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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 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/e8aa02d06ac9a357ae3647eeb79735c5.pdf 3fbb527bde90955b4b568f95a828b2f1 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 Triton1.pdf Description An account of the resource A pdf file that reproduces the original 15 pages typescript of the project, a kind of articulated concept with small handwritten notations here and there. Date A point or period of time associated with an event in the lifecycle of the resource 1976-1977 http://moremuseum.org/omeka/files/original/054f142ed01a61ae22c38b8dc027187f.pdf 7438ee1517e0df3962f2ddc1efdb2a1c 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 Triton.pdf Description An account of the resource a pdf file that reproduces the typescript of the project in a detailed phase. In the 32 pages all the technical-musical infos needed to perform the songs are provided with precision. Date A point or period of time associated with an event in the lifecycle of the resource 1976-1977 http://moremuseum.org/omeka/files/original/415e39a64f7a4cf6654afa2d68be8e44.pdf f2151e782b14d994800088ef13656ccc 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 Mosconi Ars Electronica.pdf Description An account of the resource A pdf file that reproduces the typescript of the 11 pages proposition for Ars Electronica, complete with floor plans and diagrams depicting the positions of the various instruments. Date A point or period of time associated with an event in the lifecycle of the resource 1984-1986 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 Davide Mosconi Description An account of the resource Davide Mosconi was born in 1941 in Milan, the same city where he died in 2002. After graduating in piano and composition at the Milan Conservatory, in 1961 he moved to London where he studied photography at the London College of Printing. Since 1963, in New York, he worked for four years as an assistant to Richard Avedon and Hiro. He returned to Milan in 1967, a year later took place at the Gallery Il Diaframma his first solo exhibition entitled Il sogno di Davide. In the same year he opened the photographic studio “Studio X” which he will carry out advertising campaigns, fashion and lifestyle works, while working also for music and video art. In 1972 he participated to the exhibition “The New Domestic Landscape” at the MOMA in New York with the short film “Something to Believe In.” In 1974 he took part in “Fotomedia”, a traveling exhibition curated by Daniela Palazzoli in various venues, including the Museum am Ostwall in Dortmund, and, in 1975, the Rotonda della Besana in Milan. In the early eighties he began to work, following an invitation from Polaroid, with the new oversized camera 51×61 cm, focusing on the theme of coincidences in the 150 years of the history of photography. Randomness is one of the aspects which Mosconi devotes a particularattention. 1984 is the year of the first series of triptychs, In Morte del Padre. From 1986 to 1997 the main projects are the triptychs of Prague on the theme of the body, of still lifes and the Day skies and Night skies, then exhibited at the Guggenheim in New York and at the Museum voor Fotografie in Antwerp, as well as in private galleries in Europe and the United States. In 1991 and 1993 he participated at the Venice Biennale. Towards the end of the nineties he realised the two photographic cycles Disegnare l’aria and Polveri,dedicated to Bruno Munari and exhibited in 1997 at alla Galleria Milano as part of a solo exhibition (catalog published by Charta). The latest series of works Autoritratti bucati,was exhibited posthumously at the Galleria San Fedele in Milan in 2003. Mosconi has always flanked his photographic production with a thriving multi-disciplinary activity in performing arts, inside which musical improvisation has always had a strong centrality. In 1970 thas been published the volume Lastoriadellamusicadidavidemosconi that provides a set of recipes for the execution of sonic performances. Many of his projects remained unfulfilled, just because they were by far too ambitious imagining a much broader involvement of operational forces. Creator An entity primarily responsible for making the resource Mosconi, Davide 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 Triton / La Luce del Suono Description An account of the resource TRITON, a 7 days-long event designed and proposed by the artist for the 1977 edition of the Bonn Beethoven Festival, was then restructured and partially reduced in 1984 to be presented under the title LA LUCE DEL SUONO at the 1986 edition of the “Ars Electronica”  festival in Linz, Austria. The first two projects of the same title, TRITON, deal, on a different level of detail, with the same event that, mainly involving sound, designed for a duration of seven days, would have involved the entire city of Bonn, starting from the river, on which he passed on a barge that housed the orchestra. It would have been a form of homage to the great composer Beethoven not only in terms of sound/ environment, but also from a visual point of view, considering that in the project this aspect is lagerly considered. LA LUCE DEL SUONO, a project for “a concert of lights and sounds” that would have involved a vast area of the Danube river and nearby land, conceived by Mosconi in 1984 and presented for the 1986 edition of the festival “Ars Electronica” in Linz, is the result of the further development of a core part of the same imaginative unit that shaped TRITON. Read more. Creator An entity primarily responsible for making the resource Mosconi, Davide Date A point or period of time associated with an event in the lifecycle of the resource TRITON: 1976-1977 LA LUCE DEL SUONO: 1984-1986 Contributor An entity responsible for making contributions to the resource Longari, Elisabetta Relation A related resource DSpace: <a href="http://hdl.handle.net/1889/1999" target="_blank" rel="noopener">http://hdl.handle.net/1889/1999</a> 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 Document Rights Holder A person or organization owning or managing rights over the resource. 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Title A name given to the resource Antun Motika Description An account of the resource Croatian artist Antun Motika (Pula, 1902. – Zagreb, 1992.) is widely known mostly as a painter, but his experimental body of work including experiments with light and collages is being explored, rediscovered and contextualized past 10 years. Antun Motika studied at the Academy of Fine Arts in Zagreb, graduating in 1926 from the class of prof Maksimilijan Vanka and Ljubo Babić. Between 1928 – 1929 Motika published illustrations in the satirical magazine Koprive / Nettles. Between 1929 – 1940 he worked as a high school teacher in Mostar, and from 1941 to 1961 as a professor at the School of Applied Arts in Zagreb. Motika's art derived from the post-impressionist tradition of European painting. From the 1940s he began to experiment with collage, photocollage, decalcomania, smoke, photo-graphics, and became interested in different media and materials and organic matter, on the background of constructivist avantgarde and surrealist ideas. His exploration of nature and media culminated with experiments with organic matter and light which he began with first in 1942 and he then took a step into innovative models of the medium of the deliberation and presentation of arts, which the history of art until recently has situated on the margins of his artistic production. His parallel mostly painterly artistic practice in 1950s showed articulation of the field of painting and strong modernist syntax. His works are part of major public collections in Croatia and many private collections. He participated at the Venice Biennale in 1942. Motika exhibited extensively, and was awarded with major national awards. Two retrospective exhibitions of his work were held in 1975 and 2002. Antun Motika Collection was established in 2006 as a public collection, in his home town, City of Pula. <a href="http://www.zbirka-antun-motika.com/">http://www.zbirka-antun-motika.com/</a> Creator An entity primarily responsible for making the resource Motika, Antun 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 Untitled (svjetlosni štafelaj, light easel) Description An account of the resource Attempting to find the “way out” of painting, and depict “the oscillation of matter”, Antun Motika tried to get closer to “the culture of light”. For Antun Motika one of the important and consistent fascinations was the obsession with “pure light” which in various manifestations stretches through his artistic production. Antun Motika’s experiments with light and the optical fascination shape his idea of liquid painting. Motika formed his most important breakthrough outside the field of painting in his various experiments with projections, light and movement, his various lumino-kinetic experiments.  Proposals and sketches for different light devices, like light easel, and different apparatuses of projection are found in Motika’s notebooks, gathering many notes on his utopian, imaginative propositions that remain that, designs of unrealized projects. Motika’s notebooks and experiments direct us outside the known artistic canon towards the the changes of artistic cartography of in 1960s. Pages from Motika’s notebook bring into light sketches for lumino-kinetic works, his experiments with light and projections, as plans for various dispositifs and possibilities of their display. Motika produced his projections with various customised projectors (slide projectors, diascopes, episcopes, overhead projectors), transparent backgrounds onto which he applied materials of different sources, organic and inorganic, insects, plants such as herbarium, then pigments, resin, liquids, in order to achieve surprising results upon their enlargement, projected to surfaces as screens. <a href="https://www.repository.unipr.it/bitstream/1889/3984/1/Antun%20Motica_untitled.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Motika, Antun Date A point or period of time associated with an event in the lifecycle of the resource s.d. Contributor An entity responsible for making contributions to the resource Benčić, Branka 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. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oreste Description An account of the resource Oreste represents a variable group of people - mainly Italian artists - who under this shared name have worked for four years at the creation of a free space for the expression and realization of different projects. Born in July 1997 with the meetings of the Oreste 0 (zero) project at the Municipal Forestry of Paliano (FR) and declared "dead" after participating at the exhibition Le Tribù dell'Arte in Rome (2001), Oreste has seen among the various activities a participation at the Venice Biennale (1999) following the invitation of the curator Harald Szeemann, the publication of three volumes, the organization of the conference Come spiegare a mia madre che ciò che faccio serve a qualcosa? at Link, Bologna (1997). Oreste had the goal of creating the conditions for artists, curators, other cultural professionals and the public to meet in a context that combined work and pleasure. The concepts of networking and sharing were at the basis of the project, which also used an online space inside undo.net and had intuited the future potential and develpoments of the web, the emails and the digital media. Creator An entity primarily responsible for making the resource Oreste 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 Porto Rico Description An account of the resource The project was born upon request and on the initiative of Michy Marxuach, curator that in the summer 2000 invites Oreste to participate at PR ' 00 [intervenciones múltiples - múltiples intervenciones] in San Juan (Porto Rico). The one-week event provided a program of shows and activities dedicated to the affirmation of an alternative art scene, where local artists were joined by international artists, curators, critics and institutions. Oreste proposed an installation made of objects, texts, photocopies and images displayed on a wall, that would have interacted with the public like an analogical hypertext: after the selection of an element a member of Oreste would have told its story to the visitor. The curator never answered to this proposal and the project remained unrealised for reasons that have not been clarified. <a href="https://www.repository.unipr.it/bitstream/1889/3700/1/Oreste_Porto%20Rico.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Oreste 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/html Language A language of the resource English Italian Type The nature or genre of the resource Text Still Image Website 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 Oreste Description An account of the resource Oreste represents a variable group of people - mainly Italian artists - who under this shared name have worked for four years at the creation of a free space for the expression and realization of different projects. Born in July 1997 with the meetings of the Oreste 0 (zero) project at the Municipal Forestry of Paliano (FR) and declared "dead" after participating at the exhibition Le Tribù dell'Arte in Rome (2001), Oreste has seen among the various activities a participation at the Venice Biennale (1999) following the invitation of the curator Harald Szeemann, the publication of three volumes, the organization of the conference Come spiegare a mia madre che ciò che faccio serve a qualcosa? at Link, Bologna (1997). Oreste had the goal of creating the conditions for artists, curators, other cultural professionals and the public to meet in a context that combined work and pleasure. The concepts of networking and sharing were at the basis of the project, which also used an online space inside undo.net and had intuited the future potential and develpoments of the web, the emails and the digital media. Creator An entity primarily responsible for making the resource Oreste 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 Tate Event Description An account of the resource The project, which can only be reconstructed today through a series of e-mails preserved inside the archive of Giancarlo Norese, consists of a proposal for an event at the Tate Modern in London andstarted from an invitation sent by the curator of the events section of the museum, which opened the previous year. The project should have initially taken place in June 2001 and initiaaly consisted in two days dedicated to the creation of relationships between spaces, artist-run and independent ventures, at an international level, through a convivial moment that should also have included the sharing of food, as well as content, publications and projects. Subsequently reduced to a single day, it is not finally realized because the responsible curator finds a lack of focus in the project. <a href="https://www.repository.unipr.it/bitstream/1889/3699/1/Oreste_Tate%20Event.pdf">Read more.