4 50 160 http://moremuseum.org/omeka/files/original/25df0b9f90f0e7887d0b7764658fe172.jpg e7235f6fa899cf290b1c22ce3bbd55b8 http://moremuseum.org/omeka/files/original/0f39fe90098305a93955f3e5f9a43866.jpg 58363cf664addd113f85ad401fddf9e6 http://moremuseum.org/omeka/files/original/8dc3a72832c2c198603523068864e32e.jpg e5c7a946a3b3f3d69f151485e5cf4dd4 Dublin Core The Dublin Core metadata element set is common to 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 Kozaric Creator An entity primarily responsible for making the resource Kožarić, Ivan Description An account of the resource Ivan Kožarić (1921) (1921) is a Croatian artist who lives and works in Zagreb. His research has been focused mainly on sculpture, but he has also used other means of expression such as assemblage, painting, photography and installation. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Julije Knifer, Đuro Seder, 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. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image Kozaric 01 cm 30 x 42.jpg (file jpeg, 92,234x131,128cm, 96 dpi) Kozaric 02 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 96 dpi) Kozaric 03 cm 30 x 42.jpg (file jpeg, 92,551x130,651cm, 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 Untitled 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. Kozaric's three works are in line with his research, which investigates – both through painting and sculpturing - the relationship between positive and negative: in one particular work, the artist reuses a cropped shape as a graphic mask in order to achieve what Seder calls "imperfect surfaces", a theme that traces back to the Gorgona period. Kožarić's particular interest in the valley of Merano, which is in relation to his personal memories, emerges both through the video interview taped in Brunnenburg as well the testimonies of the artists who participated in the residency. <a href="https://www.repository.unipr.it/bitstream/1889/2664/1/Ivan%20Kožarić_untitled.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. Ivan Kožarić MoRE Museum Creator An entity primarily responsible for making the resource Kožarić, Ivan Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2664" target="_blank" rel="noopener">http://hdl.handle.net/1889/2664</a> Ideological reasons Logistical 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/422291fa78b790d90ae85dfe08e8e865.jpg 43c02e6fec36e5c5e9432aaf0ac38d2a http://moremuseum.org/omeka/files/original/47b3196ac0b11f4367d142b4f97dd952.jpg db7c85df676e75fd7d79182cf0b57194 http://moremuseum.org/omeka/files/original/8af925f1d26a113d90e54c89c1f9a303.jpg 0ea8128d606440b4caca18ddbf2f5335 http://moremuseum.org/omeka/files/original/ddf0190a8877db5c62933fff491a460e.jpg 1f4aaa2848f03176e35cf6ae1ed0513b http://moremuseum.org/omeka/files/original/84f6e6c6e5da626146d0c265391ea5e3.jpg b7a457c68f7422d8ca2841d348761d08 http://moremuseum.org/omeka/files/original/3e7787c66dd99a6441f4b614d392737a.jpg 16a9d1a3942f8b3e9025b6f7aaad95e6 http://moremuseum.org/omeka/files/original/17eb5ecc9d482c996142fc49fa8c86f2.jpg baafbe449ec6126b6c755083b8a41131 http://moremuseum.org/omeka/files/original/8e6090a463cc791e776d94fbe9a6b51b.jpg 5a0bfd0c6e97333add257d04ad81c9b6 http://moremuseum.org/omeka/files/original/b479a2bc2c17383a626eb6ae9e15e634.jpg 71da30fdb0dad48f8a23b64b957e2a38 http://moremuseum.org/omeka/files/original/f766c52e12e82d22b41ad604b0e40f6b.jpg 26eebecce19f9c7693c1a70c5d97ad2c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Benni Bosetto Description An account of the resource Benni Bosetto (Milano, 1987), lives and works in Milano. She graduated from the Accademia di Brera, Milano and she studied at the Sandberg Institut, Amsterdam. Her recent exhibitions include: 2018 - OGR, Torino; MAMbo, Bologna curated by Lorenzo Balbi; Fondazione Baruchello, Roma, a cura di Caterina Molteni; ADA, Roma. 2017 - Art Verona Collateral Project, organised by Mauro De Iorio; Dome, Milano, curated by Ginevra Bria; Tile Project Space, Milano; Placentia Arte, a project by Roberto Fassone. 2016 - DAMA, Torino, performance curated by Lorenzo Balbi; De Appel Art Center, Amsterdam; Marselleria, Milano. 2015 - Fanta Spazio, Milano. 