1 50 160 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. 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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/1d692358a3508f6244727c33bf709c06.jpg 71102ac5f47161e2439e308cc4d53321 http://moremuseum.org/omeka/files/original/bd0197078a5c4582cdbc8657d7204e47.jpg 400c41fdcadfbb960cd2beecc6acaffb http://moremuseum.org/omeka/files/original/efeb6caf34534af98a4d8abfeaad3f63.jpg 54ed9cc44db6b449bfec09975263a14a http://moremuseum.org/omeka/files/original/aa9c19e520927d1671360977a1b090fd.jpg e84110435636028b662d184de291ed25 http://moremuseum.org/omeka/files/original/ac8599592ab8c2d61a4035b9a6c6f3dc.jpg aa7fcfce6c322f60693c8bd18054003f http://moremuseum.org/omeka/files/original/e2c00c2b70d03ae88a0b926863438bb1.jpg 333e3cffb56d8205d7b9420b73820413 http://moremuseum.org/omeka/files/original/f5d921903644074186ea0375b8f49a13.jpg 3fd678ba94699e7f723c92568b48dd69 http://moremuseum.org/omeka/files/original/df9424a61e4f66082d5cf2c0b5b306c2.jpg 9ce592782dd4e2e000aedd3fea50edb7 http://moremuseum.org/omeka/files/original/e74e1ee66ff7307653896a079c9fcb13.jpg ee8224066e3c4b84382473832707b83d http://moremuseum.org/omeka/files/original/423f9d18dd5f296f5afa56380b6e411e.jpg 0339d44e8778c6d53d2aeb954f2fbede Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Liliana Moro Description An account of the resource Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993. Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use. A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation. Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia. Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009). Creator An entity primarily responsible for making the resource Moro, Liliana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Viene e va Description An account of the resource Viene e va is an installation by Liliana Moro that won the 7th edition of “Premio ArteGiovane – Torino incontra l'arte. Una porta per Torino” – conceived for the Iveco roundabout in Corso Giulio Cesare, Turin. The roundabout - that already presented two commas made of stone chippings on the grass – would host two groups of street lamps with a fixed light, one yellow and one white, with two street lamps with intermittent light at the centre, representing two lighthouses, whose function is to serve as a navigational aid for the sailors.  <a href="https://www.repository.unipr.it/bitstream/1889/3446/1/Liliana%20Moro_Viene%20e%20va.%20Concorso%20Torino%20Arte%20Giovane%202005.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Moro, Liliana Date A point or period of time associated with an event in the lifecycle of the resource 2005 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Liliana Moro MoRE museum Relation A related resource DSpace: <a href="http://hdl.handle.net/1889/3446" target="_blank" rel="noopener">http://hdl.handle.net/1889/3446</a> Logistical reasons http://moremuseum.org/omeka/files/original/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. Erwin Wurm MoRE Museum 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/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/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/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/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/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/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/575536c016fbb8f38a5a7f59e31d8ce1.jpg 178ec5c3a40f5f29519315aed9847a93 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Knifer cm 30 x 42.jpg Description An account of the resource Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz. Format The file format, physical medium, or dimensions of the resource file jpg, 121,497 x 168, 487 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 Julije Knifer Description An account of the resource Julije Knifer (1924-2004) was a Croatian artist, who was born in Osijek and died in Paris, where he had lived since 1994. A graduate of the Academy of Fine Arts of Zagreb in 1956, by the late '50s he developed his research starting from the geometrical pattern of the "meander", which he reproduced in different formats and with different techniques, eventually introducing a practice of conceptual matrix imprinted on seriality and formal reductionism. His first production, influenced by Russian Suprematism and serial music, was characterized by the repetition of the meander's pattern in black and white paintings; from the late 60s he introduced other colors and adopted large sizes and even murals. The "meanders" were displayed for the first time in the exhibition "New Tendencies" at the Gallery of Contemporary Art in Zagreb in 1961, and later in “New Tendencies 2” in 1963, “New Tendencies 4” in 1969 and “New Tendencies 5" in 1973. He also participated in major international exhibitions such as the Art Abstrait Constructif International at the Denise René Gallery of Paris (1961-1962), Konstruktivisten at the Städtisches Museum in Leverkusen (1962), the VI International Art Biennale of San Marino “Beyond the Informal” (1963); he participated twice in the Venice Biennale (1976, 2001), and three times in the Sao Paulo Biennale (1973, 1979, 1981). His works are also included in major museum collections such as the MoMA in New York and the Centre Georges Pompidou in Paris. Knifer was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and 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 Knifer, Julije Dublin Core The Dublin Core metadata element set is common to 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 Knifer, Julije 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 <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. At Brunnenburg, Knifer proposed his classic "meander" theme, a geometric structure characterized by the contrasts between black and white, which he introduced at the end of 1959 as a form of "anti-painting". Nena Dimitrijević identified it as a synonym of his "artistic identity" and claimed that he, inspired by Primary Painting and Hard Edge aesthetics, adopted a form of conceptualization of the artistic practice which identifies with a single pictorial solution, a symbol that is the sublimation of radical will. <a href="https://www.repository.unipr.it/bitstream/1889/2662/1/Knifer_untitled.pdf" target="_blank" rel="noopener">Read more.</a> Relation A related resource DSpace: <a href="http://dspace-unipr.cineca.it/handle/1889/2662" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2662</a> Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Still Image Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Julije Knifer MoRE Museum Ideological reasons Logistical reasons http://moremuseum.org/omeka/files/original/7de785875e819f3178b704abc2873104.jpg ad57a68e039e525390c34bb1125f3f20 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mangelos 01 cm 30 x 42.jpg Description An account of the resource Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz. Format The file format, physical medium, or dimensions of the resource file jpg, 123, 402 x 173,567 cm, 72 dpi http://moremuseum.org/omeka/files/original/72fdc86fdb2b0fd649ee761e69fa7f72.jpg fe9c019154293d99f41cdb6e58ad1581 Dublin Core The Dublin 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 the artwork realized in Brunnenburg, made by Archivio F. Conz. Title A name given to the resource Mangelos 02 cm 30 x 42.jpg Format The file format, physical medium, or dimensions of the resource file jpg, 29,845x 42,192 cm, 72 dpi http://moremuseum.org/omeka/files/original/5e370d00befbc04e951ae83d7436d744.jpg 6d0e65123af6ba18aa1f0b68fea0eb7c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mangelos 03 cm 30 x 42.jpg Description An account of the resource Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz. Format The file format, physical medium, or dimensions of the resource file jpg, 29,986 x 173,567 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 Mangelos Description An account of the resource Mangelos, pseudonym of Dimitrije Bašičević (1921 - 1987), was a Croatian artist, curator and art historian. Born in Šid, Serbia, he studied history and philosophy at the University of Vienna (between 1942 and 1944) and later in Zagreb (between 1945 and 1949) and earned a doctorate from the University of Philosophy in Zagreb (1957), focusing his thesis on the work of the artist Sava Šumanović. In 1952 he founded the Peasant Art Gallery, currently Croatian Museum of Naive Art, while simultaneously serving as assistant and curator at the Yugoslav Academy of Arts and Sciences. He was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. Parallel to his activities as a critic and curator, he proposed researches - defined by the artist himself as a "No-Art" - focused on the contrast between writing and painting, developing a series of posters dedicated to topics such as "functional thinking", "energy", "instinct" and “memory". In the essay dedicated to this specific artistic production, Stipančić says: “Many of them, regardless of the scope of the subject, included his notion of there being two civilization - a “handmade civilization” and a “mechanical” one. The latter, he believed, is based on “functional thought” and is, therefore, in opposition to the old “handmade civilization. In order to express his theses on the “death of art”, Mangelos engaged in a dialogue with numerous philosophers and theoreticians, from Hegel to W. Benjamin”. Mangelos was among the founders of the group Gorgona, active in Zagreb between 1959 and 1966. The group also included Josip Vaništa, Marijan Jevšovar, Julije Knifer, the sculptor Ivan Kozaric, critics Radoslav Putar, Matko Meštrović and 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 Mangelos Dublin Core The Dublin Core metadata element set is common to 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 Mangelos 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 <a href="http://www.msu.hr/" target="_blank" rel="noopener">Muzej Suvremene Umjetnosti - MSU Zagreb</a>, invited a few artists who had been part of Gorgona, the Croatian avant-garde group active between 1959 and 1966, to an artistic residency at the castle of Brunnenburg in Merano, Italy. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre, </a>which was never completed. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. Conz decided to include the works of Mangelos, who died in 1987, asking the remaining members of the group to place their signature on the back as sort of an homage. The three works signed by the members of Gorgona and presented for the exhibition are respectively attributed to the manifesto for energy, the series of landscapes dedicated to Pythagoras and the series dedicated to the dialogues. <a href="https://www.repository.unipr.it/bitstream/1889/2661/1/Mangelos_untitled.pdf" target="_blank" rel="noopener">Read more.