</a> Creator An entity primarily responsible for making the resource Oreste Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource text/html text/plain Language A language of the resource Italian English Type The nature or genre of the resource Text Email Rights Holder A person or organization owning or managing rights over the resource. Oreste MoRE Museum Failure to meet the commissioner's demands Unknown 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/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/516bc194bdbba0ad03300dd9dcbb04a8.jpg 398b63cfef3bcf5634b193c8cba4f9b1 http://moremuseum.org/omeka/files/original/17e4a0edbae7160c4d4f9054ea49a03f.jpg ca79657df3682107591bab2f17af34ce http://moremuseum.org/omeka/files/original/4ca1e8d5398cf4e3e612a3bd513688e5.jpg a4beb1a89a1fc4cb4c2e581115917683 http://moremuseum.org/omeka/files/original/9d2bbfa0ca56b88ec8e5721d842f97d1.jpg 3a100acfad26b2c9940a868a22473230 http://moremuseum.org/omeka/files/original/a1cc6653858e5c46a0d5aef06d9678d9.jpg a336db62fe97d8e2427d2ca0c6ed51e2 http://moremuseum.org/omeka/files/original/db2a72f08620b84a1223373fa7e880fe.jpg abd5d2163e7331b6fc20eb0027913502 http://moremuseum.org/omeka/files/original/19e74a301100f4ccb6dc09b190b4ca58.jpg dd7beafa1423b31ae163f370db011596 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 Ivan Picelj Description An account of the resource Ivan Picelj (Okučani, 1924-Zagreb, 2011). A student at the Fine Arts Academy in Zagreb between 1943 and 1946, he abandoned his studies to begin experimental research that moved away from the impositions of the official art language. In 1951, together with architects Bernardo Bernardi, Zdravko Bregovac, Zvonimir Radić, Božidar Rašica, Vjenceslav Richter and Vladimir Zarahović, and painters Vlado Kristl and Aleksandar Srnec, Picelj founded the EXAT 51 group (Experimental Atelier 1951). This was the first Yugoslavian abstract art group, active during the first half of the fifties in the then-dominant climate of socialist realism. The group played an important role in Croatian art; its program advocated the synthesis of all visual art, an idea inspired by the legacy of Russian constructivist avant-garde and Bauhaus experiences. In 1959, Picelj began a successful collaboration with the Denise René Gallery in Paris, as well as with international galleries such as Howard Wise in New York, Baruch Gallery in Chicago and Galleria del Cavallino in Venice. In the early sixties, he was one of the founders of the New Tendencies movement, which shared several central themes with Picelj’s work, covering for the group as the role of editor of the BIT international magazine, and for the designers of posters and publications that were linked to it. Since that time, Picelj has produced several limited-edition artists’ books, collaborating with Richter, Vasarely and Alviani artists, amongst others. His works have been exhibited in many renowned local and international institutions and are included in several international museum collections, including the Museum of Modern Art in New York, Tate Modern and Victoria & Albert Museum in London, Centre Georges Pompidou in Paris and Boymans Museum in Rotterdam. Since 2011, the Museum of Contemporary Art in Zagreb has maintained a collection of Picelj’s work, as well as his archives and library. These formed an important gift from the artist to the institution, contemporary art scholars and the public. Creator An entity primarily responsible for making the resource Picelj, Ivan 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. 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 Yugoslavian Pavilion in Paris Description An account of the resource The Yugoslav Pavilion designed for the Paris Exposition in 1950 reflected the social and cultural climate following the Second World War, when the country was distancing itself from Stalinism and embracing the ideology of real socialism. There was a strong cultural revival, and the abstract and concrete historical avant-gardes were being reclaimed and analysed, especially Constructivism and the Bauhaus method. The search for a synthesis in the visual arts and architecture characterised the EXAT 51 programme and related 1951 Manifesto, signed by the Pavilion’s authors. <a href="https://www.repository.unipr.it/bitstream/1889/3686/4/-Picelj%2c%20Radic%2c%20Richter%2c%20Srnec_Yugoslavian%20Pavilion%20in%20Paris.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Picelj, Ivan Radic, Zvonimir Richter, Vjenceslav Srnec, Aleksandar Date A point or period of time associated with an event in the lifecycle of the resource 1950 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Remondina, Camilla 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. Ivan Picelj MoRE museum Financial reasons Technical reasons http://moremuseum.org/omeka/files/original/7e615cd85ab3d8142bae8548dad1645b.pdf 9dc47764acb5727b407cf9e5848dc50a 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 Marta Pierobon Description An account of the resource Marta Pierobon (Brescia,1979) vive e lavora a Milano. Si laurea in belle arti nel 2006 all’accademia di Firenze. Ha lavorato come assistente di Urs Fisher e di Anna Glatarossa nel 2006-07, nel 2010 e’ stata co-fondatrice di Spazio Morris a Milano. È rappresentata dalla galleria Apalazzo Gallery di Brescia (IT). Tra il 2007 e il 2023 il suo lavoro e’ stato esposto in svariati spazi di ricerca e istituzioni tra i quali: il Mambo (Bologna), ICA a Milano, Duet space (St. Louis, USA), Espirit Nouveau di Bologna, Viafarini (Milano), Soloway ( New York), Welcome to New York ad Art in general (New York), Neon fdv (Milano), Edicola Radetzky (Milano), Localedue (Bologna) e al Museo di Santa Giulia (Brescia); ed in svariate gallerie tra le quali: Nathalie Karg (New York) Galleria Daniele Agostini (Lugano), Kate Macgarry (Londra) Marian Boesky con il progetto di Lucie Fontaine (New York ), Plutschow gallery (Zurigo), 78 Lyndhurst way (Londra) e A Palazzo gallery (Brescia). Partecipa a diverse residenze tra le quali LMCC New York, Cars Omegna e Fonderia Battaglia artist in residence. Nel 2020 è finalista per il Premio Michetti a cura di Guido Molinari. Nel 2012 vince la prima edizione del premio Lombardia a Miart, nello stesso anno viene selezionata da Ilaria Bonaccossa per partecipare al Premio Cairo. Il suo lavoro è stato recensito da varie testate tra cui: “Flash art”, “Espoarte”, “Il Corriere della sera” e “artecritica”, “art*text*pics*”, “Art Blog”, “Fruit of the Forest” e “Forme Uniche”. È attualmente docente presso l’accademia di belle arti di Santa Giulia a Brescia. Creator An entity primarily responsible for making the resource Pierobon, Marta 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 CLAYING A long-term relationship Description An account of the resource The unrealized work by Marta Pierobon, born in Brescia in 1979, unfolds as a ten-day artistic performance where clay plays a central role in delving into the concept of space through "performative sculpture." Utilizing clay as her primary medium, Pierobon sculpts not just the space but also a series of metamorphosed characters and objects that enliven an environment teeming with symbolism and evocation. Through deliberate gestures and adept handling of the clay, the artist weaves a narrative that prompts viewers to engage actively, reshaping segments of the performative space by employing clay to craft fleeting figures, images, and sculptures that both materialize and disintegrate, thus molding and reshaping the space. The performance appears to evolve into a ritual, enhanced by a collection of costumes conceived by the artist herself, actively engaging the audience. This transformation turns the setting into a dynamic tableau vivant, a continually shifting scene where artist and audience coalesce as co-authors of the artistic endeavor. Within this context, space unveils its dynamic and active essence, assuming a pivotal role in the transformative journey of the artwork. The piece encourages a multifaceted reflection on space as a physical, mental, and emotional realm, spotlighting the intricate interplay between the individual, art, and spatial environment. Moreover, it seeks to exalt clay as a natural element intimately connected to the artist's sculptural practice and to the earth itself. <a href="https://www.repository.unipr.it/bitstream/1889/5589/1/Marta%20Pierobon_claying%20a%20long%20term%20relationship.pdf">Read more</a>. Creator An entity primarily responsible for making the resource Pierobon, Marta Date A point or period of time associated with an event in the lifecycle of the resource 2020 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. Marta Pierobon MoRE museum Cancelled due to the COVID-19 pandemic http://moremuseum.org/omeka/files/original/cac9261a4856137097ccd5b50c4047d4.jpg 8c2c164761aae11883d1831618cdc004 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 comesidiventa1.jpg Description An account of the resource Cover of the book entitled Come si diventa artisti, published by Centro Studi Jartrakor, which Pietroiusti helped to found in 1992. http://moremuseum.org/omeka/files/original/64c63106f658e0f9d1a87b802b98ef3a.jpg 66f1cc78743b379ebea00371aac15dda 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 comesidiventa2.jpg Description An account of the resource Project file inside the book entitled Come si diventa artisti, published by Centro Studi Jartrakor, which Pietroiusti helped to found in 1992. 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 Cesare Pietroiusti Description An account of the resource The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system. Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 Mine Vaganti Description An account of the resource The projects, partially realised, aimed at creating arbitrarily identities of not existing artists and critics who actively took part to the art system with their pretended and artificial professionalism through fake works and statements or even exhibition well communicated and promoted. The goal was to cause a short circuit in the art system to stress the subtle borderline between reality and fiction, but also between what is arbitrary and what belongs to the specific art system in order to prove its predictability. The projects dates back to 1987-88 and has been described also in the publication How to become an artist in 1992. A partial realisation of the project has been the creation, together with a team of curators, of an invented artist who realised some works and took part to some experimental exhibitions. <a href="https://www.repository.unipr.it/bitstream/1889/1776/1/CESARE%20PIETROIUSTI_Mine%20Vaganti.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Pietroiusti, Cesare Date A point or period of time associated with an event in the lifecycle of the resource 1987-1988 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 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://hdl.handle.net/1889/1776">http://hdl.handle.net/1889/1776</a> Rights Holder A person or organization owning or managing rights over the resource. Cesare Pietroiusti MoRE Museum Logistical reasons http://moremuseum.org/omeka/files/original/65011f7c144bb8590b03268792593100.jpg 51ec4a4effbe8f59f040f63d6133416d 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 exhibita_pag17.jpg Description An account of the resource Scan of the catalogue of the exhibition Exhibit A: Eight artists from Europe and America curated by Henry Bond, staged at the  Serpentine Gallery in London in 1992. http://moremuseum.org/omeka/files/original/a6b05f340c85e72ae7520585f535240e.jpg 8463ab4ef44a00b1858d7f4b9452f356 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-1_a.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects http://moremuseum.org/omeka/files/original/54d1d6c817700a3ebedcd36d7bbc9f9f.jpg 6bcba7fc5751db8ee8933b6f5d01c52f 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-1_b.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects 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 Cesare Pietroiusti Description An account of the resource The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system. Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 Finestre Description An account of the resource The project, entitled Finestre since its first conception, has undergone several revisions and can be considered only partially realised. The idea of opening windows on adjoining rooms to offer the spectators an unusual continuity of vision between contiguous spaces is conceived initially as a real demolition of the walls of the building hosting one of the seats of Vivita 2 Gallery of Ciotti and Camillo D'Afflitto in Florence (adjacent to an old abandoned cinema). This idea was abandoned for technical and practical difficulties, and in January 1990 the artist realized a different version of the project (inside Vivita 1 gallery in Florence) by exhibiting on the walls of the gallery pictures of the adjoining rooms that were recessed inside the walls that should have been tore down to produce a kind of trompe l’oeil effect (as can be seen in an undated sketch found among the artist's papers that probably dates back to 1989). <a href="https://www.repository.unipr.it/bitstream/1889/1773/1/CESARE%20PIETROIUSTI_Finestre.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare Date A point or period of time associated with an event in the lifecycle of the resource 1989 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 English Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Cesare Pietroiusti MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/1773" target="_blank" rel="noopener">http://hdl.handle.net/1889/1773</a> Logistical reasons Regulatory/juridical/administrative reasons http://moremuseum.org/omeka/files/original/485bd168da884610b8705d36d5166fda.jpg 7fdc0fb42143e96db5b5d09f8513f90d 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 comesidiventa4.jpg Description An account of the resource Scan of the book Come si diventa artisti published in Rome by Centro Studi Jartrakor in 1992. http://moremuseum.org/omeka/files/original/e3d9360b237e6350854e4a58fba07648.jpg 9030219840f008bebdf262ad6f0ea5a2 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 1_d.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects http://moremuseum.org/omeka/files/original/2b9d8c8ab90e46bffd8b27e5911ecc43.jpg 6a635168468e4f56ded238c9ae7748e0 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 1_e.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects 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 Cesare Pietroiusti Description An account of the resource The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system. Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 Inchieste Oggetti Description An account of the resource This unrealised project dates back to 1990 and has been published by Jartrakor in 1992. The idea was to test the relativity of individual definitions by asking to a certain number of people to identify an object in their home that satisfies certain requirements such as the relation form-function or that has a specific aesthetical or emotional value for its owner. The objects should then have been exhibited with a very precise setting (e.g. according to the alphabetical order of the owner's names) regardless of the value of each object, responding to a principle of seriality. The theme of this research, that is the “definitions” and the involvement of a generic audience on the most important topics of contemporary art, can be found also in the “Enquiry about art works”, an unrealised project in which the author supposes to ask to common people to create in their mind an art work in details. Thus, among the author's unrealised projects we can see also several projects of unrealised exhibitions, an element that confirms once more his interest for the exhibition practices of the art system. This project was not commissioned. <a href="https://www.repository.unipr.it/bitstream/1889/1774/1/CESARE%20PIETROIUSTI_Inchieste%20oggetti.