essenziali” [Essentials] - so the artist names this cycle of work that started with the new decade of 1990s - become the “skeleton” of the painting. To his thirty years old research, have already been dedicated the first anthological exhibitions, still in the German area: from the “Retro-spective 1965-1993”, at the Galerie Hoffmann in Friedburg in 1993, to the Städtische Galerie “Villa Zanders” in Bergisch Gladbach in 1994. In the late 1990s, Scaccabarozzi returned to what had been the support of its Free Quantities: the polyethylene. Gradually, the polyethylene sheets become fluctuating chromatic membranes in space, suspended from the wall and ceiling by the nylon wire. Since 2002, “Ekleipsis (Polyethylene)” have been developed, consisting of two plastic sheets of different color. In 2003, Scaccabarozzi arrives at the “Banchise (Polyethylene)”: this is another variation on the polyethylene, as here the reflection is between the most exposed and highlighted sheet as dimension of painting, and the hidden one. Around 2005, the artist felt the need to go back to painting: he painted thin, oil-colored veils, on a base of colour on canvas or paperboard, to create a film absorbing and diffusing the atmosphere light. These were the Velature [Veilings]. An accident interrupted Antonio Scaccabarozzi's life in August 2008. His heritage has fully taken up by Anastasia Rouchota, who founded the “Antonio Scaccabarozzi Archive”. Fundamental is the monograph dedicated to the artist, edited by Flaminio Gualdoni and published by Corraini in 2016 in Italian, English and German, “Antonio Scaccabarozzi. Io sono pittore / I'm painter / Ich bin Mahler”. From 2017 Ilaria Bignotti is working as Special Project Manager, with the Archive’s professionals already involved in this project. The Catalogue raisonné of Antonio Scaccabarozzi is another goal of the Archive that is scheduled for the next years.  Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rotazione continua orizzontale Description An account of the resource The project consists of an environmental intervention proposed by the artist for the facade of the Merate School of Maternity at the “Concorso Legge del 2% Scuola Materna (ente morale) di Merate” [Competition of the 2% Law for Merate nursery School], as indicated by Scaccabarozzi in a photograph reproducing the maquette he made, and probably entitled “Da un’idea del 69” [From an Idea of the 69], shown in the Collection by Mr. Antonio Spini of Robbiate. This project starts from the research held by Scaccabarozzi from the end of sixties and first half of seventies, and belongs to the series of Fustellati. These works come from the analysis of the movement in the relation between surface, depth, light and perception, in a space conceived as field of possible and potential variations.  These paths, both conceptual both processual, bring the artist to realize works formed by a series of cylindrical elements obtained working with a hollow cutter and making on the neutral support modular elements, both emerging both hollow, of different and gradual dimension and extension. Partially raised, inclined, orientated and colored, positioned in a rhythmic and sequential movement on the support itself, the Fustellati are an invitation to the eye and an incitement to the potentiality of perception. From that derives also the title of the project given by Scaccabarozzi for the nursery School of Merate in 1975: Rotazione continua orizzontale [Continous horizontal rotation]. From the analysis of the collage realized for the participation to the competition, the yellow completes and stresses the perceptive path of the cylindrical elements on the pictorial-environmental surface, thus intensifying the visual and cinetic-virtual potentialities of the project itself, if it would be realized. Writing about this phase of the artistic research by Scaccabarozzi, in the monograph dedicated to the artist, in collaboration with the Archive and published in 2016 by Corraini, Flaminio Gualdoni stressed the double presence of “[…] the physical objectivity of the work and the physiology of perception, un-aestheticity compared to current expectations, the spectator’s active participation and complicity in the work as a facilitator of aesthetic expectation, a not decisively random situation: most of all, the strong and complete involvement of the temporal dimension in a process which, until that moment, one’s own evaluation system was based on the space and the psychological duration of the experience, rather than the physical […]”. (Gualdoni 2016, p. 43).  The fact that this specific project was devoted to pre-school children emphasized the educational, ethical and aesthetic value given by Scaccabarozzi to his artistic works, and needs further reflection on his artistic intention about the principles and value of the game. Two years before his participation to this competition, questioned by Ernesto L. Francalanci and Paolo Cardazzo about the ludus component in his work, Scaccabarozzi responded succinctly: “I play with people who want to play for real/I play very seriously”. (Francalanci 1973, s.p.). <a href="https://www.repository.unipr.it/bitstream/1889/3441/1/Antonio%20Scaccabarozzi_Rotazione%20continua%20orizzontale.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Scaccabarozzi, Antonio Date A point or period of time associated with an event in the lifecycle of the resource 1975 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Antonio Scaccabarozzi MoRE Museum Relation A related resource DSpace: <a href="http://hdl.handle.net/1889/3441" target="_blank" rel="noopener">http://hdl.handle.net/1889/3441</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/1d692358a3508f6244727c33bf709c06.jpg 71102ac5f47161e2439e308cc4d53321 http://moremuseum.org/omeka/files/original/bd0197078a5c4582cdbc8657d7204e47.jpg 400c41fdcadfbb960cd2beecc6acaffb http://moremuseum.org/omeka/files/original/efeb6caf34534af98a4d8abfeaad3f63.jpg 54ed9cc44db6b449bfec09975263a14a http://moremuseum.org/omeka/files/original/aa9c19e520927d1671360977a1b090fd.jpg e84110435636028b662d184de291ed25 http://moremuseum.org/omeka/files/original/ac8599592ab8c2d61a4035b9a6c6f3dc.jpg aa7fcfce6c322f60693c8bd18054003f http://moremuseum.org/omeka/files/original/e2c00c2b70d03ae88a0b926863438bb1.jpg 333e3cffb56d8205d7b9420b73820413 http://moremuseum.org/omeka/files/original/f5d921903644074186ea0375b8f49a13.jpg 3fd678ba94699e7f723c92568b48dd69 http://moremuseum.org/omeka/files/original/df9424a61e4f66082d5cf2c0b5b306c2.jpg 9ce592782dd4e2e000aedd3fea50edb7 http://moremuseum.org/omeka/files/original/e74e1ee66ff7307653896a079c9fcb13.jpg ee8224066e3c4b84382473832707b83d http://moremuseum.org/omeka/files/original/423f9d18dd5f296f5afa56380b6e411e.jpg 0339d44e8778c6d53d2aeb954f2fbede Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Liliana Moro Description An account of the resource Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993. Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use. A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation. Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia. Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009). Creator An entity primarily responsible for making the resource Moro, Liliana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Viene e va Description An account of the resource 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.  <a href="https://www.repository.unipr.it/bitstream/1889/3446/1/Liliana%20Moro_Viene%20e%20va.%20Concorso%20Torino%20Arte%20Giovane%202005.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Moro, Liliana Date A point or period of time associated with an event in the lifecycle of the resource 2005 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Liliana Moro MoRE museum Relation A related resource DSpace: <a href="http://hdl.handle.net/1889/3446" target="_blank" rel="noopener">http://hdl.handle.net/1889/3446</a> Logistical reasons http://moremuseum.org/omeka/files/original/c3ade9270c8926b7933f41e1fe005d05.jpg e59323752cf511227715fdc2a080be6a http://moremuseum.org/omeka/files/original/7254a682434e7f0a41abad5ee73e4f20.jpg 6efae7c7dcab794b87cf21ac6a5a0911 http://moremuseum.org/omeka/files/original/672117049053673e3545f9fed87af7c4.jpg bb4abf0463941ed47872a83094f829a4 http://moremuseum.org/omeka/files/original/7f2dcb4eef7aa9106b25b10e817051bc.doc cba7ce2f9610ef6729b8c1ecb67bc075 http://moremuseum.org/omeka/files/original/f7aba46ccc0f342f0bf87b692a3c6107.jpg 102a584b5be4c86752eb131f91af615a http://moremuseum.org/omeka/files/original/4592ff2f1019257e7e87e70440397e18.jpg 00769adac067531c7859a0fda3dd8227 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Liliana Moro Description An account of the resource Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993. Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use. A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation. Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia. Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009). Creator An entity primarily responsible for making the resource Moro, Liliana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Testa di Pinocchio Description An account of the resource 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 <a href="http://www.artfortheworld.net/">Art for the World</a> 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. <a href="https://www.repository.unipr.it/bitstream/1889/3443/1/Liliana%20Moro_Moro_Testa%20di%20Pinocchio.pdf" target="_blank" rel="noopener">Read more.</a>   Creator An entity primarily responsible for making the resource Moro, Liliana Date A point or period of time associated with an event in the lifecycle of the resource 2003 Contributor An entity responsible for making contributions to the resource Zinelli, Anna Format The file format, physical medium, or dimensions of the resource image/jpeg application/msword Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Liliana Moro MoRE Museum Relation A related resource DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/3443" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3443</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/87109793fc8f95cabc234fbb626df3d8.jpg f0dd34ae94b2f084ef8d088717d53c9f http://moremuseum.org/omeka/files/original/e236f31fde0d8161a8f1fbcd92e7fbbf.jpg 9c6d6a5ea053cd0505d33822a81f673a http://moremuseum.org/omeka/files/original/3835ede0a766f9e597b0f7845d75aee9.jpg bf120a8abac92d00ae466edaaaf8eb93 http://moremuseum.org/omeka/files/original/3a3280e06ecccd0976211b129a43606a.jpg f49cb917dbcb33dd5c2c1b31b626378f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Liliana Moro Description An account of the resource Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993. Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use. A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation. Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia. Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009). Creator An entity primarily responsible for making the resource Moro, Liliana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource In bocca al lupo Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3442/1/Liliana%20Moro_In%20bocca%20al%20lupo.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Moro, Liliana Date A point or period of time associated with an event in the lifecycle of the resource 2002 Contributor An entity responsible for making contributions to the resource Zinelli, Anna Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Liliana Moro Description An account of the resource Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993. Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use. A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation. Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia. Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009). Creator An entity primarily responsible for making the resource Moro, Liliana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Preferisco il rumore del mare. Concorso di progettazione Piazza Verdi - La Spezia Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3444/1/Liliana%20Moro_Concorso%20di%20progettazione%20Piazza%20Verdi%20-%20La%20Spezia%20def.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Moro, Liliana Studio 5+1AA Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Liliana Moro MoRE Museum Relation A related resource DSpace: <a href="http://hdl.handle.net/1889/3444" target="_blank" rel="noopener">http://hdl.handle.net/1889/3444</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/ec86686afba9ea7a07c21a3398b4a10c.pdf 967aa3a994df4db637fe9cf09129cd32 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Il palazzo di Atlante.pdf Description An account of the resource Project document containing the premises, perspectives and drawings, the study of the timing and context and a work diary, divided into eight sections dating from 07.11.12 to 25.08.12. Format The file format, physical medium, or dimensions of the resource pdf file Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gian Maria Tosatti Description An account of the resource Gian Maria Tosatti (Roma, 16.04.1980 - lives in New York) made his first steps in 2002 at the Centre for Theatrical Research and Experimentation of Pontedera working on performances. In 2005 Tosatti moved back to Rome to undertake an artistic research between architecture and visual arts which inspired all subsequent works resulting in site specific installations. His projects usually are long term investigations on specific topics related with the concept of identity, from the political to the spiritual standpoint. The first cycles of works he developed have been «Devozioni» (2005-2011) - ten installations for ten buildings of Rome about the archetipes of the modern era - and «Landscapes (2006-) - a project of public art in conflictual areas. Tosatti is currently working on two new projects, «Fondamenta» (2011-), based on the identification of contemporary age archetypes and «Le considerazioni...» (2009-) dedicated to the aenigmas of personal memories and to the traces that human beings leave behind them. Between 2013 and 2016 his research focused on a work that has embodied the entire city of Naples. It’s title is “Sette Stagioni dello Spirito”. Tosatti is also a journalist. He had been editor chief of the weekly cultural newspaper <a href="http://www.differenza.org/">«La Differenza»</a> and has collaborated with several italian newspapers  and magazines as columnist. Currently he’s columnist for Artribune and writes on Opera Viva. He writes essays about art and politics. In 2011 he curated RELOAD, prototype of cultural urban intervention about the temporary use of improductive spaces  and he’s founder of the project "La costruzione di una cosmologia". His work has been shown at the Hessel Museum of CCS BARD (New York – 2014), the LMCC (New York - 2011), American Academy in Rome (Roma – 2013), Museo Villa Croce (Genova – 2012) Andrew Freedman Home (New York - 2012), Tenuta dello Scompiglio (Lucca - 2012), Palazzo delle Esposizioni (Roma - 2008), Chelsea Art Museum (New York - 2009), BJCEM (2014), Centrale Montemartini – Musei Capitolini (Roma – 2007), Wilfredo Lam Museum (La Habana - 2015), Casa Testori (Milano - 2014), MAAM (Roma - permenent), Castel Sant’Elmo (Napoli - permanent), Museo Madre (Napoli, 2016). Creator An entity primarily responsible for making the resource Tosatti, Gian Maria Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Il palazzo di Atlante Description An account of the resource Il palazzo di Atlante is a project for an environmental scale intervention, designed for the Ufficio Geologico building located at largo Santa Susanna, Rome. The place is currently abandoned, and was designed between 1873 and 1879 by the engineer Raffaele Canevari: this space is the starting point for a research that Tosatti documents in the attached file donated to MoRE, through a project and several diary entries corresponding to the different stages of the design process. It is possible to consider this artwork within a path that includes several works the artist dedicated to abandoned spaces - in particular we can mention Tetralogia della polvere (Novara, Casa Bossi, 2012) and also the recent cycle realized in Naples, Sette Stagioni dello Spirito (2013 - 2016) -: this ambitious work is considered by Gian Maria Tosatti as an arrival point he can face only after a series of experience, where he "started building rooms, larger or smaller, then dedicating myself to buildings and then finally building larger and larger artworks, sometimes even bigger than myself, and therefore requiring every time an evolution, a development of myself as an artist. " The title refers to the Atlas Palace, a myth that appears in the Boiardo and Ariosto Orlando, and that here acquires a personal value for Tosatti as a place to deal with, but also in a relationship with the visitors, though the symbols of the labyrinth and the mirror, a central theme in the artist's research between 2011 and 2012. Through a practice divided between art and architecture, often described by Tosatti himself with an analogy with the room in the middle of the "zone" in the Andrei Tarkovsky film Stalker, a model of superimposition of identity and desire, here the artist tries to make the apparition of “castles and monuments” true, introducing in the project the themes of electricity and illusion: “The culmination of the work will consist precisely in a large switch that visitors could turn off, letting darkness and silence fall over the entire building. It will therefore be necessary - also from the visual point of view – to rely on certain image of technology, related to electricity. Obviously the kind of technology that should be used is not be the most modern one, but the one that is present in a shared imaginary, consequently machines and tools form several decades ago, which aren’t used anymore”. Studying the construction diary and the preparatory drawings we can also highlight the particular attention dedicated to the façade, upon which two “mirror flags” should have been installed to make "the invisible building" recognizable, and the structuring of a path through the different floors. A room should have contained, upon one of the tables that are already present inside the building, a glass of water and a bottle of Novalgina, a painkiller, together with an hidden mechanism that would have created a light and steady vibration to shake the water surface when placed upon the table. Another room was designed to provide the optical illusion of a rhino freely moving inside the space, so to anticipate the top floor switch, where the machinery would have been placed. Classical statues - originals or copies - should also have been present alongside the path, as an archetype of man and as a mirror for the visitor, while at the ground floor, currently occupied by an archaeological excavation, an artist intervention would have been necessary to turn it into a sculptural space. <a href="https://www.repository.unipr.it/bitstream/1889/3246/1/Tosatti_Il%20palazzo%20di%20Atlante.