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                  <text>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.</text>
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                <text>Concorso per la progettazione di un monumento dedicato ai disertori del nazismo&#13;
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                <text>&lt;p&gt;Vitone in 2009 designed a memorial to the deserters from the Nazist army in the center of the city of Cologne,taking part in a competition, which he will not win.&lt;br /&gt;The artist, who has lived and worked in Germany, meditates from a political point of view on the ambiguity of act of desertion. The monument that he projects is made of a flagpole of about 12 meters - with a flag on top of it, decorated with the infinity symbol - placed on an iron base on which a map is visible, a typical element of Vitone’s research (in this case the one of city of Cologne).&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/3005/1/Luca%20Vitone_Concorso%20per%20la%20progettazione%20di%20un%20monumento%20dedicato%20ai%20d....pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>&lt;a href="http://hdl.handle.net/1889/3005" target="_blank" rel="noopener"&gt;http://hdl.handle.net/1889/3005&lt;/a&gt;</text>
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                  <text>Poet, artist and writer, Vlado Martek (Zagreb, 1951) founded the Group of Six Artists (active between 1975 and 1980), together with Mladen and Sven Stilinović, Fedor Vučemilović, Boris Demur and Željko Jerman. The artist describes his work as pre-Poetry and focuses his artistic research on the founding elements of writing, considering at the same time the performative side of poetry and experimenting its connections with visual arts. He published a number of art books, monographies and essays as a form of activism.</text>
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                <text>&lt;p&gt;&lt;i&gt;Ništa&amp;nbsp;&lt;/i&gt;[Nothing] should be considered as an element of the artistic process, and the project documentation for some of a group of works not (yet) realized. &lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/3681/4/Vlado%20Martek_Ništa%20eng.pdf" target="_blank" rel="noopener"&gt;Read more.&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>&lt;p class="fs8"&gt;&lt;span lang="EN-US"&gt;Deep River, CT, 1971. Lives and work in New York&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="fs8"&gt;&lt;span class="text-grey"&gt;&lt;span lang="EN-US"&gt;Selected and Recent Solo Exhibitions:&lt;/span&gt;&lt;/span&gt;&lt;span class="apple-converted-space"&gt;&lt;span lang="EN-US"&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;span lang="EN-US"&gt;2017 Wendy White, VAN HORN, Düsseldorf, Brian Calvin - Wendy White, Cabinet, Milan; 2016 Santa Cruz, Eric Firestone Loft, New York; 2015 Skiing, Galerie Jérôme Pauchant, Paris, Double Vanity, Sherrick &amp;amp; Paul, Nashville, 12th Man, David Castillo Gallery, Miami; 2014 El Campo, VAN HORN, Düsseldorf; 2013 Pick Up a Knock, Andrew Rafacz, Chicago, Sports Moment, Makebish, New York, Wendy White, Maruani and Noirhomme, Brussels; 2012 Pix Vää, Leo Koenig, Inc, New York, Radio Lampor, VAN HORN, Düsseldorf; 2010 Up w/Briquette, Leo Koenig, Inc, New York; 2009 Autokennel, Leo Koenig, Inc, New York.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="fs8"&gt;&lt;span class="text-grey"&gt;&lt;span lang="EN-US"&gt;Selected and Recent Group Exhibitions:&lt;/span&gt;&lt;/span&gt;&lt;span class="apple-converted-space"&gt;&lt;span lang="EN-US"&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;span lang="EN-US"&gt;2017 Vatic Utterance, Trestle Gallery, Brooklyn, Lob des Schattens, Marc Straus Gallery, New York, Small Painting, County Gallery, Palm Beach, Man Alive, Maruani Mercier Gallery, Brussels; 2016 Mount Analogue, Performance Ski, Aspen, Temporary Highs, bitforms, New York, Whatspace, Halsey McKay Gallery, East Hampton; 2015 Painting is Not Doomed to Repeat Itself, Hollis Taggart, New York, All Killer No Filler, Eric Firestone Gallery, East Hampton, Black/White, Ameringer McEnery Yohe, New York; 2014 Sha Boogie Bop, Anonymous Gallery, New York.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;The &lt;em&gt;Rolls Royce&lt;/em&gt; project, proposed and never realized by the artist, comes from the need to create an exhibition for the&amp;nbsp;&lt;i&gt;Rolls Royce Art Programme&lt;/i&gt;,&amp;nbsp;&lt;span lang="EN-US"&gt;an initiative related to the famous brand of automobiles, which was created to support bold and innovative ideas related to contemporary art.&lt;/span&gt;&lt;span&gt;&lt;/span&gt;&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/3848/1/white_valacchi.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.&lt;/p&gt;</text>
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&lt;p&gt;Environmental dimensions. Light, water, photography, sound.&lt;/p&gt;&#13;