2014 - Il Crepaccio, Milano. Her residencies include: Swan Station, curated by Zoe De Luca & Something Must Break, Buco del Piombo, Como (2019, upcoming); Fonderia Artistica Battaglia (Milano, 2018); Pavillon des Indes (Parigi, 2016) e VIR Via Farini, (Milano, 2014). She received the Premio Termoli in 2018.   Creator An entity primarily responsible for making the resource Bosetto, Benni Dublin Core The Dublin Core metadata element set is common to 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 Bosetto worked for a whole year to design an exhibition presented through living sculptures in a few apartments in Via Eustachi, Milan. The exhibition should have been visited with a map that would have shown to the visitors a series of places, where they could have enjoyed a series of performances. <a href="https://www.repository.unipr.it/bitstream/1889/3841/4/bosetto_grulli.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Bosetto, Benni Date A point or period of time associated with an event in the lifecycle of the resource 2014 Contributor An entity responsible for making contributions to the resource Grulli, Antonio 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. Benni Bosetto MoRE Museum Logistical reasons Organizational issues http://moremuseum.org/omeka/files/original/98a736ab24dcc1c6b4c0b6945f4161a1.eml e21f682453afffe6b2abf97fe7ed2814 http://moremuseum.org/omeka/files/original/ce36a40158104eb256955a39166ed015.pdf 632cd0ce09405661fdba11c75b8a1e45 http://moremuseum.org/omeka/files/original/471b57af5177c685a7242c4f7905a4f8.m4a 1640594a678e42aa7a9848736172612e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Horvitz Description An account of the resource David Horvitz is an artist from Los Angeles Creator An entity primarily responsible for making the resource Horvitz, David Dublin Core The Dublin Core metadata element set is common to 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 This project, presented directly by the artist via email, consists of a single idea: to pull one of Los Angeles’s old trolley cars out of the ocean, where they were dumped after the closure of the city’s streetcar system. Reflecting on his native city—now completely devoted to cars—its past, and its processes of forgetting, Horvitz seeks to bring back to light an episode—the dumping of the trolleys into the ocean—that clearly serves as a metaphor. The Los Angeles Railway was a streetcar system that operated in central Los Angeles and the surrounding neighborhoods between 1901 and 1963. Several articles and photographs confirm that, during the 1950s, a few of the discarded streetcars from the Los Angeles Transit Lines (created in 1945) were thrown into the ocean. In particular, the July 1959 issue of Mass Transportation magazine<a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftn1" name="_ftnref1">[1]</a> featured an informative article about six “old” Los Angeles Transit Lines streetcars being placed off the coast at Redondo Beach to create an artificial reef. This work by David Horvitz can also be seen as part of a broader reflection by the artist on the concepts of water and time—one that draws upon conceptual practices and applies “the fluid and impermanent dimension of the Fluxus movement and of Oriental culture”<a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftn2" name="_ftnref2">[2]</a>. The search for and recovery of a discarded trolley car thus become a poetic and surreal performative gesture—an ephemeral action meant to leave several different traces, much like David Horvitz’s postal artworks, his stamps, or his attempts to mimic the sound of the ocean using the human voice. <a href="https://www.repository.unipr.it/bitstream/1889/3985/1/David%20Horvitz_untitled.pdf" target="_blank" rel="noopener">Read more</a>. <a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftnref1" name="_ftn1">[1]</a> Metro Digital Resources Librarian, Before “Subway To The Sea,” There Was “Streetcar In The Sea”: Creating Artificial Reefs Off The Los Angeles Coast In 1959,  Metro's Primary Resources, Los Angeles County Metropolitan Transportation Authority, May 18, 2011, Available at: <a href="https://metroprimaryresources.info/before-subway-to-the-sea-there-was-streetcar-in-the-sea-creating-artificial-reefs-off-the-los-angeles-coast-in-1959/1324/">https://metroprimaryresources.info/before-subway-to-the-sea-there-was-streetcar-in-the-sea-creating-artificial-reefs-off-the-los-angeles-coast-in-1959/1324/</a> <a