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Tosatti, Gian Maria Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource Italian Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3246" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3246</a> Rights Holder A person or organization owning or managing rights over the resource. 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Description An account of the resource Recto scan of a letter, including a sketch drawing by Franco Guerzoni used to visualize the "fountain" in the space of a gallery Title A name given to the resource guerzoni_A010286_S_NR02recto.tif Format The file format, physical medium, or dimensions of the resource file tiff, 22,86 x 29,058 cm, 400 dpi http://moremuseum.org/omeka/files/original/c442626eb38e8360bd6953125ce1043e.tiff 50ac49d28ceff7ce7cbd6ad46dccd460 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Verso scan of a letter, including an handwritten message to a friend to present the project. Title A name given to the resource guerzoni_A010286_S_NR02Verso.tif Format The file format, physical medium, or dimensions of the resource file tiff, 22,86 x 29,058 cm, 400 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Franco Guerzoni Description An account of the resource Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his Frescoes, and in '73  his Archaeology, followed by Anthropology, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents Decorations and ruins in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin Landscapes powder, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the Forgotten Wall becomes the real privileged place for his most current work. Creator An entity primarily responsible for making the resource Guerzoni, Franco Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana in galleria Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3245/1/Guerzoni_Fontana%20in%20galleria.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Guerzoni, Franco Date A point or period of time associated with an event in the lifecycle of the resource 1969 Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/tiff Type The nature or genre of the resource Still Image Text Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3245" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3245</a> Rights Holder A person or organization owning or managing rights over the resource. Franco Guerzoni MoRE Museum Technical reasons Theoretical exercise http://moremuseum.org/omeka/files/original/262dbd80b3143f1952424c19d4cdfe33.pdf d0d37b1a0ccba8de7d42cf9ddbabdb54 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource green.docx Description An account of the resource Collage with portraits of the protagonists of the film and a sketch of the agency. Format The file format, physical medium, or dimensions of the resource MS word file/PDF http://moremuseum.org/omeka/files/original/2da224cc348ca8a9ed62fbdb3002eb11.pdf c958758e0a61b41fcd2d6fe0b72c59d2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Travel Agency The script.docx Description An account of the resource Artist report of the different phases the project went through. Format The file format, physical medium, or dimensions of the resource MS word file/PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Annika Ström Description An account of the resource Annika Ström was born in Helsingborg, Sweden in 1964. She studied at the Royal Academy of Fine arts in Copenhagen until 1997, but moved already to Berlin 1993.  2005 she left Berlin and moved to United Kingdom where she now lives. Ström works predominately with films, soundtrack, performances and text works but has also written a feature film script. In 2010 Ström staged the performance "Ten embarrassed men" at the London Frieze art fair where ten identically dressed men walked around together at the fair looking embarrassed. The cause of the embarrassment was the low number of work produced by women artists that are represented at commercial art fairs. The work was followed by a series of other performances such as "The Upset Man”  2010 and "The Inept Five", 2012, “Six Lovely People” 2015.An ongoing performance is the "Seven Women Standing In The Way"where seven women in their 60s gently block the entrance of an art space, by talking, drinking and being oblivious to other visitor's attempts to enter the space. So far 10 performances with these women has taken place around  Europe Since 2000 Ström has also worked extensively with text phrases, painted on both paper and canvas. In 2014 the Swedish Art Agency commissioned her to do 10 texts works for the new build extension of LUX, the Humanities Departmentat <a title="Lund University" href="https://en.wikipedia.org/wiki/Lund_University">Lund University</a>. On the roof of the building a 10 meter long text in metal says; "men vänta nu". (Direct English translation is; "but wait now " meaning, “hold on”). The work is permanent. In 2015 she composed music with her text works for the Jonkoping Chamber choir in Sweden for a commission for Konsthall Jonkoping. A film was made of the performance and can be seen on <a href="https://vimeo.com/annikastrom">vimeo</a> .She is currently working on new paintings and a new film. A common subject for her work is “fear of failure”. For a solo exhibition in New York 2003, her title for the show was called “Everything in this show can be used against me”. Creator An entity primarily responsible for making the resource Ström, Annika Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Travel Agency Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3243/1/Ström_The%20Travel%20Agency.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Ström, Annika Date A point or period of time associated with an event in the lifecycle of the resource 2006-2014 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3243" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3243</a> Rights Holder A person or organization owning or managing rights over the resource. Annika Ström MoRE Musuem Type The nature or genre of the resource Still Image Text Financial reasons http://moremuseum.org/omeka/files/original/93afc95dd4936de47a3a1ce26a947df9.m4a 4e890183eee21baf8227c2d3eea2b073 http://moremuseum.org/omeka/files/original/836507f95b9133ba0bf2430b3374ee80.jpg f90a1a797c136f204133f8b36004c01f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource DSC_0114 copy 2.jpg Description An account of the resource Preparatory collage for the staging of the performance Format The file format, physical medium, or dimensions of the resource file jpg, 61,666 x 84,384, 72 dpi http://moremuseum.org/omeka/files/original/a05eb524d0d88489d26f1bf12593aaca.pdf b244bee6efabdb54a423ffc3a7798449 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Proposal for a performance work at.docx Description An account of the resource Artist report of the unrealized performance Format The file format, physical medium, or dimensions of the resource MS word file/ PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Annika Ström Description An account of the resource Annika Ström was born in Helsingborg, Sweden in 1964. She studied at the Royal Academy of Fine arts in Copenhagen until 1997, but moved already to Berlin 1993.  2005 she left Berlin and moved to United Kingdom where she now lives. Ström works predominately with films, soundtrack, performances and text works but has also written a feature film script. In 2010 Ström staged the performance "Ten embarrassed men" at the London Frieze art fair where ten identically dressed men walked around together at the fair looking embarrassed. The cause of the embarrassment was the low number of work produced by women artists that are represented at commercial art fairs. The work was followed by a series of other performances such as "The Upset Man”  2010 and "The Inept Five", 2012, “Six Lovely People” 2015.An ongoing performance is the "Seven Women Standing In The Way"where seven women in their 60s gently block the entrance of an art space, by talking, drinking and being oblivious to other visitor's attempts to enter the space. So far 10 performances with these women has taken place around  Europe Since 2000 Ström has also worked extensively with text phrases, painted on both paper and canvas. In 2014 the Swedish Art Agency commissioned her to do 10 texts works for the new build extension of LUX, the Humanities Departmentat <a title="Lund University" href="https://en.wikipedia.org/wiki/Lund_University">Lund University</a>. On the roof of the building a 10 meter long text in metal says; "men vänta nu". (Direct English translation is; "but wait now " meaning, “hold on”). The work is permanent. In 2015 she composed music with her text works for the Jonkoping Chamber choir in Sweden for a commission for Konsthall Jonkoping. A film was made of the performance and can be seen on <a href="https://vimeo.com/annikastrom">vimeo</a> .She is currently working on new paintings and a new film. A common subject for her work is “fear of failure”. For a solo exhibition in New York 2003, her title for the show was called “Everything in this show can be used against me”. Creator An entity primarily responsible for making the resource Ström, Annika Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Proposal for a performance work at Sergels Torg, Stockholm Description An account of the resource This project was proposed by Annika Ström in 2016 as a public art commission, and was supposed to take place at night in Sergels Torg Square in Stockholm. It consisted of a night concert lasting approximately 15 minutes, during which the Jönköping Chamber Choir would have sung the lyrics and music by Annika Ström. In particular, as the artist reports in the file donated to MoRE Museum, it can be considered a larger-scale version of <a href="https://vimeo.com/144366683">a performance</a> the artist the artist did in 2015 at the Jönköping city café, with the Jönköping Chamber Choir and conductor Ove Gotting, where they sang the “phrases that appeared on billboards around Jönköping and on digital road signs on highway E4 nearby.” In Stockholm, the choir would have been introduced by “fifty loud skateboards with lanterns on their wheels and hoods.” The same conductor would have parachuted down, and when the skateboarders had moved a short distance away and fallen silent, the choir would have sung the phrases projected onto nearby building façades. The performance would have been closed by the skateboarders, who would turn their lights on once more. A sound recording and a vinyl record were to be produced after the show. <a href="https://www.repository.unipr.it/bitstream/1889/3240/1/Ström_Proposal%20for%20a%20performance%20work%20at%20Sergels%20Torg%2c%20Stockholm.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Ström, Annika Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Annika Ström MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3240" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3240</a> Failure to meet the commissioner's demands http://moremuseum.org/omeka/files/original/774319a4da338f8e03bf9a79767a25d3.jpg b2357773b7c49ae0c22a43e253bf5772 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource DSC_0169.JPG Description An account of the resource Preparatory collage for Lonely Dads Format The file format, physical medium, or dimensions of the resource file jpg, 86,748 x 61,066 cm, 72 dpi http://moremuseum.org/omeka/files/original/8b052be3492c05aad86a95bc97ea4e3d.pdf b85fdf507ec639a40d9573d9c923780c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lonley Dads editz.docx Description An account of the resource Artist report of the unrealized performance Lonely Dads. Format The file format, physical medium, or dimensions of the resource file MS word/ PDF http://moremuseum.org/omeka/files/original/4f28843ea693074d6900cf5e84d4e7fb.jpg 23c4b1673ce3c850455dcaa8a7cad470 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 3notexttable.jpeg Format The file format, physical medium, or dimensions of the resource file jpg, 33,726 x 45,156 cm, 72 dpi Description An account of the resource Rendering of the medieval hall interiors, with several huge disco balls installed. http://moremuseum.org/omeka/files/original/68e8ee3677cb193dece5b5c5af068c37.jpg ff0d606ff275308f1bd1c78a4cb5a118 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource notextpersonfromup copy.jpeg Format The file format, physical medium, or dimensions of the resource file jpg, 33,726 x 45,156 cm, 72 dpi Description An account of the resource Rendering of the medieval hall interiors, with several huge disco balls installed. http://moremuseum.org/omeka/files/original/358cd7171da34d6d934bda155ef5c95c.jpg 0b0f207cb7a276d57910e5e1437fd1c3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource windisco 2.jpeg Format The file format, physical medium, or dimensions of the resource file jpg, 33,726 x 45,156 cm, 72 dpi Description An account of the resource Rendering of the medieval hall interiors, with several huge disco balls installed. http://moremuseum.org/omeka/files/original/aeaced578bb319623fd2c95504611fa7.jpg 77224c000dbadc7ea7fb95276167013d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource windisco.jpeg Format The file format, physical medium, or dimensions of the resource file jpg, 33,726 x 45,156 cm, 72 dpi Description An account of the resource Rendering of the medieval hall interiors, with several huge disco balls installed. http://moremuseum.org/omeka/files/original/ddefe225334ed12796478957c2df77aa.jpg 00bf3233a6e5f826f7932ac7cc6309f6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource windsico3.jpeg Format The file format, physical medium, or dimensions of the resource file jpg, 33,726 x 45,156 cm, 72 dpi Description An account of the resource Rendering of the medieval hall interiors, with several huge disco balls installed. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Annika Ström Description An account of the resource Annika Ström was born in Helsingborg, Sweden in 1964. She studied at the Royal Academy of Fine arts in Copenhagen until 1997, but moved already to Berlin 1993.  2005 she left Berlin and moved to United Kingdom where she now lives. Ström works predominately with films, soundtrack, performances and text works but has also written a feature film script. In 2010 Ström staged the performance "Ten embarrassed men" at the London Frieze art fair where ten identically dressed men walked around together at the fair looking embarrassed. The cause of the embarrassment was the low number of work produced by women artists that are represented at commercial art fairs. The work was followed by a series of other performances such as "The Upset Man”  2010 and "The Inept Five", 2012, “Six Lovely People” 2015.An ongoing performance is the "Seven Women Standing In The Way"where seven women in their 60s gently block the entrance of an art space, by talking, drinking and being oblivious to other visitor's attempts to enter the space. So far 10 performances with these women has taken place around  Europe Since 2000 Ström has also worked extensively with text phrases, painted on both paper and canvas. In 2014 the Swedish Art Agency commissioned her to do 10 texts works for the new build extension of LUX, the Humanities Departmentat <a title="Lund University" href="https://en.wikipedia.org/wiki/Lund_University">Lund University</a>. On the roof of the building a 10 meter long text in metal says; "men vänta nu". (Direct English translation is; "but wait now " meaning, “hold on”). The work is permanent. In 2015 she composed music with her text works for the Jonkoping Chamber choir in Sweden for a commission for Konsthall Jonkoping. A film was made of the performance and can be seen on <a href="https://vimeo.com/annikastrom">vimeo</a> .She is currently working on new paintings and a new film. A common subject for her work is “fear of failure”. For a solo exhibition in New York 2003, her title for the show was called “Everything in this show can be used against me”. Creator An entity primarily responsible for making the resource Ström, Annika Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lonely Dads / The Medieval Hall in UK with disco lights Description An account of the resource Invited to submit a project for a medieval hall in the UK, that should have been a  collaboration with either local people or an organization, Annika Ström decided to present a performance based upon the idea of lonely men in their cars, supposed to be lonely dads. Fathers who were divorced and estranged from their children. Starting, as the artist states, from a reflection upon the car as a place of solitude and from her direct experience - a common trait to several of her artworks, here derived from her travels and from her recent experience of moving to England - this project was designed as a collaboration with local Father’s Rights organizations. The artist report and the preparatory collage archived here contains all the details of the performance, of the accompanying music - a popular culture quotation, playing a crucial role as it frequently happens in Annika Ström works - and of the way everything should have been filmed and documented: “I planned  to get at least 50 Dads. They would drive in to the square outside the medieval hall. One car for each dad. They would stop and remain in their car. They would all simultaneously pull down their car windows and play the same song; The very romantic Pietro Mascagni, as used as the sound track in Raging Bull by Scorsese. When the song was finished, they were to slowly pull away, head to the motorway in a line towards Southampton, where I also had commission as part of the same project. We were to hire helicopters to film the motorway, like a “News Copter” where the Lonely Dads would parade with their cars, missing their children.” Reflecting upon roles and structures inside the families and in the society, here Annika Ström investigate in particular relationships, self-doubts and failures, designing the staging of a dramatic scene where cars would have invaded the historical setting. The artist also wanted to install enormous disco balls inside the hall, but this project too remained unrealised. <a href="https://www.repository.unipr.it/bitstream/1889/3244/1/Ström_Lonely%20Dads.