</a> Format The file format, physical medium, or dimensions of the resource image/jpeg image/jpeg image/jpeg Type The nature or genre of the resource Still Image Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Mangelos MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/2661" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2661</a> Ideological reasons Logistical reasons http://moremuseum.org/omeka/files/original/e3959057d4fd694130db52a2ba75313c.jpg 0794412b5b74ed6fba9c4c2e3e93966f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jevsovar 01 cm 30 x 42.jpg Description An account of the resource Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz. Format The file format, physical medium, or dimensions of the resource file jpg, 92,551x 130,651 cm, 96 dpi http://moremuseum.org/omeka/files/original/00e262b1f00eb59e4397190e8b92b732.jpg a7ff633800eca75374c54f3774ee97ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jevsovar 02 cm 30 x 42.jpg Description An account of the resource Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz. Format The file format, physical medium, or dimensions of the resource file jpg, 92,551x 130,651 cm, 96 dpi http://moremuseum.org/omeka/files/original/c470ab41030444b046c57b7f635a1ea7.jpg 473f32c262286d366a750614eabe2e0d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jevsovar 03 cm 30 x 42.jpg Description An account of the resource Scan of the artwork realized in Brunnenburg, made by Archivio F. Conz. Format The file format, physical medium, or dimensions of the resource file jpg, 92,551x 130,651 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 Marijan Jevsovar Creator An entity primarily responsible for making the resource Jevšovar, Marijan Description An account of the resource Marijan Jevšovar (1922 - 1998) was a Croatian artist, born in Zagreb. He graduated from the Academy of Fine Arts of Zagreb in 1946. Between 1954 and 1956 he resided in France, where he approached the informal research, influenced in particular by Dubuffet. Since the late '50s he created paintings on surfaces which were coated in several layers of grey and white color, defined by the artist as a "negation of the form" obtained by "tainting the white surface of the canvas." During the '70s he also introduced the use of color in his works, though without ever distancing himself from this form of "anti-painting”. In parallel with this research, he has also created posters and art books. He has had exhibitions in Opatija (1959), Monaco (1960), Zagreb (1961, 1972, 1976, 1980, 1993), Dijon (1989), Varaždin (1990) and Umag (1993). Jevšovar 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 Ivan Kožarić, critics Radoslav Putar, Matko Meštrović, Dimitrije Bašičević Mangelos and 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. Dublin Core The Dublin Core metadata element set is common to 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 Jevšovar, Marijan 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 Format The file format, physical medium, or dimensions of the resource image/jpeg image/jpeg image/jpeg Type The nature or genre of the resource Still Image 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. This residency should have resulted in a publication linked to the monumental project Conz dedicated to Ezra Pound - <a href="http://www.patriziopeterlini.it/conz/lalivre.htm" target="_blank" rel="noopener">La Livre,</a> which was never completed. During their residency, the five artists created thirteen works of art as well as fifteen hand-made copies of each work. All of which were created on the same size of paper. These works should have been part of a box, an art edition that initially should have included large-scale reproductions of seven of the group's old works, printed on canvas in Como, in addition to en eight obtained by merging the former in a continuous strip to create sort of a "collective work" - together with photographs documenting the residency, historical photographs and video interviews filmed in Brunnenburg. Conz died in 2010 but the box was never finished, although all of its components had been created, except for the folder that was supposed to contain them. The works of the artists have since remained in F. Conz's Archive. During his stay, Jevšovar created three different works of art. In two of them, both dated March 5th, he placed a quadrangular figure on the center of a white background, while in his third work, dated March 6th, he proposed a rectangular strip of color on a brown background. The works are therefore linked to the central theme of the artist's research, which is an attack on tradition - not ironically as it was in Dadaism, but rather looking at the surface as a central problem of pictorial structure. <a href="https://www.repository.unipr.it/bitstream/1889/2663/1/Jevšovar_untitled.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Marijan Jevsovar MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2663" target="_blank" rel="noopener">http://hdl.handle.net/1889/2663</a> Ideological reasons Logistical reasons http://moremuseum.org/omeka/files/original/9cb78baef8b71f06f5b10aa1b0a1d89d.pdf 269bc3f61124c7706252658617973955 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino.doc Description An account of the resource Presentation letter attached to the project http://moremuseum.org/omeka/files/original/a9d2c1fe0ff0ac044b083dc39be5b1d0.jpg d8a3d0955a98ea44a7f74ce21f23e002 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino001.TIF Description An account of the resource Picture taken by Elvio Manuzzi of the scale model (various materials, cm 26,5 x 51,3 x 52) realized for the project of the installation. Format The file format, physical medium, or dimensions of the resource file TIF, 3,53x5,65 cm, 1200 dpi http://moremuseum.org/omeka/files/original/2c1049994c033bca09b7825d4b53a4d9.jpg 02805e5f26188653463d8ba4fc8e6c54 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino002.TIF Description An account of the resource Detail of the scale model with tracks on sand. Picture by Elvio Manuzzi. Format The file format, physical medium, or dimensions of the resource file TIF, 6,45x9,6 cm, 1200 dpi http://moremuseum.org/omeka/files/original/2ee0f502e54e0d1ce69c0539180f18bd.jpg 8e05bacea50fca97c788e9ef35fa23d9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino003.TIF Description An account of the resource Detail of the scale model with the tiger in fiberglass roaring in the middle of the vegetation. Picture by Elvio Manuzzi. Format The file format, physical medium, or dimensions of the resource file TIF, 6,44x10,02 cm, 1200 dpi http://moremuseum.org/omeka/files/original/8c107d92f7d51862cf19aa17f4eec7e0.pdf 0de41f88cdcd76ad88067592f31c3854 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource EPSON012.pdf Description An account of the resource General plan of the intervention area. Format The file format, physical medium, or dimensions of the resource file pdf, 41,978x29,667 cm, 300 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Luca Vitone Description An account of the resource The artwork of Luca Vitone (Genoa, 1964), began in the second half of the ’80s. It focuses on the idea of the place, inviting us to re-cognize something we already know, defying the conventions of mutable, faded memory that characterize the present. His work explores the way places are identified through cultural production: art, cartography, music, cuisine, political associations, ethnic minorities. Vitone bridges the gap between the sense of loss of place characteristic of the postmodern and the ways in which feelings of belonging arise in the intersection of personal and collective memory. He reconstructs and invents forgotten paths to reconfigurate his own personal geography. Since 2006 he has been teaching at the Nuova Accademia di Belle Arti in Milan. Creator An entity primarily responsible for making the resource Vitone, Luca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Una tigre per Torino Description An account of the resource The project is presented at the contest Premio ArteGiovane in 2002, Torino incontra l’arte. Una porta per Torino. Vitone proposes the realisation of an installation in the square, placed in front of Mirafiori, dedicated to Emilio Salgari, the writer who spent most of his life in the city of Turin. The artist conceives to recreate a desert landscape washed by the sea, inspired by the stories of the series of novels “The Pirates of Malaysia”, a space that would have been crossed by the tram lines, stimulating in the passengers fantasies of adventures and mythical places.  <a href="https://www.repository.unipr.it/bitstream/1889/2657/1/Vitone_una%20tigre%20per%20Torino.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Vitone, Luca Date A point or period of time associated with an event in the lifecycle of the resource 2002 Contributor An entity responsible for making contributions to the resource Modena, Elisabetta Format The file format, physical medium, or dimensions of the resource image/tiff application/msword Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. Luca Vitone MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2657" target="_blank" rel="noopener">http://hdl.handle.net/1889/2657</a> Project which wasn’t selected in a prize or competition http://moremuseum.org/omeka/files/original/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/ddc53f26b6249e4789a3d50cc2ac3369.pdf b7ab5d5e0f908bbf14ab4a9b687dbfb3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Matthew Darbyshire Description An account of the resource Matthew Darbyshire was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had solo public exhibitions at Gasworks, London; The Hayward, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield. Darbyshire has exhibited in various major UK survey shows including the ICA’s Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. Darbyshire's work has been exhibited worldwide at institutions including Bangkok Cultural Centre, Thailand; Fundacion Miro, Spain, Marco Museum, Spain and The FRAC pas de Calais, France. He is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions – one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. Matthew is represented by Herald St Gallery in London and Jousse Enterprise in Paris. Creator An entity primarily responsible for making the resource Darbyshire, Matthew Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource ukfun-ky Creator An entity primarily responsible for making the resource Darbyshire, Matthew Date A point or period of time associated with an event in the lifecycle of the resource 2011 Contributor An entity responsible for making contributions to the resource Scotti, Marco Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource English Type The nature or genre of the resource Text Still Image Description An account of the resource Matthew Darbyshire project for Kettle’s Yard - which today is a department of the University of Cambridge and a gallery - was designed for the left side of the building, overlooking Castle Street: during the renovation works for the new education wing, rather than just a billboard the artist proposed a perforated building wrap, similar to those used in building sites where it’s possible to see a reproduction of the façade momentarily hidden. This would lead to a “coming soon” effect in the viewer, and then to subsequent feelings of ambiguity and confusion: Darbyshire instead of the trompe l’oeil of the real future building would have printed on the wrap the vision of a future development of the building in a "Thatcherite, low-cost vernacular" style, intended to be a dystopian cultural one stop shop for the contemporary England. The aim was precisely to comment - through an image which represents architecture and its values – on the possibility that a cultural space such as Kettle’s Yard may in future turn into something different (even if the current renovation works just involved the education wing of the gallery). The title itself - ukfun-ky - refers to a possible “regeneration” of Kettle’s Yard, enacting a criticism of these processes and of the spreading of anonymous and interchangeable spaces in the urban pattern. There are specific references to the policies adopted in the eighties in the UK, which was made of "thoughtless and insensitive developments", was moved only by profit and that now seems to the artist so close to a revival. The Director of the gallery disapproved and an alternative was formulated.  <a href="https://www.repository.unipr.it/bitstream/1889/2651/1/Matt%20Darbyshire_ukfun-ky.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Matthew Darbyshire MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/2651" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/2651</a> Failure to meet the commissioner's demands http://moremuseum.org/omeka/files/original/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/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. Davide Mosconi MoRE Museum Financial reasons Logistical reasons http://moremuseum.org/omeka/files/original/c2cca40b897afcae41211efd217f7500.jpg fa7f49832bcbe25eaf07a8dcfbbaa1b5 http://moremuseum.org/omeka/files/original/a1be8c44647c460c44a00beaf6686eb8.docx da4958c430b795926d72728705dc0c3e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tomislav Gotovac Description An account of the resource The art practice of Tomislav Gotovac was marked by a wide media diversity: he was a filmmaker and a photographer, he made collages, objects and installations, he changed his own appearance, he staged actions and performances in public spaces and made provocative appearances in mass media.    