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare Date A point or period of time associated with an event in the lifecycle of the resource 1990 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 Rights Holder A person or organization owning or managing rights over the resource. Cesare Pietroiusti MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/1774" target="_blank" rel="noopener">http://hdl.handle.net/1889/1774</a> Logistical reasons http://moremuseum.org/omeka/files/original/f73fdf8e80693b28cbda4468a390717e.m4a e8cc9cdbbda5911e79eb9c6a3095d4de http://moremuseum.org/omeka/files/original/1755ed47d1f10af64092218884414e83.jpg 544c2fe446f9c83041c5eb944593e815 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 1_h.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects http://moremuseum.org/omeka/files/original/fb42cc8b601648ae5952fc7d647dedf1.jpg 53622ae55b7dff72251fcbdc01debca4 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 exhibita1.jpg Description An account of the resource Scan of the catalogue of the exhibition Exhibit A: Eight artists from Europe and America curated by Henry Bond, staged at the  Serpentine Gallery in London in 1992. http://moremuseum.org/omeka/files/original/b362be5069c1c21de6c1fbf840e7aa63.jpg f0fe68600b82865987d90c34a6a9e22f 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 comesidiventa3.jpg Description An account of the resource Scan of the book Come si diventa artisti published in Rome by Centro Studi Jartrakor in 1992. 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 Cesare Pietroiusti Description An account of the resource The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system. Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 Inviti Description An account of the resource The project, part of the author's critique of the system, addresses the issue of how contemporary art is experienced and of the so-called art system in general. An initial version of the project was developed starting in 1991. In one of the artist’s notebooks, we can find notes about a solo exhibition that was supposed to take place in a private gallery in Rome at the beginning of 1992 but was never realized, probably because the art dealer feared a possible misunderstanding of the performance. The project, in fact, was based on the participation of a group of prostitutes, invited and paid to attend as guests. Their presence was meant to provoke a sense of alienation in the spectators, who would perceive something unusual compared to a typical vernissage. The performance was to be documented through photographs and audio recordings, but it was canceled by the commissioner a few days before the opening. An alternative version of the project appeared in a book published by the Jartrakor Study Center in 1992. It was based on the idea of inviting people with distinctive, easily recognizable features (such as clergymen), but dressed “normally,” in order to evoke in the viewers a subtle sense of unease or strangeness. The same project was later described in the catalogue of the exhibition Exhibit A at the Serpentine Gallery in London, which focused on the question of the role and meaning of the “exhibition. <a href="https://www.repository.unipr.it/bitstream/1889/1775/1/CESARE%20PIETROIUSTI_Inviti.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare Date A point or period of time associated with an event in the lifecycle of the resource 1991-1992 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 Rights Holder A person or organization owning or managing rights over the resource. Cesare Pietroiusti MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/1775" target="_blank" rel="noopener">http://hdl.handle.net/1889/1775</a> Ethical reasons Logistical reasons http://moremuseum.org/omeka/files/original/5a8ea808b89191fd64473276d58de5a8.jpg 947b7f162e06f88a518b3610f602126e 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 ottobre2000.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects http://moremuseum.org/omeka/files/original/2c5b48f27df44e7def98210778b62b99.jpg 7e4f722744d6a7a97cf4b76b09dc4a90 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 1_f.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects 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 Cesare Pietroiusti Description An account of the resource The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system. Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 Museo degli artisti dimenticati Description An account of the resource In 2000 Pietroiusti prepares the draft of a project for a "Museum of forgotten artists”; the idea was to look for artists which were very valuable but forgotten, in order to write an alternative history of italian contemporary art for the last three decades. This project was never realized, but it is possible to find similarities with some other projects realized by the artist. Coherently with his research on the art system, Pietroiusti has indeed imagined an exhibition of artists who gave up working. This idea too is linked to the enquiry on the social role of the artist and his function; for this reason, the idea described in a notebook comes together with a later note that refers to an exhibition of artists that are not recognized by the system, but by a limited and non influential number of people or even just one single person, simply because they produced some art works. Through this project Pietroiusti underlines the importance of one element of the system, that is the necessity to be recognized as an artist, an event that in most cases requires a first acknowledgement by the members of the system itself, a theme on which the artists returns with the institution of a Museum of exiled Italian contemporary art, an itinerant museum without a place that collects marginal and ignored artistic experiences. The project of an exhibition of artists who gave up working was then partially realized thanks to the collaboration with two curators, M. Clark and M. Dickenson, on the occasion of the exhibition democracy! Socially Engaged Art at London's Royal College of Arts in May 2000. <a href="https://www.repository.unipr.it/bitstream/1889/1777/1/CESARE%20PIETROIUSTI_Museo%20degli%20artisti%20dimenticati.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare Date A point or period of time associated with an event in the lifecycle of the resource 2000 ca. 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 Rights Holder A person or organization owning or managing rights over the resource. Cesare Pietroiusti MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/1777" target="_blank" rel="noopener">http://hdl.handle.net/1889/1777</a> Logistical reasons http://moremuseum.org/omeka/files/original/e795e653972b4c0017eaa7029383eef6.jpg 15ac9c8074dd5f4390301a7df0c5e761 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 Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects Title A name given to the resource taccuino-novembre 2002.jpg Date A point or period of time associated with an event in the lifecycle of the resource november, 2002 http://moremuseum.org/omeka/files/original/5f1a915249c519fe6318a3b63eba0d23.jpg 3d6dd6a16665f02a64805a10bc8215dc 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 Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects Title A name given to the resource taccuino-novembre 2001.jpg Date A point or period of time associated with an event in the lifecycle of the resource november, 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 Cesare Pietroiusti Description An account of the resource The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system. Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 [Progetti per una mostra retrospettiva] Description An account of the resource Since 2000 in the artist’s notebooks we can find several information and notes about the project of a retrospective exhibition that has never been realized. One note dated 2001 sketches out the idea of an exhibition of artists who developed ideas similar to Pietroiusti's ones or who even accused him of stealing their ideas. With this project Pietroiusti continues his reflection on the concept of authenticity, uniqueness, physical and intellectual property of the art work. One more hypothesis, dating back to 2002, rather refers to an exhibition in which the artist planned to exhibit all his art works and to exchange them with new projects realized in collaborations with the visitors or inspired by them. <a href="https://www.repository.unipr.it/bitstream/1889/1778/1/CESARE%20PIETROIUSTI_Progetti%20per%20una%20mostra%20retrospettiva.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare Date A point or period of time associated with an event in the lifecycle of the resource 2000-2013 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 Rights Holder A person or organization owning or managing rights over the resource. Cesare Pietroiusti MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/1778" target="_blank" rel="noopener">http://hdl.handle.net/1889/1778</a> Logistical reasons http://moremuseum.org/omeka/files/original/dc5a1a605d3d5273ab23168fb52b664f.jpg 6ad951c130a083237de7ec33953ee69e 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 055.jpg Description An account of the resource Scan of a notebook page where the artist appointed ideas about the project, as it happens for most of Pietroiusti’s projects 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 Cesare Pietroiusti Description An account of the resource The artistic research of Cesare Pietroiusti, born in Rome in 1958, a degree in medicine with an essay on psychiatry, focuses on the analysis of paradoxical and problematic situations that are hidden in ordinary life and at the same time of the art system. Visual artist, founder and coordinator of research centers (e.g. the artist-run space Jartrakor in Rome), art projects and conferences, since 1977 he exhibited in public and private spaces, conventional and not, in Italy and abroad. In 2007 he founded, in collaboration with the collective Space of Bratislava, “Evolution de l’art”, the first art gallery to sell exclusively immaterial works and in 2011 the Museum of exiled Italian contemporary art, a project for the collection of works, documents and records on artistic experiences that are deliberately marginal or non acknowledged by the museum system. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 Certificati di Autenticità Date A point or period of time associated with an event in the lifecycle of the resource 1987-1988 Description An account of the resource The artist developed a never-realized project for the production of different typologies of certificates of authenticity, like for instance one attesting a person's own identity, or unrealized art works or sophisticated certificates printed on papyrus for objects of little value (e.g. A one cent coin). The unrealized project is coherent with the author's research that often investigates ironically the economic system and the attribution of a commercial value to objects. <a href="https://www.repository.unipr.it/bitstream/1889/1772/1/CESARE%20PIETROIUSTI_Certificati%20di%20autenticità.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Pietroiusti, Cesare 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 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 Marko Pogačnik Description An account of the resource Marko Pogačnik is a contemporary Slovenian artist. He studied at the Academy of Arts in Ljubljana where he graduated in 1967. He was co-founder of the OHO group between 1965 and 1971, alongsideMilenko Matanović, David Nez, Marko Pogačnik, and Andraž Šalamun.He lives and works in the village of Šempas (Nova Gorica). Creator An entity primarily responsible for making the resource Pogačnik, Marko 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 Lithopuncture Zagreb Description An account of the resource In October 2004, Marko Pogačnik created a series of urban sculptures in Zagreb as part of the "Urban Intervention" project. They were part of a cycle that the Slovenian artist had been developing since the 1980s, entitled Lithopuncture.  He saw this as a kind of acupuncture applied directly to the Earth's surface at certain "energy points", rather like acupuncture practised on the human body in relation to the chakras. Four years later the works were partially removed. <a href="https://www.repository.unipr.it/bitstream/1889/3687/4/Marko%20Pogačnik_Lithopuncture%20Zagreb_.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Pogačnik, Marko Date A point or period of time associated with an event in the lifecycle of the resource 2004 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 Rights Holder A person or organization owning or managing rights over the resource. Marko Pogačnik MoRE museum Removal / Destruction Unknown http://moremuseum.org/omeka/files/original/4d9635b313020164999fea5014ee2ab1.jpg 183e7e85accf1e8daa3b1f5d0a9b8b45 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 camera della morte.jpg Description An account of the resource The work donated to MoRE is a drawing that represents the final phase of the performance. The line drawing is stylized and the Chamber of death is represented according to a central perspective as if it were a long corridor with balconies, from where the perpetrators overlook the massacre. Format The file format, physical medium, or dimensions of the resource file jpg, 20,003x15,275 cm, 300dpi 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 Luigi Presicce Description An account of the resource He was born in Porto Cesareo (Lecce) in 1976, and lives and works in Milan and Porto Cesareo. He attended the Fine Arts Academy in Lecce, but his work has been decisively influenced by his independent studies. In 2007 he took part in the Advanced Course in Visual Arts (CSAV) at the Antonio Ratti Foundation in Como with the American artist Joan Jonas. In 2008, as part of the Artist in Residence initiative, he took part in the workshop at Viafarini in Milan with the American artist Kim Jones. In Milan in 2008 he also founded (with Luca Francesconi and Valentina Suma) the magazine Brownmagazine followed by the Brown Project Space, for which he acts as curator. In 2011 with Giusy Checola and Salvatore Baldi he started running “Archiviazioni” (research and discussion activities regarding contemporary culture in southern Italy) in Lecce. In 2012 he took part in Artists in Residence at MACRO, Rome. With Luigi Negro, Emilio Fantin, Giancarlo Norese and Cesare Pietroiusti he is involved in the Lu Cafausu project, which has been invited by AND AND AND at dOCUMENTA13, Kassel. He performed at Fondazione Claudio Buziol, Venice (2010), Performance Festival Thessaloniki Biennale 3, Greece (2011), Festival Reims Scènes d’Europe, Frac Champagne-Ardenne, France (2011), MADRE, Neaples (2012), We Folk – Drodesera Festival, Centrale Fies, Dro (2012). He won Epson Art Prize, Antonio Ratti Foundation, Como (2007), Emerging