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Ström, Annika Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource English Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3244" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3244</a> Rights Holder A person or organization owning or managing rights over the resource. Annika Ström MoRE Museum Failure to meet the commissioner's demands Ideological reasons http://moremuseum.org/omeka/files/original/b3ea04ee21b6b7ec5df21c4198ece750.jpg 91812c601bd19b0e6b7049bec4aae11f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource map.jpg Description An account of the resource A photography of a map of the world, tattooed on a bottom. Format The file format, physical medium, or dimensions of the resource jpg file, 21,565 x 29,667 cm, 200 dpi http://moremuseum.org/omeka/files/original/00e2fb01c356b3af4ba824d48f82672c.pdf 2d4d1d4d58334a18be71d87b7ba70f1d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dear Tattooist.docx Description An account of the resource Letter used by the artist to present the project and invite the tatooists to contribute. Format The file format, physical medium, or dimensions of the resource MS Word file/ PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Runo Lagomarsino Description An account of the resource Runo Lagomarsino (b. 1977, Sweden) lives and works in Malmö and São Paulo. He participated in the Whitney Museum of American Art Independent Study Program in 2007-2008 and received his MFA at the Malmö Art Academy in 2003. The artist tries to construct frictions between language, representation, and dominant narratives by investigating fractures and blind paths from where to tell other stories, unlearn, read the past, and name the future. Lagomarsino has participated in numerous solo and group exhibitions across the world, including West is everywhere you look, Francesca Minini, Milano (2016); Carla Zaccagnini & Runo Lagomarsino, Malmö Konsthall (2015); Against My Ruins, Nils Stærk, Copenhagen (2014); We have everything, but that’s all we have, Mendes Wood DM, São Paulo (2013), and For Each Light a Shadow, Ignacio Liprandi, Buenos Aires (2013); the World’s Futures, the 56th Venice Biennale (2015); Really useful knowledge, Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); Under the Same Sun, Guggenheim Museum, New York (2014); The 30th São Paulo Biennial – The Imminence of Poetics (2013); Untitled – 12th Istanbul Biennial (2011) and The Moderna Exhibition, Moderna Museet, Stockholm (2010). Creator An entity primarily responsible for making the resource Lagomarsino, Runo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dear Tattooist Description An account of the resource 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”<a title="" name="_ftnref1" href="#_ftn1"></a>, 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<a title="" name="_ftnref2" href="#_ftn2"></a> 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”. <a href="https://www.repository.unipr.it/bitstream/1889/3241/1/Lagomarsino_Dear%20Tattooist.pdf" target="_blank" rel="noopener">Read more.</a> <a title="" name="_ftnref3" href="#_ftn3"></a> Creator An entity primarily responsible for making the resource Lagomarsino, Runo Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/msword image/jpeg Language A language of the resource English Type The nature or genre of the resource Text Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3241" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3241http</a> Rights Holder A person or organization owning or managing rights over the resource. Runo Lagomarsino MoRE Museum project abandoned by the artist http://moremuseum.org/omeka/files/original/97a2b371e61b6eda68b702be86525d72.m4a d9c8a266f258b9037e6461330debd554 http://moremuseum.org/omeka/files/original/65ca9b3a4ded844c5be8fc2d395a05b0.tif b93fb1a7bba6a87368b77e6ed7855eb5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource notes.tif Description An account of the resource The digital copy of a sheet of paper with drawings and words, hand made by the artist as a first study for the magazine. Format The file format, physical medium, or dimensions of the resource tiff file, 21,565 x 29,667 cm, 200 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hassan Khan Description An account of the resource Hassan Khan is an artist, musician and writer. He lives and works in Cairo, Egypt. Creator An entity primarily responsible for making the resource Khan, Hassan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sketches for an unrealised magazine Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3242/1/Khan_Sketches%20for%20an%20unrealised%20magazine.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Khan, Hassan Date A point or period of time associated with an event in the lifecycle of the resource 1995 Contributor An entity responsible for making contributions to the resource Scotti, Marco Relation A related resource <a href="http://dspace-unipr.cineca.it/handle/1889/3242" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3242</a> Format The file format, physical medium, or dimensions of the resource image/tiff Language A language of the resource English Type The nature or genre of the resource Text Rights Holder A person or organization owning or managing rights over the resource. Hassan Khan MoRE Museum project abandoned by the artist http://moremuseum.org/omeka/files/original/b36ffa5c4e8394d66297f100f5c23798.pdf b49370e0396ee74500981b66e8a038c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1_Braco Dimitrijevic.msg Description An account of the resource E-mail sent by Nena Dimitrijevic to Anna Zinelli on June, 3th 2016. http://moremuseum.org/omeka/files/original/fb851faab814d8f6f14ed278d0740b94.msg 3522e46617dede151fe87fcbc83d3aa5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Braco Dimitrijević Description An account of the resource Braco Dimitrijević was born in Sarajevo in 1948. After attending the Academy of Fine Arts in Zagreb, between 1968 and 1971, he completed his postgraduate studies in 1973 at the Saint Martin's School of Art in London. In 1963 he made his public debut with Flag of the world, in which he replaced a national flag with a cloth to clean paint brushes; by the end of the 1960s, he proposed a series of works in which he triggered accidental processes and asked strangers to sign them as works of art (Accidental Drawing, 1968; Painting by Kre&scaron;imir Klinka 1969). This approach, which is designed to problematise the notion of authorship, also constituted the base for the series dedicated to “Casual Passers-by", presented for the first time in Zagreb in 1971 and at the VI Biennale of Paris. The series featured large-scale photographs of strangers presented as if they were important political figures or media celebrities. During the 1970s he participated in the Documenta in Kassel (1972, 1976) and the Venice Biennale (1976), while the Muzej suvremene umjetnosti of Zagreb held his first retrospective (1973). During this time he also started to travel to Italy, first invited to Naples by Lucio Amelio for a personal exhibition (1971) and then to Turin by Gian Enzo Sperone, with whom he continued to work. In 1976 he published the Tractatus Post Historicus, which discusses the linear and evolutionary nature of the historical-artistic process, and presented Tryptychos Post Historicus at the Nationalgalerie in Berlin, proposing a combination of exhibits from the museum collection, anonymous everyday objects and organic elements such as fruits and vegetables. The project was revived and further developed subsequently in numerous museums, including the Centre Georges Pompidou in Paris, the Tate Gallery in London, the Guggenheim Museum in New York, the State Russian Museum and the Louvre in Paris. In 1981, on the occasion of his personal exhibition at the Waddington Gallery in London, he proposed exhibiting two live peacocks alongside the collection dedicated to the masters of modern art. He continued working with animals throughout the 80s with the installations proposed at the Sarajevo Zoo (1983) and the personal exhibition at the Paris Zoo (1998). Creator An entity primarily responsible for making the resource Dimitrijević, Braco Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lions walking freely in the Louvre Description An account of the resource In 1996 Braco Dimitrijević, interviewed by Jean-Hubert Martin for "Flash Art", said: If you look at the earth from the moon there is virtually no distance between the Louvre and the zoo. There are cages at the zoo just as there are in the Louvre. My ultimate aim is to remove the doors and see the lions at large in the Louvre.<a title="" name="_ftnref1" href="#_ftn1"></a> This utopian project, donated to MoRE, is part of that line of research based on the combination between major art exhibitions and live animals, which the artist began to develop in 1981 with the installation <a href="http://bracodimitrijevic.com/index.php?album=animals&image=animals_001.jpg">Dust of Louvre Mist of Amazon</a> at the Weddington Gallery, where he let two peacocks roam freely through the exhibition of modern art collections. The work that most closely resembles Lionson-line walking freely in the Louvre was realised by Dimitrijević in 1995 for the exhibition at the Hessisches Landesmuseum in Darmstadt. <a href="http://bracodimitrijevic.com/index.php?album=animals&image=animals_004.jpg">Against historic sense of gravity </a>featured pythons from the Zoo of Cologne set free inside a specially built platform (with a heated pool and an island) containing female portraits dating back between the 16th and 19th century. As Nena Dimitrijević, art historian and Braco's wife, recalls presenting the project, there’s a tension towards a utopian and unfeasible dimension that characterises his entire career: [Braco Dimitrijević] has managed to achieve many of his projects, that at first seemed impossible, because of his nature and ability to theoretically support his ideas. For example, his use of the façade for the portraits of unknown people encountered a lot of obstacles at the time and opened the chapter regarding the use of urban vocabulary in art. <div><a href="https://www.repository.unipr.it/bitstream/1889/3247/1/Dimitrijevic_Lion%20walking%20freely%20in%20the%20Louvre.pdf" target="_blank" rel="noopener">Read more.</a></div> Creator An entity primarily responsible for making the resource Dimitrijević, Braco Date A point or period of time associated with an event in the lifecycle of the resource 1996 Contributor An entity responsible for making contributions to the resource Zinelli, Anna Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3247" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3247</a> Rights Holder A person or organization owning or managing rights over the resource. Braco Dimitrijević MoRE Museum Theoretical exercise http://moremuseum.org/omeka/files/original/848677ac6a54bc57ae2297eacf1b56a6.jpg 93fc9abb79bf9a1a5ff24ba209f124d8 http://moremuseum.org/omeka/files/original/158e6cc8d31f32f45c8756924b73474e.jpg 2cbaa12607f4d687330b51e12ccb443c http://moremuseum.org/omeka/files/original/627a9f9509b9b1832fbe815ab4be98fe.jpg 809ab07d6fc2454717e06db1d6287adc http://moremuseum.org/omeka/files/original/c2c32b40ba7aeea0e91e196039f746a8.jpg 487d3e176628c4d48a8809098cfd4d1d http://moremuseum.org/omeka/files/original/a5e88a4a35ef12078177fb5f9ede7988.pdf bd99043e2f7294504f896ed384e05cb5 http://moremuseum.org/omeka/files/original/2e8dc9690043b9560e3f931f9139682b.pdf 641c9de36176fbfb26998796847f1be4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Luca Vitone Description An account of the resource The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan. Creator An entity primarily responsible for making the resource Vitone, Luca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Concorso per la progettazione di un monumento dedicato ai disertori del nazismo Description An account of the resource Vitone in 2009 designed a memorial to the deserters from the Nazist army in the center of the city of Cologne,taking part in a competition, which he will not win. The artist, who has lived and worked in Germany, meditates from a political point of view on the ambiguity of act of desertion. The monument that he projects is made of a flagpole of about 12 meters - with a flag on top of it, decorated with the infinity symbol - placed on an iron base on which a map is visible, a typical element of Vitone’s research (in this case the one of city of Cologne). <a href="https://www.repository.unipr.it/bitstream/1889/3005/1/Luca%20Vitone_Concorso%20per%20la%20progettazione%20di%20un%20monumento%20dedicato%20ai%20d....pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Vitone, Luca Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/jpeg application/msword Language A language of the resource Italian Deutsch Type The nature or genre of the resource Text Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/3005" target="_blank" rel="noopener">http://hdl.handle.net/1889/3005</a> Rights Holder A person or organization owning or managing rights over the resource. Luca Vitone MoRE Museum Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/02865f65cdf4ff7b3ed7cc8d3423cd09.jpg 049f17b575736384cf8ff0fa6ac81c3c http://moremuseum.org/omeka/files/original/ff9d8900e110365ac49849e0c6c14430.jpg 5ce84d1dd7cd53fdf2b174e84d9f83b1 http://moremuseum.org/omeka/files/original/305bdb44b4a3265f85eb5300c6b2cf43.jpg 91954bf763c0380db8efc6c40d7c40ff http://moremuseum.org/omeka/files/original/478ba16e2a5e044410012a39ad9ce5a7.jpg 1b6f4e03c12696dd1d4278ecf1e27f24 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mathis Collins Description An account of the resource Mathis Collins was born in 1986 and is based in Paris and London. He studied at the Ecole d’Art de Cergy, then in Brussels, Montreal and Metz. Among the solo shows: “Wet French”, Levy.Delval, Brussels; 2016; “Dru-French”, Palais de Tokyo, 2016; “Dynasty”, Palais de Tokyo (with Cyril Verde), Paris, 2010. His works have been included in the group shows “Ce que raconte la solitude”, Friche Belle de Mai, Marseille, 2014 and in exhibitions at Astrup Fearnley Museum, Oslo, 2014 and Le Magasin, Grenoble, France. Mathis Collins takes part in the activities of the Parisian group Treize.  Creator An entity primarily responsible for making the resource Collins, Mathis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quercus Suber Utopia Description An account of the resource For the past few years, Mathis Collins has worked with cork harvesters, local populations of Mediterranean forests and villages and artists, and conceived works that focus on ecology, culture and economy of cork regions. Quercus Suber Utopia is a project for the making of a collective artwork, in the regions of South Europe and North Africa where grows Cork trees. The sculptures produced for Quercus Suber Utopia, based on a discussion on community buildings, would to be exhibited in each of the other participating communities in a continuous process of exchange and activity. Produced with cork, the sculptures or scale models of the communities utopian collective space, was to set a pan-regional discussion and understanding of the contemporary ecological and economical crisis of cork trees. <a href="https://www.repository.unipr.it/bitstream/1889/3003/1/Mathis%20Collins_Quercus%20Suber%20Utopia.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Collins, Mathis Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Scipioni, Lydia Elena Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3003" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3003</a> Rights Holder A person or organization owning or managing rights over the resource. Mathis Collins MoRE Museum Logistical reasons Technical reasons http://moremuseum.org/omeka/files/original/e2cf900f19f4652435d7001d56fbf646.tif 1f4e3e4bc1e882a2a7f98493a6eafe26 http://moremuseum.org/omeka/files/original/3e737c9202f0d996878e4a6b487fe8a2.tif eb7b302532e853e8db54d400d39a257f http://moremuseum.org/omeka/files/original/38a55626ed3723245514b28a25261804.tif 7fdcd77cdadd8996125adf904305d333 http://moremuseum.org/omeka/files/original/332fe4df5ed7c0b16fcebd3c9a64df12.tif 4ac8898678eddf5af31996aa3c2c45e3 http://moremuseum.org/omeka/files/original/ecceb19deacb4d5147bb576396b21bb3.tif b1fc29065f529ec16760a446193fbda1 http://moremuseum.org/omeka/files/original/954255c177dd3338dd1e96d0e1a2cbfc.tif 9b189664262f9058abcda413a5fefc8c http://moremuseum.org/omeka/files/original/fea17b44ade937d0d2a7892d8717e53a.tif dc23b14077d6e57b2e357a5ff9b6f511 http://moremuseum.org/omeka/files/original/1042058b874ab5e65d1ea856a35a624a.tif 0bc6c568758001f30320aa2260b9f850 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sandro Mele Description An account of the resource Born in Melendugno (Lecce) 1970, he lives and works in Rome. After graduating from the Academy of Fine Arts in Venice in 1994, he worked as an assistant to Fabio Mauri. Solo exhibitions: Aquì todo bien, 2016, Morelli Contemporary, Brussels; “Spunti per l’avvenire” Galleria Artforum Contemporary, Bologna 2015; "The American Brothers" Galleria Michela Rizzo, Venice, 2013; "Ventinovegiorni (di resistenza)" Menexa,Rome, 2012; “Lucha” fondazione Volume!, Rome, 2010; “Campo Argentino” galleria L’Union-fondazione Volume! Rome, 2006; “Argentina 2000” SACI Gallery, Florence, 2001. His works have been included in the following collettive exhibitions: "Lavoro/Work/Vore" Villa di Toppo Florio, Buttrio (UD), 2013; “GAP Generazioni a confronto” MAXXI B.A.S.E. Rome – 2012; Video Arte Italiana 2004-2012_Mamba Buenos Aires, 2012; “Hear Me Out” Castello Colonna, Genazzano, Rome, 2011; “Premiata officina trevana”  Palazzo Lucarini Contemporary – Centro per l’arte contemporanea, 2011; “Non tutto è in vendita” via farini 33, Bologna 2011; Ente comunale di consumo” Galleria Nazionale palazzo Arnone, Cosenza, 2011; “Ente comunale di consumo” Palazzo Vittoriano, Rome – curated by Claudi Libero Pisano, 2011; “Ente comunale di consumo” castello Colonna, Genazzano (Rome), 2010; “I colori del territorio”, Spoltore (Pe) 2010;  “Arts for the Earth/Natura Naturans”, Cellino San Marco,  Brindisi, 2010; “Il caos” Isola di San Servolo, Venice, 2009; “Mediterranean” Roma the road to contemporary art, Rome, 2009; Social forum europeo, Malmo –Sweden, 2008; “Latinolatino” Castello di Barletta, 2008; “Tracce del contemporaneo” Bos’art, Bosa, Alghero, 2007; “Todi arte festival “, Todi, 2006; “Querria cambiar el color a vuestro objeto mas querido?