Gotovac was born in 1937 in Sombor. His father Ivan was from the Dalmatian highlands, while mother Elizabeta (Beška) came from a Sombor family of German origin. In the summer of 1941, after the beginning of World War II and the breakdown of the Kingdom of Yugoslavia, Gotovac’s family moved to Zagreb, into the flat in Krajiška 29. Gotovac’s childhood and adolescence were marked by a strong interest in film. After finishing high school, Gotovac began to study architecture in Zagreb, but he abandoned the study after a year. In 1954, he became an active member of Kinoklub Zagreb, a gathering place of cinephiles and amateur filmmakers. He did his first works in photography (Heads1960, 1960.; Showing Elle, Breathing the Air, 1962; Posing, Suitcase, The Trio, Hands, 1964). He made his first film in 1962 (Death), and in 1963 he made a manifest documentary-experimental film The Forenoon of a Faun. Gotovac filmed his famous trilogy, consisting of Straight Line(Stevens-Duke), Blue Rider(Godard-Art) and Circle(Jutkevič-Count) in Belgrade in 1964. He took part in all editions of the Genre Film Festival (GEFF), held in Zagreb from 1963 to 1970, and received several awards. During 1964 and 1965, he worked intensively on a series of collages inspired by the work of Kurt Schwitters. In 1967, Gotovac enrolled in film directing at the Academy of Theatre, Film, Radio and Television in Belgrade. The event that marked his work in numerous ways was his participation in Lazar Stojanović’s film Plastic Jesus(1971), where Gotovac was both the lead actor and the assistant director. Gotovac finished his studies in 1976. In the same year, he had his first exhibition in SKC Gallery in Belgrade, where he gave an overview of his fifteen-year-long art practice (photographs, collages, films, documentations of public actions). After returning to Zagreb, Gotovac’s presence on the art scene began to increase and he took part in numerous exhibitions in the country and abroad. From 1979 onwards, he did numerous performances in public space, in Zagreb, Beograd, Osijek, Rijeka and Ljubljana, using public media as an integral part of his art practice. In the beginning, those were student and youth magazines such as “Student”, “Vidici”, “Studentski list”, “Polet”, but later he began to make appearances in top-selling magazines and TV. These actions and the deliberate manipulation of his own character were directly related to his questioning of his own identity within the confines of patriarchal society and his stance on eliminating the boundaries between art and everyday life. At the end of the 1980s, he began to re-decorate his parents’ flat in Krajiška 29, creating an installation out of his own works and various objects. In 2004, he officially changed his name to Antonio Lauer, taking his Christian name and his mother’s maiden name. He worked under this name in the last period of his artistic production, from 2005 to the end of 2009.  Tomislav Gotovac won numerous film recognitions. After 1976, he was showing his works at different exhibitions in the country and abroad. His work presented Croatia at the 54th Venice Biennial (2011), and it was included in Documenta 14 in Athens and Kassel (2017). Retrospective exhibition Tomislav Gotovac: Crisis Anticipator was held at the Museum of Modern and Contemporary Art in Rijeka in 2017 and later travel to House of Art in Usti nad Labem and City art Gallery in Ljubljana. His works are in collections of Museum of Contemporary Art in Zagreb, Museum of Contemporary in Belgrade, Museum of Modern and Contemporary Art in Rijeka, Modern Gallery in Ljubljana, Kontakt – Art Collection of Erste Bank Group in Vienna, Centre Pompidou in Paris, Museum of Modern Art in New York, Art Institute of Chicago and several private collections. Creator An entity primarily responsible for making the resource Gotovac, Tomislav 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 Totalni portret grada Zagreba Description An account of the resource Total Portrait of the City of Zagreb was a project for a documentary film on the city of Zagreb. The only document which has survived is a sheet of paper typed and signed by Tomislav Gotovac himself. He states his intention to observe the city as though it were a human being. The aim was to produce a “21st-century” film, a total vision of the city as a living organism.  <a href="https://www.repository.unipr.it/bitstream/1889/3690/1/Tomislav%20Gotovac_The%20Total%20Portrait%20of%20City%20of%20Zagreb.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Gotovac, Tomislav Date A point or period of time associated with an event in the lifecycle of the resource 1979 Contributor An entity responsible for making contributions to the resource Scotti, Marco Rights Holder A person or organization owning or managing rights over the resource. Tomislav Gotovac MoRE museum Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Text Unknown http://moremuseum.org/omeka/files/original/7223d7e65070f6de111f93e59836e6e6.JPG 8427676c58bf3e8615944df806188ca2 Dublin Core The Dublin Core metadata element set is common to 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-kassel.JPG Description An account of the resource Collage of the unrealized project, that consisted in stretching a steel cable - anchored at the artist’s car with the engine running (a red Fiat 126) - till the museum’s opposite wall, where it would be fixed so that it would pass through the whole length of the building. Format The file format, physical medium, or dimensions of the resource jpg file, 19,236 x 14,427 cm, 300 dpi http://moremuseum.org/omeka/files/original/7c2519e97968f70ddab6244648de2893.jpg febf3b1b9a4cc574b66c2a6d3910df2d Dublin Core The Dublin Core metadata element set is common to 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 1992 Description An account of the resource A drawing of the project, taken by the artist in a sketchbook in 1992. Format The file format, physical medium, or dimensions of the resource jpg file, 115,147 x 86,36 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 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 Tiramolla 92 Description An account of the resource Tiramolla 1992 is a project presented by Liliana at the <a href="http://www.kassel.de/miniwebs/documentaarchiv_e/08204/index.html" target="_blank" rel="noopener">documenta 9</a> of Kassel, directed by Jan Hoet with a team constituted by Pier Luigi Tazzi, Denys Zacharopoulos e Bart de Baere. The place chosen for the work was the Neue Galerie and the project was particularly complex and elaborated with the support of an engineer of a specialized firm. The plan was to stretch a steel cable till the museum’s last wall; this should go through the whole length of the building and come outside, where it should be anchored at the artist’s car, a red Fiat 126, left turned on with the engine running. The steel cable (that has been reproposed in the work exhibited in Kassel instead of this project, Tiramolla) would have passed therefore through the whole exhibition’s space, suggesting to the viewer a different understanding of the place and converging outside towards an object connected with the artist’s everyday life: her car. Technical and structural problems were the main reason it hasn't been realized; the project was also considered too dangerous. <a href="https://www.repository.unipr.it/bitstream/1889/2442/1/Liliana%20Moro_Tiramolla%2092.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 1992 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 Type The nature or genre of the resource Still Image Language A language of the resource Italian Rights Holder A person or organization owning or managing rights over the resource. Liliana Moro MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2442" target="_blank" rel="noopener">http://hdl.handle.net/1889/2442</a> Logistical reasons Regulatory/juridical/administrative reasons 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/851bf3ab50b693f8ff1b64a26f7ac788.jpg c25dea86be74b43d92c74cef8b36e359 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Till Krause Description An account of the resource Till Krause lives in Hamburg. Together with the artist project space GFLK Galerie für Landschaftskunst and in many other cooperations he works on artistic ideas of urban and landscape spaces. Long-term projects such as Free River Zone, Land for Five Final Acts, Hamburg Mapping Project, illegalevecht. <a href="http://www.gflk.de/">www.gflk.de</a> Creator An entity primarily responsible for making the resource Krause, Till Dublin Core The Dublin Core metadata element set is common to 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 Square Opposite the Townhouse Description An account of the resource City centre of Hamburg, Germany. Until the early 1990's there were still "empty places", brownfields, remains of World War II. One of these wastelands I loved very much. A square in the middle of the business centre. It was raw and unkempt, hardly used. Significantly, it had (unlike today) no name. It was so beautiful, because it was a rare place of the unresolved and unclear in the chic, rich inner city. On it the hidden traces of its past paired with the still unthinking possibilities of a future. I began to observe and document it closely. I went into archives and searched for everything that had ever been on this square in past years and centuries. Around 1990, new buildings began to be erected in the immediate vicinity and on the larger part of the square. Office, commercial and hotel buildings. Thus the inner city centre lost its last (aesthetically) open, disorganized area. I made two suggestions for the remaining part of the square. A) The remaining wasteland was to be surrounded by an extremely high fence. I should have the only key to the piece of land. B) A panorama building was to be erected on the square for my extensive archive on the fallow land and on "everything that had ever been there". <a href="https://www.repository.unipr.it/bitstream/1889/3717/1/Till%20Krause_The%20Square%20Opposite%20the%20Townhouse.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Krause, Till Date A point or period of time associated with an event in the lifecycle of the resource 1987-1995 Contributor An entity responsible for making contributions to the resource Krause, Till Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Deutsch Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Till Krause MoRE museum 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/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/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/f91e0be9a825a5458be642ef72677ef1.jpg 330de33e3a3672179a8b344348d354b4 http://moremuseum.org/omeka/files/original/82f5f563bbc5352d0993b7e982355768.jpg 6f9768e5145480cb3fa1ccdb8d55092d Dublin Core The Dublin Core metadata element set is common to 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 The Great Ears Description An account of the resource Proposed as part of the Monuments for the USA exhibition in 2005, the project involved the construction of two monumental ears, respectively placed on the East and West coasts of the United States. <a href="https://www.repository.unipr.it/bitstream/1889/5201/1/Aleksandra%20Mir_The%20Great%20Ears.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 2005 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 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. 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Title A name given to the resource Liliana Moro Description An account of the resource Liliana Moro was born in 1961 in Milan, where she lives and works. She graduated from the Accademia di Belle Arti di Brera, where she studied with Luciano Fabro. In 1989 she founded, with other artists, the Spazio di Via Lazzaro Palazzi in Milan, active until 1993. Encountering the works of Liliana Moro we have the perception that only what is strictly necessary is present. Sound, words, sculptures, objects and performance, compose a world that "stages" a reality simultaneously raw and poetic. These are territories of an individual experience (that of the artist but mainly that of the viewer) that ask for going beyond what is visible. The reduction to the essential understood as an attitude, a practice and a positioning, does not result from a retake of a minimal language: it is rather something the artist triggers both when choosing to use elaborated techniques, and when opting by using existent materials and objects of everyday use. A prominent element in Liliana Moro's research is the political dimension, not translated in the illustration of contents, but related to the forms of addressing the recipients; for example by placing her work on the ground she implicitly asks the viewer to bend down to see it. Freedom of action is an important aspect of the work, but it only defines it partially: what creates an interesting difference is the relation between the university of possibilities and a tension - both physical and poetical - produced from this relation. Liliana Moro has shown in major international group exhibitions including Documenta IX, Kassel (1992); Aperto XLV Venice Biennale (1993); Castello di Rivoli, Turin (1994); Quadriennale, Rome (1996/2008); Moderna Museet, Stockholm (1998); PS1, New York (1999); De Appel, Amsterdam (1999), and the Bienal de Valencia (2001). She held several of solo shows at Galleria Emi Fontana, Milan; Greta Meert, Brussels; MUHKA, Antwerp, and Fondazione Ambrosetti, Brescia. Recently, Liliana Moro has showed at the Italian Cultural Institute of Los Angeles (2008), and Fabbrica del Vapore, Milan (2008), and has participated in important group exhibitions, including Italics, Palazzo Grassi, Venice (2008); Focus on Contemporary Italian Art, Mambo, Bologna (2008); Save Venice, Magazzini del Sale, side event of the 53. Venice Biennale (2009), and Celebration, Institution, Critique, Galleria Civica di Trento (2009). Creator An entity primarily responsible for making the resource Moro, Liliana Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Testa di Pinocchio Description An account of the resource Testa di Pinocchio è il progetto proposto da Liliana Moro in occasione della mostra itinerante Playgrounds and Toys, organizzata dall’associazione con sede a Ginevra <a href="http://www.artfortheworld.net/">Art for the World</a> e curata da Adelina von Fürstenberg, con l’intento di sensibilizzare il pubblico sul gioco come diritto fondamentale, spesso negato, di ogni bambino. In particolare la rassegna invitava artisti, architetti e designer di tutto il mondo a proporre progetti di parchi giochi e giocattoli destinati a bambini costretti a vivere in condizioni di ingiustizia sociale. Il progetto, proposto in occasione della tappa all’Hangar Bicocca nel 2005, prevedeva la realizzazione di una “casa gioco” per bambini a forma di testa di Pinocchio, con un’apertura sulla bocca da cui sarebbe dovuto partire uno scivolo, delle altalene realizzate con pneumatici pendenti dalle orecchie e dei finti mattoncini sulle pareti laterali per permettere ai bambini di arrampicarsi. <a href="https://www.repository.unipr.it/bitstream/1889/3443/1/Liliana%20Moro_Moro_Testa%20di%20Pinocchio.pdf" target="_blank" rel="noopener">Read more.