Talents Prize, CCC Strozzina, Palazzo Strozzi, Florence (2011), Long Play, MAGA, Gallarate (2012). Creator An entity primarily responsible for making the resource Presicce, Luigi 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 camera della morte Creator An entity primarily responsible for making the resource Presicce, Luigi Contributor An entity responsible for making contributions to the resource Rossi, Valentina Description An account of the resource The project donated by Luigi Presicce (Porto Cesareo, 1976) consists in an unrealized performance. The action, with an utopian and theatrical nature, is inspired by the annual event in which the tuna migrate to the <a href="http://www.youtube.com/watch?v=nZvGrvT4OhE&feature=youtu.be" target="_blank" rel="noopener">island of Favignana</a>, in the south of Italy, to reproduce themselves, and according to the artist to make a journey of love. On this occasion the fish goes through a maze made up of fishing nets to end up inexorably in the death chamber, where they are harpooned and killed. The action has been designed by the artist as a game of reversing roles, in which the men take the place of the tuna and unaware they are ready to participate to the last moment of their life, just waiting to be slaughtered by other men. It is a transposition of the man from hunter to prey, from victim to victimizer, an inversion that creates alienation and a violent trauma. All these elements lead the viewer to a possible kind of visionary hallucination, where the role of Presicce is no longer that of the protagonist of his own performance but of an expert Director of expert careful towards the construction of a new appearance. This performance also draws inspiration from a short aphorism by <a href="http://www.youtube.com/watch?v=s-4OrG6kows&feature=relmfu" target="_blank" rel="noopener">Carmelo Bene</a> in which the actor claims that the public should pay the cost of the show with his own life. Because of its utopian nature, it has never been possible to realize the performance. <a href="https://www.repository.unipr.it/bitstream/1889/2054/1/presicce-camera%20della%20morte.pdf" target="_blank" rel="noopener">Read more</a>. Date A point or period of time associated with an event in the lifecycle of the resource 2012 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2054" target="_blank" rel="noopener">http://hdl.handle.net/1889/2054</a> Rights Holder A person or organization owning or managing rights over the resource. Luigi Presicce MoRE Museum Theoretical exercise http://moremuseum.org/omeka/files/original/2e98a126ada94dc3fa358e4d2370ff32.jpg 623362a0ed4857f8ae70c931ea16ff46 http://moremuseum.org/omeka/files/original/68468c9c09f5c48f8e43c283cc6d6e57.jpg acc0e767fc266682ca54e5c18f6eff66 http://moremuseum.org/omeka/files/original/9076b65f060fce12c641ececf28f633c.jpg 9074034a14a13a241bb55a6f8af09cd7 http://moremuseum.org/omeka/files/original/8c5a0248cf03a9f05942613633487c14.jpg 2f01016048d1caa46019aedc67fcf8c7 http://moremuseum.org/omeka/files/original/bb1d4f989dd56c92892010731bdb9c17.jpg a56159cd4425622470c296cb0e5c7098 http://moremuseum.org/omeka/files/original/49fa29aff5efcad8d682bf9459633b17.jpg e29c6b7320b5f09b408e712430e3eb27 http://moremuseum.org/omeka/files/original/19da69d0021f1beff5d6d4ffb36c6ce1.jpg ebd3336388eb1a0e7acb0501761c683a http://moremuseum.org/omeka/files/original/cd5bbbbb18ef4cdfaf0c78679e2239d2.jpg abffbd21ca1a10622a60fc8dfaf21d82 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 Vjenceslav Richter Description An account of the resource Vjenceslav Richter (Drenova, 1917-Zagreb, 2002). He earned his degree in architecture at the Technical Faculty in Zagreb in 1949. He is one of the founders of EXAT 51 (1951),  Studio of Industrial Design (1956) and the Centre for Industrial Design (1963) in Zagreb. Richter headed the Architecture Department at the Academy of Applied Arts in Zagreb (1950-1954). In all his activities, from designing the exhibition spaces Pavilion for the World Exhibition in Brussels 1958 and Triennale of Milan in 1964, to painting, Richter carried out the principle of artistic synthesis. After becoming internationally famous thanks to these latest interventions, he worked on designs for museums at Aleppo, Sarajevo, Belgrade, Skopje, and Krapina. Beginning in the early sixties, he developed a systematic approach to urban planning (Sinturbanizam), which he further elaborated in the form of a theoretical project called Heliopolis, a four-dimensional megalopolis, of sculpture and painting between seventies and eighties.  His experiments in the field of visual arts associated him with the international movement of New Tendencies. During that period, between the seventies and the nineties, he created his cycles Centre i centrije (Center and Centers), Sistemske skulpture (System Sculpture), Reljefometri (Reliefsmeters), Sistemske grafike (System graphic) andProstorne grafike (Spatial graphic), which originated in his fascination with systems and his interest in the possibility of synthesis in the field of visual arts. In the thirty-odd pieces from his cycle on Prostorne slike (Spatial image), created in the nineties, he finally managed to elide the borders between architecture, sculpture, and painting. Vjenceslav Richter and his wife, Nada Kareš Richter, donated their artworks and their family house, Tte two-storey villa at 38 Vrhovac houses, to the city of Zagreb in 1980, with the intention of promoting research on Constructivist art and providing a place for young artists to meet, but also in order to improve cultural affairs outside the centre of Zagreb. In 1998, the Richter Collection, as it is commonly called, was entrusted to MSU for management. That was also the beginning of vigorous work on documenting Vjenceslav Richter's art, as well as of close cooperation between the Museum's curators and the artist, which aimed at creating the conditions for opening the collection for the general public. In Spring 2000, the collection was opened to the public, while close cooperation between Vjenceslav Richter and the Museum was continued with further donations made by the artist. In 2007, Nada Kareš Richter donated some valuable archival materials and a library, which is now preserved and documented on the premises of the Collection. Creator An entity primarily responsible for making the resource Richter, Vjenceslav 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. 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 Synthurbanism Creator An entity primarily responsible for making the resource Richter, Vjenceslav Date A point or period of time associated with an event in the lifecycle of the resource 1954-1964 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Remondina, Camilla 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. Vjenceslav Richter MoRE museum Description An account of the resource Richter developed the idea of Synthurbanism in the early sixties as a result of his in-depth analysis of the legacy of the historical avant-gardes and the synthesis of arts, through the principles of Modernism, along with the experience he acquired working on several pavilion and urban planning projects . As the neologism suggests, it was a visionary, but not utopian project, synthesizing urbanism to provide for the lives of ten thousand people in a single, poly-functional, urban structure consisting of multiple units in the form of a ziggurat. This gave rise to the idea of the Heliopolis, a four-dimensional, constantly revolving residential structure which would provide its inhabitants with an constantly changing view. <a href="https://www.repository.unipr.it/bitstream/1889/3685/4/Vjenceslav%20Richter_Synthurbanism.pdf" target="_blank" rel="noopener">Read more.</a> Financial reasons Technical reasons http://moremuseum.org/omeka/files/original/6b6c77cfbd39f8509854ae309761728c.jpg 0e826217e9f308b0221f573c820121b1 http://moremuseum.org/omeka/files/original/d72567baa317629c4395aefad8096936.jpg da6d22ab4ddff125413d7d7e0b453617 http://moremuseum.org/omeka/files/original/f1f25c69f28c9cf504f4fc8346230df4.jpg 2a03b69e4b4a26f6cc9d441cca133fce 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 Alessandro Sambini Description An account of the resource Alessandro Sambini (Rovigo, 1982) lives and works in Milan, where he moved after graduating in Art & Design at the Libera Università in Bolzano and further to completing an MA in Research Architecture at the Visual Cultures department of Goldsmiths College, University of London. In Milan, he started working with images, video and mixed media, exploring the needs and modalities that regulate the production of new images, their circulation and dissemination, and the various relationships that exist between the image itself and its viewers. In 2017 he took part to the group show Fuocoapaesaggio curated by Dolomiti Contemporanee and he was selected to be part of Plat(t)form 2017 at the Fotomuseum of Winterthur; in 2016 the Fondo Privato Acquisizioni per l’arte contemporanea of ArtVerona acquired his work People at an exhibition. The same project was part of the solo exhibition at Galleria Michela Rizzo, curated by Denis Isaia. During the same year he took part to Stories From the Edge, curated by Francesca Lazzarini, at the Kunsthaus Graz (Austria) and to the exhibition On New Italian Photography, curated by Fantom, Viasaterna (Milano 2016). His projects have been presented at: Foto/ Industria, 2a Biennale di Fotografia Industriale curated by François Hébel, at MAST (Bologna, 2015); Flags, at Serra dei Giardini, curated by Elena Forin (Venezia, 2014); Lo Spettatore Emancipato, curated by Angela Madesani, at Galleria Giovanni Bonelli (Milano, 2014). He worked with Italian institutions like MUSEION, FORMA, MUFOCO, MAST, MA*GA and Triennale di Milano; in 2009 he won the XXIII Premio Gallarate Per Le Arti Visive, Terzo Paesaggio. Fotografia Italiana Oggi and he was among the finalists of GD4PhotoArt, promoted by MAST. He is co-founder of POIUYT and his works are part of MAGA, MUFOCO and Fondazione MAST collections. Creator An entity primarily responsible for making the resource Sambini, Alessandro 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 UNTITLED Description An account of the resource UNTITLED aims at creating a photo archive of places and monuments which are significant for foreign citizens based in Italy. Geography, iconography and memory are pivotal for this project, created to give a visual identity to the rich cultural diversification characterising Italian contemporary society. At the same time UNTITLED focuses on landscape and monument identity in this era. This installation had two chances to be shown and presented: in Milan, Quartiere Giambellino, in 2011, and in 2015 in Trieste. <a href="https://www.repository.unipr.it/bitstream/1889/3847/1/forin_sambini%20def.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Sambini, Alessandro Date A point or period of time associated with an event in the lifecycle of the resource 2011 & 2015 Contributor An entity responsible for making contributions to the resource Forin, 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. Alessandro Sambini MoRE Museum Project which wasn’t selected in a prize or competition Unspecified 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/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/1f2bc61042982b6343fe67f09e461917.jpg a8acc6f2956bbd72560e50728d0c5214 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 ASE-1968-20.jpg http://moremuseum.org/omeka/files/original/8f155bd484d65e705a6e533ae536c82d.jpg f1fcc4d05634d550501fd7c9392846fd 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 ASE-1968-9.jpg Format The file format, physical medium, or dimensions of the resource letter to Paolo Scheggi, typewritten on the front, signed by T. Ferraris, Secretary of the Ente, undated but possibly written after the other one archived, dedicated to the answer sent to Scheggi from the Ente about the project of the Cannocchiale ottico, which is considered too expensive: Ferrarsi asked the artist to think about a possibile alternative project, just in case this first one would have been refused. http://moremuseum.org/omeka/files/original/7d539db0077f86e11fb105f71c9448b3.jpg 2f59f5ebbdb7cb16de3715ba6d2aeca0 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 ASE-1968-5v.jpg Format The file format, physical medium, or dimensions of the resource letter to Paolo Scheggi, typewritten on the back, signed by T. Ferraris, Secretary of the Ente, dated 3rd april 1968, dedicated to the invitation to Paolo Scheggi to participate with a project. http://moremuseum.org/omeka/files/original/eef6310adc200e8cf5ca327a38c5f0d8.jpg a4227ce51411984ba1d943892d53545c 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 ASE-1968-5r.jpg Format The file format, physical medium, or dimensions of the resource letter to Paolo Scheggi, typewritten on the front, signed by T. Ferraris, Secretary of the Ente, dated 3rd april 1968, dedicated to the invitation to Paolo Scheggi to participate with a project. http://moremuseum.org/omeka/files/original/a4d2b5e81256202435d27013d9376d4c.jpg f95e0fa1eb518c8ce2494b7eeb6dbdb6 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 014 Maquette.jpg Format The file format, physical medium, or dimensions of the resource photographic print B/W, the subject is the maquette of the Cannocchiale ottico percorribile, 18×24 cm. http://moremuseum.org/omeka/files/original/01ffee251246ab6dcae8723c2396c5e4.jpg 354716d965a59ecc690612a82d045690 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 013 Maquette.jpg Format The file format, physical medium, or dimensions of the resource photographic print B/W, the subject is the maquette of the Cannocchiale ottico percorribile, 18×24 cm. 