href="applewebdata://63DD6E43-7BB1-4857-8260-ECDD6EC3FC5A#_ftnref2" name="_ftn2">[2]</a> M. Vecellio, The Water in you, in David Horvitz, nuvola, nuvola, oceano, nuvola, foschia, tu, Loom Gallery, Milano, 2018, s.p. Creator An entity primarily responsible for making the resource Horvitz, David Date A point or period of time associated with an event in the lifecycle of the resource 2009-2019 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 Language A language of the resource English Type The nature or genre of the resource Email Rights Holder A person or organization owning or managing rights over the resource. David Horvitz MoRE Museum Logistical reasons http://moremuseum.org/omeka/files/original/fd5c0cc23be7ab1e19d2222b25b92f94.jpg af17d05654be921f10138fd7c1164731 http://moremuseum.org/omeka/files/original/920b3ca9fe93e4b2e22f87ba50a5a115.jpg 5780fa6c2e30a6655fbfc99d06dc3997 http://moremuseum.org/omeka/files/original/028433cbdede45f5a9c5fc760d69864a.jpg 8cef806f50cd51f1142aaaeceb392455 http://moremuseum.org/omeka/files/original/a83f449def78766e551c0525bed47b39.jpg 1b4214dfc3b32783a8a1300901f7dee8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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. Antun Motika MoRE Museum Unknown http://moremuseum.org/omeka/files/original/9bdfa9500858a738a728950b3021cfdd.pdf 14c07533eca5cc045eef6a27d60fb203 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matthew Darbyshire Description An account of the resource Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris. Creator An entity primarily responsible for making the resource Darbyshire, Matthew Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Useless: A Space Without a Function Creator An entity primarily responsible for making the resource Darbyshire, Matthew Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Description An account of the resource This project is - in the artist’s intention - a “quasi-scientific experiment”, and consists of a permanent public sculpture, made of a prefabricated glass architectural structure  (approx 5x5m wide and 3m high) produced by a company that usually supplies similar commercial spaces (the artist given example is Kingspan). This space would be furnished following a survey carried out in five public-access buildings from each of the five UK major cities., with the expectation of identifying "the most generic and ubiquitous of design elements". The artist at the same time would collect different ‘codes of conduct’, which should also then be applied - all together - inside the installation. The access to the space would be granted to five people at a time, and thanks to an applied two-way mirror film, “those outside could observe the actions of those inside whilst those inside would experience a sense of isolation and immersion in their immediate confines”, while the rules would be enforced by a guard. The concept revolves around the opportunity of exploring “a new idea of conscious surrender”, instead of the strategies of resistance and disobedience usually applied in the name of creativity and artistic freedom: Darbyshire research about the progressive and growing standardization of the designed space around us, which leads the spaces themselves to be less and less recognizable in respect to their function, here is declined alongside an investigation of the freedom that within these spaces we choose to give up for many different reasons. Starting from the writings by Georges Perec and Marc Augé, but also by socio-political theorists Franco “Bifo” Berardi and Mark Fisher, Darbyshire here comes to theorize a model to wonder "if in fact surrender could be more liberating than resistance", considering contemporary social pressures. The aim is to create a space that does not declare its function, which may appear anonymous and go unnoticed, and that leaves its user confused as to what is expected from it.  <a href="https://www.repository.unipr.it/bitstream/1889/2650/1/Matt%20Darbyshire_Useless%20A%20Space%20Without%20a%20Function.pdf" target="_blank" rel="noopener">Read more.