&lt;p&gt;A) Outside: A semi-submerged photographic image of 60x20m. occupies the stretch of water of one of two ancient covered basins of the Arsenale. The image represents simultaneously two circles of water and the symbol of Infinity. A stone thrown in water has created the splitting of the first cell, giving rise to a multiplicative process. The photographic act freezes the action and renders eternal the instant and the becoming of time, Past and present, stasis and change, finite and infinite are simultaneously present: the place is real and virtual at the same time.&lt;/p&gt;&#13;
&lt;p&gt;B) Inside: 12 light-boxes placed in the niches of the left wall of the Theater of the Virgin transform the wall in a great self-illuminating façade. Light and architecture are welded into a single radiating structure that transmits light within the building. On the floor in front, a water tank of about 16×16 m. reflects the architecture of light, generating the virtual image space. The still surface of the water is perturbed by the undulatory motion of concentric waves that propagate rhythmically from the center of the tank. The vibration of this liquid surface corresponds with the intangible sounds diffused into the great emptiness of the room: visual and sound waves interact, creating the vibrating movement of the water.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2001/1/wolf_i%20nomi%20del%20tempo.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.&lt;/p&gt;</text>
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&lt;a href="https://moremuseum.org/omeka/files/original/36d280bb7f9954641ef1fefae43a60e9.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                <text>Karlsruhe Boat is a project for the main venue in the German city of EnBW, a society dealing with and trading energy, and consists of a real size boat – situated in a small fountain-like pool of water indoor – that paradoxically deforms itself climbing up on the wall of the building. Even this sculpture creates a decompensation of perception, which is typical of the Austrian artist, where an object totally defunctionalized subverts its normal role and does something ironic and totally out of the ordinary logic. In this case the boat stands on a small and thin layer of water, placed almost vertically to the floor itself, and magically folds, almost crashing against the wall, in a process of deformation that we can find in some important series of the artist’s work. This “absurd” situation reflects a kind of broken up narrative that is typical of the way the artist operates; his works seem to tell a story that suddenly stops and whose ending is left to the interpretation of the viewer. Instead of the classic final apotheosis of the happy ending, for Wurm’s project we could talk about the apotheosis of paradox; the end is certainly not dictated by the victory of good over evil but rather an event that subverts the rules of the classic interpretation of the user. The artist is giving us a different interpretation of reality, that subverts the traditional forms of sculpture and perception. The reasons why the project remained unrealized aren't specified. &lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2330/1/Wurm_Karlsruhe%20Boat.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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                <text>This project started as a cooperation with Coop Himmelb(l)au: the idea was to fill up the consisting building of the so called Adlerhof with reinforced concrete and build new rooms within the huge banana, that should be arranged above that “Sarkophag”. The criticism in this project lies exactly in the relationship with the context and with the place itself: Vogelsang, indeed, once called Ordernsburg, was built from 1934 to 1936, as a former training institution for young party members of the National Socialist German Workers’ Party (NSDAP). The artist himself underlined the historical references, which are also summarised at the &lt;a href="http://www.vogelsang-ip.de/nextshopcms/show.asp?lang=en&amp;amp;e1=902&amp;amp;ssid=1&amp;amp;mdocid=803" target="_blank" rel="noopener"&gt;official page&lt;/a&gt;.&amp;nbsp;Erwin Wurm declared that the project has been officially refused for formal reasons.&lt;br /&gt;&lt;a href="https://www.repository.unipr.it/bitstream/1889/2331/1/Wurm_Forum%20Vogelsang.pdf" target="_blank" rel="noopener"&gt;Read more&lt;/a&gt;.</text>
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            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="428">
                <text>Rossi, Valentina</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="429">
                <text>image/jpeg</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="431">
                <text>Still Image</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="471">
                <text>2008</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="1918">
                <text>&lt;a href="http://hdl.handle.net/1889/2363" target="_blank" rel="noopener"&gt;http://hdl.handle.net/1889/2363&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="91">
            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="1919">
                <text>Erwin Wurm</text>
              </elementText>
              <elementText elementTextId="1920">
                <text>MoRE Museum</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="28">
        <name>Unknown</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