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 Paolo Scheggi Description An account of the resource Born in Florence in 1940, died in Rome in 1971. Within a “long” decade (1958-1971) the research of Paolo Scheggi went through different fields of knowledge and different disciplines, from visual arts to architecture to fashion, from poetry to urban and theatrical performances to arrive at a conceptual and metaphysics reflection. Characterized by a strong interdisciplinary approach, the route taken by Paolo Scheggi may be condensed in interpretation given by by Giovanni Maria Accame in 1976: from the exhibition of the project to project of the exhibition. In Milan since 1961, he holds a vibrant collaborative relationship with Germana Marucelli for whose redesign the spaces of her tailoring, that will be inaugurated with the parade of optical dresses in the spring of 1965; then comes into contact with new research in the Lombard capital, attending the group around Azimuth and the first exponents of arte programmata, while Lucio Fontana, since 1962, follows his research carefully. In 1964 Carlo Belloli ascribes him among the i 44 protagonisti della visualità strutturata, in 1965 he’s ascribed by Dorfles among members of the Pittura Oggetto, in the same year he joined the movement nove tendencije, and holds international contacts, especially in northern European area, where he exhibited more occasions and participated in group exhibitions Zero and Nul. Fundamental is also the architectural and environmental direction that his research undertaken since 1964, working and confronting with Nizzoli Associates (Mendini, Oliveri, Fronzoni), Bruno Munari (Sala Experimental Film, Milan Triennale in 1964) and resulting in the Intercamera plastica created by the end of the 1966 and presented in Milan at Galleria del Naviglio in January 1967. Since 1968 he opened his investigation towards theater and performing arts, addressing the overcoming of the traditional space of the stage and the gallery and extending it into the city (note his Marcia Funebre o della geometria for Campo Urbano in Como, in 1969, and the performance Oplà Stick held in Milan’s -Galleria del Naviglio, Firenze-Galleria Flori and city streets, Zagreb Student Center Gallery, for nove tendencije 4, 1969). During the last two years he is engaged in a conceptual research culminating in the Sette spazi recursivi autopunitivi (never realized), the seiprofetiperseigeometrie and the Ondosa environment, yet to be investigated in their complexity. He was present at the Venice Biennale in 1966, 1972, 1976, 1986, Scheggi exhibited in some of the major artistic events of the time, from Paris to Buenos Aires from New York to Hamburg, Dusseldorf to Zagreb. Creator An entity primarily responsible for making the resource Scheggi, Paolo 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 Cannocchiale Ottico Percorribile Description An account of the resource The Cannocchiale ottico percorribile was designed by the artist for the 1968 Milan Triennale, dedicated to the theme of the Grande Numero, in the never-realised exhibition Interventi nel paesaggio. Inside this project artworks by young artists should have been exposed in town and city centers to offer an artistic vision of the world in scale with the physical environment.  In the oral reconstruction provided by his wife Franca Scheggi Dall’Acqua, in support of the two photographs of the project, the optical telescope should have been  made in chromed steel and in collaboration with Italsider. Scheggi of this project produced a maquette, also in chromed steel. The Cannocchiale ottico percorribile was to be shown in Florence, between the Cathedral of Santa Maria del Fiore and the Baptistery, in line with Via de ‘Calzaiuoli and Via dei Martelli. The dimensions hypothesized by the artist had to be such as to accommodate about a man of medium height in it, who could have been following the inside path in all its lenght. The work unravels itself in a zigzag and irregular shape, such as to produce an effect of disorientation on the viewer, increased by a very dramatic interior lighting; in addition responding to the theme of the exhibition inside the Triennale it was also a reflection on the Florentine Renaissance perspective, made explicit with its placing in the square in Florence (Scheggi was a native of the city and soaked in humanities); but we can also place it among the top experiences of Paolo Scheggi related to the concept of tunnel and path in the dark that would then be developed in the following years, bringing us the environment ONDOSA (as reported in the bibliographies and biographies of the artist) or ONDOSA NERA (as shown on the projects of the artist himself) otherwise made for the show Eurodomus in Milan, 1970, and then destroyed. <a href="https://www.repository.unipr.it/bitstream/1889/1998/1/scheggi_cannocchiale%20ottico%20percorribile.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Scheggi, Paolo Date A point or period of time associated with an event in the lifecycle of the resource 1968 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 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://hdl.handle.net/1889/1998" target="_blank" rel="noopener">http://hdl.handle.net/1889/1998</a> Rights Holder A person or organization owning or managing rights over the resource. Paolo Scheggi MoRE Museum Financial reasons http://moremuseum.org/omeka/files/original/57169aa9a5899c937c290866d6ce2285.jpg e40a0855efd5be83c0f72541567ffdcf 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 gal neu .jpg Description An account of the resource photomontage of young mothers inside the galleries spaces. Format The file format, physical medium, or dimensions of the resource file jpeg, 6,77×3,54 cm, 300 dpi http://moremuseum.org/omeka/files/original/c2219f9f4f8c7ba88e870d0f5ac21ec6.jpg f9067b5d219b5fc662a0061d0848dc85 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 I+P0.jpg Description An account of the resource Photomontage of elderly people inside the galleries spaces. Format The file format, physical medium, or dimensions of the resource file jpeg, 36,02×23,99 cm, 72 dpi http://moremuseum.org/omeka/files/original/b6388b2ab50da9b3f54ea45c9a9d9f9e.jpg d4d45aec4c8e93e12e4e19592c466911 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 project for krome .jpg Description An account of the resource Photomontage of elderly people and young mothers inside the galleries spaces. Format The file format, physical medium, or dimensions of the resource file jpeg, 8,52×11,9 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 Lorenzo Scotto di Luzio Description An account of the resource Lorenzo Scotto di Luzio. Pozzuoli (NA), Italia 1972. Lives and works in Berlin. Creator An entity primarily responsible for making the resource Scotto di Luzio, Lorenzo 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 Senza Titolo Creator An entity primarily responsible for making the resource Scotto di Luzio, Lorenzo Date A point or period of time associated with an event in the lifecycle of the resource 2012 Description An account of the resource This unrealized work donated to MoRE museum consists in a performance staged simultaneously in two different galleries in Berlin, in one venue there are many young mothers with babies, while in the other there are elderly people. The overlaying of the two actions creates a kind of disorientation in the viewer who is facing the two venues to enjoy the same work of art, the visitor entrance is potentially submerged by these presences that are on an ambiguous track between irony, sarcasm and an uncanny feeling of “homologation” of the protagonists. This work can be considered a modern allegorical composition of the three ages of man, on the one hand young women with their children – maturity and youth – while in the other gallery there is the last stages of life. Even if the work has an “aulic” meaning and evokes an iconography of the past, it developed through a ludic dimension which characterizes a great part of the work of the artist. Therefore there’s not only a Marcel Duchamp vein in Scotto di Luzio’s poetic, as we can see in <a href="http://moremuseum.org/omeka/admin/items/show/35" target="_blank" rel="noopener">the other project donated to MoRE</a>, but also a performative research that approaches both the avant-garde of the Seventies that the more recent trends of the Nineties, and that is penetrated by a Neapolitan sense humor with ancient roots (remembering Totò and Eduardo de Filippo) that conceals melancholy and irony. The project was created in collaboration wirh the Krome Gallery (Berlin), but a second gallery has never been found. <a href="https://www.repository.unipr.it/bitstream/1889/2415/1/scotto_untitled.pdf" target="_blank" rel="noopener">Read more.</a> Contributor An entity responsible for making contributions to the resource Rossi, Valentina Relation A related resource DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2415" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2415</a> 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. Lorenzo Scotto di Luzio MoRE Museum Logistical reasons http://moremuseum.org/omeka/files/original/c8210d447c9e56a2f4dfea95de475512.jpg d0c6d78b11fd808f491067f93d1225f7 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 disegno scala color .jpg Description An account of the resource A drawing representing the escalator and the desert. Format The file format, physical medium, or dimensions of the resource file jpeg, 29,7×20,99 cm 72 dpi http://moremuseum.org/omeka/files/original/095b510b08e9838cf8496c31d92a51d1.pdf 242319b479069b9d452da910f2fa934b 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 emirati arabi.pdf Format The file format, physical medium, or dimensions of the resource pdf http://moremuseum.org/omeka/files/original/4c45b526a636c9e99da21a0541c32f8a.pdf 4284390ee126e9262abfda5b2326754e 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 english emirates.pdf Description An account of the resource Project reviews, in Italian and English language. Format The file format, physical medium, or dimensions of the resource 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 Lorenzo Scotto di Luzio Description An account of the resource Lorenzo Scotto di Luzio. Pozzuoli (NA), Italia 1972. Lives and works in Berlin. Creator An entity primarily responsible for making the resource Scotto di Luzio, Lorenzo 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 Scala mobile con deserto Description An account of the resource The project involves the construction of an escalator in the desert. In this project, as in<a href="http://moremuseum.org/omeka/admin/items/show/id/33" target="_blank" rel="noopener"> the other one donated to MoRE</a>, Lorenzo Scotto di Luzio works on the opposites, inserting in a totally neutral setting – a distinctive trait of the Eastern world – an element with a strong “western” connotation, that represent the commerce and that clashes with the unspoiled landscape of the desert. In the idea of Scotto di Luzio, the staircase is defunctionalized and will not need any maintenance, it should deteriorate and become a relic, an abandoned monument, almost “commemorative” of a past world. Even here the artist hides a paradox, perhaps a joke: the celebration of the western cult just inside the eastern world, two concepts and two cultures that come together to create a sort of epiphany of the vision, just like a “mirage” in the desert. The artist, in the review of the project, calls it a “bachelor machine”, a sterile and unproductive device, a sort of ready-made on a large-scale, defunctionalized and completely out of context, designed not to be placed in the hall of a museum but in the desert, an aseptic and neutral space. The project was born withouth clients, and with the willingness to propose it to some commissioners in the Emirates, but has never been proposed to any possible commissioner. <a href="https://www.repository.unipr.it/bitstream/1889/2414/1/scotto_scala%20mobile%20con%20deserto.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Scotto di Luzio, Lorenzo 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 Rossi, Valentina Relation A related resource DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2414" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2414</a> Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Lorenzo Scotto di Luzio MoRE Museum Logistical reasons http://moremuseum.org/omeka/files/original/78fbf026d6db389ebd49b725aa008acb.jpg bea1d87ceacf98fe5fc6f3ad1be4a6a5 http://moremuseum.org/omeka/files/original/6ec0944f1d0b39ab9d96298cd7f6a8b6.jpg 746ce5dc29956940ca3a9cec78734057 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 Duro Seder Description An account of the resource Đuro Seder (1927, Zagreb) is a Croatian artist who lives and works in Zagreb. He graduated from the Academy of Fine Arts of Zagreb in 1951 in the class of Antun Mezdjic, in 1953 he completed a painting course with Marino Tartaglia. In 1981 he became a teacher, and in 1983, a professor at the Academy of Fine Arts. He worked as an illustrator, graphic designer, editor of art magazines and was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself), and the creation of concepts, projects and various forms of artistic communication. Creator An entity primarily responsible for making the resource Seder, Đuro 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 Untitled Creator An entity primarily responsible for making the resource Seder, Đuro Date A point or period of time associated with an event in the lifecycle of the resource 1991 Contributor An entity responsible for making contributions to the resource Scotti, Marco Zinelli, Anna Description An account of the resource In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. The two works created by Đuro Seder do not seem to resemble the production of his Gorgona years, as stated by the artist himself in an interview published in the monographic dossier of the magazine Ricerche di S/Confine. In fact, he proposes a drawing with his characteristic use of irregular shapes and semicircular lines, to which he adds a graphic element with the repetition of the word "peace". The second drawing is derived from a previous painting in which two profiles are merging into a single face. Seder himself remembers how during his residency, which immediately preceeded the war in Croatia, there was "a hint of intolerance in the air" and how the work was meant to hilight "the importance of unity among people". <a href="https://www.repository.unipr.it/bitstream/1889/2660/1/Seder_untitled.pdf" target="_blank" rel="noopener">Read more.</a> 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. Đuro Seder MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2660" target="_blank" rel="noopener">http://hdl.handle.net/1889/2660</a> Ideological reasons Logistical reasons 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/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/dcfabfdbc5a5ca844940d2678c3c6ce5.pdf 337acc1f4351ace62e58beaa44ce0623 http://moremuseum.org/omeka/files/original/4f7bf22b3d79e62d02e0977c5cc70731.pdf 7cc010c7a766c0db612f578d92460570 http://moremuseum.org/omeka/files/original/f4ca10e1ad64379060313ef7da4fa778.mov 26df352d6743e979c72b7fc4c791c428 http://moremuseum.org/omeka/files/original/ed03734a08971a41a8d6f681dc85b2e0.wav 1398004a3aaf7bc556836caf676b0fb2 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 A Lighting system Description An account of the resource The project A Lighting System attempts to bring together the discourse on security and the machinery for producing good conscience — and control — into a single structure, as the ecological discourse is often used for that purpose. <a href="https://www.repository.unipr.it/bitstream/1889/3715/1/Veit%20Stratmann_A%20lighting%20system.pdf" target="_blank" rel="noopener">Read more.