“, Puerto Lumbreras, Spain, 1999.  Creator An entity primarily responsible for making the resource Mele, Sandro Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cartoneros - Buenos Aires Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3000/1/Sandro%20Mele_Cartoneros%20–%20Buenos%20Aires.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Mele, Sandro Date A point or period of time associated with an event in the lifecycle of the resource 2006 Contributor An entity responsible for making contributions to the resource Scipioni, Lydia Elena Format The file format, physical medium, or dimensions of the resource image/tiff Language A language of the resource Italian Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3000" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3000</a> Rights Holder A person or organization owning or managing rights over the resource. Sandro Mele MoRE Museum Financial reasons Logistical reasons http://moremuseum.org/omeka/files/original/a74b34dd74c1ac755f3082b9bdf4e989.pdf 9219d64480adf108902ee676c8910092 http://moremuseum.org/omeka/files/original/ccc0bedb5fc432226ea29431b0a8219d.jpg c9b2e43786e75cfb17021e3a5651b3f7 http://moremuseum.org/omeka/files/original/501ef912149cb690a08b9afb85b50fa1.jpg c627a8c95cada05933a089c76c35b482 http://moremuseum.org/omeka/files/original/a86ce79d85ae68bbb952e04e605c4f01.jpg bb8afc17ec452640a4449d6091a2281d http://moremuseum.org/omeka/files/original/dfec9d595eb4d7e10e0ec3acc67630e9.jpg ff9b09f9ee71f0709673370e372e2ce6 http://moremuseum.org/omeka/files/original/958df3a09ff894176d47b2a25b4efb5c.jpg cb89c31fe88f3a3a3adb7336ef130c14 http://moremuseum.org/omeka/files/original/fec99f1fd0f011d267401d09d3d48f1f.jpg 4bb2990191ad368f9e7751f9292a5a52 http://moremuseum.org/omeka/files/original/8f9ae6c4f0723f8f17ace25f26518459.png 5ad1d9d69727a52bc91214450507e5b4 http://moremuseum.org/omeka/files/original/d2c21d87015cceaa4f79fdade4ce3ca1.jpg de36f782f4e70df8191442b9de16b374 http://moremuseum.org/omeka/files/original/b9e1b1c79b73ee439ca6ae11a051bab0.jpg c3ffc869e0f3db39959887e0717cbbae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Maria Adele Del Vecchio Description An account of the resource Maria Adele Del Vecchio (1976 Caserta), lives and works in Rome. She attended the Staedelschule Frankfurt in 2005/06, with Mark Leckey as her professor. In 2014, she ranked as a finalist in the tenth edition of the biennial Furla Prize, called The Nude Prize. Solo Exhibitions: Whitin rather than above, Gallerie Tiziana Di Caro, Naples, 2015; Tonite let's all make love in London, Supportico Lopez, Berlin, 2014; Qui sembra ancora possibile, curated by Maria Rosa Sossai, Parco del Pineto, Rome, 2011; No end is limited, curated by Stefania Palumbo, Galleria Enrico Fornello, Prato, 2008. Collective Exhibitions: Pane Per Poveri, Teatro Marinoni, Venice, 2015; Journey to the end of the word, curated by Antonello Tolve, Galleria Tiziana Di Caro, Salerno, 2014; Se il dubbio nello spazio è dello spazio, curated by Maria Adele Del Vecchio and Nemanja Cvijanovic, Museo MACRO, Rome 2014. Die Dritte Dimension, Frutta Gallery, Rome, 2013; Door to Door, curated by Maura Picciau, city centre, Salerno, 2012;  Badtime Stories Badtime Stories, Supportico Lopez, Berlin, 2011;  Classroom #1, curated by Salvatore Lacagnina, Museo MADRE, Naples, 2008; Sistema Binario, curated by Adriana Rispoli and Eugenio Viola, Mergellina Station, Naples, 2008;  A long time ago, last night, curated by Francesca Boenzi, Galerjia Kortil, Rijeka, Croatia, 2008. Falansterio, Supportico Lopez, Naples, 2006. Luogo/non-luogo = nuovo luogo, visiting professor Richard Nonas, Fondazione Antonio Ratti, Como, 2003.  Creator An entity primarily responsible for making the resource Del Vecchio, Maria Adele Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Subtext Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/3001/1/Maria%20Adele%20Del%20Vecchio_Subtext.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Del Vecchio, Maria Adele Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Scipioni, Lydia Elena Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource English Type The nature or genre of the resource Still Image Text Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3001" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3001</a> Rights Holder A person or organization owning or managing rights over the resource. Maria Adele Del Vecchio MoRE Museum Financial reasons http://moremuseum.org/omeka/files/original/5bea5629327db8f13222106a5320e08e.jpg 46f036a720b148a7e00bd357fbdbf2ba http://moremuseum.org/omeka/files/original/4a671a9224d056322aeabf7ad1047812.jpg d7d3cb64e8ecf62da6128db4f92aec75 http://moremuseum.org/omeka/files/original/a5f79782d81e2f2c4fd5156a9e41838d.jpg db55f867f6cb35e5b5404f7b6f5d7345 http://moremuseum.org/omeka/files/original/317d49c40069ccec681f47df91c07d36.jpg e2f932d997cff23c8b80cb7f351b8d78 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kostis Velonis Description An account of the resource Kostis Velonis received his Doctorate in architecture from the N.T.U.A University of Athens (2009). He studied Cultural Studies at the London Consortium (A A, Birckbeck College, ICA) and visual Arts at the Paris VIII University, Maitrise, D.E.A. Among the recent SOLO shows: This probably will not work Lothringer 13 - Städtische Kunsthalle München, Munich, 2015; Mount the Air, Kalfayan Galleries, Athens, 2015; The Grammary of Puppetry, Monitor Gallery, Rome, 2012; The promise of Happiness, Signal Center for Contemporary Art, Malmo, Sweden, 2011. Among the group shows: Adventures of the Black Square: Abstract Art and Society 1915- 2015, Whitechapel Gallery, London, 2015; Supersuperstudio, Padiglione Arte Contemporanea, Milan, Italy; In the Name of Le Corbusier, Spiteris Residence, School of Architecture N.T.U.A, Athens, 2015; The Theater of the World, Museo Tamayo, Mexico City, 2015; This is Not My Beautiful House, Kunsthalle Athena, Athens, 2014; No Country for Young Men, BOZAR, Brussels, 2014; Tout Feu Tout Flamme, Lefebvre & Fils, Paris, 2014; Direct Democracy, MUMA /Monash University Museum of Art, Melbourne, 2013; Hell as a Pavillion, Palais de Tokyo, Paris, 2013; Newtopia. The State of Human Rights, Mechelen Cultural Centre, The Academy of Fine Arts, Scheppers Institute Mechelen, Belgium, 2012; Material and Culture - MAK Center for Art and Architecture-Schindler, California. Creator An entity primarily responsible for making the resource Velonis, Kostis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monument for a Forgotten Education (based on Goeritz's and Barragan's “Torres de Satélite”,1958) Description An account of the resource Monument for a Forgotten Education is a model version of the public monument of Mathias Goeritz and Luis Baraggan Torres de satellite (satellite towers) which is located in Mexico City and is assumed to be one of the most characteristic public projects of Mexican modernity. Monument for a Forgotten Education is conceived with the aim to replace the walls of the Monument “Torres de satellite" made from reinforced concrete with chalkboard paint on wood, giving an emphasis to the educational awareness, rewriting the history of a certain modernity that deals with abstraction and collective amnesia. The aesthetic values of public monuments have thus been reverted as by the substitution of the original material as well as the different scale of the model. Monument for a Forgotten Education is included to a production of works under the general title of Part Company. These works combine antithetical approaches to community living and social participation by two distinct figures of Mexican Modernism, Greek-Mexican activist Plotino Rhodakanaty (1828-1892) and Mexican artist of German origin Mathias Goeritz (1915-1990). The artist adapts models of public sculptures by Goeritz informed by research on Rhodakanatys’ political concepts. The constructions explore a broader context around social class, politics of sculpture, architecture and design, encompassing rather than isolating these two separate ideologies. Understanding modernity's discourse through Goeritz's approach is an intriguing way to justify the rejection of memory (from collective to interpersonal relationships) and complements Rhodakanaty's ethics through which Goeritz cannot be restricted exclusively to the field of aesthetics, just as socialist narratives may not be solely perceived through a passive reception of a political message. <a href="https://www.repository.unipr.it/bitstream/1889/3002/1/Kostis%20Velonis_Monument%20for%20a%20Forgotten%20Education.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Velonis, Kostis Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Scipioni, Lydia Elena Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Kostis Velonis MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3002" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3002</a> Theoretical exercise http://moremuseum.org/omeka/files/original/70aafe69febc270b40bd91ac4320bc5a.jpg 23e3fadc0944c01a4da276f86047810d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ibro Hasanović Description An account of the resource Ibro Hasanović was born in Ljubovija (Yugoslavia) in 1981. He currently lives in Pristina, Kosovo. His works have been recently exhibited at Austrian Cultural Forum, New York, Künstlerhaus Vienna, Vienna; Munchner Stadtmuseum, Munich; Garage Museum of Contemporary Art, Moscow; Museum of Fine Arts, Split; Kunsthalle Wien, Wien; the 55th October Salon, Belgrade; National Gallery of Kosovo; Museum of Contemporary Art, Zagreb; Künstlerhaus - Halle für Kunst & Medien, Graz; the 2nd Project Biennial D-0 ARK Underground, Bosnia and Villa Romana, Florence. Creator An entity primarily responsible for making the resource Hasanović, Ibro Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lilium Bosniacum Description An account of the resource 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 registered plant varieties.  <a href="https://www.repository.unipr.it/bitstream/1889/2999/1/Ibro%20Hasanović_Lilium%20Bosniacum.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Hasanović , Ibro Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Scipioni, Elena Lydia Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource English Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Ibro Hasanović MoRE museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/2999" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2999</a> Financial reasons http://moremuseum.org/omeka/files/original/dce071a417ac7efe3e2838a5bf5c0968.jpg 7a3f18c42fe97da658690fa14d5cb1c1 http://moremuseum.org/omeka/files/original/e05e98ebbddacc8b43571cbac13619d7.jpg 9d3b48dd94ce0c3fc1ba9f9834a68577 http://moremuseum.org/omeka/files/original/ef79a1afe43a7f9d6867943e4e75ec99.jpg c1114176e4ed5bdf437eb74788a33cd0 http://moremuseum.org/omeka/files/original/ea31ad5416e80f7c0edbd6e096fc0e13.jpg 9b547ce2fc3b63c762355b64c641b5cc http://moremuseum.org/omeka/files/original/0b3bb80e8b99aaf5377fea491f6e5b20.jpg ec1f3f6623402bd512b0f069dbe80d63 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource G. Küng Description An account of the resource G. Küng (born 1982, New York) lives and works in Brussels since her 2013 residency at Wiels Contemporary Art Centre. She earned a BFA from The Cooper Union for the Advancement of Science and Art in New York in 2004 and an MFA from The Glasgow School of Art in 2012. Recent exhibitions include Luigi Ghirri/G.Küng: Looking in and a solo exhibition, Inexhaustible Gifts of Celebratory Fruits, both at Galerie Antoine Levi, Paris where she is represented. She was one of ten participants in the national competition of The Young Belgian Art Prize in 2015. Creator An entity primarily responsible for making the resource Küng, Georgia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource as yet untitled (Stairs) Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/2998/1/G.Kung_as%20yet%20untitled%20%28Stairs%29.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Küng, Georgia Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Scipioni, Elena Lydia Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource English Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. G. Küng MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/2998" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2998</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/6993ab248bce4e3d6134c6559c1bcda7.pdf b9a52a5e37022fae64b200a83ecec0e6 http://moremuseum.org/omeka/files/original/fdf276549e75be03fa789fd600a86503.pdf 178bc9cda9eeba40e322e79369940eff http://moremuseum.org/omeka/files/original/4b9bbaece85eb66b55e5e2290a8998c9.pdf 8367510cddff1e657f5e768fc8725621 http://moremuseum.org/omeka/files/original/9ce6f39eb0c582bd4bec8097aef1e056.jpg f6590671aaa973956bf3fc5e4185757e http://moremuseum.org/omeka/files/original/73d9c13bbc57d6d85424e3b79d733488.jpg 3a42286b963d7ca3151767f2fcf4f374 http://moremuseum.org/omeka/files/original/28c3514e63f46d5cf26d30edd1c90aa4.jpg 91b550b5904e732d952e344ddb73e752 http://moremuseum.org/omeka/files/original/89f379da058c9a3571d7d00a93d69ee6.jpg 9fa488aa192ff60ef1e73d9b6a3d4b7c http://moremuseum.org/omeka/files/original/7cfb85d5d5b46eadb2e7721b6d75c867.jpg 16d8c4affd71121388d0ca119baa8752 http://moremuseum.org/omeka/files/original/2c9a2f73c94df0d6f0dbdc32b879b65b.jpg d853ce20e09b6e62d745906cc6d134df Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Luca Vitone Description An account of the resource The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan. Creator An entity primarily responsible for making the resource Vitone, Luca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Concorso di progettazione Piazza Verdi - La Spezia Description An account of the resource The project, realized with architect and curator Frank Boehm, was presented in 2009 on the occasion of the design competition for the architectural and artistic requalification of Piazza Giuseppe Verdi, announced by the city of La Spezia and P.A.A.L.M.A. (Premio Artista Architetto La Marrana Arte Ambientale) in partnership with Fondazione Cassa di Risparmio della Spezia. The idea of the artist and the architect was to convert the square into a pedestrian area, a kind of “urban living room”, a place of meeting. The square is divided into three equal parts: in the lateral parts they wanted to recreate an ideal Italian Garden, with orange trees, accessible on the west side to the customers of the coffee shop and on the opposite side to the students of the high school and junior high school. While in the central area, where the 1930’s building of the postal service is located, they planned to realise a rectangular fountain to be placed in front of the irregular staircase of the postal service building, and the protruding pavement, similar to piers inside the water. <a href="https://www.repository.unipr.it/bitstream/1889/3004/1/Luca%20Vitone%20e%20Frank%20Boehm_Concorso%20di%20progettazione%20Piazza%20Verdi.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Vitone, Luca Boehm, Frank Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/jpeg application/msword application/pdf Language A language of the resource Italian Rights Holder A person or organization owning or managing rights over the resource. Luca Vitone & Frank Boehm MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3004" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3004</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/826e394020e080841f9700acd53809ae.jpg d1097a20ecf62d1e1290f8e30b9e12c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L'omaggio - 2005.jpg Format The file format, physical medium, or dimensions of the resource file jpeg, 10,837x7,214 cm, 300 dpi Description An account of the resource Montage of the work for the funeral of Pope John Paul II. http://moremuseum.org/omeka/files/original/bbec47775b018deb9c169fd5d4165304.jpg d4e84eb66bd211273dd5da95d27e34ef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L'omaggio 2 - 2005.jpg Format The file format, physical medium, or dimensions of the resource file jpeg, 25,468x 16,933 cm, 300 dpi Description An account of the resource Montage of the work for the funeral of Pope John Paul II. http://moremuseum.org/omeka/files/original/ab25f6ab3d284e32ffc9566ba0ca9540.jpg b2deec6bbc1938bf6fe472228f386407 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L'omaggio 3 - 2005.jpg Format The file format, physical medium, or dimensions of the resource file jpeg, 10,837x7,214 cm, 300 dpi Description An account of the resource Montage of the work for the funeral of Pope John Paul II. http://moremuseum.org/omeka/files/original/ef6f2b425710cc904856d60e08d1307d.pdf 469c50d38d5f624ce213e33caf72eb81 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource file.pdf Format The file format, physical medium, or dimensions of the resource File pdf Description An account of the resource Online article published on EXIBART.com covering H.H. Lim's car accident. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource H.H. Lim Creator An entity primarily responsible for making the resource Lim, H.H. Description An account of the resource H.H. Lim was born in Malaysia and graduated from the Academy of Fine Arts in Rome. Since 1976 he has been living and working between Rome and Penang. He is the founder and organizer of the exhibition space Edicola Notte, which has been one of the most dynamic and proactive realities in the capital since 1990. He has participated in numerous solo and group exhibitions: Oltre. Il primo piano, Italian Cultural Institute, Budapest (2015); Brera in contemporaneo Accademy of Brera, Milan (2015); No coffee no cigarettes, Paola Verrengia Gallery, Salerno (2015); Passaggi, Musée d'Art Modern et Contemporain, Saint- Etienne (2015); Mirare Giacomo Leopardi, Idill'io No. 13, Recanati (2015); Mirare, Idill'io No. 11, Recanati (2015); RI-FLESSIONI, R.A.M. radioartemobile, Rome (2015); National Visual Arts Gallery, Kuala Lumpur, Malaysia (2015); Migrating Forms and Migrating Gods, The Museum of Goa, a side event of the Biennale of Muziris Kochi, India (2014); Tornare al Senso Costruttivo, performance at the Verdi Theatre, Milan (2014); Open Museum Open City, project for R.A.M. radioartemobile and for the collection Maxxi, Rome (2014); Sconfinamenti, the 57th Festival of the Two Worlds, Spoleto (2014), Politicamente Parlando, Bianconi Gallery, Milan (2014); La Nuit Blanche, La Gaite Lyrique, Paris (2013); 6th Prague Biennale, Prague (2013); 55th International Art Exhibition of the Venice Biennale, Pavilion of the Republic of Cuba, Venice (2013); John Cage Experiments And Its Context, NCCA National Center of Contemporary Art, Moscow (2013); Landscape on the Move, De Vleeshal & De Kabinetten van de Vleeshal, Middelburg, The Netherlands (2012); Il tesoro nascosto, GNAM National Gallery of Modern Art, Rome (2011); Hidden Treasure, Tang Gallery, Bangkok (2011); 12th International Architecture Exhibition of the Venice Biennale, Venice (2010); 3 Camere, R.A.M radioartemobile, Rome (2010); Gone with the Wind, UCCA Ullens Center for Contemporary Art, Beijing (2010); Onda Anomala, a side event of Manifesta 7, Von Morenberg, Trento (2008); Guangdong Station, Art Museum, Guangdong (2008); Emergency Biennale, the Istanbul Biennial, Istanbul (2007); Wherever We Go, Walter & McBean Galleries, San Francisco (2007); The 5th Ink Painting Biennial of Shenzhen, He Xiangning Art Museum, Shenzhen (2006); "Sweet Taboos" "Go Inside", 3rd Tirana Biennale, National Art Gallery, Tirana (2005); À l'ouest du sud de l'est, CRAC Regional Center of Contemporary Languedoc-Roussillon Art, Sète, France (2004); Villa Arson, Nice (2004); Le Opere e i Giorni, Certosa of San Lorenzo, Padula (2002); Tribù dell'Arte, MACRO Museum of Contemporary Art, Rome (2001). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Omaggio a Wojtyla Creator An entity primarily responsible for making the resource Lim, H.H. Date A point or period of time associated with an event in the lifecycle of the resource 2005 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/2898/1/HH%20Lim_Omaggio%20a%20Wojtyla.pdf" target="_blank" rel="noopener">Read more</a>.   Rights Holder A person or organization owning or managing rights over the resource. H.H. Lim MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2898" target="_blank" rel="noopener">http://hdl.handle.net/1889/2898</a> Logistical reasons Theoretical exercise http://moremuseum.org/omeka/files/original/0baaa6bde318fe9f6515a7e3a252b5ad.jpg 1a85bc1102bad1173998e27dd556c0e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Progetto x Gibellina.jpg Format The file format, physical medium, or dimensions of the resource file jpeg, 20,003 x 18,256 cm, 240 dpi Subject The topic of the resource Photo of the model of the sculpture http://moremuseum.org/omeka/files/original/6498d9f793a56d7a301f3c5ebef7ae43.jpg 6e61b01323edccd6b9920370e5d37ff9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Progetto x Gibellina 001.jpg Format The file format, physical medium, or dimensions of the resource file jpeg, 6,363 x 10,173 cm, 200 dpi Description An account of the resource Photo showing Elio Marchegiani and Carola Pandolfo during the presentation of the model to the mayor of Gibellina, Ludovico Corrao. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elio Marchegiani Description An account of the resource Elio Marchegiani was born in Syracuse in 1929 to Sicilian parents. In 1934 his family settled in Livorno, where he spent his childhood and youth. He began painting as an autodidact. Following the family tradition, he received a classical eduction and enrolled at the Law Faculty of the University of Pisa. However, Mario Nigro's acquaintance made him change his path. He began to organize exhibitions and cultural events, but it's his friendship with Gianni Bertini that convinced him to leave the province behind and pursue artistic adventures in cities such as Paris, Milan, Rome and Bologna. The island of Favignana is where he preferred to spend the summers. For several years now he has been living in Pianoro Vecchio, a residential area on the hills, on Via Toscana, alternating the summers in Misano Adriatico and the island of Ischia. <a href="http://www.eliomarchegiani.com" target="_blank">http://www.eliomarchegiani.com</a> Creator An entity primarily responsible for making the resource Marchegiani, Elio Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monolite in bilico Creator An entity primarily responsible for making the resource Marchegiani, Elio Date A point or period of time associated with an event in the lifecycle of the resource 1979 Contributor An entity responsible for making contributions to the resource Scotti, Marco Relation A related resource Dspace: Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Still Image Description An account of the resource 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." <a href="https://www.repository.unipr.it/bitstream/1889/2901/1/Elio%20Marchegiani_Monolite%20in%20bilico.pdf" target="_blank" rel="noopener">Read more</a>. Rights Holder A person or organization owning or managing rights over the resource. Elio Marchegiani MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="%20http://hdl.handle.net/1889/2901" target="_blank" rel="noopener">http://hdl.handle.net/1889/2901</a> Logistical reasons http://moremuseum.org/omeka/files/original/6339ee1a1bbe56e93f8ef855b80e3d8a.pdf c08db6638102d43a4529a38e09b0eeea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 03Bianco-Valente descrizione.doc Format The file format, physical medium, or dimensions of the resource File pdf Description An account of the resource Project description, wrote by the artists http://moremuseum.org/omeka/files/original/c80e003c80973953bd5e23479bd43c3a.jpg 42d2f7b0ed97fd99fdb0bb53d566fe42 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 03BiancoValente, Schizzo per progetto senza titolo 1999-2001.jpg Format The file format, physical medium, or dimensions of the resource file jpeg, 40,682 x 28,296 cm, 300 dpi Description An account of the resource Bianco-Valente, Sketch for progetto senza titolo, 1999-2001 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bianco-Valente Description An account of the resource Since the Nineties, the two artists Bianco-Valente test the reaction of our minds to the new technological landscape that surrounds us. Their work combines aesthetic, technologic and humanistic knowledge in such a precise way that we can consider them anthropologists in a contemporary scenario where the digital divide also means a difficulty in perception between what it was and what it is. Their installations and performances often investigates what gets lost or what we gain in terms of awareness, understanding and relationship. Creator An entity primarily responsible for making the resource Bianco-Valente Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Progetto senza titolo Creator An entity primarily responsible for making the resource Bianco-Valente (Bianco, Giovanna & Valente, Pino) Date A point or period of time associated with an event in the lifecycle of the resource 1999-2001 Contributor An entity responsible for making contributions to the resource Romano, Gianni Format The file format, physical medium, or dimensions of the resource application/pdf image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Description An account of the resource This project derives from the artists’ research around the Turing Test. Two computers set up with basic complementary knowledge responded to the visual inputs that the visitor showed to one of them: the first computer processed the image and then verbally communicated it to the second computer, in fact the first computer spoke to the second describing the image. The second computer, on the basis of information stored in its memory, activated a process of representation of the description, which it then actually represented through a projector next to the image that had been shown to the first computer. The two images were finally exposed side by side, showing the translation process image> word> image. The project needed a great number of technical and scientific partnerships to make the data transmission possible. However, the concept behind the project came to life with two performances the artists realized in 2011 and 2014. <a href="https://www.repository.unipr.it/bitstream/1889/2899/1/Bianco-Valente_Progetto%20senza%20titolo.pdf" target="_blank" rel="noopener">Read more</a>. Rights Holder A person or organization owning or managing rights over the resource. Bianco-Valente MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2899" target="_blank" rel="noopener">http://hdl.handle.net/1889/2899</a> http://moremuseum.org/omeka/files/original/22b899d900f152badd3425a757641211.tif 43078161016ff24f1edd92892ffb764f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paolini_Overview 2012_Model-1.tif Description An account of the resource Photograph of the model taken for the project Format The file format, physical medium, or dimensions of the resource file tiff, 33,158x 25,425 cm, 304,8 dpi http://moremuseum.org/omeka/files/original/a2cd9a61615306f38845fa2f30e4885e.tif 257251b2aaa4a29f7d1a87074cf10561 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paolini_Overview 2012_Model-2.tif Description An account of the resource Photographs of the model taken for the project Format The file format, physical medium, or dimensions of the resource file tiff, 33,142x 22,283 cm, 304,8 dpi http://moremuseum.org/omeka/files/original/822e337365404a92f870c71dcb5e5cb6.pdf 3cc81316f5430e7c87cd9f1ee8102ada Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paolini_Overview_Documentation.pdf Description An account of the resource Documentation of the project Format The file format, physical medium, or dimensions of the resource File pdf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giulio Paolini Description An account of the resource Giulio Paolini was born on November 5th, 1940 in Genoa, and lives in Turin. Since his first participation in a group exhibition (1961) and his first solo show (1964), he has had countless exhibitions in galleries and museums the world over. His major retrospectives include: the Palazzo della Pilotta in Parma (1976), Stedelijk Museum in Amsterdam (1980), Nouveau Musée in Villeurbanne (1984), Staatsgalerie in Stuttgart (1986), Galleria Nazionale d’Arte Moderna in Rome (1988), Neue Galerie am Landesmuseum Joanneum in Graz (1998), GAM Galleria Civica d’Arte Moderna e Contemporanea in Turin (1999), Fondazione Prada in Milan (2003), Kunstmuseum in Winterthur (2005), MACRO Museo d’Arte Contemporanea Roma in Rome (2013) and Whitechapel Gallery in London (2014). He has participated in many Arte povera exhibitions and has been invited on several occasions to the Documenta in Kassel (1972, 1977, 1982, 1992) as well as to the Venice Biennale (1970, 1976, 1978, 1980, 1984, 1986, 1993, 1995, 1997, 2013). Since 1969 he has also designed sets and costumes for the theatre, notably projects devised with Carlo Quartucci in the eighties and the recent sets for two Wagner operas directed by Federico Tiezzi. Having trained as a graphic designer, he has always nurtured special interest in the field of publishing and writing. From the outset his artistic exploration has been accompanied by his thoughts, collected in books he has personally edited: from Idem, published in 1975 by Einaudi with an introduction by Italo Calvino, to his most recent publications, Quattro passi. Nel museo senza muse (Einaudi, Turin 2006), Dall’Atlante al Vuoto in ordine alfabetico (Electa, Milan 2010) and L’autore che credeva di esistere (Johan & Levi, Milan 2012). Many books have been published devoted to Paolini’s oeuvre: from the first monograph written by Germano Celant (Sonnabend Press, New York 1972) to the volume by Francesco Poli (Lindau, Turin 1990) and, lastly, the Catalogue Raisonné of the artist’s works dated from 1960 to 1999, edited by Maddalena Disch (Skira Editore, Milan 2008). For further information, please see the artist’s website: <a href="http://www.fondazionepaolini.it" target="_blank">www.fondazionepaolini.it</a> Creator An entity primarily responsible for making the resource Paolini, Giulio Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quadro Generale Description An account of the resource The project by Giulio Paolini entitled Quadro generale (Overview) was developed by the artist between 2010 and 2012, and intended to be placed near the south steps within the Sully Wing of the Louvre Museum in Paris, which commissioned the piece. Although the artist's proposal had been approved in its final version in the summer of 2012, the initiative was not followed through for various reasons, including the appointment of a new director at the museum. The installation that Paolini had designed included a geometric structure in stainless steel, built around a square hanging from the ceiling in the center of the space. It contained fragments of plexiglass engraved with the same geometric designs which would have been placed on the surrounding walls, as if they had been scattered by an explosion of the nucleus. This complex structure, by its nature variable and cryptic although clearly structured, represents – as Paolini himself stated - the very idea of the museum: "some sort of 'big bang' of continued proliferation destined to an inexorable, vertiginous fragmentation until it almost exhausts much like a 'black hole' that prevents us to decipher it." <a href="https://www.repository.unipr.it/bitstream/1889/2903/1/Paolini_Quadro%20Generale.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Paolini, Giulio Date A point or period of time associated with an event in the lifecycle of the resource 2010-2012 Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/tiff application/pdf Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Giulio Paolini More Museum Identifier An unambiguous reference to the resource within a given context <a href="%20http://hdl.handle.net/1889/2903" target="_blank" rel="noopener">http://hdl.handle.net/1889/2903</a> Logistical reasons Political reasons http://moremuseum.org/omeka/files/original/84b2318f506ed90bc03fa738e5e97f1c.pdf 8062454a035287653ef5910016b35af1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Del Piero.docx Description An account of the resource Letter sent by the artist to Alessandro Del Piero to invite him to take part in the project. Format The file format, physical medium, or dimensions of the resource File pdf http://moremuseum.org/omeka/files/original/2eff8e7524a9f5d6fbc96465dfd439df.jpg 9c6c84c0b3b4e9efaae44f1c1e91907a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource FotowebpersitoBambinGesudelleMani.jpeg Description An account of the resource Photography of Bambin Gesù delle mani by Pinturicchio (1492). This fresco painting, removed by the Borgia Apartments in Vatican, has been hidden to the public for almost five hundred years and is exhibited today at the Fondazione Guglielmo Giordano of Perugia. Format The file format, physical medium, or dimensions of the resource file jpeg, 15,24 x 20,32 cm, 72 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Enzo Umbaca Description An account of the resource Enzo Umbaca, born in Caulonia in 1964, lives and works in Milan. He studied Scenography at Brera Academy. His artistic research spreads across different languages ranging from video to photography and performance, to focus on identity and the history of places, engaging the community and trying to identify himself with the other. Creator An entity primarily responsible for making the resource Umbaca, Enzo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Del Piero Description An account of the resource Taking inspiration from “Pinturicchio”, the epithet invented by Gianni Agnelli to describe Alessandro Del Piero as “an artist of football”, Enzo Umbaca invited the famous football player to take part in a performance; the idea was to ask Pinturicchio-Del Piero to paint a fresco on a wall of a gallery in Turin by kicking a ball stained with graphite against a wall on which was hanging a reproduction of an artwork by Pinturicchio. The project was conceived for the second solo exhibition of the artist at Franco Soffiantino Gallery in Turin and it was never realised since Del Piero did not answer to the invitation. <a href="https://www.repository.unipr.it/bitstream/1889/2902/1/Umbaca_Del%20Piero.