</a>   Creator An entity primarily responsible for making the resource Moro, Liliana Date A point or period of time associated with an event in the lifecycle of the resource 2003 Contributor An entity responsible for making contributions to the resource Zinelli, Anna Format The file format, physical medium, or dimensions of the resource image/jpeg application/msword Language A language of the resource Italian Type The nature or genre of the resource Still Image Text Rights Holder A person or organization owning or managing rights over the resource. 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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/0889230f7ceafa5b71c9496d36396384.jpg e43abfe1af761ad03ad6c24c6fbce565 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Franco Guerzoni Description An account of the resource Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his Frescoes, and in '73  his Archaeology, followed by Anthropology, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents Decorations and ruins in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin Landscapes powder, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the Forgotten Wall becomes the real privileged place for his most current work. Creator An entity primarily responsible for making the resource Guerzoni, Franco Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data drawing Physical Dimensions The actual physical size of the original image jpeg file , 41,204 x 28,54 cm, 72 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tappeti volanti Creator An entity primarily responsible for making the resource Guerzoni, Franco Date A point or period of time associated with an event in the lifecycle of the resource 1971 Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Description An account of the resource In this drawing Franco Guerzoni speculates - with a theoretical exercise nearer to utopia than to a real project - about the possibility of realising flying carpets. On this drawing we can find, together with shapes and images by Guerzoni himself, a poetry written by his friend Adriano Malavasi. <a href="https://www.repository.unipr.it/bitstream/1889/2703/1/Franco%20Guerzoni_Tappeti%20volanti.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Franco Guerzoni MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="http://hdl.handle.net/1889/2703" target="_blank" rel="noopener">http://hdl.handle.net/1889/2703</a> Theoretical exercise http://moremuseum.org/omeka/files/original/5c71b5e284548afe9b941817b533d1a0.jpg c575beff3136171830678597ce8189e0 http://moremuseum.org/omeka/files/original/7643590c9d71fbf29e6f02febb81ad21.jpg b647c10866b0259f110f43a554d164b6 http://moremuseum.org/omeka/files/original/002e3918f16b552bbcf3d10778bb0122.jpg 484fc2b12c6aab94eddd28154907fa09 http://moremuseum.org/omeka/files/original/1fb0f4658d5ac167767772e1e66ad667.jpg 10a0b3dc39423351ce629a9552540629 http://moremuseum.org/omeka/files/original/d010a35026fdf70c8fe4ced0899041cd.jpg f1e3b4e19a926eea912ce839ddc3597a http://moremuseum.org/omeka/files/original/ac118293042ba7671fa2429a21fc8c87.jpg 96b46703a755d0bfdb4d8217b76bbc13 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Andrea Kvas Description An account of the resource Andrea Kvas was born in 1986 in Trieste, he currently lives and works in Italy. His personal exhibitions include: the 2015 Staring Contest, Ermes-Ermes in Vienna, the double solo show Andrea Kvas and Nicola Martini at the Kaufmann Repetto gallery in Milan and in 2013 Campo the exhibition at the Museo Marino Marini in Florence. He has also participated in numerous collective exhibitions in various areas in Italy and abroad, such as the galleries Bugada & Cargnel in Paris, Francesca Minini in Milan, Chert in Berlin, CAR DRDE in Bologna and ZERO ... in Milan. He has presented his work in institutional spaces such as the Fondazione Bevilacqua la Masa in Venice, the Municipal Gallery of Contemporary Art in Monfalcone and the Macro in Rome, and in independent spaces such as Brown Project Space and Peep-Hole in Milan, and Cripta 747 in Turin. Creator An entity primarily responsible for making the resource Kvas, Andrea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Taccuino 2015 Description An account of the resource Andrea Kvas donated to MoRE some unrealized works from his notebook. The design material in these sheets is very varied and includes sketches of shapes, the conception, and development of a new alphabetical code and some self-supporting pictorial structures. Although the projects are heterogeneous, the critical point of this material would seem to be the alphabetical code studied by the artist, this created by him to answer a question concerning abstract art.  <a href="https://www.repository.unipr.it/bitstream/1889/3474/1/Andrea%20Kvas_Taccuino%202015.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Kvas, Andrea Date A point or period of time associated with an event in the lifecycle of the resource 2015 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Andrea Kvas MoRE Museum http://moremuseum.org/omeka/files/original/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/a74b34dd74c1ac755f3082b9bdf4e989.pdf 9219d64480adf108902ee676c8910092 http://moremuseum.org/omeka/files/original/ccc0bedb5fc432226ea29431b0a8219d.jpg c9b2e43786e75cfb17021e3a5651b3f7 http://moremuseum.org/omeka/files/original/501ef912149cb690a08b9afb85b50fa1.jpg c627a8c95cada05933a089c76c35b482 http://moremuseum.org/omeka/files/original/a86ce79d85ae68bbb952e04e605c4f01.jpg bb8afc17ec452640a4449d6091a2281d http://moremuseum.org/omeka/files/original/dfec9d595eb4d7e10e0ec3acc67630e9.jpg ff9b09f9ee71f0709673370e372e2ce6 http://moremuseum.org/omeka/files/original/958df3a09ff894176d47b2a25b4efb5c.jpg cb89c31fe88f3a3a3adb7336ef130c14 http://moremuseum.org/omeka/files/original/fec99f1fd0f011d267401d09d3d48f1f.jpg 4bb2990191ad368f9e7751f9292a5a52 http://moremuseum.org/omeka/files/original/8f9ae6c4f0723f8f17ace25f26518459.png 5ad1d9d69727a52bc91214450507e5b4 http://moremuseum.org/omeka/files/original/d2c21d87015cceaa4f79fdade4ce3ca1.jpg de36f782f4e70df8191442b9de16b374 http://moremuseum.org/omeka/files/original/b9e1b1c79b73ee439ca6ae11a051bab0.jpg c3ffc869e0f3db39959887e0717cbbae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Maria Adele Del Vecchio Description An account of the resource Maria Adele Del Vecchio (1976 Caserta), lives and works in Rome. She attended the Staedelschule Frankfurt in 2005/06, with Mark Leckey as her professor. In 2014, she ranked as a finalist in the tenth edition of the biennial Furla Prize, called The Nude Prize. Solo Exhibitions: Whitin rather than above, Gallerie Tiziana Di Caro, Naples, 2015; Tonite let's all make love in London, Supportico Lopez, Berlin, 2014; Qui sembra ancora possibile, curated by Maria Rosa Sossai, Parco del Pineto, Rome, 2011; No end is limited, curated by Stefania Palumbo, Galleria Enrico Fornello, Prato, 2008. Collective Exhibitions: Pane Per Poveri, Teatro Marinoni, Venice, 2015; Journey to the end of the word, curated by Antonello Tolve, Galleria Tiziana Di Caro, Salerno, 2014; Se il dubbio nello spazio è dello spazio, curated by Maria Adele Del Vecchio and Nemanja Cvijanovic, Museo MACRO, Rome 2014. Die Dritte Dimension, Frutta Gallery, Rome, 2013; Door to Door, curated by Maura Picciau, city centre, Salerno, 2012;  Badtime Stories Badtime Stories, Supportico Lopez, Berlin, 2011;  Classroom #1, curated by Salvatore Lacagnina, Museo MADRE, Naples, 2008; Sistema Binario, curated by Adriana Rispoli and Eugenio Viola, Mergellina Station, Naples, 2008;  A long time ago, last night, curated by Francesca Boenzi, Galerjia Kortil, Rijeka, Croatia, 2008. Falansterio, Supportico Lopez, Naples, 2006. Luogo/non-luogo = nuovo luogo, visiting professor Richard Nonas, Fondazione Antonio Ratti, Como, 2003.  Creator An entity primarily responsible for making the resource Del Vecchio, Maria Adele Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Subtext Description An account of the resource The project consists of an Artist’s book structured on several levels of interpretation which, through images and texts, outlines the moments in which the combination of signs reveal the "forms of the content." The artist's book designed by Maria Adele Del Vecchio is a “personal and abnormal semiology", a product of culture which reveals the contradictory nature of signs and the message they express using a poetic approach, rather than a scientific one. The hypothesis proposed by the artist has been enriched by readings related to semiotics and structuralism, and is nurtured by the belief that reality is entirely composed of signs and that deciphering these signs, composes a more complete picture of reality. The photographs taken are stumbles, glimpses beyond which the artist sees the grids on which life is structured: educated moments that reveal a karst essence along with underlying coordinates. In a brief pastiche, the artist juxtaposes parts of texts by Witold Gombrowicz and James G. Ballard, tracking down a common vision. Well matched and mutually interpenetrating, photographs and texts compose a set of parallel references woven so as to form a large subtext. <a href="https://www.repository.unipr.it/bitstream/1889/3001/1/Maria%20Adele%20Del%20Vecchio_Subtext.