</a> 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 2012 Contributor An entity responsible for making contributions to the resource Stratmann, Veit Format The file format, physical medium, or dimensions of the resource application/pdf video/quicktime Language A language of the resource French Type The nature or genre of the resource Text Still Image Moving Image Rights Holder A person or organization owning or managing rights over the resource. Veit Stratmann MoRE museum Theoretical exercise 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/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/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/b9e05909a836170042799d09631c6938.mov a0e07d1f5ffaec5d19159790a285a14c 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 Marko Tadić Description An account of the resource Marko Tadić studied painting at the Accademia di Belle Arti, Florence. His artistic practice is in drawing, installation and animation. Winner of numerous art prizes: 2015. the Vladimir Nazor award for the best exhibition, 2012. award for the best design at the festival of Croatian animation FHAF, 2010. third award at the exhibition T-HT@MSU In Zagreb and in 2008 the Radoslav Putar Award for best young contemporary artist. Participated in many residential programs in Helsinki, New York, Los Angeles, Frankfurt Am Main and Vienna. Collaborated with the Art Academy in Zagreb at workshops for students as tutor for the workshop of Artist Books, Field recordings and Radio Dramas. Works at the Academy of fine arts in Zagreb, Croatia. His films have been shown on many international animation film festivals and experimental film festivals. His works have been exhibited on many solo and group exhibitions around the world. In 2017 along with Tina Gverović he has represented Croatia at the 57th Venice Biennale. Creator An entity primarily responsible for making the resource Tadić, Marko Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Room Description An account of the resource The Room is a film created by Marko Tadić using stop motion animation technique, but it was abandoned by the artist during the editing phase. The video represents a seance, or rather what happens in the room after everyone has left. The animation reveals furniture and objects moving, candles burning down, light effects and flashes similar to explosions, and the appearance of figures - toys and knick-knacks. In the closing scene, a small pottery cat looks into the fixed camera and in the background we can see the almost destroyed room.<a href="http://dspace-unipr.cineca.it/bitstream/1889/3692/1/Marko%20Tadic_%20The%20Room.pdf" target="_blank" rel="noopener"> </a><a href="https://www.repository.unipr.it/bitstream/1889/3692/1/Marko%20Tadic_%20The%20Room.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Tadić, Marko 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 Scotti, Marco Format The file format, physical medium, or dimensions of the resource video/quicktime Type The nature or genre of the resource Moving Image Rights Holder A person or organization owning or managing rights over the resource. Marko Tadić MoRE museum project abandoned by the artist http://moremuseum.org/omeka/files/original/43b391768a4131bed172b3c70adc3fcd.mp4 ce7b013edb14c9ef11df0a3b5e3a772f http://moremuseum.org/omeka/files/original/79985f95bd493bf95787b03c261d52eb.mp4 cb0451b15da8beaa2dd5bec1a3c0220d http://moremuseum.org/omeka/files/original/a64cded766ae5a1618773a31b3d6f168.mp4 a0d455c23eebbeb43b51a1b7dca41b41 http://moremuseum.org/omeka/files/original/9b587659a4ba23309b47b92e6c712bbe.mp4 a82a4cdc28e15ac20d8e8b07bb1b109c http://moremuseum.org/omeka/files/original/0ec3661d80c163a3b21d93e073ee5a8f.mp4 90e76156a69982645675a6ee6e9b3307 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 Marko Tadić Description An account of the resource Marko Tadić studied painting at the Accademia di Belle Arti, Florence. His artistic practice is in drawing, installation and animation. Winner of numerous art prizes: 2015. the Vladimir Nazor award for the best exhibition, 2012. award for the best design at the festival of Croatian animation FHAF, 2010. third award at the exhibition T-HT@MSU In Zagreb and in 2008 the Radoslav Putar Award for best young contemporary artist. Participated in many residential programs in Helsinki, New York, Los Angeles, Frankfurt Am Main and Vienna. Collaborated with the Art Academy in Zagreb at workshops for students as tutor for the workshop of Artist Books, Field recordings and Radio Dramas. Works at the Academy of fine arts in Zagreb, Croatia. His films have been shown on many international animation film festivals and experimental film festivals. His works have been exhibited on many solo and group exhibitions around the world. In 2017 along with Tina Gverović he has represented Croatia at the 57th Venice Biennale. Creator An entity primarily responsible for making the resource Tadić, Marko Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. 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 Moons Description An account of the resource The Moons is a video that should have been part of a larger, realised project We used to call it: Moon. It consists of five short films which are almost drafts. The same scene is shot from the same standpoint, but with different lights and background music. In this scene, a strange landscape is composed of small sculptures that look like monuments. Two wooden spheres move and change position, representing the two moons of the title. <a href="https://www.repository.unipr.it/bitstream/1889/3691/1/Marko%20Tadic_%20The%20Moons.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Tadić, Marko 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 video/mpeg Type The nature or genre of the resource Moving Image Rights Holder A person or organization owning or managing rights over the resource. Marko Tadić project abandoned by the artist http://moremuseum.org/omeka/files/original/fc1f86a74285dbcf9f2c8fe041869e33.pdf a72c3642d000a930c6015f9c436b4c7e 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 S.T.02 de mi amor mi canto.pdf. Description An account of the resource Project Description for AGEOP Format The file format, physical medium, or dimensions of the resource file pdf http://moremuseum.org/omeka/files/original/8347991c5d6c8374fd68218392495836.pdf ac5148e9acb4ed66783e1f6fb2527765 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 Torelli Sabrina, intervista Ageop, progetto de mi amor mi canto.pdf Description An account of the resource Interview AGEOP on the project. Format The file format, physical medium, or dimensions of the resource File pdf http://moremuseum.org/omeka/files/original/652e8e8f990829fc0ae9372a3ceb6367.jpg 6450652fbc6e35563e6903078bbae18d 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 Torelli Sabrina, de mi amor mi canto, 04, cat.1.jpg Description An account of the resource Pages of the catalog published for the exhibition SPA Salus per Arte, GAM of Bologna Format The file format, physical medium, or dimensions of the resource file jpg, 19x38 cm, 150 dpi http://moremuseum.org/omeka/files/original/5fc39976bd0e36ef30f10772975773d8.jpg b6338500a5e9fc5f2d2715983f25b933 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 Torelli Sabrina, de mi amor mi canto, cat. 2.jpg Description An account of the resource Pages of the catalog published for the exhibition SPA Salus per Arte, GAM of Bologna Date A point or period of time associated with an event in the lifecycle of the resource file jpg, 19x38 cm, 150 dpi http://moremuseum.org/omeka/files/original/71877170b9ff067de80111d4ff072f8a.jpg d7b5cd1af981036760422d3da2d0e999 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 Torelli Sabrina, dettaglio de mi amor mi canto, 04,mostra Spazio Aperto, Gam, 04.jpg Description An account of the resource Picture of the prototype work exhibited at GAM in Bologna Format The file format, physical medium, or dimensions of the resource file jpg, 10,16x13,55 cm, 300 dpi http://moremuseum.org/omeka/files/original/8717ff7a6374f4ad4902fda0875eb3c7.jpg 9d43b61f8b119993da52d8e327011ec8 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 Torelli Sabrina, de mi amor mi canto, 04. Orto Botanico di Parma, Opera d'Amore, 2008.jpg Description An account of the resource Picture of the prototype work exhibited at the Botanical Garden of Parma in 2008 Date A point or period of time associated with an event in the lifecycle of the resource file jpg, 29,67x19,78 cm, 150 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/. Description An account of the resource Sabrina Torelli (Reggio Emilia, 1966). In 1996 she received her Bachelor's degree in Fine Arts in Bologna. In 1999, she was seleceted for the International Studio Program - PS1- New York. In 2001 she was finalist for the Premio Querini - Furla 2001 Fondazione Querini Stampalia, Venice, and in the same year she won the award Open Space by the Gallery of Modern Art of Bologna. Her work investigates the different aspects of the possible sensorial perceptions, in the everyday dimension of the human being, in those of disorder and disease and in the processes of communication of nature’s systems, through the use of a wide variety of mediums and expressive tools. In recent years, the philosophical and spiritual component is an "upward momentum" in a personal journey of adherence to beliefs in which coexist in a harmonious way the material and immaterial world, the earthly and the cosmic dimension. Since 2005 she works on alternative therapies and techniques, taking an interest in practices and tools. Among the recent solo and group exhibitions, we remember: 2013 Self-portraits. Inscriptions of the feminine in Italian contemporary art, Mambo, (Bo), 2012 The hidden harmony is greater than that manifested, MLB, Ferrara, 2011 Nothing is created, nothing is destroyed, everything is transformed, Garage42, Cecchini + Torelli, edited Francesca Referza, Velan Center, Turin; constructive Interference, Artists in Residence at the Company, curated by Giacinto di Pietrantonio and Francesca Referza (Airò, Isgrò, Pietroiusti, Parisi, Pivi, Sassolino, Spalletti, Stampone, Torelli) Foundation Malvina Menegaz, Castelbasso (Te); 2010 What does my soul while I'm working? Contemporary artwork by Consolandi Collection, curated by Francesca Pasini and Angela Vettese, MAGA, Museum Art Gallarate, Gallarate (Va); Languages and Trials, Young Artists in a contemporary collection. AgiVerona Collection of George and Anna Fasol, edited by George Verzotti Mart, Rovereto (Tn); 2009 At Mother Earth, permanent installation, Si- care in the park (Torelli - Ferraro), edited by Mili Romano, Savena District, Bologna, 2008 Artwork of love, Open Air by Marinella Paderni and Isolde Saccani, Botanical Garden of the University of Parma. Creator An entity primarily responsible for making the resource Torelli, Sabrina Title A name given to the resource Sabrina Torelli 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 Simpatia Cosmica; De mi amor mi canto Description An account of the resource The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Torelli proposed two projects: Simpatia Cosmica (Cosmic sympathy), conceived for the communication room diagnosis (BCM), and De mi amor mi canto, for the area where the remains rest. The project was not realized due to a series of economical, technical and logistic reasons. <a href="https://www.repository.unipr.it/bitstream/1889/2445/4/Torelli_Simpatia%20cosmica%20de%20mi%20amor%20mi%20canto.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Torelli, Sabrina Date A point or period of time associated with an event in the lifecycle of the resource 2004 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta 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. Sabrina Torelli MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2445" target="_blank" rel="noopener">http://hdl.handle.net/1889/2445</a> Financial reasons Logistical reasons Regulatory/juridical/administrative reasons 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. Gian Maria Tosatti MoRE Museum Financial reasons Logistical reasons http://moremuseum.org/omeka/files/original/ee7e885a802af75c439b77a102af61fc.pdf 47083568ac621c185835e177d4c43786 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 pop up che non si apre.pdf Description An account of the resource Pdf file containing the presentation of the project, a description of the materials that would be part of the work and the technical aspects of edition. 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 Luca Trevisani Creator An entity primarily responsible for making the resource Trevisani, Luca Description An account of the resource Luca Trevisani (Verona, 1979) has exhibited in many public and private spaces, in Italy and abroad, including: MACRO Rome, Magasin in Grenoble, Mart, Rovereto, Biennale d’Architettura di Venezia , Museion, Bolzano, MOT Tokyo, Daimler Kunstsammlung Berlin, CCA Andratx Mallorca, Gio Marconi, Milan, Pinksummer, Genoa, Mambo, Bologna, Mehdi Chouakri, Berlin, Fondazione Sandretto Re Rebaudengo Turin, MAXXI, Rome, Valentina Bonomo, Rome and Museo Marino Marini, Florence. He won prestigious awards including the Furla Prize in 2007 and the New York Prize in 2010, has also published two personal catalogs The effort took ist tools (Argobooks, Berlin 2008), Luca Trevisani (Silvana Editoriale, Milan, 2009) and the book Water Ikebana Stories about solid & liquid things (Humboldt Books, Milan in 2014). In 2013 he released his first feature film Glaucocamaleo, presented in the same year at the Rome Film Festival. 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 pop up che non si apre Description An account of the resource Il pop up che non si apre (The pop up that will not open) is an artist's book designed by Luca Trevisani in 2011. The artist starts from his series of works, printed on copper and cardboard, named Fly fishing (2010), to elaborate the structure of a pop up book. In this editorial project many of the attitudes and characteristics of the artist's work are visible, such as the sculptural gesture, the condition of equilibrium, manual skills and the chosen material: the paper. The project was initially designed as a self-production by the artist himself, and then proposed to the publishe cura.books, but it has never been realized for the high costs and because of the many difficulties in finding the necessary financial coverage. <a href="https://www.repository.unipr.it/bitstream/1889/2443/1/Luca%20Trevisani_Il%20pop%20up%20che%20non%20si%20apre.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Trevisani, Luca 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 Rossi, Valentina 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 Rights Holder A person or organization owning or managing rights over the resource. Luca Trevisani MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2443" target="_blank" rel="noopener">http://hdl.handle.net/1889/2443</a> Financial reasons http://moremuseum.org/omeka/files/original/eb8b8023dc73616efde0373999ef476d.pdf 973180adbb23788dce6ff6424cedeb1f 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 livella il cielo.pdf Description An account of the resource Project report, with a section and an isonometric view of one of the possible environments.   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 Luca Trevisani Creator An entity primarily responsible for making the resource Trevisani, Luca Description An account of the resource Luca Trevisani (Verona, 1979) has exhibited in many public and private spaces, in Italy and abroad, including: MACRO Rome, Magasin in Grenoble, Mart, Rovereto, Biennale d’Architettura di Venezia , Museion, Bolzano, MOT Tokyo, Daimler Kunstsammlung Berlin, CCA Andratx Mallorca, Gio Marconi, Milan, Pinksummer, Genoa, Mambo, Bologna, Mehdi Chouakri, Berlin, Fondazione Sandretto Re Rebaudengo Turin, MAXXI, Rome, Valentina Bonomo, Rome and Museo Marino Marini, Florence. He won prestigious awards including the Furla Prize in 2007 and the New York Prize in 2010, has also published two personal catalogs The effort took ist tools (Argobooks, Berlin 2008), Luca Trevisani (Silvana Editoriale, Milan, 2009) and the book Water Ikebana Stories about solid & liquid things (Humboldt Books, Milan in 2014). In 2013 he released his first feature film Glaucocamaleo, presented in the same year at the Rome Film Festival. 