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Umbaca, Enzo Date A point or period of time associated with an event in the lifecycle of the resource 2007 Contributor An entity responsible for making contributions to the resource Romano, Gianni Format The file format, physical medium, or dimensions of the resource application/pdf image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Enzo Umbaca More Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2902" target="_blank" rel="noopener">http://hdl.handle.net/1889/2902</a> Logistical reasons http://moremuseum.org/omeka/files/original/cc3de28a80374fa75986ae2367c549fd.pdf 2e3e976560efef3580bf7e3e80df3a71 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 01Kensuke-descrizione.docx Description An account of the resource Letter in which the artist describes the project Format The file format, physical medium, or dimensions of the resource File pdf http://moremuseum.org/omeka/files/original/b7617816fbfdaf250fb685b9f9d79227.jpg 0ec9fae1161521ea4146f7303185ab2b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 01container3.jpg Description An account of the resource Photograph of the first prototype of the work Format The file format, physical medium, or dimensions of the resource file jpeg, 28,222 x 35,278 cm, 72 dpi http://moremuseum.org/omeka/files/original/d960d18645f416e511a29dd073a5eca7.jpg 219d2e486cc3d26ef504ca6ba70ff6cb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource file jpeg, 28,222 x 35,278 cm, 72 dpi Description An account of the resource Photograph of the first prototype of the work Title A name given to the resource 01container4.jpg http://moremuseum.org/omeka/files/original/804dbbb4aa43ad2528d1afc4d37b9071.jpg 7be259142679cf5a9b22df7de2c87edf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Format The file format, physical medium, or dimensions of the resource file jpeg, 28,222 x 35,278 cm, 72 dpi Title A name given to the resource 01container5.jpg Description An account of the resource Photograph of the first prototype of the work Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kensuke Koike Description An account of the resource Kensuke Koike (born in Nagoya, Japan in 1980 – lives and works between Sempas, Nova Gorica and Venice). His artistic research focuses on the variations of imagination and human perception; he works mainly on collages, from the traditional and technically simple photo collage to a three dimensional collage in motion, realized by collecting a series of image-trouvé. But the appeal of his work often comes from the fact of adding to the image of the readymade the concept, borrowed from alchemy, of “finding value in nothing”. Creator An entity primarily responsible for making the resource Koike, Kensuke Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Containers Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/2900/1/Kensuke%20Koike_Containers.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Koike, Kensuke Date A point or period of time associated with an event in the lifecycle of the resource 2012 Contributor An entity responsible for making contributions to the resource Romano, Gianni Format The file format, physical medium, or dimensions of the resource application/pdf image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Kensuke Koike MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2900" target="_blank" rel="noopener">http://hdl.handle.net/1889/2900</a> project abandoned by the artist http://moremuseum.org/omeka/files/original/e87ad7cd439d7d2a850977867f599116.jpg f2d1e72318e7667e18e7abd29a68489d http://moremuseum.org/omeka/files/original/77a1152742913898c612a73bb64fdade.jpg 330049180837a48202b6f14548073ea8 http://moremuseum.org/omeka/files/original/347910eb65ae82b20fcaca3c410ae920.jpg e826bc40fa2137a5523143b832a4e53b http://moremuseum.org/omeka/files/original/69ec23ad52efaf9d77d7557efcf94f6f.jpg da303362d2f50ccb2bd5b9fcde583095 http://moremuseum.org/omeka/files/original/4cfe9685e76e77a645be8a6129308703.jpg 309d604dda0032854efd1ecd2ccc3719 http://moremuseum.org/omeka/files/original/e75e596e8d4e57eb8809c2f827d98521.jpg 8e67cb6aef0d45425476c57488dd8acf http://moremuseum.org/omeka/files/original/b95d6b8e174601b6c6f61397886776f6.jpg f6623f24175a7f76bbee67f54b8eaf25 http://moremuseum.org/omeka/files/original/983665ea373f5f5ac30ec652f6e4de98.jpg 20d0961ae2e169280624a4f8f697ac9f http://moremuseum.org/omeka/files/original/cb732094ed94d268ce174352ebf0abb6.jpg ad71a0dd4727c6234f6376025378aa6c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sissi Description An account of the resource The artistic work of Sissi starts from the desire of investigating scientific and technical themes to reach, through art, a parallel, imaginary and fantastic dimension capable of ascribing a new identity to things. Her body is the center of her research, modified through an artistic process that uses disciplines as anthropology, archaeology and anatomy to meditate on the social and cultural dynamics linked to the physical life of the body inside society. This reflection is developed through different media, from performance to installation, from photography to drawing, painting and artist’s books. Her works have been shown in numerous collective and solo exhibitions and in major galleries and museums, including Fondazione Volume, Roma; Museo del 900, Milano; Fondazione Pomodoro, Milano; 53. Biennale di Venezia; Quadriennale, Museo d'Arte Contemporanea, Zagabria, Macro, Roma; Mambo, Bologna; Turku Biennial; Chelsea Art Museum, NewYork; Brooklyn Museum, New York, Smak di Gent; MOCA, Miami; Neue Galerie am Landesmuseum Joanneum, Graz. Winner of numerous distinguished prizes and awards, she won the Gotham Prize in 2012, the American Academy in Rome Fellowships in the Arts in 2006; the New York Prize established by the Ministry of Foreign Affairs in 2005; the Francesca Alinovi Prize for performers assigned by the Gam in Bologna in 2003. She took part to the artist-in-residence program at the Tokyo Wonder Site, Tokyo Metropolitan Foundation for History and Culture in 2008; in 2006 she won the Premio New York by The Italian Academy for Advanced Studies of the Columbia University and in 2004 she was invited as artist in residence at the Neue Galerie am Landesmuseum Joanneum in Graz. In 2002 she won the Querini Stampalia Award “Furla per l'Arte”. Creator An entity primarily responsible for making the resource Sissi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cloakroom workshop, Frieze Description An account of the resource The project donated to MoRE was initially conceived for London Frieze Art Fair. The artist submitted an application for Frieze Projects, curated by Nicola Lees of the Frieze Foundation, and she was among the finalists with a proposal of transformation of a space inside the exhibition complex. Her project intended to transform the cloakroom of the museum into a sewing and fashion atelier, open during the whole event. In this atelier the artist would have reproduced and reinterpreted the coats and clothes left by the visitors while they were visiting the exhibition, to create some original pieces of art. The project was not selected.  <a href="https://www.repository.unipr.it/bitstream/1889/2860/1/Sissi_Cloakroom%20Workshop.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Sissi Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Sissi MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2860" target="_blank" rel="noopener">http://hdl.handle.net/1889/2860</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/9c2420461ac8d457207fdec822b732ed.pdf fe813ba181d7fd8138d9213b9e767fe1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Crediti del progetto http://moremuseum.org/omeka/files/original/d7580949528da304112b7cb4312c0587.pdf 3d8c3f5061db112de90b6060e6cc78d9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lettera di invito al concorso http://moremuseum.org/omeka/files/original/a9ef16bca78702f7413d9a9141650bc9.pdf fb872ca00ed25885b020c4ed086c5cab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tavola con il prospetto e le misure dell’opera. http://moremuseum.org/omeka/files/original/79cf50ff2c8ac1aa88959b5d63f48003.pdf 150c5e23582f1e2895ae064db9c05f80 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tavola di sintesi http://moremuseum.org/omeka/files/original/efdf5979ffad0f925f569af0d43b0fda.pdf 5e62af208b4fe329dc232b9188761fab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Documento di sintesi con le due proposte di collocamento dell’opera nel contesto. http://moremuseum.org/omeka/files/original/a32d1d588a9f449f52c488ae443fb425.pdf 8e00dc17511e934533f979036faef0c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource tavola per lo studio del contesto http://moremuseum.org/omeka/files/original/8453c2126106afecc96ef44f14c91a56.jpg 8b8e04f9b1ee8b245e43bbc2cee277dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource fotografie per lo studio del contesto http://moremuseum.org/omeka/files/original/a7469b234699b5b5fbc8a28bb5dcf47b.jpg aedeecb6d734839ac0bb657fce94f638 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource fotografie per lo studio del contesto http://moremuseum.org/omeka/files/original/4edb241393382d563eb72a04dd39e331.jpg d65ccfeaef8344327102a01af89778ba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource fotografie per lo studio del contesto Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flavio Favelli Creator An entity primarily responsible for making the resource Favelli, Flavio Description An account of the resource Born in Florence in 1967, Flavio Favelli lives and works in Savigno (Bologna). Having graduated with a major in Oriental History from University of Bologna, he participates in Link Project (1995-2001) attending the TAM residency in Pietrarubbia, under the supervision of Arnaldo Pomodoro (1995) and the Advanced Course in Visual Arts at Fondazione Antonio Ratti, hosted by Allan Kaprow (1997). Favelli has exhibited both in private and public spaces, in Italy and abroad, including MACRO (2010), MAXXI (2012 and 2015), the American Academy (2010), Fondazione Volume! (2006), Sales Gallery in Rome (2008, 2010, 2013), Museo del 900 (2012) Museo della Permanente (2002) Francesca Minini Gallery in Milan (2014), MAMBO (2011), Centro Arti Visive Pescheria in Pesaro (2010), Museo Marino Marini in Florence (2009), Francesco Pantaleone Gallery (2008), Museo RISO (2011), A Project Space in Palermo (2012), Museo di Villa Croce in Genua (2005), Centro per l'Arte Pecci in Prato (2005), Palazzo delle Papesse in Siena (2002), Fondazione Sandretto Re Rabaudengo (2007), Maze Gallery in Turin (2001 and 2003), Maison Rouge Fondation Antoine de Galbert in Paris (2007), Projectspace 176 (2005), IIC in London (2003) and in ICC in Los Angeles (2004). Among his main collective exhibitions, Favelli has also shown his works at Peggy Guggenheim Collection in Venice (2011), at GAMEC in Bergamo (2011 and 2012), at Castello di Rivoli (2012) and GAM (2006) in Turin, at Havana XI Biennial (2012), at IBID Project Gallery (2011), at the festival No Soul For Sale at Tate Modern in London (2010), at Fondazione Pomodoro (2010) and Raffaella Cortese Gallery (2009) in Milan, at MADRE (2010) and at PAN Museum (2006) in Naples, at MOCA in Shanghai (2010), at Villa delle Rose (2001), at GAM (2005) in Bologna, at Musèe d'Art Moderne in Saint-Etienne (2005), at Museion in Bolzano (2003) and at Elgiz Museum (2008) in Istanbul. Favelli has participated at Carrara XIII Biennale di Scultura (2008), at Roma XV Quadriennale at Palazzo delle Esposizioni (2008), at the exhibition Italics at Venice's Palazzo Grassi (2008), and at MCA in Chicago (2009). He has designed and realized two working bar-installation, at MAMbo and at MARCA in Catanzaro, and two permanent public spaces: Vestibolo at ANAS headquarters in Venice's Palazzetto Foscari, and Sala d'Attesa atthe Pantheon in Bologna, inside the Certosa Monumental Cemetery, where laical funeral services are held. In 2009 he was the selected artist for Acrobazie #5, a Unicredit Group project at Fatebenefratelli Center of San Colombano in Lambro (Milan). In 2010 he was in residence at the American Academy in Rome as an Italian Fellow for the Arts. He took part in two editions of the Venice Biennale, the 50th ("Clandestini", curated by F. Bonami) and the 55th ("Vice versa", Italian Pavillion, curated by B. Pietromarchi). In 2014 he was in residence at the Italian Embassy in Istanbul, invited by AlbumArte association; he also had a solo exhibion at Maison Particuliere in Bruxelles. In 2015 he has been selected for a study residency at NARS Foundation in New York. He has attended seminars and conferences, among many other public and private institutions, at the Academy of Arts of Venice, at Brera in Milan, at Politecnico in Turin, at the University of Bolzano, at the University of Bologna and at Quadriennale in Rome. His works are featured both in private and public collections, such as Galleria d’Arte Moderna and Fondazione Sandretto Re Rebaudengo in Turin, MAMBO, Bologna Fiere and Fondazione Furla in Bologna, La Maison Rouge and Fondation Antoine De Galbert a Parigi, La Gaia Collection in Cuneo, Civiche Raccolte d’Arte and Fiera Milano in Milan, MACRO and Nomas Foundation in Rome, Museo Arte Contemporanea Villa Croce in Genua, Zabludowicz Collection in London, Elgiz Collection in Istanbul and Unicredit Banca Collection. In 2008 his installation La terza Camera was acquired by MAXXI Museum in Rome. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giallo-Dromo Description An account of the resource Flavio Favelli conceives this project, together with the architect Flavio Gardini and the engineer Matteo Grilli, for a competition curated by Bartolomeo Pietromarchi. The artist envisiones the creation of an outline of the old nuclear power plant in Caorso, opened in the Seventies and closed only eight years after. The power plant was dismantled in 2009 by the company Sogin, Società Gestione Impianti Nucleari (Nuclear Power Plants Management Company), which also promoted the competition. Starting from the premises of the designation letter, Favelli conceives a complex full-sized work which represents the shape of the former power plant as a memorial, a sculpture dedicated to the history of a placereflecting a much debatedissue of the last forty years such as the one of nuclear energy. The artwork consist of the full scale creation of the former power plant's outline - width 24.98 cm and height 9,98 cm - countoured by yellow neon. The work could remind of a triumphal arch, even if it doesn't celebrate political or military achievements, but instead it becomes a simulacrum of the power plant itself, a memory-sign of the building's exact structure, employed   to try to salvage the remembrance of the landscape. Its urban dimension makes the viewer enter a state of temporal bewilderment, almost a déjà vu, an alteration of memory through the construction of an ephemeral architecture. The project was canceled due to a change in the company's management. <a href="https://www.repository.unipr.it/bitstream/1889/2859/1/Flavio%20Favelli_Giallo-Dromo.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Favelli, Flavio Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource application/msword application/pdf image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Flavio Favelli MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2859" target="_blank" rel="noopener">http://hdl.handle.net/1889/2859</a> Logistical reasons http://moremuseum.org/omeka/files/original/fb00a44661cfd87b2f37ebb47a1ac30e.pdf b62b28d05d76d9e0d085d4297de94d9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tavola di progetto A1 definitiva http://moremuseum.org/omeka/files/original/facc50516ae7e92134274c1742acc87d.pdf 1e5b8d4921596743a806ce31805f5394 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Relazione di progetto. http://moremuseum.org/omeka/files/original/f909cc3de8daeeec99b56945f5179b09.pdf 7ce522559f879c34b9c7055a3b8dc99e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Comunicato stampa per presentare il concorso. http://moremuseum.org/omeka/files/original/836fec18255938c6a65c7a0633bc6677.pdf 3250dae5f0cbed517aa97bb2ec941b88 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource lettera in cui si comunica all’artista la non ammissione alla seconda fase di concorso. http://moremuseum.org/omeka/files/original/158b3e75ba576595b480919f67855f3b.pdf 696f8e17e0266c23bfebb8f1299e4bd1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bando di concorso http://moremuseum.org/omeka/files/original/192c672c47ce55293d50f2587811dfe9.pdf a9b78dd9968a67e0e3fb4aa4667d5346 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nota tecnica descrittiva per la realizzazione del progetto http://moremuseum.org/omeka/files/original/c2d6fb6a4bdbb4de243819a9374be1b9.pdf e9fda996bc2fb060bb5e36be650a1e8d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mappa di localizzazione dell’area di intervento http://moremuseum.org/omeka/files/original/76ad881a3c2888282a3af07b148a9b7d.pdf 0e3a93133f438e527c3c897eff612d11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mappa di localizzazione dell’area di intervento http://moremuseum.org/omeka/files/original/00514a5e82390aa1851e0e8d1759fd8c.pdf 4bcad77480ecbfcabaf41eecc71f67d0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Curricula dei membri della giuria http://moremuseum.org/omeka/files/original/ece32ef337f70e00843e25283d554c83.pdf bcac06efa412211b98e3ccc10800da73 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Curricula dei membri della giuria http://moremuseum.org/omeka/files/original/ddd5c7c4a3dfed72f0266b18582465f6.pdf a38d4b8de9c4a7c1304dff872a980cdb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Curricula dei membri della giuria http://moremuseum.org/omeka/files/original/887f7b57474822069d61913125f892d0.pdf c91890b4b767ee58eb4a3cb870a82727 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Curricula dei membri della giuria http://moremuseum.org/omeka/files/original/25c4e13b98e0e5a4b995526220127dd9.pdf 675d30edaa219110a004838b1c953c63 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Curricula dei membri della giuria Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flavio Favelli Creator An entity primarily responsible for making the resource Favelli, Flavio Description An account of the resource Born in Florence