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Del Vecchio, Maria Adele Date A point or period of time associated with an event in the lifecycle of the resource 2016 Contributor An entity responsible for making contributions to the resource Scipioni, Lydia Elena Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource English Type The nature or genre of the resource Still Image Text Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cineca.it/handle/1889/3001" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3001</a> Rights Holder A person or organization owning or managing rights over the resource. Maria Adele Del Vecchio MoRE Museum Financial reasons http://moremuseum.org/omeka/files/original/609417e04e53f0a936d07909f21cafa4.jpg 96f324889e4bebf0b235f1eb7e17489f http://moremuseum.org/omeka/files/original/e266763b517dfba9239141dd7d16bb64.jpg 08936bb32c3d4dfa35f72107f6775986 http://moremuseum.org/omeka/files/original/fa1cc04faed4580451f93c461e216224.jpg bcfcc432501952bb2abd711c3809f981 http://moremuseum.org/omeka/files/original/584049b5515ce6d8167e9a53fbc76627.jpg e143a16b5f18ff2d0228b96f90617ea6 http://moremuseum.org/omeka/files/original/5f34e8e808db19ea2aa3f9b8ce7a9517.jpg 7ad68bd3ca11e84e833bd7d7e05f8c83 http://moremuseum.org/omeka/files/original/3299d786fe932a26d4a5ff562d4eb391.jpg 1afa9ccbe94180cb0288b2ef151b1229 http://moremuseum.org/omeka/files/original/a38a83830508eaea32aed2258eb4a373.jpg 5d82a65e2360fd79cd063e8cc8c89e01 http://moremuseum.org/omeka/files/original/d77dc10c758c1cf2015739d7fe12695d.jpg 0b86a56fbd5103899bcd48e715715ebe http://moremuseum.org/omeka/files/original/cd6cb3fed7892abbef5c029126b47a7c.jpg 26d3125381857fa02b75606605a5cdc2 http://moremuseum.org/omeka/files/original/3257957ae780bfdaf98cdb78ecb8f6d4.jpg 89a0a378488e2d7b94d46516111e5f7f http://moremuseum.org/omeka/files/original/7520ec17a91360e481c94c8094f66982.jpg 0cb69d5d8ab8afc22336a3346d260292 http://moremuseum.org/omeka/files/original/1efcb03842f34c84b7e8c883fdcf664f.jpg 241e996f1a2b0077c0b09e2c34369fd8 http://moremuseum.org/omeka/files/original/752d87c91fe77d7b674a0cc4313225e6.jpg 49b15a914fa054d09d576539b816bfa5 http://moremuseum.org/omeka/files/original/5f140be967791281e31f5e82b5827407.jpg 0ea73bb18fe2f32a700e74b9f01b0d49 http://moremuseum.org/omeka/files/original/b65a9728733eaebca98a8105b95d919d.jpg b9d35434ab8d3c16a240e0ac2cdaaa27 http://moremuseum.org/omeka/files/original/36a31e0bb24ee96fb001056db70fe391.jpg f4186fd327cde23b3e682eb9f2f6f4e1 http://moremuseum.org/omeka/files/original/c6d71db9afde1b1bd7ce6cd596394651.jpg 98596378664b204412456edcf5869264 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thomas Braida Description An account of the resource Thomas Braida was born in Gorizia in 1982 and he graduated from the Academy of Fine Arts in Venice in 2010; currently he lives between Turin and Venice. He has exhibited in many institutional spaces such as the Galleria Civica, Modena, the Palazzo della Misericordia in Bergamo and the Bevilacqua La Masa Foundation in Venice. He has also already attended numerous solo exhibitions such as Solo at Palazzo Nani Bernardo in Venice, on the occasion of the 2017 Biennale, and - together with Valerio Nicolai - two personal double exhibitions in two Roman galleries such as the Galleria Monitor and the Galleria Furini. Creator An entity primarily responsible for making the resource Braida, Thomas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Studi per quadri non realizzati. Quaderno 18 Description An account of the resource Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches. Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018. <a href="https://www.repository.unipr.it/bitstream/1889/3473/1/Thomas%20Braida_quaderno%2018.%20doc.pdf">Read more.</a> Creator An entity primarily responsible for making the resource Braida, Thomas Date A point or period of time associated with an event in the lifecycle of the resource 2017-2018 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 Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Thomas Braida MoRE Museum Ideological reasons Logistical reasons http://moremuseum.org/omeka/files/original/726b1a2114c237b90fb4e7da1b391a5e.jpg 12ba0adf9dd072c741902ad4e7cf5527 http://moremuseum.org/omeka/files/original/eee87c4769dc81a5d2378440138d3eb9.jpg 389dd2c3c75916a3702c495745e2e3a3 http://moremuseum.org/omeka/files/original/96fadd5201d6e957c0674c9e850e0b14.jpg 3d4a963c1aac8c1cfb540b50b6ef2186 http://moremuseum.org/omeka/files/original/d929fb1b2295e7ce098651289b75da1b.jpg 459e38f0528bdc73cea864003c16e120 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thomas Braida Description An account of the resource Thomas Braida was born in Gorizia in 1982 and he graduated from the Academy of Fine Arts in Venice in 2010; currently he lives between Turin and Venice. He has exhibited in many institutional spaces such as the Galleria Civica, Modena, the Palazzo della Misericordia in Bergamo and the Bevilacqua La Masa Foundation in Venice. He has also already attended numerous solo exhibitions such as Solo at Palazzo Nani Bernardo in Venice, on the occasion of the 2017 Biennale, and - together with Valerio Nicolai - two personal double exhibitions in two Roman galleries such as the Galleria Monitor and the Galleria Furini. Creator An entity primarily responsible for making the resource Braida, Thomas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Studi per quadri non realizzati. Quaderno 17 Description An account of the resource Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches. Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018. <a href="https://www.repository.unipr.it/bitstream/1889/3472/1/Thomas%20Braida_quaderno%2017.pdf">Read more.</a> Creator An entity primarily responsible for making the resource Braida, Thomas Date A point or period of time associated with an event in the lifecycle of the resource 2016-2017 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/tiff Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Thomas Braida MoRE Museum Ideological reasons Logistical reasons http://moremuseum.org/omeka/files/original/09eb54d16259422165a959738b8c564e.jpg c5ad0ea8eb0c5f7a6835bfcdc9bfa19e http://moremuseum.org/omeka/files/original/e1290932d1830ca2701ecb25b6714bd6.jpg 4a600ed7fb244705ba9437d1caad5728 http://moremuseum.org/omeka/files/original/b73a6b10fb6c49658675fc634df20d82.jpg 256314d861039a908919b2b4ec0d0e14 http://moremuseum.org/omeka/files/original/d54e5d4bfa98881c11d55847b386ff2b.jpg 79f9f1082912f4a54f4d70df146ce81b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thomas Braida Description An account of the resource Thomas Braida was born in Gorizia in 1982 and he graduated from the Academy of Fine Arts in Venice in 2010; currently he lives between Turin and Venice. He has exhibited in many institutional spaces such as the Galleria Civica, Modena, the Palazzo della Misericordia in Bergamo and the Bevilacqua La Masa Foundation in Venice. He has also already attended numerous solo exhibitions such as Solo at Palazzo Nani Bernardo in Venice, on the occasion of the 2017 Biennale, and - together with Valerio Nicolai - two personal double exhibitions in two Roman galleries such as the Galleria Monitor and the Galleria Furini. Creator An entity primarily responsible for making the resource Braida, Thomas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Studi per quadri non realizzati. Quaderno 16 Description An account of the resource Thomas Braida donated some pages from his notebooks to the MoRE Museum. This type of donation sobering to what we might call the pictorial projects in our imaginary, where the notebook (rich in literary references and artistic influences) in the hands of Braida is enriched with drawings and design sketches. Leaving the romantic vision of the artist who depicts life, from Braida's design material emerges not just a simple and quick pencil stroke on a white sheet, but rather pages of notebooks which have a design characterized by a complex use of techniques and colors thanks, pastels, watercolors, markers, pens, and nibs. In all, there are three donations, notebook 16 of 2015-2016, notebook 17 of 2016-2017 and the number 18 of 2017-2018. <a href="https://www.repository.unipr.it/bitstream/1889/3471/1/Thomas%20Braida_quaderno%2016.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Braida, Thomas Date A point or period of time associated with an event in the lifecycle of the resource 2015-2016 Contributor An entity responsible for making contributions to the resource Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/tiff Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Thomas Braida MoRE Museum Ideological reasons Logistical reasons http://moremuseum.org/omeka/files/original/85ad5c1ad875a662925b1741dda1bd42.jpg 3fab9cbe4dc83cd7a61602abd8ec1add http://moremuseum.org/omeka/files/original/050e07ce84bdd3223a97232b7a526cad.jpg ca8a33287f9665b119c530476e1fd8c4 http://moremuseum.org/omeka/files/original/85fe9c459f0a61e6d54437fcc02cd03e.jpg 15b420d8eac2719134112131b5e2c075 http://moremuseum.org/omeka/files/original/132f63ecb96582f1da9e9967e2b20f8e.jpg 36e22e1690de761d8389306c2e4a2a4d http://moremuseum.org/omeka/files/original/a4d35fa3bd1614eaa2329833f3d3e6c9.jpg 17f56e9f96022d7b3de0a2c28cbad212 http://moremuseum.org/omeka/files/original/1f9dbc4a7591682a1ad32a52b178ab57.jpg b53d608c14e5b72350d56519709e06a6 http://moremuseum.org/omeka/files/original/656643be2fa9919e9382e7a7eefb0cee.jpg d41d8cd98f00b204e9800998ecf8427e http://moremuseum.org/omeka/files/original/809edafaccd6e7418651bc5bbac66a68.jpg d3a5d6aec3b4afc6df9ae0e111b42563 http://moremuseum.org/omeka/files/original/3a944246e19049edb6cb1e63835f184d.jpg 9afb10c833f4c9c9e5a446edb6668f89 http://moremuseum.org/omeka/files/original/0a89014a2527f22a8bc15f1fb1385133.jpg a8a61e5eecc2e1ae03d021801616030c Dublin Core The Dublin Core metadata element set is common to 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 Stonehenge II Description An account of the resource Stonehenge II is a proposal for a work in a public space by Aleksandra Mir. Originally presented to the Artangel/Times open commission in 1998 (and subsequently rejected), the proposal was to build a Stonehenge replica close to the original, to reduce the volume of pedestrian traffic and save this piece of cultural heritage from further destruction. To compensate for the necessary limited access to Stonehenge I, Stonehenge II would allow full access and promote a wide range of activities on its grounds. The project was proposed a second time to students on the Royal College of Art curating course, who were asked to join the artist in the production of the project over the summer of 2001 (also rejected). The scale model was constructed in 2002–03. Aleksandra Mir continues to further her ambition to realize this work and hopes to make contact with interested parties who wish to assist. <a href="https://www.repository.unipr.it/bitstream/1889/5200/1/Aleksandra%20Mir_Stonehenge%20II.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Mir, Alexandra Date A point or period of time associated with an event in the lifecycle of the resource 1998-2001 Contributor An entity responsible for making contributions to the resource Mir, Alexandra Scotti, Marco 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. Aleksandra Mir MoRE museum Project which wasn’t selected in a prize or competition Rejected http://moremuseum.org/omeka/files/original/cd26d873740f865927a316e61324c468.jpg c5c82ee5653b790142c844cfbdc219ff Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Franco Guerzoni Description An account of the resource Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his Frescoes, and in '73  his Archaeology, followed by Anthropology, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents Decorations and ruins in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin Landscapes powder, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the Forgotten Wall becomes the real privileged place for his most current work. Creator An entity primarily responsible for making the resource Guerzoni, Franco Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Physical Dimensions The actual physical size of the original image jpeg file , 219,195 x 50,515 cm, 93,977 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stelle e lucciole Creator An entity primarily responsible for making the resource Guerzoni, Franco Ghirri, Luigi Date A point or period of time associated with an event in the lifecycle of the resource [1969 - 1970] Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Description An account of the resource Stelle e lucciole was conceived between 1969 and the early Seventies, and it is one of the first episodes of the prolific collaboration between Franco Guerzoni and Luigi Ghirri, which produced interesting and relevant results. These photographs revolve around the intention of the two artists and friends to capture in a single frame the starry sky and the bright trails of light left behind by fireflies. Indeed, Ghirri shot many takes of that picture, but he was not able to achieve the results he was aiming for due to technical issues. Guerzoni donated these photographs to MORE. To define this project as unrealized would not be fully correct; therefore, as Guerzoni himself agreed, it should be rather described as an unresolved, interrupted project, unable to achieve its expected outcome. <a href="https://www.repository.unipr.it/bitstream/1889/2702/1/Franco%20Guerzoni_lucciole.