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 Respiro di uno spazio / Livella il cielo Description An account of the resource Il Respiro di uno spazio / Livella il cielo is a project created by Luca Trevisani in 2011 and donated to the museum MoRE in 2014. The artist through his working methodology, that starts here from a scientific data, designs a system of pipes that pass through a house, the network of tubes is sectioned and receives the rain and other weather elements, the water level therefore changes according to atmospheric events. The water, among other things, is also the subject of an artist book, Water Ikebana Stories about solid & liquid things (Humboldt Books, 2014), published by Luca Trevisani.  The project donated to the museum has not been realized due to the lack of a commisioner and of a suitable location for the development of the work. <a href="https://www.repository.unipr.it/bitstream/1889/2450/1/Trevisani_Il%20Respiro%20di%20uno%20spazio%20-%20Livella%20il%20cielo.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Trevisani, Luca 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 Rossi, Valentina 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 Rights Holder A person or organization owning or managing rights over the resource. Luca Trevisani MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2450" target="_blank" rel="noopener">http://hdl.handle.net/1889/2450</a> Logistical reasons http://moremuseum.org/omeka/files/original/5e31e148632b9ace6c4f168f6ff2b0e8.jpg 2affcc3be0afee083e0d8d645e98795e 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 UBERTI_orbite_SE.jpg Description An account of the resource rendering for the Orbite project, on the South-East façade of the Palazzo della Regione Lombardia, Milan Format The file format, physical medium, or dimensions of the resource .jpg file, 22,61 x 16,02 cm, 72dpi http://moremuseum.org/omeka/files/original/cb252e9360ec959713f82c6c84bd374b.jpg fd54c6a271e21d97b3f310972fdef6b7 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 UBERTI_orbite_NO.jpg Description An account of the resource rendering for the Orbite project, on the North-West façade of the Palazzo della Regione Lombardia, Milan Format The file format, physical medium, or dimensions of the resource .jpeg file, 20,81 x 16,62 cm, 72dpi http://moremuseum.org/omeka/files/original/082520dd1de6cf090808037e49c93a48.pdf 139ac2135476476317573e6c6594c9ea 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 84: "UBERTI_latoSE.pdf Description An account of the resource technical drawing for the Orbite project, on the South-East façade of the Palazzo della Regione Lombardia, Milan Format The file format, physical medium, or dimensions of the resource .pdf file, 28,27 x 19,99 cm, 100dpi http://moremuseum.org/omeka/files/original/4f6095a1a38ee74133036e0c696b32e3.pdf b5426dd3bdb6cdb80f94968e3a6f7464 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 UBERTI_latoNO.pdf Description An account of the resource technical drawing for the Orbite project, on the North-West façade of the Palazzo della Regione Lombardia, Milan Format The file format, physical medium, or dimensions of the resource .pdf file, 28,27 x 19,99 cm, 100dpi 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 Massimo Uberti Description An account of the resource Massimo Uberti (Brescia, 1966-2024), graduated at the Brera Academy of Fine Arts. He made his debut in the early 1990s after his experience as a member of the group of artists of the Lazzaro Palazzi space in Milan, an artistic movement that became part of the archives of the Museo del 900. In 2008, he realised the large sculpture "Tendente Infinito" in the exhibition Dreams of the possible city, at the Fondazione Stelline in Milan. In 2013, he was selected by the European Commission for two workshops in Milan and Berlin on the theme: New Narrative for Europe. He has taken part in many solo and group exhibitions in recent years: "Spazio Amato" at the Galleria d'arte Moderna in Rome (2015), in the same year "Today I love You" exhibited in Amsterdam, Manchester, Ontario, Washington, Shanghai and Dubai and "Drawing of drawing" during Miami Art Basel. He then created "ESSERE SPAZIO" (2017) in collaboration with the Superintendency of Archaeological Heritage of Naples and created "Prospectum" (2018) on the occasion of the Winter Olympics in South Korea. In 2020 he created "SPAZIO AMATO", a permanent work exhibited in the WWF Oasis of Lake Burano. During the Dante Year, he collaborated with UNESCO for the City of Verona, creating "PARRAN FAVILLE" and "DA SPONDA A SPONDA" (2021). Winner of the MIBACT competition for the Contemporary Art Plan, he created "ORBITA" (2022), a permanent work located at the Gamba Castle in Chatillon. <a href="http://massimouberti.it" target="_blank" rel="noopener">http://massimouberti.it</a> Creator An entity primarily responsible for making the resource Uberti, Massimo 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 Orbite Description An account of the resource Orbite is a site-specific project designed for the Palazzo della Regione Lombardia in Milan: on two of its façades (the south-east and north-west one) Uberti wanted to install the light drawing of a portion of the orbits of the solar system. The orbital map was taken from the NASA site and redesigned, scaled. The request was made to Massimo Uberti, along with four other international artists, by a manager of the Lombardy Region in 2009. The goal was the development of the new headquarters of the Lombardy Region with large, site-specific contemporary art works. The project Orbite was developed by Uberti in collaboration with N.O. Gallery, directed by Ilaria Barbieri Marchi. The cost of the project was € 200,000 and covered all expenses, from concept design to the set up and the communication plan. Until the delivery of the executive projects, the work was feasible. Once delivered, the reasons for non-completion have never been made public. <a href="https://www.repository.unipr.it/bitstream/1889/2341/1/uberti_orbite.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Uberti, Massimo 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 Bignotti, Ilaria 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 Rights Holder A person or organization owning or managing rights over the resource. Massimo Uberti MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2341" target="_blank" rel="noopener">http://hdl.handle.net/1889/2341</a> Failure to meet the commissioner's demands http://moremuseum.org/omeka/files/original/e1dffd30ff3c7f37acf72ddedaf46de6.jpg 562667867ce1088055b304ecc4761f35 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 UBERTI_vistalogocolore_MAXXI.jpg Description An account of the resource colour night view of the project, with the museum logo. Format The file format, physical medium, or dimensions of the resource 21,39 x 16,95 cm, 150dpi http://moremuseum.org/omeka/files/original/6b0c2fef2fd766d0cd571dfe5cb52756.jpg 89f1df26e02a808b4110582c3dca3b84 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 UBERTI_vistacolore_MAXXI.jpg Description An account of the resource colour night view of the project. Format The file format, physical medium, or dimensions of the resource 21,64 x 17,17 cm, 150dpi http://moremuseum.org/omeka/files/original/bd53b231eb504b1138ed2433674770ae.jpg 1a649edde47dcfd1a79e524d5719c27a 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 UBERTI_vista_MAXXI.jpg Description An account of the resource black & white night view of the project. Format The file format, physical medium, or dimensions of the resource 21,73 x 17,29 cm, 150dpi http://moremuseum.org/omeka/files/original/497595ac33bfd601d8cde2c9c3f96b5b.jpg 6c978fd5952722010a36bbc644de4a7a 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 UBERTI_areainterventoesterno_MAXXI.jpg Description An account of the resource plan of the MAXXI museum, external areas and indication of the placing for the Esser Spazio project. Format The file format, physical medium, or dimensions of the resource 42,01 x 29,7 cm, 150dpi 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 Massimo Uberti Description An account of the resource Massimo Uberti (Brescia, 1966-2024), graduated at the Brera Academy of Fine Arts. He made his debut in the early 1990s after his experience as a member of the group of artists of the Lazzaro Palazzi space in Milan, an artistic movement that became part of the archives of the Museo del 900. In 2008, he realised the large sculpture "Tendente Infinito" in the exhibition Dreams of the possible city, at the Fondazione Stelline in Milan. In 2013, he was selected by the European Commission for two workshops in Milan and Berlin on the theme: New Narrative for Europe. He has taken part in many solo and group exhibitions in recent years: "Spazio Amato" at the Galleria d'arte Moderna in Rome (2015), in the same year "Today I love You" exhibited in Amsterdam, Manchester, Ontario, Washington, Shanghai and Dubai and "Drawing of drawing" during Miami Art Basel. He then created "ESSERE SPAZIO" (2017) in collaboration with the Superintendency of Archaeological Heritage of Naples and created "Prospectum" (2018) on the occasion of the Winter Olympics in South Korea. In 2020 he created "SPAZIO AMATO", a permanent work exhibited in the WWF Oasis of Lake Burano. During the Dante Year, he collaborated with UNESCO for the City of Verona, creating "PARRAN FAVILLE" and "DA SPONDA A SPONDA" (2021). Winner of the MIBACT competition for the Contemporary Art Plan, he created "ORBITA" (2022), a permanent work located at the Gamba Castle in Chatillon. <a href="http://massimouberti.it" target="_blank" rel="noopener">http://massimouberti.it</a> Creator An entity primarily responsible for making the resource Uberti, Massimo 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 Esser Spazio Description An account of the resource The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008, for the creation of two works of art for the MAXXI Museo nazionale delle arti del XXI secolo, Rome: one had to be designed for the atrium of the museum and another one for the outdoor areas.  The light work Esser Spazio had to be placed outside the MAXXI Museum, integrating the architectural environment with discretion and inhabiting the final steps of the square above the entrance to the museum. Uberti, coherent with its artistic research which often aims at drawing symbolic shapes and signs on the architectural and urban public space – sometimes with effects of displacement, sometimes to emphasize the characteristics and peculiarities of the place - in this case suggested a sentence, a motto and at the same time a call, asking the public to actively participate in the construction of the museum: then reflecting on the meaning of this new space for contemporary art, on its role in respect to the culture, but also on the shape of the city itself. The project was submitted to the commission for the International Competition SPAZIO/MAXXI due percento, published in October 2008 by the Provveditorato interregionale per le opere pubbliche per il Lazio, l’Abruzzo e la Sardegna, in agreement with the PARC Direzione generale per la qualità e la tutela del paesaggio, l’architettura e l’arte contemporanee. The work didn't win the competition. <a href="https://www.repository.unipr.it/bitstream/1889/2333/1/uberti_essere%20spazio.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Uberti, Massimo Date A point or period of time associated with an event in the lifecycle of the resource 2008 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 English Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Massimo Uberti MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2333" target="_blank" rel="noopener">http://hdl.handle.net/1889/2333</a> Failure to meet the commissioner's demands Project which wasn’t selected in a prize or competition 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/3d05f323cbcb4da530806c13b334b175.jpg 1489c87ca50056b9cb67b49553b1c4e9 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_...una volta, 2004, veduta generale saletta svago.jpg Description An account of the resource Picture of the project entertainment room Format The file format, physical medium, or dimensions of the resource file jpg, 14,82x21 cm, 300 dpi http://moremuseum.org/omeka/files/original/316c11fe1aa34bb1f653c855917373cb.jpg 4c4ce3d74df9d899d5d9663c5148f9d3 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 2_...una volta, 2004, pianta soffitto saletta svago.jpg Description An account of the resource Picture of the project entertainment room: plant on the ceiling of the entertainment room Format The file format, physical medium, or dimensions of the resource file jpg, 13,91x21 cm, 300 dpi http://moremuseum.org/omeka/files/original/4aa6213cc8d4b39a10c7540ff5bad99b.jpg 4c3a7bdfe488c6606953159212b7a32a 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 3_...una volta, 2004, dettaglio soffitta saletta svago.jpg Description An account of the resource Picture of the project entertainment room: detail Format The file format, physical medium, or dimensions of the resource .file jpg, 13,92x21 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 Marco Vaglieri Creator An entity primarily responsible for making the resource Vaglieri, Marco Description An account of the resource Marco Vaglieri (Milan, 1959). Lives and works in Oslo. He has exhibited in Italy and abroad. His research is mainly based on the theme of the encounter and of the relationship, as well as the memory (Il tempo che serve, 2002), identity and family (Fallowing John, 2000). Among the solo exhibitions: Il tempo che serve (Luigi Franco Contemporary Art Gallery, Turin, 2000), Metafisica della carne (Galleria Milano, Milan, 2008), and Her han ikke en længere (Rum 46, Aarhus, Denmark); between the numerous group exhibitions: La parola nell’arte (Mart, Rovereto, 2007) and Multitudes & solitudes (Museion, Bolzano, 2003). 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 volta Description An account of the resource The project was commissioned by Roberto Daolio as part of a series of art works to be placed on the top floor of the Department of Pediatric Oncology of the Sant’Orsola Hospital in Bologna, in collaboration with the Association AGEOP. The invited artists are Silvia Cini, Emilio Fantin, Claudia Losi, Eva Marisaldi, Sabrina Mezzaqui, Sabrina Torelli and Marco Vaglieri. Vaglieri with the project ...una volta (...once upon a time) planned to create a model representing the map of the world to be installed on the ceiling of the entertainment room of the new department. <a href="https://www.repository.unipr.it/bitstream/1889/2449/1/Vaglieri_Una%20volta.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Vaglieri, Marco Date A point or period of time associated with an event in the lifecycle of the resource 2004 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 Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Marco Vaglieri MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2449" target="_blank" rel="noopener">http://hdl.handle.net/1889/2449</a> Financial reasons Logistical reasons Regulatory/juridical/administrative reasons http://moremuseum.org/omeka/files/original/173f69535e013855950953b252f0f775.jpg b529a38533b4cdbba9123ed5d8b1de95 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 Josip Vanista Description An account of the resource Josip Vaništa (Karlovac, May 17, 1924) is an artist, graphic designer, writer, academic and retired university professor. He lives and works in Zagreb. He attended school at Rakovcu and continued his studies at the Academy of Fine Arts of Zagreb, where he graduated in 1950. His first exhibition was held in 1952 with Miljenko Stančić at the Museum of Arts and Crafts in Zagreb, which now has more than fifty monographic exhibitions dedicated to him. In 2013, the MSU Museum dedicated him a retrospective entitled Josip Vaništa: Abolition Of Retrospective. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Julije Knifer, Đuro Seder, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and the architect Miljenko Horvat. Every one of the artists of Gorgona maintained, developed and enjoyed full creative autonomy. Gorgona has supported various unconventional forms of artistic activity, mainly divided into three sections: the exhibitions at the Studio G (1961-1963, Schira Salon, Zagreb, Croatia), the publication of the anti-magazine "Gorgona" (1961-1966 each edition was a work of art in itself) and the creation of concepts, projects and various forms of artistic communication. Throughout Europe numerous monographic exhibitions have been dedicated to Vaništa, who is considered one of the most important Croatian artists. Creator An entity primarily responsible for making the resource Vaništa, Josip 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 image/jpeg Physical Dimensions The actual physical size of the original image 185,102x130,651 cm, 96 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 Erased Line Creator An entity primarily responsible for making the resource Vaništa, Josip Date A point or period of time associated with an event in the lifecycle of the resource 1991 Description An account of the resource In March 1991 the collector and publisher Francesco Conz, in collaboration with the Muzej Suvremene Umjetnosti - MSU Zagreb, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. For this work Vaništa combines two cardboards, dividing the first one longitudinally with a line, which is a pattern that he had begun to use in 1961 and had become a symbol of his painting tecnique, devoted to simplicity, searching for essentiality and at the same time marked by a detached and often ironic attitude. Unlike his earlier technique, which he often re-adopted since the 60s and involved a soft pencil and a ruler, at Brunnenburg Vaništa created his work using a collage technique. <a href="https://www.repository.unipr.it/bitstream/1889/2659/1/Vaništa_Erased%20Line.pdf" target="_blank" rel="noopener">Read more.</a> Contributor An entity responsible for making contributions to the resource Scotti, Marco Zinelli, Anna 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. Josip Vaništa MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2659" target="_blank" rel="noopener">http://hdl.handle.net/1889/2659</a> Ideological reasons Logistical reasons 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/0072e358a2bc0590eca3c2d78e83c1a5.jpg 1e715410492a35406c0e8302956d5a52 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 Arcimboldi, Maquette.jpg Description An account of the resource Photographic image in digital format of the model for the project. http://moremuseum.org/omeka/files/original/301b3bdfb1bdd76d56eae49d312eec14.jpg ab237ff51aa3f7f04576abfde7165b47 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 2 Arcimboldi, pianta con assonometria.jpg Description An account of the resource Photographic image in digital format: square plan, with the Arciteatro project represented in an isometric view, sheet of white paper, cm 29,5 x 21,3 http://moremuseum.org/omeka/files/original/d51d31913ec9a1768af6dc347fe296ac.jpg a314bd5e7c5e7d264e3de18a97805160 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 3 Arcimboldi prospetti.jpg Description An account of the resource photographic image in digital format: the three elevations in 1:100 scale, sheet of white paper, cm 29,6 x 20,2 http://moremuseum.org/omeka/files/original/4273305a4e765d214a4416646bff6141.jpg 49e0fd52ac09f00c30a8028ab2481448 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 4 Arcimboldi, pianta della piazza.jpg Description An account of the resource Photographic image in digital format: square plan, with the zone where Arciteatro should have been constructed indicated, sheet of white paper, cm 29,6 x 21 http://moremuseum.org/omeka/files/original/424fda2bfc0bab0e9ffdbe02876dcf42.jpg 8aab6b6ff4287395fb612045dbb8f977 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 5 Arcimboldi, bozzetto delle silhouettes.jpg Description An account of the resource Photographic image in digital format: sketch of the silhouettes from the project, sheet of white paper, cm 16,5 x 29,7 http://moremuseum.org/omeka/files/original/dd19058fb19dc594ccfef95d724e4b92.jpg 545365c18c9d4d253d2a2262870a65d3 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 6-varisco-arcimboldi-rendering.jpg Description An account of the resource Photographic image in digital format: rendering of the project, digital print, cm 11 x 17 http://moremuseum.org/omeka/files/original/5fe7fc38169a92cd060d52dad295084e.jpg 69ffa63e7d7a684a120a1bf36ed8cbd2 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 7-varisco-arcimboldi-rendering.jpg Description An account of the resource Photographic image in digital format: rendering of the project, digital print, cm 11 x 17 http://moremuseum.org/omeka/files/original/fca89b457ad85b6b94e56cba5cff4a14.jpg ac8b57f1d507002bb0a4769e026eea45 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 8-varisco-arcimboldi-rendering.jpg Format The file format, physical medium, or dimensions of the resource Photographic image in digital format: rendering of the project, digital print, cm 11 x 17 http://moremuseum.org/omeka/files/original/f0e380c6cae0df829cebcf4fa8657e06.jpg e6766f1339c1ce56b80e2d40c5353530 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 Photographic image in digital format: rendering of the project, digital print, cm 11 x 17 Title A name given to the resource 9-varisco-arcimboldi-rendering.jpg Format The file format, physical medium, or dimensions of the resource Photographic image in digital format: rendering of the project, digital print, cm 11 x 17 http://moremuseum.org/omeka/files/original/2d7eb0b60814769fa4114effab8ad881.pdf 0b23b725401e9e9a61b4ab2c6b3cb5c5 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 Grazia Varisco Description An account of the resource Born in Milan on October 5, 1937, Grazia Varisco attended the Brera Academy of Fine Arts in the second half of the fifties, where she studied painting with Achille Funi as a teacher. In 1960 she approached the arte programmata movement and was among the leaders of the Gruppo T, together with Giovanni Anceschi, Davide Boriani, Gianni Colombo and Gabriele De Vecchi. Within the group, she participates at various exhibitions, including those of the international movement Nouvelle Tendance. Following these path the researches of Grazia Varisco continued with great consistency, even after the dissolution of the group, until today. The artist always works to fully investigate the possibilities of perception that a work of art can offer, often entering directly in dialogue with the surrounding space and always leaving an active role to the viewer, which certainly never remains at the level of contemplation. In this direction goes also the teaching activitiy of Varisco, who has been professor of Theory of Perception at the Brera Academy from 1981 to 2007. Since 1960, the exhibitions of the artist are also frequent: she has been present at major festivals in Italy and abroad, from the Venice Biennale, and also the protagonist of many personal shows since the mid-sixties. Creator An entity primarily responsible for making the resource Varisco, Grazia 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 Arciteatro Description An account of the resource Arciteatro is a simple and clear project – although very well articulated - that Varisco prepared when she was invited to participate in the competition organized by the Municipality of Milan for the construction of a sculpture intended to be located in the square near the Arcimboldi Theatre. The artist then thought of "inhabit" the public space with geometric - but open - shapes, of the kind that it’s often possible to find in his work, forms that, in their mutual dialectical relationship and tension with the surrounding environment, create a new and different spatial dimension, in which the perception habits of the public are challenged, as it always happens in her work, which are often declined in the concrete dimension of the surrounding space. The project never won the competition. <a href="https://www.repository.unipr.it/bitstream/1889/2055/1/varisco_arciteatro.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Varisco, Grazia 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 Casero, Cristina Relation A related resource DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2055" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2055</a> Format The file format, physical medium, or dimensions of the resource application/pdf image/jpeg Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Grazia Varisco MoRE Museum Project which wasn’t selected in a prize or competition 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/ef618221d2ae6b43995373270377439f.jpg 90b23ab4e7ad1db57d44d88fc1292b85 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 Cesare Viel Description An account of the resource Cesare Viel (Chivasso, TO, 1964) has exhibited his works in Italy and abroad since the late 80’s, in private galleries, museums and foundations. He lives and works in Genova. He teaches at the Academy of Fine Arts in Genova.  His work, mainly conceptual and performative, focuses on subjectivity, relations and gender identity and on the connection between the language of communication, literature and images. His artistic expression consists of performances and installations above all, making use of several media including sound, voice, writing, photography, video and drawing. During the Nineties he has been invited to important collectives such as: Molteplici Culture, curated by Carolyn Christov Bakargiev and Ludovico Pratesi, Convento Sant’Egidio/ Museo del Folklore, Roma, 1992; Soggetto/Soggetto, curated by Francesca Pasini and Giorgio Verzotti, Museo d’Arte Contemporanea, Castello di Rivoli, Torino, 1994;Ultime generazioni, XII Quadriennale d’Arte, Palazzo delle Esposizioni, Roma, 1996; Officina Italia, curated by Renato Barilli, GAM, Bologna and other locations, 1997; Subway, curated by Roberto Pinto, Metropolitana Milanese, Milano, 1998; La Ville, le Jardin, la Mémoire, curated by Carolyn Christov Bakargiev and Hans Ulbrich Obrist, Villa Medici, Roma, 1998; Disidentico, maschile femminile e oltre, curated by Achille Bonito Oliva, palazzo Branciforte, Palermo, 1998. In 1998 he wins the Francesca Alinovi award in Bologna. In the same year, he is one of the organizers of the talk Come spiegare a mia madre che ciò che faccio serve a qualcosa,in Bologna. In 1999, together with Cesare Pietroiusti, Luca Vitone, Eva Marisaldi and others, he takes part to the collective project Oreste alla Biennale, during the 48th edition of La Biennale d’Arte di Venezia, curated by Harald Szeemann. In 2008, a monograph book about is performance art is published: Cesare Viel. Azioni 1996-2007, curated by Carla Subrizi, Silvana editoriale and Fondazione Baruchello, Milano-Roma, 2008. In the same year, Villa Croce Museum of Contemporary Art in Genova stages a retrospective exhibition of his work, Mi gioco fino in fondo. Performance e installazioni, with a catalogue featuring contributions of Emanuela De Cecco, Chiara Oliveri Bertola and Sandra Solimano. On October 2019, PAC in Milan will devote a major retrospective to his work, curated by Diego Sileo. Among his most recent personal exhibitions and performances are: Dar conto di sé. Figure, corpi, parole nell’opera di Cesare Viel, Fondazione Pier Luigi and Natalina Remotti, Camogli (GE) 2017. Ab urbe Genua duo lykanthropi Romae, (with Luca Vitone), Pinksummer goes to Rome, Roma, 2017. Verso Jorn, Casa Museo Asger Jorn, Albissola Marina (SV), 2016. Infinita Ricomposizione, GalleriaPinksummer, Genova, 2015. Virginia ai panni vecchi, Palazzo Branciforte, Palermo, 2014. Nel nome del Padre (with Luca Vitone), Istituto Italiano di Cultura, Montevideo, 2014. Tales and Things, MLAC, Università La Sapienza, Roma, 2013. Facciamo fluire via le nostre frasi, Fondazione Pietro Rossini, Briosco (MB), 2011. Solo ciò che accade, CeSAC, Il Filatoio di Caraglio, Caraglio (CN), 2010. Cesare Viel, Galleria Pinksummer, Genova, 2008. Domande per il corpo, a site specific project in via San Lorenzo, Genova, Galleria Pinksummer, Genova, 2007. Di nuovo una voce persiste, Nuovo Teatro Colosseo and Fondazione Baruchello, Roma, 2007. Progetto Bachmann, Fondazione Baruchello, Roma, 2006. Sogno Campana, Rocca Sforzesca Imola, 2005. Cesare Viel, Galleria Pinksummer, Genova 2004. VIM, Very Italian Macho,(with Luca Vitone), Galleria Emi Fontana, Milano, 2001. Among the most recent collective exhibitions: Deposito d’arte italiana presente, Artissima, Torino 2017. Start up. Quattro agenzie per la produzione del possibile, Fondazione Baruchello, Roma, 2016. Frammenti di storie all’ascolto, Casa di Reclusione di Paliano, Paliano (FR), 2016. Zoom, Fondazione Remotti, Camogli (GE), 2015. Ha visto i colori divini del lago di Costanza?, Spazio Thetis, Venezia, 2014. Les Oiseaux, Gaité Lyrique, Paris, 2013.Forte Piano, Auditorium Parco della Musica, Roma, 2012. Hear me out, CIAC, Castello Colonna, Genazzano, Roma, 2011. Il Belpaese dell'Arte, GAMeC, Bergamo, 2011. Archetime, Tank Space, New York, 2009. Living with, Galleria Raffaella Cortese, Milano, 2009. La parola nell’arte, MART, Rovereto, 2007. Il vuoto al centro, Comune di Montesilvano (PE), 2006. Aperto per lavori in corso, PAC, Milano, 2005. The Mythological Machine, Warwick Arts Centre, Coventry (UK), 2004. Dimensione follia, curated by Roberto Pinto, Galleria Civica d’Arte Contemporanea, Trento, 2004; Imperfect Marriages, Galleria Emi Fontana, Milano, 2003. Moltitudini/Solitudini, Museion, Bolzano, 2003; Vis à vis, MAN, Nuoro, 2002; My Opinion, Palazzo Lanfranchi, Pisa, 2001; Short Stories, La Fabbrica del Vapore, Milano, 2001. Creator An entity primarily responsible for making the resource Viel, Cesare 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 Tutto ciò che accade Description An account of the resource Two sentences, “Everything that happens” and “Always all around”, are printed on both sides of two banners, carried by two planes while performing some basic aerobatics manoeuvres. The two sentences are perceived as emotional quotes, auspicious signs, appearances in the sky of mind. An air show and an environmental, ephemeral art installation at the same time. <a href="https://www.repository.unipr.it/bitstream/1889/3720/1/Cesare%20Viel_Tutto%20ciò%20che%20accade.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Viel, Cesare 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 Viel, Cesare 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. Cesare Viel MoRE museum Financial reasons 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/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/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