in 1967, Flavio Favelli lives and works in Savigno (Bologna). Having graduated with a major in Oriental History from University of Bologna, he participates in Link Project (1995-2001) attending the TAM residency in Pietrarubbia, under the supervision of Arnaldo Pomodoro (1995) and the Advanced Course in Visual Arts at Fondazione Antonio Ratti, hosted by Allan Kaprow (1997). Favelli has exhibited both in private and public spaces, in Italy and abroad, including MACRO (2010), MAXXI (2012 and 2015), the American Academy (2010), Fondazione Volume! (2006), Sales Gallery in Rome (2008, 2010, 2013), Museo del 900 (2012) Museo della Permanente (2002) Francesca Minini Gallery in Milan (2014), MAMBO (2011), Centro Arti Visive Pescheria in Pesaro (2010), Museo Marino Marini in Florence (2009), Francesco Pantaleone Gallery (2008), Museo RISO (2011), A Project Space in Palermo (2012), Museo di Villa Croce in Genua (2005), Centro per l'Arte Pecci in Prato (2005), Palazzo delle Papesse in Siena (2002), Fondazione Sandretto Re Rabaudengo (2007), Maze Gallery in Turin (2001 and 2003), Maison Rouge Fondation Antoine de Galbert in Paris (2007), Projectspace 176 (2005), IIC in London (2003) and in ICC in Los Angeles (2004). Among his main collective exhibitions, Favelli has also shown his works at Peggy Guggenheim Collection in Venice (2011), at GAMEC in Bergamo (2011 and 2012), at Castello di Rivoli (2012) and GAM (2006) in Turin, at Havana XI Biennial (2012), at IBID Project Gallery (2011), at the festival No Soul For Sale at Tate Modern in London (2010), at Fondazione Pomodoro (2010) and Raffaella Cortese Gallery (2009) in Milan, at MADRE (2010) and at PAN Museum (2006) in Naples, at MOCA in Shanghai (2010), at Villa delle Rose (2001), at GAM (2005) in Bologna, at Musèe d'Art Moderne in Saint-Etienne (2005), at Museion in Bolzano (2003) and at Elgiz Museum (2008) in Istanbul. Favelli has participated at Carrara XIII Biennale di Scultura (2008), at Roma XV Quadriennale at Palazzo delle Esposizioni (2008), at the exhibition Italics at Venice's Palazzo Grassi (2008), and at MCA in Chicago (2009). He has designed and realized two working bar-installation, at MAMbo and at MARCA in Catanzaro, and two permanent public spaces: Vestibolo at ANAS headquarters in Venice's Palazzetto Foscari, and Sala d'Attesa atthe Pantheon in Bologna, inside the Certosa Monumental Cemetery, where laical funeral services are held. In 2009 he was the selected artist for Acrobazie #5, a Unicredit Group project at Fatebenefratelli Center of San Colombano in Lambro (Milan). In 2010 he was in residence at the American Academy in Rome as an Italian Fellow for the Arts. He took part in two editions of the Venice Biennale, the 50th ("Clandestini", curated by F. Bonami) and the 55th ("Vice versa", Italian Pavillion, curated by B. Pietromarchi). In 2014 he was in residence at the Italian Embassy in Istanbul, invited by AlbumArte association; he also had a solo exhibion at Maison Particuliere in Bruxelles. In 2015 he has been selected for a study residency at NARS Foundation in New York. He has attended seminars and conferences, among many other public and private institutions, at the Academy of Arts of Venice, at Brera in Milan, at Politecnico in Turin, at the University of Bolzano, at the University of Bologna and at Quadriennale in Rome. His works are featured both in private and public collections, such as Galleria d’Arte Moderna and Fondazione Sandretto Re Rebaudengo in Turin, MAMBO, Bologna Fiere and Fondazione Furla in Bologna, La Maison Rouge and Fondation Antoine De Galbert a Parigi, La Gaia Collection in Cuneo, Civiche Raccolte d’Arte and Fiera Milano in Milan, MACRO and Nomas Foundation in Rome, Museo Arte Contemporanea Villa Croce in Genua, Zabludowicz Collection in London, Elgiz Collection in Istanbul and Unicredit Banca Collection. In 2008 his installation La terza Camera was acquired by MAXXI Museum in Rome. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Porta di Milano Description An account of the resource The project was created for an international competition promoted in 2009 by SEA, the company which manages Milan airport system. As stated in the announcement, the competition concerns the creation of “a new architectural project for the realization of an artwork that is going to change the appearance of the Malpensa airport. Specifically, the commission envisions a highly aesthetic space that is going to virtually represent the access door to the city of Milan. The purpose of this work of art, besides striking the passenger's imagination, is to become a location for cultural events and exhibitions”. Flavio Favelli presents Crystal Garden, a full-scale artwork which reproduces many features of the collective imaginary of Milan, while reminding at the same time Paxton's Crystal Palace. The reference to the architecture of London stems both from the project's title and from the materials that were to be used, such as the iron of old-aged gates and the glass thermoshell of the internal side. As declared by the artist itself, his architectural model is the aviary, which actually becomes a cage built with high-tech materials, which enables many and various activities. The complexity of the documents donated to MoRE portrays a careful planning and a thorough working method, showing also the relationship between the artists and the commissioner. Favelli's project presents many characteristic features of his body of work, which is able to succesfully combine the present with the past; here, the artist employs purposefully a futuristic approach through the usage of high-tech materials that opposes the recourse to found materials as well as to practices and modalities of appropriation. The project was not admitted to the second phase of the competition. <a href="https://www.repository.unipr.it/bitstream/1889/2858/1/Flavio%20Favelli_La%20Porta%20di%20Milano.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Favelli, Flavio Date A point or period of time associated with an event in the lifecycle of the resource 2009 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource application/msword application/pdf Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2858" target="_blank" rel="noopener">http://hdl.handle.net/1889/2858</a> Rights Holder A person or organization owning or managing rights over the resource. Flavio Favelli MoRE Museum Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/7290cca4324f5c076c88ee447e61bb7c.pdf ada1ef0b40681079501c8a072c35ab42 http://moremuseum.org/omeka/files/original/36492cfdf01537b72474748607a960ef.mp4 112575b635546f9a8951d20a94c628a1 http://moremuseum.org/omeka/files/original/d58c9a02b7dc4573c418ab5d2c583ee4.mp4 563eff09db5e7e1126b6442b9a9f6d94 http://moremuseum.org/omeka/files/original/8b1caaa7ffa2cfb7070562b2dc19c3e7.mp4 4632d0e4f8126e88a1ac83da88e22fa7 http://moremuseum.org/omeka/files/original/7c0efd4172868b0c1b16446c02788027.mp4 f5c9d63c5c623db03c8ae91f6db89104 http://moremuseum.org/omeka/files/original/708c4586146684e4167428fa40dc038d.mp4 b7c6b6af5304557e0bae1b68a6da20ef http://moremuseum.org/omeka/files/original/1ebf6882ac3fdb2a7e3e6ec2be2db8c9.pdf e523e8c6962d27a03a6baf30872bfe5b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mario Cresci Creator An entity primarily responsible for making the resource Cresci, Mario Description An account of the resource Mario Cresci (Chiavari, 1942) has created since the Sixties a complex body of work characterized by the freedom of his research, ranging from drawing to photography, installations, video and site-specific installations. He is among the first authors of his generation to apply the design culture and methodology to photography, combining it with an experimental research applied to visual languages, and attributing to the use of the photographic medium an opposite value, in respect to its role of proof of the truthfulness of reality. Between 1964 and 1967 he applies the theories of design to photography through experiments on models of non-Euclidean geometry, partly anticipating Ugo Mulas 1972 Verifiche. In 1968, while in Rome, he joined the group of artists who work at Galleria l’Attico, together with Pascali, Mattiacci, Kounellis and Luca Patella. During the seventies, his experience and studies at the Corso Superiore di Industrial Design in Venice stand side by side with his works in the field of ethnic and anthropological researches in the south of Italy. In 1969 he made his first photo environment at the Galleria Il Diaframma in Milan, and in the early Seventies he associated and worked with Luciano Inga-Pin at his Galleria Il Diagramma, Milan, where he exhibited in the historical show Campo Dieci. From 1991 to 2000 he directed the Accademia Carrara di Belle Arti in Bergamo. In 1996 he realised Opus Gypsicum, a large installation at the Teatro Sociale di Bergamo with the plaster casts of the Accademia Carrara. In those years Cresci collaborates with the Sunday insert of the newspaper "Il Sole 24 Ore". Among the most important moments of his activity stand his participation at the Venice Biennale in 1971, 1979, 1993 with Muri di carta, fotografia e paesaggio and Viaggio in Italia in 2013. In 2004 there is the anthological exhibition The houses of photography at GAM, Turin. From 2010 to 2012 he carries out the project Forse Fotografia: attraverso l'arte, atraverso la traccia, attraverso l'umano inside the museums of Bologna, Rome, Matera. In 2011 there is the personal site-specific exhibition Dentro le cose at Palazzo Pio in Carpi. His works are present in several collections of contemporary art and photography, and in the permanent collections of Italian and international museums. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Misurazioni Description An account of the resource Mario Cresci started between 1977 and 1979 a meaningful and interesting experience that was interrupted because of the lack of support from the institutions and can therefore be conceived as an unrealised or at least unfinished project. In Basilicata, where the author was already developing the project Misurazioni, a photographic research with a social and anthropological approach, Cresci started teaching in an unusual school. A design school, founded by Regione Basilicata in application of the law n. 285 of June 1st 1977, devoted to the vocational training in craftsmanship techniques. A school that aimed at using creativity as an economic resource. Unfortunately the project was interrupted almost immediately, remaining therefore unrealized, since the institutions suspended their support to the school. <a href="https://www.repository.unipr.it/bitstream/1889/2705/1/Mario%20Cresci_Misurazioni.pdf" target="_blank" rel="noopener">Read more.</a><a href="http://hdl.handle.net/1889/2705" target="_blank" rel="noopener"> </a> Creator An entity primarily responsible for making the resource Cresci, Mario Date A point or period of time associated with an event in the lifecycle of the resource 1977 - 1979 Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource application/pdf video/mpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Oral History Moving Image Document Rights Holder A person or organization owning or managing rights over the resource. Mario Cresci MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2705" target="_blank" rel="noopener">http://hdl.handle.net/1889/2705</a> Political reasons http://moremuseum.org/omeka/files/original/0889230f7ceafa5b71c9496d36396384.jpg e43abfe1af761ad03ad6c24c6fbce565 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Franco Guerzoni Description An account of the resource Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his Frescoes, and in '73  his Archaeology, followed by Anthropology, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents Decorations and ruins in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin Landscapes powder, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the Forgotten Wall becomes the real privileged place for his most current work. Creator An entity primarily responsible for making the resource Guerzoni, Franco Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data drawing Physical Dimensions The actual physical size of the original image jpeg file , 41,204 x 28,54 cm, 72 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tappeti volanti Creator An entity primarily responsible for making the resource Guerzoni, Franco Date A point or period of time associated with an event in the lifecycle of the resource 1971 Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/2703/1/Franco%20Guerzoni_Tappeti%20volanti.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Franco Guerzoni MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2703" target="_blank" rel="noopener">http://hdl.handle.net/1889/2703</a> Theoretical exercise http://moremuseum.org/omeka/files/original/1dac1f558087ea8f7594eb268cfeaee1.jpg 5924ae230bf01cd1fc2248871e483069 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Franco Guerzoni Description An account of the resource Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his Frescoes, and in '73  his Archaeology, followed by Anthropology, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents Decorations and ruins in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin Landscapes powder, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the Forgotten Wall becomes the real privileged place for his most current work. Creator An entity primarily responsible for making the resource Guerzoni, Franco Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image jpeg file , 29,997 x 10,981 cm, 300 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sovrapposizioni culturali Creator An entity primarily responsible for making the resource Guerzoni, Franco Date A point or period of time associated with an event in the lifecycle of the resource [1975] Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/2704/1/Franco%20Guerzoni_Sovrapposizioni%20culturali.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Franco Guerzoni MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="%20http://hdl.handle.net/1889/2704">http://hdl.handle.net/1889/2704</a> Logistical reasons Technical reasons Theoretical exercise http://moremuseum.org/omeka/files/original/cd26d873740f865927a316e61324c468.jpg c5c82ee5653b790142c844cfbdc219ff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Franco Guerzoni Description An account of the resource Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his Frescoes, and in '73  his Archaeology, followed by Anthropology, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents Decorations and ruins in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin Landscapes powder, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the Forgotten Wall becomes the real privileged place for his most current work. Creator An entity primarily responsible for making the resource Guerzoni, Franco Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Physical Dimensions The actual physical size of the original image jpeg file , 219,195 x 50,515 cm, 93,977 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stelle e lucciole Creator An entity primarily responsible for making the resource Guerzoni, Franco Ghirri, Luigi Date A point or period of time associated with an event in the lifecycle of the resource [1969 - 1970] Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/2702/1/Franco%20Guerzoni_lucciole.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Franco Guerzoni & Luigi Ghirri MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="%20http://hdl.handle.net/1889/2702">http://hdl.handle.net/1889/2702</a> Logistical reasons Technical reasons http://moremuseum.org/omeka/files/original/96651a9472275afd686dd3bc98ce8392.pdf e16127a3fa5c9f813ef4c5ec70a7f4db Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanni Ozzola Description An account of the resource Giovanni Ozzola (Firenze, 1982) lives and works in Canary Island. Encompassing sculpture, photography, and video, Giovanni’s work examines the individual’s place within the magnitude of the universe. Giovanni has exhibited internationally with works held in numerous private and public collections. We remind, among the others: Mart, Rovereto, Italy; Chelsea Art Museum, New York, U.S; Sharjah Maraya Art Center, Dubai; Mori Museum, Tokyo, Japan; Schunck-Glaspaleis, Herleen, Netherlands; Künstlerhaus Palais Thurn Und Taxis, Bregenz, Austria; Galleria Continua, San Gimignano / Beijing / Le Moulin; Palazzo Dellepapesse, Siena; Man Museo D’arte, Nuoro, Italy; Waseda University, Tokyo, Japan; Centre D’art Bastille, Grenoble, France; Gc.Ac, Monfalcone; Viafarini Docva, Milano, Italy; Centro Arti Visive Pescheria, Pesaro; Ocat – Contemporary Art Terminal, Shanghai, Guandong Muesum Of Art,Guangzhou. Among his awards are the “Premio Terna” (2008), the “Talent Prize” (2010) and the “Premio Cairo” (2011).   Creator An entity primarily responsible for making the resource Ozzola, Giovanni Document A resource consisting primarily of words for reading. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Un solo orizzonte Description An account of the resource 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. <a href="https://www.repository.unipr.it/bitstream/1889/2701/1/Giovanni%20Ozzola_Un%20solo%20orizzonte.