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Franco Guerzoni & Luigi Ghirri MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="%20http://hdl.handle.net/1889/2702">http://hdl.handle.net/1889/2702</a> Logistical reasons Technical reasons http://moremuseum.org/omeka/files/original/c0cd21e267ca78ab49c062555ed16866.tiff d9b1aecf039005bfb35b8018bc681477 http://moremuseum.org/omeka/files/original/cd2f1d0ceca1220ee4794afd818420bc.tiff 34d37251fc92cfe81fdb950384ba5a2a http://moremuseum.org/omeka/files/original/f448f4e2f1123ca916f390be26c209b6.tiff 77f60a8f475fbd619c0415f0e300563e http://moremuseum.org/omeka/files/original/0b4336aaf5a8952cd2cc138a77f68a98.tiff 7d9846fb0ca8b368f533851a1531dd72 http://moremuseum.org/omeka/files/original/c5d29b735bf5187898077b593799e8b8.rtf b8a1255a2c0901b3d5d733f9478ad500 http://moremuseum.org/omeka/files/original/3136e2ac37deaafc8f638fd3012fe4c3.rtf c5cadbf81287daa9a15c161ede4a448e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emily Jacir Description An account of the resource Emily Jacir’s work investigates histories of colonization, exchange, translation, transformation, resistance, and movement. Jacir has built a complex and compelling œuvre through a diverse range of media and methodologies that include unearthing historical material, performative gestures and in-depth research. She was awarded a Golden Lion at the 52nd Venice Biennale (2007) for her work Material for a film; a Prince Claus Award from the Prince Claus Fund in The Hague (2007); the Hugo Boss Prize at the Guggenheim Museum (2008); the Alpert Award (2011) from the Herb Alpert Foundation; and the Andrew W. Mellon Foundation Rome Prize Fellow at the American Academy in Rome (2015). Emily Jacir has had recent solo exhibitions at Alexander and Bonin, New York (2018); IMMA (Irish Museum of Modern Art), Dublin (2016–17); Whitechapel Gallery, London (2015); Darat al Funun, Amman (2014–15); Beirut Art Center (2010); and the Guggenheim Museum, New York (2009). Her work has been in major international group exhibitions, including the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Fondazione Sandretto Re Rebaudengo, Turin; dOCUMENTA (13) (2012); five consecutive Venice Biennales; Sharjah Biennial (2011); 29th Bienal de São Paulo, Brazil (2010); 15th Biennale of Sydney (2006); Sharjah Biennial 7 (2005); Whitney Biennial (2004); and the 8th Istanbul Biennial (2003). Creator An entity primarily responsible for making the resource Jacir, Emily Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource stazione Description An account of the resource stazione is the title of a public intervention conceived by Palestinian artist Emily Jacir for a collateral project of the 53rd Venice Biennale titled Palestine c/o Venice in 2009 but never realised. Jacir’s initial idea was to translate the names of each of the 24 vaporetti stops along route #1 of the water bus route into Arabic and to place the Arabic translations on all the stops next to their Italian counterparts.  <a href="https://www.repository.unipr.it/bitstream/1889/3844/1/jacir_lo%20pinto.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Jacir, Emily Date A point or period of time associated with an event in the lifecycle of the resource 2009-2010 Contributor An entity responsible for making contributions to the resource Lo Pinto, Luca Format The file format, physical medium, or dimensions of the resource image/tiff text/richtext 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. Emily Jacir MoRE Museum Censored Political reasons http://moremuseum.org/omeka/files/original/fb1ed6e896a38681ee810cf259e54f00.jpg 78a1da272f91ec47f9af46d2b18aed48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St.Pancras.jpg Description An account of the resource Photomontage of the rendering upon the background of the new St. Pancras Station, London. Format The file format, physical medium, or dimensions of the resource 22,54 x 16,93 cm, 72dpi Dublin Core The Dublin Core metadata element set is common to 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 St. Pancras Truck Description An account of the resource This sculpture was thought for St. Pancras station, located in northern London; the building dates back to 1861 and its victorian character contributes to frame this work as unreal, even if the artist through his works wants to communicate much more than that and goes beyond this “fantastic” dimension to reach a much deeper reflection on the de-functioning of the object, gazing at reality from a different perspective. The twisting of the vehicle is always part of this techniques of distortion of perception that Wurm adopts almost to create an epiphany of the object itself, a new life and a new meaning. The project was commissioned by St. Pancras train station, but has never been realized. The artist declared that “the truck was planned with a maximum length of 10m, the Commission found that too small, it should have been 20m!”. <a href="https://www.repository.unipr.it/bitstream/1889/2361/1/Wurm_st.pancras%20truck.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 2012 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 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/1889/2361" target="_blank" rel="noopener">http://hdl.handle.net/1889/2361</a> Rights Holder A person or organization owning or managing rights over the resource. Erwin Wurm MoRE Museum Failure to meet the commissioner's demands http://moremuseum.org/omeka/files/original/1dac1f558087ea8f7594eb268cfeaee1.jpg 5924ae230bf01cd1fc2248871e483069 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Franco Guerzoni Description An account of the resource Franco Guerzoni was born in 1948 in Modena. In the early seventies he uses photography as a means of representation. In 1972 his Frescoes, and in '73  his Archaeology, followed by Anthropology, are researches related to aspects of cultural stratification and the idea of “old” as a loss. In the eighties, he's engaged in the construction of large wall papers that explore the idea of an imaginary geography, Travel cards, Grotesque and The Forgotten Wall, at the end of the same years he worked on the surface intended as depth. Presents Decorations and ruins in a room at the Venice Biennale in 1990. Since then continues through the great cycles of works, his investigation on time and on the poetics of ruin, a kind of archeology without restoration. Since 2006, following the recovery of a body of works done with the use of photography by the author in the seventies, presents at GAM in Turin Landscapes powder, his research supported by a real work of reunion or transfer ranging from painting to the wall itself, chasing the dream that joins previous attempts aimed at the creation of a kind of bas-relief, constant in all his work, towards the idea of a slight sculpture, daughter of the new attention to the wall. So the Forgotten Wall becomes the real privileged place for his most current work. Creator An entity primarily responsible for making the resource Guerzoni, Franco Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Physical Dimensions The actual physical size of the original image jpeg file , 29,997 x 10,981 cm, 300 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sovrapposizioni culturali Creator An entity primarily responsible for making the resource Guerzoni, Franco Date A point or period of time associated with an event in the lifecycle of the resource [1975] Contributor An entity responsible for making contributions to the resource Casero, Cristina Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource Italian Type The nature or genre of the resource Still Image Description An account of the resource The two figures “I remember I have seen a mosque inside the Amun Temple in Luxur” and “Development of the decoration of an Etruscan vase according to a nineteenth-century portrayal” were to be part of a broader and more structured project, centred on the theme of the potential image, a topic very dear to the author. The original project envisaged the presence of a third figure representing a mental image, merely potential, hence rendered in a writing. The conceptual nature of such an image would have not allowed any visual depiction. The presence of a fourth figure, devoted to the utopian possibility of exposing films with the only power of thoughts, was merely a working hypothesis. This work, of a cleary conceptual nature, was therefore to be centered on the theme of the “potential image”. Such topic takes on great importance for both the artist's production and the cultural context in which this project was conceived. <a href="https://www.repository.unipr.it/bitstream/1889/2704/1/Franco%20Guerzoni_Sovrapposizioni%20culturali.pdf" target="_blank" rel="noopener">Read more.</a> Rights Holder A person or organization owning or managing rights over the resource. Franco Guerzoni MoRE Museum Identifier An unambiguous reference to the resource within a given context <a href="%20http://hdl.handle.net/1889/2704">http://hdl.handle.net/1889/2704</a> Logistical reasons Technical reasons Theoretical exercise http://moremuseum.org/omeka/files/original/5d83ea91d8a17c9c0fedfde48dba734f.jpg 5199817bd7c5b58f9438ae0369b896cc http://moremuseum.org/omeka/files/original/f061779a018a51e30469f2752c891933.jpg c6118d936f506de48d24899ada90ba24 http://moremuseum.org/omeka/files/original/fb511aa09b2cd93b1dc3c3b35ef196e9.jpg 5be77caeaaf417b5ad13a8dc0c239046 http://moremuseum.org/omeka/files/original/ab5d737f82285aa56ad3f847b16e0456.jpg b6f46cb723c35ac4d73d90aecf164184 http://moremuseum.org/omeka/files/original/33410847607181728992d1456e64ec9d.jpg 30e813aa7abea2fd7c58eb15f80814e6 http://moremuseum.org/omeka/files/original/0b1dc8fa412207cc04a515e06c332566.jpg 3d01c05c80dbe2d8d3f97d23ca73a3ec http://moremuseum.org/omeka/files/original/60aa627e3217a82d00e7653c40782bd2.jpg 7b7b69cb8f28ec9439f22dddc4f5aa27 http://moremuseum.org/omeka/files/original/7f3ffcbc9876b047c6902398ff55774a.jpg b2cdaf3dbeb6d14ae565aa8c06966756 http://moremuseum.org/omeka/files/original/150d0ed564b5559ff91808205b8fdad4.jpg 0199301df62a9ff1155cdafc465a5ae2 http://moremuseum.org/omeka/files/original/87aa00afd2bed33fc9b8b11e55414376.jpg 10a0106fcff4852f5f1160fc12efd6c8 http://moremuseum.org/omeka/files/original/39e1901b7999bea0d7b37f1fe90c5b74.jpg 2a0cdd3696b409f4ee5ea0549f3cdbae http://moremuseum.org/omeka/files/original/d361996d5f95c689fad71726bff7d215.jpg d3ceb58df3071a2f11c3b7fd6621e415 http://moremuseum.org/omeka/files/original/00bf38f32cebed71d4258eef52319e4e.pdf ce39dec806140bac9929163a25f8fc1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jonathan Monk Description An account of the resource Jonathan Monk, 1969, born in Leicester, Great Britain. Lives and works in Berlin, Germany. Monk replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. Speaking in 2009, he said, “Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now) I realised that being original was almost impossible, so I tried using what was already available as source material for my own work.” Through wall paintings, monochromes, ephemeral sculpture and photography he reflects on the tendency of contemporary art to devour references, simultaneously paying homage to figures such as Sol LeWitt, Ed Ruscha, Bruce Nauman and Lawrence Weiner, while demystifying the creative process. Monk is constantly asking ‘what next?’. His stainless steel series entitled Deflated Sculpture (2009) refigures Jeff Koon’s iconic balloon rabbit in various stages of collapse; letting the air out isn’t an act of iconoclasm so much as giving the original idea new life. So too Monk documented the period he lived in Los Angeles with a series of photographs titled None of the Buildings on Sunset Strip (1997–99), showing only the roads between buildings – a follow-up to Ed Ruscha’s artist book from 30 years before, All of the Buildings on Sunset Strip. But his conceptual configurations are also grounded in the personal: ‘what next?’ takes on a poignancy in the slide projection In Search of Gregory Peck (1997), where Monk brought together a collection of photographs taken by his late father in the 1950s, preceding him as a tourist in the US. Language A language of the resource Italian, English Creator An entity primarily responsible for making the resource Monk, Jonathan 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 hand-bound book, unique copy made by the artist himself. Physical Dimensions The actual physical size of the original image various (approximately 21,5x30cm.) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Small Proposals Book Description An account of the resource This project represents, first and foremost, a reflection on the feasibility of art projects and on the relationship between the artist and the commissioning body within the contemporary art system. Through the irony and poetic approach that would characterize his later projects, the artist ultimately questions broader dynamics and meanings. In this work, conceived when Jonathan Monk was still a student at the Glasgow School of Art, the artist presents a series of proposals for projects that are, by their very nature, impossible to realize — crazy, as he himself describes them. Closely connected to the designation of Glasgow as European Capital of Culture in 1990, Small Proposals Book is a handmade book containing the presentation of six public art interventions for the Scottish city. These are bound together with a (fake) response letter for each proposal from the official to whom the artist would supposedly have submitted the project, the Visual Arts Officer Tessa Jackson. Both the images and the response letters were, of course, produced by the artist himself. The visual part, through the reuse of everyday images that are exaggerated and stereotypical, aims to emphasize the deep irony and the implicit critique of the dynamics associated with this type of intervention. Jonathan Monk pretends to propose bringing the pyramids to Glasgow Green, moving the Golden Gate Bridge over the River Clyde (although the image used was actually that of the Humber Bridge, which is why the proposal is rejected in the fictional response letter), restoring driving orientation to continental standards, transplanting one of the giant sequoias from Redwood National and State Parks, moving Stonehenge to redevelop the fountain in Kelvingrove Park, and finally relocating Disneyland for a year to the parking lot of the St. Enoch Centre. <a href="https://moremuseum.org/omeka/files/original/00bf38f32cebed71d4258eef52319e4e.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Monk, Jonathan 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 Scotti, Marco 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/1889/1757" target="_blank" rel="noopener">http://hdl.handle.net/1889/1757</a> Rights Holder A person or organization owning or managing rights over the resource. Jonathan Monk MoRE Museum Theoretical exercise http://moremuseum.org/omeka/files/original/97a2b371e61b6eda68b702be86525d72.m4a d9c8a266f258b9037e6461330debd554 http://moremuseum.org/omeka/files/original/65ca9b3a4ded844c5be8fc2d395a05b0.tif b93fb1a7bba6a87368b77e6ed7855eb5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource notes.tif Description An account of the resource The digital copy of a sheet of paper with drawings and words, hand made by the artist as a first study for the magazine. Format The file format, physical medium, or dimensions of the resource tiff file, 21,565 x 29,667 cm, 200 dpi Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hassan Khan Description An account of the resource Hassan Khan is an artist, musician and writer. He lives and works in Cairo, Egypt. Creator An entity primarily responsible for making the resource Khan, Hassan Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sketches for an unrealised magazine Description An account of the resource This project consists of an A4 sheet of paper with handwritten notes in both Arabic and English, along with sketches in black ink. It is the only existing document of a planned magazine that Hassan Khan intended to produce with some friends at the time, but which was never realized. Still a rough draft, this sketch can now be interpreted in light of Khan’s current practice – which includes visual arts, writing, and music – mapping themes related to the present geopolitical and social situation. Contemporary life in Cairo was a fundamental reference point, alongside diverse cultural influences including William Blake, punk, the philosophical mysticism of different traditions, various avant-garde movements of the twentieth century, modernist cinema, and experimental music. A magazine could have represented a way to subtly address these themes and engage with popular culture at the same time, without being explicit. <a href="https://www.repository.unipr.it/bitstream/1889/3242/1/Khan_Sketches%20for%20an%20unrealised%20magazine.pdf" target="_blank" rel="noopener">Read more.</a> Creator An entity primarily responsible for making the resource Khan, Hassan Date A point or period of time associated with an event in the lifecycle of the resource 1995 Contributor An entity responsible for making contributions to the resource Scotti, Marco Relation A related resource <a href="http://dspace-unipr.cineca.it/handle/1889/3242" target="_blank" rel="noopener">http://dspace-unipr.cineca.it/handle/1889/3242</a> Format The file format, physical medium, or dimensions of the resource image/tiff Language A language of the resource English Type The nature or genre of the resource Text Rights Holder A person or organization owning or managing rights over the resource. Hassan Khan MoRE Museum project abandoned by the artist http://moremuseum.org/omeka/files/original/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/00b982a700599859b3717fd4d922fe44.jpg 84a4b609d7db5fd24ad956036f41c15e http://moremuseum.org/omeka/files/original/d0b4bffe58573a641aca26668c107cd1.jpg bc297c349af197ac5d36c66c7a885022 http://moremuseum.org/omeka/files/original/85efa614fd491eb80bbbf2873b13fa89.pdf 32daaebcfd4c97da87a14e0c9289e546 http://moremuseum.org/omeka/files/original/2414fdd92978c34d363a65cfcdf1c291.pdf 5df24be3cc6b6967ceba4e0466376236 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ericailcane Description An account of the resource Originally from Belluno, the artist began to make himself known at the beginning of the new millennium with wall paintings made mostly in social centres of Bologna, as well as in some video art events organised by the Academy of Fine Arts in Bologna, where he received his formal training. Very important was his collaboration with the street artist Blu, with whom he has cooperated since his debut on the scene on numerous murals, almost always of enormous dimensions. Ericailcane's works are characterised by a scientific precision with which the artist outlines disturbing animals with human movements, placed in alienating contexts, sometimes loaded with social or ecological significance. The same iconography also recurs in his refined drawings, artist's books, videos and installations, also made on public commission: from the traditional Vecchione set up in 2009 by the City of Bologna, to the façade decoration in 2013 of the Museum of Contemporary Art of Bogota, Colombia. Over the years his fame has grown and, overcoming the lack of interest for the art market, he began to work occasionally for some galleries such as the Biagiotti Progetto Arte in Florence, the D406 in Modena, the Squadro in Bologna or the famous Pictures On The Walls, declination of the London gallery Lazarides. However, more than the exhibitions, in which he participates infrequently, it’s above all his murals that have made him known in every corner of the world. In addition to Italy, he has been active in Great Britain, United States, Spain, Mexico, Ecuador, Colombia, Guatemala, Morocco, Palestine, France and Germany. (main source: <a href="https://it.wikipedia.org/wiki/Ericailcane" target="_blank">Wikipedia</a>).<o:p></o:p> Creator An entity primarily responsible for making the resource Ericailcane Dublin Core The Dublin Core metadata element set is common to 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 Description An account of the resource The idea of the wall painting by Ericailcane was born in 2014 and meant to fit into the second edition of FRONTIER - The Line of Style, an open and evolving platform, based on two complementary operational phases: one dedicated to the artistic development of urban art and one dedicated to a deeper theoretical background. The artist, invited to conceive a pictorial work for the city's historic Gasometer, imagines a continuous narrative centred on the figures of two enormous dogs biting their tails and carrying on their shoulders the allegory of two cities or two sides of itself (Bologna?): one that lives in joyful harmony and one that, as a character shows, walks in a balance on a wire. <a href="https://www.repository.unipr.it/bitstream/1889/3846/1/Ericailcane_musso%26naldi.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Ericailcane 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 Musso, Claudio Naldi, Fabiola Format The file format, physical medium, or dimensions of the resource image/jpeg application/pdf Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Ericailcane MoRE Museum 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/e5738b28fb3f470c064b325b290cd1c3.jpg 88a11d07a3c814d4ec66f9244b1b642c Dublin Core The Dublin Core metadata element set is common to 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-versione-1_web.jpg Description An account of the resource Image documenting the maquette of the project’s version “1″: in this case, the project consisted in a multi-subject painting with some frames taken from the video installation La Figlia di Isacco (Venice Biennale, 2009) Format The file format, physical medium, or dimensions of the resource file jpg, 219×320 pixel, 96 dpi http://moremuseum.org/omeka/files/original/5aaeff83065445c5fe9cb09b175801d3.jpg f0c2256178d2c1b75c82d5a48d5dc2bb Dublin Core The Dublin Core metadata element set is common to 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-versione-1a_web.jpg Description An account of the resource Image documenting the maquette of the project’s version “1″: in this case, the project consisted in a multi-subject painting with some frames taken from the video installation La Figlia di Isacco (Venice Biennale, 2009) Format The file format, physical medium, or dimensions of the resource file jpg, 228×320 pixel, 96 dpi http://moremuseum.org/omeka/files/original/7a04a575b56cbd76cd30e1d79576d8ae.jpg 533a983fc6055ed15d600197e2331ec9 Dublin Core The Dublin Core metadata element set is common to 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-versione-2_web.jpg Description An account of the resource Image documenting the maquette of the project’s version “2″: in this case Berruti focused on one figure only, developed along the entire height of the floors. Format The file format, physical medium, or dimensions of the resource file jpg, 211×320 pixel, 96 dpi http://moremuseum.org/omeka/files/original/0b934d579ab46d84398531f7136b074b.jpg 6e6c4b8849acd93c9f7d43c24537123b Dublin Core The Dublin Core metadata element set is common to 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-versione-2-particolare.jpg Description An account of the resource Image documenting the maquette of the project’s version “2″: in this case Berruti focused on one figure only, developed along the entire height of the floors. Format The file format, physical medium, or dimensions of the resource file jpg, 240 x 320 pixel, 96 dpi http://moremuseum.org/omeka/files/original/7b1036b5974100b966dacef187b6b859.jpg 6cfbf48fbb59c23fb2584bf44deaa53a Dublin Core The Dublin Core metadata element set is common to 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-versione2b_web.jpg Description An account of the resource Image documenting the maquette of the project’s version “2″: in this case Berruti focused on one figure only, developed along the entire height of the floors. Format The file format, physical medium, or dimensions of the resource file jpg, 211×320 pixel, 96 dpi http://moremuseum.org/omeka/files/original/0c179967499d92468500932322c66da9.pdf 6d1dfd359b40ad816d3310940b8768b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Valerio Berruti Description An account of the resource Valerio Berruti was born in Alba, Piedmont, in 1977. He graduated in Art Criticism from the D.A.M.S. program in Turin and lives and works in Verduno (Cuneo), in a deconsecrated 17th-century church that he purchased and restored in 1995. <o:p></o:p>In 2009, Berruti was the youngest artist invited to the 53rd Venice Biennale, where he presented a video animation, La figlia di Isacco, composed of 600 drawings accompanied by music by Paolo Conte. <o:p></o:p>More recently, he held a solo exhibition at the Pola Museum of Art in Tokyo titled Kizuna, featuring a soundtrack specially composed by Ryuichi Sakamoto. Kizuna also became a charitable project supporting the reconstruction of Japan following the devastation caused by the earthquake. <o:p></o:p>In 2012, Berruti won the international prize “Luci d’Artista.” His light installation, titled Ancora una volta, illuminated Via Accademia delle Scienze in Turin.<o:p></o:p> Creator An entity primarily responsible for making the resource Berruti, Valerio Dublin Core The Dublin Core metadata element set is common to 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 Description An account of the resource Scala by Valerio Berruti consists of a project for a mural on the walls of a large staircase inside a 19th-century building in the center of Alba, recently renovated for its new use as the headquarters of a well-known local bank. <o:p></o:p>Once again, childhood is the central subject of the preparatory sketch, featuring a nearly stylized figure of a young girl whose minimal drawing achieves a striking expressive power. It is an image of poetic lightness, evoking in each viewer memories of past years, family ties, and, more broadly, the notion of memory. <a href="http://moremuseum.org/omeka/files/original/0c179967499d92468500932322c66da9.