</a>   Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Matthew Darbyshire MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2650" target="_blank" rel="noopener">http://hdl.handle.net/1889/2650</a> Theoretical exercise http://moremuseum.org/omeka/files/original/fa629d813c8520b10e09caaa89cc049f.jpg 5f917a0a6c91fe169c6cadd9f81ec462 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Erwin wurm Venus.jpg Description An account of the resource Sketch drawing which indicates the dimensions and the materials for the sculpture. Format The file format, physical medium, or dimensions of the resource jpg, 21,47 x 29,6 cm, 300dpi http://moremuseum.org/omeka/files/original/1371643a8593573d4acf79485f908d08.jpg 8c47d99e864d9cff8fe3f19e8c413847 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tisch Fichte vorlage.psd Description An account of the resource Photoshop image used as a preview of the sculpture on a white background. Format The file format, physical medium, or dimensions of the resource psd, 36,12 x 27,09 cm, 72dpi http://moremuseum.org/omeka/files/original/26bc6d860fb37169e77e342f09ed82e0.jpg fa13f92e4c6b358232c8c5583794f02e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus Patscherkofel Erwin Wurm.jpg Description An account of the resource Photomontage of the photoshop preview on the alpine context. Relation A related resource jpg, 40 x 12,26 cm, 300dpi http://moremuseum.org/omeka/files/original/1c143d6e82bb1b8cee235d45535c6d7b.jpg 9119c0c086d051911f0e84cb8a8ea5d2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus.jpg Description An account of the resource Sketch drawing alongside the photo of a knödel. Relation A related resource jpg, 20,36 x 29,17 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 Erwin Wurm Description An account of the resource Erwin Wurm (born 1954) is an Austrian artist. He lives and works in Vienna and Limberg in Austria; Hydra, Greece; and in New York City. Creator An entity primarily responsible for making the resource Wurm, Erwin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Venus Description An account of the resource The Venus project was studied for the Patscherkofel mountain, which is part of the Tux Alps – near Innsbruck, Austria, and consists in a proposal for positioning a classic wooden table of dimensions of 100x120x76 cm, but actually made in bronze, alongside a dish made of bronze and glossy, coated aluminum, and one knödel, a typical Austrian dish, realized in paginated white bronze. he work is conceived according to the almost theatrical setting,the sculpture creates a kind of suspension between the real and the unreal caused by the decontextualization conceived by the artist. The possible commissioners and the reasons why the project remained unrealized haven’t been specified by the artist. <a href="https://www.repository.unipr.it/bitstream/1889/2332/1/Wurm_Venus.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Wurm, Erwin 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 Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/jpeg application/octet-stream Type The nature or genre of the resource Still Image Language A language of the resource Deutsch Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2332" target="_blank" rel="noopener">http://hdl.handle.net/1889/2332</a> Rights Holder A person or organization owning or managing rights over the resource. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Liliana Moro Description An account of the resource Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993. Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use. A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation. Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia. Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009). Creator An entity primarily responsible for making the resource Moro, Liliana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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/ea6dd92bbbf92e87cb85b19517f4b8a7.pdf 05d8c3346f6530eef3910d8fd24c59c5 http://moremuseum.org/omeka/files/original/a3014fdd35fb01313c3f14f6231601f0.pdf 30a62c1df9bcce3176fa7991df8d1297 http://moremuseum.org/omeka/files/original/edde57e7f27330feb2efadd20c2e2308.png 71a4f8b5f02940616b927bf00506038f http://moremuseum.org/omeka/files/original/1c56ff14ab06a67f1336a3f47ac8cd8d.png 4f4371c5e1dbe79fbc4ef078c791df90 http://moremuseum.org/omeka/files/original/8edefd828d614b6660c454488a929109.png a0ad6ff0204bf23fd0ed7e803b0789ef http://moremuseum.org/omeka/files/original/c4baa81152f81449ebd2ba7d4ab35e4e.png 214c1c50c5cfa3c3723c253f864ac147 http://moremuseum.org/omeka/files/original/b8f210700cbf82dcb96a4cf3461174d3.png 212f4bce625b83ceaba087da075f6e63 http://moremuseum.org/omeka/files/original/f11a0781011ca1ddd161ef2b78f15c4e.jpeg 4b733b4ff83a9cf85cc12e99cf84e63d http://moremuseum.org/omeka/files/original/72db7b81bf2e9208a4e9d6642c2141f7.jpg 4a4fd253d36141a99bbafca548503e21 http://moremuseum.org/omeka/files/original/5d0284a4b2c34f84b7caf652a263cec7.jpg 35331a0eb9f9466a437cf71803d9cf52 http://moremuseum.org/omeka/files/original/261aedcaaf79b0dfbf466e7afc41a253.jpg 4403554ed3f9f0816e7f7071614f72d2 http://moremuseum.org/omeka/files/original/f18af9fc30e3c9586cbcc6bbaca93193.jpg 207e90dc4a0d9d8005bd4f3c094010fd http://moremuseum.org/omeka/files/original/f0964c03d9e73302b5248a168eab3fd4.jpg e0184882c04d2c3ea773fc3738374a01 http://moremuseum.org/omeka/files/original/41a929c5025e7b6856fcdccd24f014c0.jpg 2d20fbd238f8bb9dfa241ef4c2ba5787 http://moremuseum.org/omeka/files/original/f7b65a19829a5a2168f0ed73453df777.jpg 850d0a5ac81c826a564490c660c39de0 http://moremuseum.org/omeka/files/original/bd031ed087c32231de46089b06dd2a37.jpg 2b27d3d6746a2644cf3e58cdde23b4e9 http://moremuseum.org/omeka/files/original/8d3e0f64f74a6becd22d21e153ac1299.jpg c19169392355486ebdecae2d69bcd214 http://moremuseum.org/omeka/files/original/95e507841be24401e19264094c868b35.jpg 09adc33415869ab6c5ab75aedcb49ed0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aleksandra Mir Description An account of the resource Aleksandra Mir (born 1967) is a Swedish-American contemporary artist known for her collaborative installations and projects. Her work deals with travel, time, placehood, language, gender, identity, locality, nationality, globality, mobility, connectivity, performativity, representation, transition, translation and transgression. She is known for her large scale collaborative projects and for her anthropological methods, involving rigorous archival research, oral history and field work. She has exhibited at Kunsthaus Zurich (2006), Tate Modern, London (2014), Tate Liverpool (2017), Modern Art Oxford (2017), Schirn Kunsthalle, Frankfurt (2009), M – Museum Leuven (2013), Whitney Museum of American Art (2014), Solomon R. Guggenheim Museum (2007), MoMA, New York City (2012), YUZ Museum, Shanghai (2018), Whitney Biennial (2004), Biennale of Sydney (2002), Biennale di Venezia (2009), and Mercosul Biennial, Porto Alegre (2015), Tai Kwun Contemporary, Hong Kong (2020). Creator An entity primarily responsible for making the resource Mir, Alexandra Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wildflower Meadow Description An account of the resource This project consists in a proposal for the redevelopment of the Gorbals Partnership, Glasgow. Inspired by the lyrical settings in which Ingmar Bergman often placed his romancing youth, isolated in nature, protected from judgement and convention, the artist aimed at creating a site that could encompass all stages of a lifetime and maintain the same soft touch and beauty throughout. The artist statement was: “I would like to propose the creation of a wildflower meadow. For children to play, for teens to have sex, for adults to take walks and for seniors to remind them of their youth”. Aleksandra Mir should have worked with a botanist to develop a meadow in five years, planting local species and restoring the traditional cycles of mowing and grazing. <a href="https://www.repository.unipr.it/bitstream/1889/5202/1/Aleksandra%20Mir_Wildflower%20Meadow.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Mir, Aleksandra 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 Mir, Aleksandra Scotti, Marco Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource English Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Aleksandra Mir MoRE museum Censored Failure to meet the commissioner's demands Failure to reach an institutional agreement Rejected 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