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Ozzola, Giovanni Date A point or period of time associated with an event in the lifecycle of the resource 2003 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Giovanni Ozzola MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2701" target="_blank" rel="noopener">http://hdl.handle.net/1889/2701</a> Logistical reasons http://moremuseum.org/omeka/files/original/ebead3094cfe452c0707e1735872540b.jpg 17d5f4ec85376c8215c85e2953169a02 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Casini Description An account of the resource David Casini (Montevarchi, 1973) is a visual artist, his work includes sculptures and site-specific installations. He has exhibited in several solo shows at Gallery CAR Projects (Bologna)MAR Museum of Modern and Contemporary Art (Ravenna), Analix Forever Gallery (Geneva), Galleria T293 (Naples). He has participated to important group exhibitions including Everywhere but Now Thessaloniki Biennale of Contemporary Art 4, 2013, Oceanomania at Nouveau Musée National de Monaco and The Mediterranean Approach (Zenobio Palace, Venice) in 2011, Celebration at Macedoniam Museum of Contemporary Art in Athens in 2010, Through the Looking Glass Italian Cultural Institute in Belgrade. He won the Talent Prize in 2009. Creator An entity primarily responsible for making the resource Casini, David Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image file jpeg, 25x15 cm, 192,024 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Non Piango Mai Description An account of the resource Drawing realized to design a children's playground. The elements of the game park are inspired by drawings of biologist, zoologist, philosopher and also German artist Ernst Haeckel, who designed more than 100 polychromatic illustrations of animals and sea creatures. Some elements of the drawings, in three-dimensional transposition, are designed to be modified with the aim of making movable some parts, recreate circular movements, extension and elastic. The elements are designed with an internal steel frame to resist several requests, while the exterior is covered by colored rubber, resin, wood, concrete, to recreate different texture to the touch. The project is designed to be installed in a public place, park, square, museum or school. <a href="https://www.repository.unipr.it/bitstream/1889/2665/1/Casini%2c%20Non%20piango%20mai.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Casini, David Date A point or period of time associated with an event in the lifecycle of the resource 2010 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource English Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. David Casini MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/2665" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2665</a> Financial reasons http://moremuseum.org/omeka/files/original/9cb78baef8b71f06f5b10aa1b0a1d89d.pdf 269bc3f61124c7706252658617973955 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino.doc Description An account of the resource Presentation letter attached to the project http://moremuseum.org/omeka/files/original/a9d2c1fe0ff0ac044b083dc39be5b1d0.jpg d8a3d0955a98ea44a7f74ce21f23e002 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino001.TIF Description An account of the resource Picture taken by Elvio Manuzzi of the scale model (various materials, cm 26,5 x 51,3 x 52) realized for the project of the installation. Format The file format, physical medium, or dimensions of the resource file TIF, 3,53x5,65 cm, 1200 dpi http://moremuseum.org/omeka/files/original/2c1049994c033bca09b7825d4b53a4d9.jpg 02805e5f26188653463d8ba4fc8e6c54 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino002.TIF Description An account of the resource Detail of the scale model with tracks on sand. Picture by Elvio Manuzzi. Format The file format, physical medium, or dimensions of the resource file TIF, 6,45x9,6 cm, 1200 dpi http://moremuseum.org/omeka/files/original/2ee0f502e54e0d1ce69c0539180f18bd.jpg 8e05bacea50fca97c788e9ef35fa23d9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino003.TIF Description An account of the resource Detail of the scale model with the tiger in fiberglass roaring in the middle of the vegetation. Picture by Elvio Manuzzi. Format The file format, physical medium, or dimensions of the resource file TIF, 6,44x10,02 cm, 1200 dpi http://moremuseum.org/omeka/files/original/8c107d92f7d51862cf19aa17f4eec7e0.pdf 0de41f88cdcd76ad88067592f31c3854 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource EPSON012.pdf Description An account of the resource General plan of the intervention area. Format The file format, physical medium, or dimensions of the resource file pdf, 41,978x29,667 cm, 300 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Luca Vitone Description An account of the resource The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan. Creator An entity primarily responsible for making the resource Vitone, Luca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino Description An account of the resource 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.  <a href="https://www.repository.unipr.it/bitstream/1889/2657/1/Vitone_una%20tigre%20per%20Torino.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Vitone, Luca Date A point or period of time associated with an event in the lifecycle of the resource 2002 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/tiff application/msword Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Luca Vitone MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2657" target="_blank" rel="noopener">http://hdl.handle.net/1889/2657</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/8391c1e71c2d6926442c200fe6a8c072.jpg d00b763f45b45d7a08245f738be0e259 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource progetto-01.JPG Description An account of the resource The file 1/3 includes the project description, techincal paper, map of the interested area with the locationing of the installation, calculation of the area and estimated budget. Format The file format, physical medium, or dimensions of the resource file jpg, 29,7x42 cm, 300 dpi) http://moremuseum.org/omeka/files/original/c56b0a13d7c8a2a6b3db65e40f72a3e7.jpg 586e8165756429ee9f4fe54b98702935 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource progetto-02.JPG Description An account of the resource The file 2/3 consists of four images: the prototype of the lamp; the leaf of Ginkgo Biloba that would have been projected in the colonnade; two images of the arcades with the current lighting and with the green light that would have enlighted them in case of realization of the installation. Format The file format, physical medium, or dimensions of the resource file jpg, 29,7x42 cm, 300 dpi http://moremuseum.org/omeka/files/original/91948211e584c2fd60036234bb5a3367.jpg b16a1415d67e571ba8e6cb163ab87bad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource progetto-03.JPG Description An account of the resource The file 3/3 presents a sheet related to the Ginkgo Biloba plant together with the poem Soldati by Giuseppe Ungaretti (1918). Format The file format, physical medium, or dimensions of the resource file jpg, 29,7x42 cm, 300 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Luca Vitone Description An account of the resource The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan. Creator An entity primarily responsible for making the resource Vitone, Luca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Foglie al vento Description An account of the resource Foglie al vento is a project realised for the contest Arte per piazza Matteotti, organized by the city of Imola in 2010, that aimed at the creation of a monument to replace the memorial to the fallen of the First World War in the renovated Renaissance square. The project, that did not win the contest, consisted of  the realization of a light installation in the arcade of one of the square sides. The idea of the artist was to place in the middle of each of the fourteen  vaults of the arcade of Palazzo Sersanti a special lighting element that, through a dedicated optical system, would have projected on the ground the image of the same number of green Ginko Biloba leaves, replacing the preexisting lighting system. <a href="https://www.repository.unipr.it/bitstream/1889/2658/1/Vitone_%20foglie%20al%20vento.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Vitone, Luca Date A point or period of time associated with an event in the lifecycle of the resource 2010 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Luca Vitone MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2658" target="_blank" rel="noopener">http://hdl.handle.net/1889/2658</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/9bdfa9500858a738a728950b3021cfdd.pdf 14c07533eca5cc045eef6a27d60fb203 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matthew Darbyshire Description An account of the resource Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris. Creator An entity primarily responsible for making the resource Darbyshire, Matthew Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Useless: A Space Without a Function Creator An entity primarily responsible for making the resource Darbyshire, Matthew Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Description An account of the resource 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.  <a href="https://www.repository.unipr.it/bitstream/1889/2650/1/Matt%20Darbyshire_Useless%20A%20Space%20Without%20a%20Function.pdf" target="_blank" rel="noopener">Read more.</a>   Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Matthew Darbyshire MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2650" target="_blank" rel="noopener">http://hdl.handle.net/1889/2650</a> Theoretical exercise http://moremuseum.org/omeka/files/original/ddc53f26b6249e4789a3d50cc2ac3369.pdf b7ab5d5e0f908bbf14ab4a9b687dbfb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matthew Darbyshire Description An account of the resource Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris. Creator An entity primarily responsible for making the resource Darbyshire, Matthew Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ukfun-ky Creator An entity primarily responsible for making the resource Darbyshire, Matthew Date A point or period of time associated with an event in the lifecycle of the resource 2011 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Still Image Description An account of the resource 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.  <a href="https://www.repository.unipr.it/bitstream/1889/2651/1/Matt%20Darbyshire_ukfun-ky.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Matthew Darbyshire MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/2651" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2651</a> Failure to meet the commissioner's demands http://moremuseum.org/omeka/files/original/0314091bb224a67897d597992128ae6c.pdf 1fd024c853aa7e69e418adb5908b2e29 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matthew Darbyshire Description An account of the resource Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris. Creator An entity primarily responsible for making the resource Darbyshire, Matthew Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Proposed plan for Hepworth Gallery entrance, Wakefield Creator An entity primarily responsible for making the resource Darbyshire, Matthew Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Still Image Description An account of the resource This project proposes an intervention in the area in front of the entrance of the Hepworth Gallery in Wakefield. Darbyshire here articulates the space through three elements: an unfinished Arts and Crafts half-hipped gable structure in developers vernacular, a B&Q pergola - B&Q is the well-known UK chain dedicated to DIY and gardening - and a medieval trebuchet orientated towards the new David Chipperfield designed gallery. The three signs arranged in the area recall frequent themes in the artist's research, such as a critic to the homogenisation of contemporary design, to the standardization of the spaces, and the questioning of the regeneration processes carried out by government agencies and/or private developers, and stand opposite to the minimalist, award-winning and iconic museum building designed by an archistar.  Officially, the work has not been realised for a planning issue.  <a href="https://www.repository.unipr.it/bitstream/1889/2652/1/Matt%20Darbyshire_Proposed%20plan%20for%20Hepworth%20Gallery%20entrance.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Matthew Darbyshire MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2652" target="_blank" rel="noopener">http://hdl.handle.net/1889/2652</a> Failure to meet the commissioner's demands Logistical reasons http://moremuseum.org/omeka/files/original/d1dd921cb6bcb570680b8ce3580e5ada.pdf 1da79d48e19a769b95c6cb8b2a0e4a78 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matthew Darbyshire Description An account of the resource Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris. Creator An entity primarily responsible for making the resource Darbyshire, Matthew Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mojo Creator An entity primarily responsible for making the resource Darbyshire, Matthew Date A point or period of time associated with an event in the lifecycle of the resource 2011 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Still Image Description An account of the resource Mojo is a project for the Fosters & Partners designed <a href="http://www.fosterandpartners.com/projects/bloomberg-hq-50-finsbury-square/" target="_blank" rel="noopener">Bloomberg headquarters</a> at 50 Finsbury Square, London, and consists of banners and an interactive space. A first intervention would "reproduce" inside the atrium of the commissioner’s London headquarters the central courtyard of one of the most famous and poor social housing estate in London, Pembury Estate, which is located in Hackney and results very similar in its size and plans to the City of London building.  From the technical point of view, the three sides of the "new and improved" Pembury Estate would be printed on three large “building wraps”, similar to those perforated banners used for covering the scaffolding inside construction sites, linstalled on the north, south and west side of the great inner atrium of Bloomsberg HQ. The fourth side, made of curved glass, would be covered by several smaller banners corresponding to the different walkways, to create the image of a new luxury residential building to confront the facades of Pembury Estate. The "reconstruction" of the social housing estate would thus be realized by adding some details - new balconies, wood paneling, glass coloured surfaces - to renew its image. This aspect is a reference to several projects which in recent years "renewed" this typology of buildings all over England, through architectonical interventions and real estate operations, making them "funky and affordable" but at the same time causing the more or less forced departure of the majority of its original inhabitants. Similarly the east side of the atrium itself would represent a new batch of luxury apartments. Darbyshire also designed a 3D interactive "show home" environment: this installation would occupy the mezzanine of the north side of the Bloomberg HQ and would reproduce an apartment of this new, renewed, social housing estate, ready to be shown to the - imaginary - potential customers. It would reproduce exactly the volumes and plans of a typical Pembury Estate 50 square meters apartment, which will be furnished with contemporary objects, images and design pieces that would, through their non-specificity, manage “to epitomize and critique the aspirations and taste preferences of our time”, as we can see in other works of the artist such as Blades House (2008) or <a href="http://www.bloombergspace.com/artists/past/matthew-darbyshire/" target="_blank" rel="noopener">Oak Effect</a> (2012). <a href="https://www.repository.unipr.it/bitstream/1889/2653/1/Matt%20Darbyshire_Mojo.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Matthew Darbyshire MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2653" target="_blank" rel="noopener">http://hdl.handle.net/1889/2653</a> Failure to meet the commissioner's demands http://moremuseum.org/omeka/files/original/9ac3bec81b1218fb5313036033c8c468.pdf fadd053a19e138f56cc6c3f43fa3aa3a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matthew Darbyshire Description An account of the resource Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris. Creator An entity primarily responsible for making the resource Darbyshire, Matthew Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Drawings for a soft play commission for Barking Leisure Centre, London Creator An entity primarily responsible for making the resource Darbyshire, Matthew Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Still Image Description An account of the resource This project was submitted as a proposal for the soft play commission at the <a href="https://www.lbbd.gov.uk/residents/leisure-libraries-and-museums/sport-and-physical-activity/abbey-sport-centre/new-abbey-leisure-centre/">Abbey Leisure Centre</a> in Barking, London. The elements present in the area, dedicated to the children, are a series of games and spaces reinterpreted following the forms of objects, furniture and particular details of urban furniture. The space is divided into three floors: the ground floor is characterized as a urban public space with a trompe l'oeil painting of a Woolworths shop, a vinyl flooring that reproduces a grey stone paving, a neon sign and a coffee area, while the first and the second recall domestic spaces. Inside the drawings for the project we can find the model of a Volkswagen New Beetle car which works as a children picnic table, a climbing tree, a "store" where children can throw down huge objects made of a soft material and an area where rubber balls come out of bathtubs and sanitary fittings, a rotating wheel that looks like a sofa with a coffee table, a double bed you can jump on avoiding huge swinging lamps and the passages between different levels, made of firefighters poles, ramps and shelves to climb. The Committee discarded the proposal, in favour of <a href="in%20favour%20of%20one%20by%20" target="_blank" rel="noopener">one by Marvin Gaye Chetwynd</a>. <a href="https://www.repository.unipr.it/bitstream/1889/2654/1/Matt%20Darbyshire_Drawings%20for%20a%20soft%20play%20commission%20for%20Barking%20Leisure%20Centre.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Matthew Darbyshire MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2654" target="_blank" rel="noopener">http://hdl.handle.net/1889/2654</a> Failure to meet the commissioner's demands Project which wasn’t selected in a prize or competition