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Berruti, Valerio 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 De Felice, Letizia Relation A related resource DSpace: <a href="http://dspace-unipr.cilea.it/handle/1889/2106" target="_blank" rel="noopener">http://dspace-unipr.cilea.it/handle/1889/2106</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. Valerio Berruti MoRE Museum Failure to meet the commissioner's demands http://moremuseum.org/omeka/files/original/7e122f0849dd10b5b5cfec3609dbde82.jpg 7c4c6b8dae326ef8ce91eee0249e983d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pablo Echaurren Description An account of the resource Pablo Echaurren was born in Rome in 1951. He started to paint at the age of 18, inspired by Gianfranco Baruchello, and was soon discovered by the critic and gallerist Arturo Schwarz, who promoted his work in Italy and abroad. His work was initially characterized by a certain minimalism, with a conceptual approach and a rejection of pictorial conventions, offering an alternative to the idea of the work of art as fetish. Since then, he has always been looking for new languages and new forms of expression, never resting on his laurels.  Not just a painter, he has engaged in a wide range of activities, such as illustrations, writing, as well as the creation of “metacomics” that investigate the possible relationship between avant-garde and popular art, seeking that necessary and fertile short-circuit between “high” and “low,” culture and frivolity. His work has been presented in numerous museums. Among the most recent exhibitions: Contropittura(La Galleria Nazionale d’Arte Moderna di Roma 2015-2016) and Du champ magnétique(Scala Contarini del Bovolo, Venezia 2017), Pablo Echaurren(Mart, Rovereto 2019). Creator An entity primarily responsible for making the resource Echaurren, Pablo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rouge Selavy Description An account of the resource Rouge Selavy is the title of a work that Echaurren designed in 1977, a fundamental year because on that very date the artist decided to (temporarily) abandon art to devote himself to politics. The artist writes with a blue pen over a lined notebook one of the first projects where the figure of Marcel Duchamp emerges. In fact, the unrealized work consisted of a performative action: to be exact, a parade. In the Eucharren notebook he writes: "making Duchamp banners", then creating "silent" banners (conceptual, we could say), which had to show only verbal elements such as the question mark and question mark made with a red marker.  This because? Echaurren explains the reasons in the points below. The artist speaks of the concept of imagination and develops it under various aspects, affirming that the imagination does not stop at a banner, that the imagination must be brought onto the banner itself and finally the same banner is defined as "doubtful" and "without certainties". The title of the work is a distortion, one of the first distortions made by Echaurren on the titles of Duchamp's works (see Mon Alice, a project on display inside MoRE). Indeed, the famous portrait as a woman by the French artist Rrose Selavy is transformed into Rouge Selavy. There is a desire to highlight red as the color of life, in fact the marker strokes on the page that draw the exclamation and question marks on the banners are red. Furthermore, this continuous use of the word imagination can only bring to the mind the famous slogan of the seventies "the imagination to power". <a href="https://www.repository.unipr.it/bitstream/1889/5208/1/Pablo%20Echaurren_Rouge%20Selavy.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Echaurren, Pablo Date A point or period of time associated with an event in the lifecycle of the resource 1977 Contributor An entity responsible for making contributions to the resource Casero, Cristina Rossi, Valentina Format The file format, physical medium, or dimensions of the resource image/tiff Language A language of the resource Italian Type The nature or genre of the resource Text Still Image Rights Holder A person or organization owning or managing rights over the resource. Pablo Echaurren MoRE museum Logistical reasons Theoretical exercise http://moremuseum.org/omeka/files/original/3367da345b1060ce19ad7c9a0bb13753.jpg 1d707e65ce0b125bb595ac1de105273b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource bozzetto.jpg Description An account of the resource First of the four images that document the evolution of the preparatory study. Format The file format, physical medium, or dimensions of the resource file jpg, 1395 x 571 pixel, 300 dpi http://moremuseum.org/omeka/files/original/bbdd6901f0c31f45340ad15e445e6550.jpg d259dcbd557c08f4222c56ef80446409 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bozzetto_3mt_VERDUNO WHITE.jpg Description An account of the resource Second of the four images that document the evolution of the preparatory study. Format The file format, physical medium, or dimensions of the resource file jpg, 655 x 318 pixel, 300 dpi http://moremuseum.org/omeka/files/original/1720a4f175c0ec7ce940f93fe6d04785.jpg e9b15c846d5462b6bf3f18614f99ec89 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bozzetto_4mt_bra WHITE.jpg Format The file format, physical medium, or dimensions of the resource file jpg, 2841x 2107 pixel, 72 dpi Description An account of the resource Third of the four images that document the evolution of the preparatory study. http://moremuseum.org/omeka/files/original/96e54d2b69198d3b673e1f40ab4cd27e.jpg 76019e23c9556165d0b98aa9e2269ae8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bozzetto_4mt_VERDUNO WHITE.jpg Description An account of the resource Fourth of the four images that document the evolution of the preparatory study. Format The file format, physical medium, or dimensions of the resource file jpg, 616 x 296 pixel, 300 dpi http://moremuseum.org/omeka/files/original/98ce4236f26738ceb6b2c550fb3f176a.jpg 4ce1c721b789b3bfaf822de79f68ced7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modellino_alto.jpg Description An account of the resource First of the seven images that illustrate the project’s maquette. Format The file format, physical medium, or dimensions of the resource file jpg, 2841x 2107 pixel, 72 dpi http://moremuseum.org/omeka/files/original/df58be68fabdde8ef7f0c016b35df800.jpg 996d4605e4aabb5c56fd7d4c123b27dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modellino_IMG_1705.jpg Description An account of the resource Second of the seven images that illustrate the project’s maquette. Format The file format, physical medium, or dimensions of the resource file jpg, 3264×2448 pixel, 72 dpi http://moremuseum.org/omeka/files/original/45cc9bfddef0ef764c9c85b578ae9dfc.jpg 62fecf9d6242bbddad80055bf1b12fab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modellino_IMG_1707.jpg Description An account of the resource Third of the seven images that illustrate the project’s maquette. Format The file format, physical medium, or dimensions of the resource file jpg, 3264×2448 pixel, 72 dpi http://moremuseum.org/omeka/files/original/7c6a2e6430588332c8cea7f4ae09b9c0.jpg 3e08c22b471c4afa65af2b6885cb5fd3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modellino_IMG_1709.jpg Description An account of the resource Fourth of the seven images that illustrate the project’s maquette. Format The file format, physical medium, or dimensions of the resource jpg, 3264×2448 pixel, 72 dpi http://moremuseum.org/omeka/files/original/b1ade7acecded96810e16843cbdd321d.jpg 97eb376d3ffc23fbd11d180ec685c222 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modellino_IMG_1711.jpg Description An account of the resource Fifth of the seven images that illustrate the project’s maquette. Format The file format, physical medium, or dimensions of the resource jpg, 3264×2448 pixel, 72 dpi http://moremuseum.org/omeka/files/original/439c5261491561d5ff745ed30fb4dc6e.jpg 0013325a593263ab07b25205cf21d746 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modellino_IMG_1713.jpg Description An account of the resource Sixth of the seven images that illustrate the project’s maquette. Format The file format, physical medium, or dimensions of the resource file jpg, 3264×2448 pixel, 72 dpi http://moremuseum.org/omeka/files/original/43f232a82901b2ef58ea1e195a88aec4.jpg 76af31dbc0cc0592dcb8c07505f80320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Modellino_IMG_1717.jpg Description An account of the resource Seventh of the seven images that illustrate the project’s maquette. Format The file format, physical medium, or dimensions of the resource jpg, 3264×2448 pixel, 72 dpi http://moremuseum.org/omeka/files/original/9f3a8c96aa3f8533780442a3e326bcc2.jpg bab9e0b8d3e803f6954624659dc395f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rendering_3mt_bra.jpg Description An account of the resource Project’s rendering Format The file format, physical medium, or dimensions of the resource jpg, 2000×1300 pixel, 300 dpi http://moremuseum.org/omeka/files/original/8e43a1685e149ad93d95238664f52c3d.jpg 038b650f9322f1f3d01ce549f0c53d28 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rendering_3mt_VERDUNO.jpg Description An account of the resource Project’s rendering Format The file format, physical medium, or dimensions of the resource file jpg, 2000×1450 pixel, 300 dpi http://moremuseum.org/omeka/files/original/f850a3c397a19e58503024890c82e4a8.jpg f3a2516e8db093d784201ccf87b24b59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rendering_4mt_bra.jpg Description An account of the resource Project’s rendering Format The file format, physical medium, or dimensions of the resource file jpg, 2000×1300 pixel, 300 dpi http://moremuseum.org/omeka/files/original/035802e073a208366b1ebb05d9e450e5.jpg 836312f230a9b636c9e5adba4d1827c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rendering_4mt_VERDUNO Description An account of the resource Project’s rendering Format The file format, physical medium, or dimensions of the resource file jpg, 2000×1300 pixel, 300 dpi http://moremuseum.org/omeka/files/original/2b19e2161d2bc4ac4edd20472ced50ab.pdf 69bccfd831fadb9d9c2b69ec3055e3b4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Valerio Berruti Description An account of the resource Valerio Berruti was born in Alba, Piedmont, in 1977. He graduated in Art Criticism from the D.A.M.S. program in Turin and lives and works in Verduno (Cuneo), in a deconsecrated 17th-century church that he purchased and restored in 1995. <o:p></o:p>In 2009, Berruti was the youngest artist invited to the 53rd Venice Biennale, where he presented a video animation, La figlia di Isacco, composed of 600 drawings accompanied by music by Paolo Conte. <o:p></o:p>More recently, he held a solo exhibition at the Pola Museum of Art in Tokyo titled Kizuna, featuring a soundtrack specially composed by Ryuichi Sakamoto. Kizuna also became a charitable project supporting the reconstruction of Japan following the devastation caused by the earthquake. <o:p></o:p>In 2012, Berruti won the international prize “Luci d’Artista.” His light installation, titled Ancora una volta, illuminated Via Accademia delle Scienze in Turin.<o:p></o:p> Creator An entity primarily responsible for making the resource Berruti, Valerio Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rotonda di Verduno Description An account of the resource Project for the realization of a sculpture for the roundabout located at the entrance of the village of Verduno, in the heart of the Langhe region, where Valerio Berruti chose to live and establish his studio inside a deconsecrated church. <o:p></o:p>It is a tribute to his homeland, the Langhe, observed through the innocent and carefree gaze of childhood, a subject and metaphor for an ideal world, symbol of a purity inevitably lost with maturity. <a href="http://moremuseum.org/omeka/files/original/2b19e2161d2bc4ac4edd20472ced50ab.pdf" target="_blank" rel="noopener">Read more</a>. Creator An entity primarily responsible for making the resource Berruti, Valerio 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 De Felice, Letizia Format The file format, physical medium, or dimensions of the resource image/jpeg Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context <a href="http://dspace-unipr.cilea.it/handle/1889/2105" target="_blank" rel="noopener"><code>http://hdl.handle.net/1889/2105</code></a> Rights Holder A person or organization owning or managing rights over the resource. Valerio Berruti MoRE Museum Failure to meet the commissioner's demands